Lightroom Editing: Defining your style & The importance of Presets | Tom Kai | Skillshare

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Lightroom Editing: Defining your style & The importance of Presets

teacher avatar Tom Kai, Photographer and Graphic Designer

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

12 Lessons (1h 29m)
    • 1. Course Introduction

    • 2. Why Have A Unique Style?

    • 3. How To Find Your Style

    • 4. Importance of Presets

    • 5. Your Assignment

    • 6. Overview of Lightroom

    • 7. How To Create A Preset

    • 8. Let's Edit Vintage Film Style

    • 9. Let's Edit High Contrast Grunge Style

    • 10. Let's Edit My Style

    • 11. Going Forward

    • 12. Final Thoughts

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About This Class

Learn how to define your style as well as the importance using presets in your workflow as you edit in Lightroom! I will walk you through the process from beginning to the end and give you some useful tips and tricks that I wish I knew when I first started. At the end of this course, you will have edited 3 of your own photos and be well on your way to defining your own style! You will also  have the skills and know-how to edit any photo that you want!

I am Tom Kai, A professional photographer and graphic designer with an incredible passion for creating. I've been working in the creative field for the past 10 years and in that time I've learned a lot of useful information that I want to share with YOU! I am excited to help you to learn how to "Define your style and the importance of presets" and to get you started with creating stunning edits in Lightroom. I also want to give you all the skills you need to create any kind of edit that you can think of! If you want to see more of my work, I encourage you to check out my website HERE or feel free to follow me over on instagram @therealtomkai or you can just click HERE

This class is designed for those starting out in photography or for those who want to define their own style. This course is in depth enough for those familiar with Lightroom, but also beginner friendly as I walk through my whole process, I am sure you will be able to follow along. I will be walking you through some shortcuts and tricks that I've learned over the years that have helped me find my own style and at the same time improve my workflow and that have helped me create edits that caught the eyes of some very cool clients! Whether you are starting out or just want to rebrand with a completely new style, this class will be useful to all of you! And don't worry, I will provide you with all needed material for this project, such as the images.

This course is made using the classic version of Lightroom, however the principles and skills taught in this course can and will apply to other versions as well. You can also download a free trial of Adobe Lightroom from

In this course you will learn:

  • Why having your own style is important
  • How to find your unique style
  • The importance of using presets
  • How to create presets
  • How to use the Lightroom interface and tools
  • How to create unique stylized edits
  • Proper way to save and export your final photos

* All stock images in this course were provided by Signature Edits, Feel free to check out their website for more awesome free raw images to practice your photo editing skills! You can check them out HERE

If you liked this course, I encourage you to check out this other lightroom course that I made!

Also head over to my website to get your own presets that I made! They're cheaper than a cup of coffee! So head over and check it out HERE

Meet Your Teacher

Teacher Profile Image

Tom Kai

Photographer and Graphic Designer


Hello there! My name is Tom and I have been in the creative field for the past 10 years! Over that time I have come to be very well versed in the whole adobe suite but especially photoshop and lightroom! 

I work mainly as a graphic designer and photographer but I also spend a lot of time helping clients and companies revamp their branding, create stunning advertisement material and provide them with a fresh set of creative eyes to solve their creative problems. 

Here on skillshare I will be teaching you what I wish I was taught a decade ago when starting out, from the basics of tools and their hidden features, to the more complex aspects of various content creation both for yourself and for potential clients. 

I encourage you to take a look at my soci... See full profile

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1. Course Introduction: As an artist and creator, you want to create your own thumbprint away in which people can distinguish you and your work. But many times the finding your style can be a very daunting thing and that's why I made this course. I want to welcome you to this course on Lightroom editing, the finding your style and the importance of presets. My name is Tom Chi and I've been a photographer and graphic designer for almost 12 years now. I'm from the United States and I travel around shooting photos for various clients and companies, specializing fashion, lifestyle and commercial photography. To see my work head over to my website at www dot the real Tom or look me up on Instagram at the real Tom Chi. I'd be lying to you if I said that I knew my style when I first started out, I didn't it took many years and a lot of trial and error to find my style, a style which I personally vive width, and at the same time sends a message that I want it to. Today, we're going to have a lot of fun. We will be going more for why it's important to have a unique style, as well as how to find that style. We will also be talking about the importance of presets and the benefits of incorporating them into your workflow. I'll be showing you how to create your own preset. And then we will add the three photos together in three unique styles. So you get an idea of the thought process that goes behind particular styles of editing. This course is essentially for anyone wanting to take their editing to the next level. Maybe you struggled to find a style or a voice in your work, or maybe you've never even thought about the importance of having a unique style. Or you could simply be wanting to change up the style that you already have and don't know where to start this course is for you. And I'm super excited to share with you all that I know. I really hope you decide to enroll in this course. And if you do, I'll be seeing you in the very next video. 2. Why Have A Unique Style?: And here we go. We're in the very first video of our course, and this is an important one. Why do you need to have a unique style? This is one thing that many starting photographers and even some more well-developed ones don't really think about because it's something that doesn't really come naturally. You don't really think on why you want to have a unique style, but it is incredibly important. There are many reasons. First things. First, it creates your thumbprint. It creates a unique look that is specific to you. And why is that important? This is important because it makes you be marketable. If someone sees a photo and they see your unique edit to it, not going to think of you. And I'm going to think of your style and they will immediately know, yes, that is this person doing this edit. They're going to know who you are. And another reason is that it allows you to tell the story of the image and a better way of enhancing the mood, the tone of the image can really bring out the message that you want to get across with your photo. And finally, it allows you to put yourself into your image and allows you to put your own style, your own background, your own history, and your own likes into your photo. Personally, I'm very inspired by AD's vibes, eighties culture, even in the nineties, you know, I go back into some of the vintage old looks sometimes as well as the film look. You know, you can be inspired by a whole bunch of different things that you then use in your own unique style. So let's look at a few photographers that I've picked out that I think have some very unique styles and they're ones that I look up to very much so lets hop over to Instagram and let me show you their feeds. And here we have the very first person I want to show you one of my favorite photographers here. We have Brahmi snow or Simone Permanente. Hopefully I'm saying the name right, Simon br Monte. And if you scroll down and look at his images, everything is very unique, lost, there may be different colors used in the images, and there is a unifying tone in his images that just makes it all seem like it's from one artists, from one photographer. Let's hop over to another one's shall we? Here we have a den Rubin, a fantastic designer, photographer. But I've been falling for a long time now. And if you look down, his style of editing changes, but it's still very unified. You see his recent six photos or all black and white, very grainy, very vintage looking. But then you scroll down and you see these images have a unique and similar tone. And then as you scroll down, they're grouped together. So again, it's telling a mood. It's telling a story that is unifying all of these images and it is his unique style. Now let's hope over to some of my favorite photographers of all time. One that you may know, Peter MacKinnon. He's a very famous out there. And we can see his style of editing is very grungy, very contrasts the very in your face. But if you look, his style doesn't have that much green in it. That's a lot of cooler tones. It's a lot of the orange blue look, a lot of grays, cold, metallic IE look. And that works for him. That's his style that defines him. And now finally, let's go to Brandon Wolf Hall. Hopefully I'm saying his name right. And he's a very known for using a lot of color and different punching colors in his edits as well as like the nighttime edits. So if we scroll down through his images, we see a lot of the Edda. He does involve a lot of matt colors. The blacks are very washed out in these images. And again, there are greens here and there, but we see he shies away from green of this, a lot of purple and blue and yellow, but not as much in green. So again, that is another way in which you can have your own style. And it's important because when you market yourself, accompany might look at you and be like, okay, So we see are you editing and all these different kinds of ways we want you for your style. So you want to set yourself apart from all the other photographers out there because There's a lot of competition out there. And if you don't set yourself apart with a unique style, you're going to have a lot of trouble growing and making a name for yourself. So we've gone over why it's important to have a unique style, but how do you find your style? In the next video, I'm going to go over exactly how you can find your unique style that's going to be unique to you. So let's keep going. 3. How To Find Your Style: Now that we've gone over why it's important to have a unique style. How do you find that style? Won't finding your own unique style takes time and it takes effort, but believe me, it is worth the time and the effort because it defines who you are. It gives you your thumbprint. So how do we do this? Well, here are a few things that I would recommend you do to find your style. First things first, create a mood board of creators and images that inspire you and that aligned to a style that you really like that you might want to emulate. Look at not just only photography, you can look at fashion, you can look at architecture, you can look at all different kinds of things. I even recommend looking at old and paintings. You know, see what some of the great artists of the past have created and what their styles work, it's really important. So definitely go and create a mood board. And you can see what they're doing, either using a lot of bright neon colors, are they using pastels? Are they really contrast the edit. So you know, and what are you being drawn to in these mood boards? So these are elements that you can keep in mind and look at. The next thing that I recommend you do is something I just mentioned and that's emulating someone else's edit. I'm not saying to copy someone else's edit, but it's really helpful to learn whilst emulating. So let's say you find an edit from someone that you really like, pull that image up on your phone onto another monitor and tried to recreate it, see how they went about doing that. Did they increase the contrast on why, what did they do? Try to recreate their edit and learn from it, see what they did, how they did it, why they did it. And then try and incorporate some of that into your own style. You might find that you don't really like doing the high contrast editing too much, but you might find that it's exactly what you like. So again, try and emulate some of the artists that you look up to because I can be really beneficial in developing your own unique style later on. Next, it is super important that you shoot as much as possible. I cannot stress this enough. The more photos that you take, the better you're going to get at taking the photos themselves, and the better you're going to get at editing those photos. So the more you do, the better you get, you can't just sit at home and not take photos and not edit and expect to find your style, you have to be actively working on it. And the more you do it, the more you're going to find the little nuances and little things that you like. You might find that you do not like having greening your images like some of the other artists I showed you in the previous video, he might find that you like to have a completely pastel washed Edit over your images. So the more you shoot, the more you edit, the more you're going to find out what works for you. Next, instead of looking at examples around, you, look at what is inside, what inspires you as a person. I know personally, I'm very drawn to the AD's aesthetic. The old vintage video game looks, the retro looks, and the vintage film looks. That is what I personally am really drawn to. It could be something else free. You might really be drawn to the whole art deco era of the 19-21, the whole art style of back then, you might be drawn to some of the newer neon edits, the nighttime edits. So look inside, what are you drawn to? What is your personality like? Are you a punchy kind of person or you're more cool, chill com mellow person who might prefer having more of the mellow edits, the more pastel edits. So look inside, you might find that a large part of your own style lies right inside you. Introspection is exactly what you need to do. Next, we have presets. How can that help you find your own style? Well, let's say you've gone around the internet, you've downloaded or bought some presets from some other creators. How can you use that for your own style? And well, you can look at exactly the edits that they do. Presets shows you everything they did in lighter and what did they do with the shadows? What did they do with the colors? So you can really learn from that and see OK, this person created this style of edit. How did they do that? Well, I really like that they muted these colors and didn't meet these ones. So again, using presets that have already been made can really educate you into someone else's thinking behind creating their own style and can help influence the creation of your own style. When it comes to finding your style, I do recommend having restraint. A little goes a long way. I emphasized that in pretty much every single course that I've created, that a little goes a long way. You don't want to blow out the colors, he don't want to blow out the highlights. You want to be very subtle with your edits and very intentional with light. He do. You really want to take your time and develop that craft, hone in on what is unique, what is important, and a little bit of restraint is going to really go a long way. Because your viewers, the companies you reach out to your clients, will really see that as well and appreciate the restraint that you use. And finally, how to find your style. Do not give up. It takes time. It is a process. I know it can be hard and it can be very tempting to just use someone else's preset, use someone else's style. But I assure you it is really important to take the time. Learn from everyone else's style, learn from what other people are doing. Learn from the examples and inspiration that you have and incorporate that into your own style. Because over time, the more you incorporate into your own style, it's going to really create that unique look that you want to have. It's going to create your thumbprint. Now when people look at your Instagram or your website, your portfolio of work, they will see that unity and all your images. And there'll be like, yes, we want to work with this person. We want to have them shoot photos for us. And there we go. There a couple of ways in which you can find your own style. Now I know it can seem like a lot, but like I said, it is worth it. So make sure that you do these steps and in time, YouTube will find your own style. So next we're going to go over the importance of presets and how presets can be used to define your personal style. 4. Importance of Presets: So let's talk about the importance of presets. First of all, what are presets? So essentially a Lightroom preset is a preset configuration of settings that create a unique edit to your photo. It's an edit that maybe you've already created before or that you've downloaded, you just click a button and it applies an edit to your whole image. So why is that important? While it can be very beneficial to you want, it can let you batch edit photos. So you can select 51500 photos as many as you want. And with one click of a button, you can edit all of those photos with the same preset. It can really save you so much time. And editing multiple photos at once can help you have consistency in your images. As we saw earlier on the different Instagram feeds of some of the photographers I showed you there unique style through their presets that they're using and they're editing style has created a sense of consistency and unity in their photos. It gives their whole brand a theme, and that is what we want to do in presets can really help you achieve that. It can help you get one look over all of your photos. Presets also give you the ability to have multiple options. You can have five, you can have a 100 presets and installed. I don't recommend having that much, but you can have multiple presets installed. And then you can look at what your edit would look like with different presets on it. You can look at what one photo would look like with a cool edit, with a high contrast edit, with a warm edit. And then you can decide what would best fit your theme, your feed. And other great importance of presets is that it saves you so much time. So let's say one photo will take you anywhere between 510 minutes to edit. Now, what if you have a 100 photos? What if you have 500 photos? If you have 100 photos at five-minutes, a photo that's going to be 500 minutes. That is a ridiculous amount of time to spend on editing your photos and you don't have that time. So presets will help you be able to edit multiple photos with one-click. It'll really cut down your editing time from several hours down to just a few minutes. And another great thing with presets is that very customizable. It's not just one click and it's done. You can do that, but once you click that one preset, you can go and adjust the sliders. If it ends up overexposing your photo, you can bring the exposure back down and you can bring that highlights down. You can make the image suit your feed even better, your style even better. You can add back the cool tones, you can add back the warm tones or whatever it may be. It's incredibly customizable. Nowadays. A lot of preset social, very cheap. You can even find them for free. And that's really helpful because like I said before, having these presets already are really good because it can be a learning tool for you. It can be an educational tool from which you learn your own style. You can see what someone else did live there, presets, and then you can apply certain things from them to your own or tweak their presets to match your own style. Now if you hang around to the very last video, I'm going to tell you how you can get some of my personal presets for yourself. In the next video, I'm going to go over your assignment for this course and how you can get featured in the next course that I'm going to create. So let's keep going. 5. Your Assignment: For your assignment ongoing TB, doing something I've never done before. I'll be giving you the chance to be featured and my next course, your assignment will be to create one preset of your own and apply it to three photos that either you take or that you find. But I want to see one unique style across all the photos. Have fun with this, be creative and I will be choosing one of you who submitted this assignment to be featured at the beginning of my next course to showcase how good of a job you do. Next, we will be hopping into Lightroom and the real fun is about to begin. Let's go. 6. Overview of Lightroom: And we're finally enlightenment. This is what we've been waiting for and what I've been waiting for because I'm ready to teach you everything you need to know about creating own style and creating presets. So let's hop right into it. These are some images that I've used in a previous course. If you want to check that out, just head over to my teacher page and look at some of the previous courses I've made. I've done quite a lot in Lightroom. So make sure you go check that out. Now I'm going to be using Lightroom classic for this. But if you have Lightroom creative cloud, a lot of these principles will apply there as well. So when you load up Lightroom for the first time, you'll have a screen much like this, except without these images. So you'll see all these tabs up here. I'm gonna go through that in a second, but you want to get images in here. So and we get images into Lightroom is you're gonna click import in the bottom left here. And then you're going to navigate to where you find your image. Now I've provided you with images, so make sure you download those. Those images are the ones that we are going to be importing. So let's click images used. I'm not going to be using all six of these. You're going to have three images. And those are the ones that are going to be using. So let me just de-select ago ones and that I'm not going to be using. So in your download, you should have rainbow girl dot DNG looking up CR2 and hiding away dot CR2. And these are all raw image files. And then you don't have to do anything else. You just click Import. Lightroom is gonna take a second to import those images, but they're all there. Now the first thing that I recommend you do is you select all your images. You can hold down shift and click all of that or just do Control or Command a. And over here by collections, click this plus to create a new collection. And this pop-up menu is going to come here and you can name it whatever. I'm going to call this preset creation course. Just so I know for myself, but you can name it whatever you would like. And for the options, I'm going to make sure this is checked. Include selected photos. That's why it's selected. We want to include them in this collection. So let's click Create and nothing looks different, right? So what's the point of collections? While it's awake and organize your photos, I have many different collections here, but if I wanted to go to this course, it's right there. It can go to a course that I've done before, how to edit it like a pro. And these are the images in that collection. But let's go down to this preset creation course collection and our images are right there. So I'm gonna import one more photo real quick that I'm going to use as an example to show you all the functions of our Develop tab. So let me do that. So I've gone ahead and imported our flowered dress and mentioned that you might have seen before. And I'm going to go into the Develop tab now, do not be tempted to use a quick Develop module over here. It is not going to be nearly as good enough as going into the normal developed tab. So let's just ignore that. And let's go in to develop that, makes sure image is selected. And let's go into Develop tab. And I'm going to go through this whole menu on the right of everything that you can do in Lightroom. So pay attention. First things first we have our histogram up here. The histogram shows the blacks, the shadows, the exposure, the highlights and the whites of your image and as well as where the colors of that art. So we see here the blues have quite a little bit of black in it. So we want to make sure we keep an eye on this. We don't want the highlights to be too far over to the right or this high. So we're going to adjust that later on. Next we have our crop overlay. This allows you to crop your image if you have a specific ratio that you want, this is where you can choose that. Now for Instagram, you might want it to be four by five for a regular post, or you might want it to be 16 by nine for a story post. So for example here, I'm just going to make this into a 16 by nine ratio because that fills up the screen a little bit better and you can see a preview over on the left here in the navigator. So I like that crop, so I'm just going to hit done down here. And there we go. Next we have a spot removal. If you want to remove any spot in your image, let's say you have more of a portrait. Let's say I don't want to have this. I don't know if this is a nose ring or some beauty mark, but let's say for example, I don't want that. So let's reduce the size of this. You can also hit the bracket keys on your keyboard. So I want to get rid of that spot. And it's going to be smart enough to replace it with something that looks similar. Singing drag that around. You can change the feather annual capacity of that. And I'm going to hit done. There we go. I know one using that. You don't even notice that. So that can be great to get rid of things like acne, certain beauty marks for scars, or maybe even just some dust in your image. Some vintage images have a lot of dust in it. So you might want to get rid of that. Next, we have a red eye correction. We don't have any red eyes in this image, but certain and those will have red eyes. And you can use this tool to correct that unless we have a graduated filter. And what this does is this gives you a filter, a graduated filter, a gradient across your image. Now by default, mine gives a one to the exposure, a positive one, so it brings exposure up. But let's say I want to have a vignette coming in from the bottom. We can bring that down. You can play around with the color of the saturation of that bottom section and you can even add color into it. So if I wanna have blue coming in from the bottom, and you can do that. Now, where would you use this? I use this a lot for skies. I use this blue if I'm going to ask them blue into the sky and unnatural looking way. And now you might have seen, if you hover over this middle part, it's going to show in a red, the part that is being affected by your filter. So everything that is in red is going to have the color blue applied, as well as an increase saturation and a decrease exposure. Now for the sake of this, I'm not going to keep this graduation here. So you can just hit Delete on your keyboard and it's not gonna do anything with that. Perfect. So next thing that we have is a radial filter. This is the exact same thing as the graduated filter, except in a circle. So you might want to have a ray of sunshine or something going out from the center. But by default it's going to be outside of the circle that you draw. You can come down and invert that. And then it's going to affect the area within that circle. Again, you can hover over this middle area to see what is being affected. But you can add certain colors to that. I can add orange if I want to bring a little extra emphasis to the sun or to some clouds, I might do that or to some part of a portrait. So let's go ahead and delete that because we're not going to be using that. Then we also have an adjustment brush, which does the exact same thing as both the radial filter and the graduated filter. But this allows you to paint in a custom area that you want to effect. So for example, let's say I want to effect a just her hair. And as we see, it's already applying the increased exposure to the hair. But let's get rid of that increased exposure. What if we want to make the hair darker so we can bring the exposure down slightly. We can bring the shadows up. And let's say we want to desaturate the hair. We can go ahead and do that. And if you want to see that before and after of this, it's very simple. You can toggle this down here to toggle your filter on and off. So if you wanted to create edit psych that certain filters like that, you can paint in a custom area with your adjustment brush here. Now, I'm not going to be using this, so I'm just gonna click it and click, delete. There we go. So you want to make sure if you still have this open for your mosque, you're gonna see here it says mask. We don't want to edit here. I'm just going to scroll down and click close. We want to have just our basic editing tab here. So this is where the fun really begins. Here you can change the color profile of your image. Right now I'm on Adobe Color and most of the edits that I do are in Adobe color, but you can change it to Adobe landscape out. It'll be portrait, standard and vivid. And each of these have their different looks to them. But I'm going to stick to Adobe color for the purposes of this example. So now we have to temperature and tint. You might find that the white balance of your images off. So you can click this eyedropper to select an image that is closest to white in your image. So in this image, a happens to be somewhere around this. So target neutral. So we click that and as you see, it's changed our temperature NR tint to better white balance the image. Now let's say that you don't want to use the dropper tool. So let's hit Control commands. You can do specific preset white balances. So you can do an auto white balance. And as we see that made it warmer, we can set a daylight, we can set a cloudy white balance. And this might work for your image and might not. But as you see up here, everything is changing with our colors. And that is adjusting the temperature and tint of our image. But let's say you want to have a bs shot. Let's say you want to customize it yourself. So you didn't do that yourself. You can just click on the temperature slider either make it cooler by bringing it closer to the blue, ordering it warmer by bringing it closer to the yellow. So for the purposes of this image, I'm going to bring it ever so slightly down onto the bluer side. And for the tin, you can make this more magenta or you can make this more green. I feel like it's an a fairly good spot where it is, so I'm not going to touch that. Next we have the tone section. This is going to adjust the tone. You can click Auto for to automatically analyze the image. Lightroom has its own artificial intelligence and it can create its own auto edit of your image. But most of the time it's not going to look too good. So let's hit Control Command Z. Let's undo that. So do all of these sliders do well, exposure brings up or lowers the exposures as we see here in the example. We can bring the exposure very much of if, if the original image is underexposed, you might want to add a little bit of exposure to your image. Or if it's overexposed, we might want to bring it down ever so slightly. I'm going to keep this as it is on my bringing up ever so slightly. And we have our Contrast slider here. And that by definition, increases or decreases the contrast as you seafood decrease a contrasts, it makes your image a lot flatter, but that may be what your style is. Your style might call for a flat look to your image. So that's also something to keep in mind. For the purposes of this alone, to button the contrast ever-so-slightly. And there we go. Now for the highlights, by definition is going to bring up or lower the highlights. Sometimes your image might have the highlights to be really peaking. As we see here, the highlights are getting close to the whites here, but I'm going to leave that up here. And sometimes you might lose detail in your shadows. So you might have to bring up the shadows to bring detail back as we see here, we're bringing detailed back into the hair just by lifting up the shadows. If we lower the shadows, we lose detail into hair. So depending on your style, you might want to have more detail in the shadows. Then we can increase or decrease the whites of our image, as we see here, that starting to really PQ. And we see in the histogram, if you hover over this triangle here is going to show the Highlight clipping and everywhere where it's red if it is clipping and that means it is way too overexposed. So let's bring the lights back down to where they were. And now we don't have any clipping. Very nice. And then you can adjust the blacks of your image as well. Again, if you go too far, it's going to show you where you are clipping with the black. So everywhere where it's in blue and the black is too dark. So you want to bring that back. And pay attention to your histogram to make sure you're not clipping these. Next, we have our presence section here. You can adjust the texture of your image. You can increase and decrease. And if you're going for more grungy look, you'll end up adding a little bit of texture to your image and maybe even a little bit of clarity. So clarity again, softens your image, gives a kind of an angelic look, but it can also add a lot of grunge to your image. So a combination of these two used sparingly can create a really nice grungy luck tear image. Next we have D Hayes. So sometimes if you're shooting landscape most of the time it'll happen with landscape, you're going to have a haze in the distance over your sky. So you can D Hayes your image and get rid of some of that Hazen this evening Porches. You can use this or you can add haziness back in if that's something that you want to do. I personally never touch a D Hayes too much. I might use it a little bit in landscape photography, but as I don't shoot too much landscape, I don't end up using that too much. Next we have Vibrance and Saturation. These are similar but very different. So saturation by definition, increases a saturation of every color. Now you want to use a sparingly because it can end up making the skin of your subject if you're shooting people look very orange. That's not something that we really want and it can end up blowing out colors. So what is the solution for that? One solution is a vibrance. With vibrance its going to increase the saturation of colors around it without increasing the saturation of skin. It is smart enough to know where skin is and not increase the saturation of that too much. So let's undo that. Next we have our tone curve. This is something I use a lot. And what I use this mostly for is to adjust again the shadows of darts, the lights, and the highlights of your image. You can type in the numbers specifically here, but I tend to create slight s-curves in my images. And then the SSL we're going to be doing later on. You're going to see these S-curves in play and just how useful they are, his before and after it as a little punch to your image. Now you can also do that on a point curve. You can add a point to the middle and type-specific numbers into that, but not only that in the tone curve, such in here, it can adjust the tone for your red channel, where green channel and your blue channel. What does this mean? This means you can bring your highlights closer to blue or yellow, as well as everything else, your darks, you can bring that closer to blue or yellow. You can bring your darks closer to red or cyan. So let's do this for example. Let's say for the darks, you want to bring that closer to blue. Probably wondering the highlights a little closer to the yellow. So you can create a unique stylized look just by using the tone curve here. So let's talk about the before and after. That's really creating quite a unique look to our image. So I'm just going to turn this off for now. And we're gonna keep going. Next, we have our hue saturation luminance tab. Here. You can change the hue, can make our recipe closer to Magento or orange. We can make our orange me closer to red or yellow. But let's look at this as an example. So we see there are some blues in this image, there's some red, some oranges. So let's see. We want to bring our reds closer to yellow or closer to magenta. There we go. Now we see it. So we see it especially on her lips. But we want to bring our orange closer to red. We see that affecting her hair because her hair had some orange in it. So that's one way can be really specific with the colors that you use. And again, you can double-click the name of what your editing and it'll take it back to 0. Now we can also adjust specifically the saturation of a specific coloring. Saturation of reds. We can do that and you'll see all the flowers on her shirt just popped as did her lips. Well, let's say we want to decrease the saturation of the blue. So now we can go and decrease the saturation of blue. And then we have almost a white dress with red flowers. So you can be very specific witness. And again, a little goes a long way, so be very careful with how you use the saturation tab. Next we have Luminance. And what is luminance aluminums is something I was very confused about for a long time when I was starting out. So what luminance does and adds white or black to a specific color. So as we see, red is very prominent in this image. So if we add white to the red in this image, you see it's washing it out. If we add black into our image, it's gonna dark and all of that down. So again, uses very sparingly it can make or break your image. So be very careful with that. Next, we're gonna go to one of my favorite parts and that is split toning. Here you can add a specific colors to the highlights and the shadows of your image and create a split tone effect. So what is that? Let's look at that in practice, shall we? So I'm gonna choose by default this color here, and it's one of the default colors that comes with light room. And it's like a warm yellow, orange color. And I'm gonna decrease the saturation of that down to about 19. Now for the shadows, I want to add a cool color to my shadows. So now add this blue and increase the saturation of that. And what have we done here with added blue at this saturation level of 16 into the shadows of our image. And at the same time we've, we've added this highlight of an orange color at a saturation of 19 into the highlights of the image, creating a split on effect. Let's look at the before and after. Very nice. And I'm gonna keep this edit for the rest of this example here. Next we have our detail section, and this is where you can add sharpening your image, where you can reduce a noise. Sometimes your image maybe too grainy. Now does show you a little example of what the image looks like. And I might want to reduce the noise a little bit. And again, a little goes a long way. You don't have to go over to 100. Because that makes it look almost like a painting, but that might be your style. So find what works for you. For me, I'm gonna go with about 25. And I'm not going to sharpen this image. I think the sharpness is very fine. Next, let's go down to lens correction. This is something you want to use. If you know what camera you used for your image, we can use other lens profiles. So what you want to do is enable profile color correction. And then you find the make and model of the camera and lens that you used. So for example, let's say I personally shoot with cannon. So let's find canon and one of my favorite lenses to use as a 50 millimeter, I call it a nifty. And I have an F1 0.4. savant have an f 1.4, and it's going to have the Adobe profile for that specific camera. And you can fix any distortion that that lens may have. So you can go ahead and not much is being changed. You can see slight changes happening to the image. And you can add vignette here, but I never do that. You can. And again, you can toggle this lens correction on and off to see the edit. And as you see, there's some slight corrections, some slight vignetting. I'm gonna keep that off from the rest of this example. Next, you have your transformed section. Here. You can essentially transform your image anyway that you want. You can transform it vertically. You can skew it upward, down, and you can skew it horizontally, left or right. This is more handy and architectural photos where you have building Zeno, make sure they're lined up properly. Next, you can rotate your image. You can also change the aspect of your image. To be thinner or wider. Be careful who you use that on. Next we have scale. So you can make an image bigger, smaller. That is something I don't use too much. I tend to just crop my image to what I wanted to be. An x. We have x offset and y offset, and that just moves out along the x and y axis. As you see here, it's a little bit glitchy, goes very stuttering, but we can also go up, down. And we can constrain the crop if we want a constraints that crop to the original image area. But I rarely use the transformed section. I just use the crop tool for most of my edits. Next we have the Effects section, and here is where I tend to add some vignetting if it's something that I want to do. So you can add as much or as little as you want. And I'm going to exaggerate it for the purposes of this. And you can change where the midpoint of this, you can bring it out or you can bring it incredibly into the center. You can also change the roundness of this to have it be very little or a lot and this can work for you might want to have a very vintage film work and this can look very good on that. You can also change the feather of the vignette to be softer or harder. I don't recommend having a beer very hard further. And you can also change the highlight of it too. Haven't been not so dark. So as you see, as we bring this up, it's a lot softer vignette. And as we bring that down, you can have a very subtle vignette here image. But again, a little goes a long way. You can also add green to your image to make it look more vintage. You can add green, you can change the size of that green, and you can change the roughness of it. Again, a little goes a long way. I've added a lot to this image. And as you see, it looks pretty bad. But you can be very lenient with this and use a very little amount of grain. And add a little bit of a film look to your image. Now I'm going to turn this off for the rest of this edit and we're gonna go to the final section, the calibration. This is probably the section that confused me the most when I first started out because I didn't really understand it, but it is very simple. Now, under process here, there are different versions. I usually stick to the most current version currently it's on version five and might be different for you whenever you're watching this and depending on what version of Lightroom you're using. But here you can add a tint to your shadows. So if the shadow is, you can bring it right to the greens or the magenta. So let's exaggerate this all the way to the right for magenta, all the way left for green. Now I want to keep that in the middle. So I like the cool tones that we have been in my head, a little bit of magenta. Now we can adjust the red primary of this image and bring that to a magenta or a yellow, orange and change the saturation of that. So let's go ahead and bring that a little bit to the magenta. And I'm going to be saturate that ever so slightly, make it a little bit more stylized. And then for the green hue that's bringing that little to the cyan, there's not much green in this image. It'll suck and affected too much, but I'll D saturate that. And then for the blue, I don't want it to be let's see. I don't want it to be close to the sign. Let's bring it close to the blue, blue. So the more violent kind of blue, and that's the saturate that a little bit as well. So here we have the calibration. Second, it lets you get a little bit more fine tune detail to the specific tone that you want. But now you've done your edit, you want to see the before and after. How do you do it? Well, if we go down here to the bottom left, we see this here that says why and why. And if you hover over it, it says cycles between before and after views. So let's click that and we see the edit that we've created, the before and the after. And this is gonna come in very handy. You want to see what you've made and you can edit whilst you're in this view. So you can see exactly how your changes are affecting the image compared to the original. So I'm gonna keep that ID but I just had, but you want to go back to your original All you do is click loop view over here. But before we do that, you can have different types of before and after. If you keep clicking this down here, you have this kind of a before and after width splits your image in half. If you click it again, it's going to have one above the other for the before and after. If you click in again, it's going to split it in half this time, this way. And then if you click it again, it's going to take you back to the first view, but how do you get back to the original? You're going to click here loop view, or you can click on your keyboard. And that is how you navigate this Develop tab. And you can go back over to your library, see your final image. And there we have it. There is an overview of Lightroom. Next, I'm going to show you exactly how to create a preset out of an edit that you've made. So I'm going to use this edit that I've created for this image and turn that into a preset. I'm gonna show you exactly how to do that in the next video. So let's keep rolling. 7. How To Create A Preset: Alright, so you've gone and created an edit, fair? I mentioned this is the edit that we created whilst doing the overview of Lightroom. It's not the best edit, but it is an edit nonetheless, it could be your specific style. So let's say in this photo shoot you have 50 photos that you want to look this exact same way. How are you going to do that? You want to apply the same edit to all of those edits. How do you want to do that? One way is to make a preset. So how do we do that? It is very simple. So in the left half here, you're gonna see presets here I have a few others that have already made and that I've downloaded before that I've learned from not too many, have about ten or so here. But let's say you want this to be your preset. It is very simple. You're gonna click the plus icon over here to add new presets. And you're gonna click Create preset. And then this pop-up is going to come up for you. So first things first you want to name your preset. So I'm going to call this flower dress preset. Perfect. And for the group, you can create a new group. I'm going to have it go into my user presets, which is right over here. And you can have it do auto settings, but I'd like to have more control over it. So let's see everything here. It's going to include in that preset. So we wanted to treatment and profile to be the same thing. We want the white balance to be translated. We wanted to have the same basic tone across all of them. The tone curve, texture, clarity, everything we went through on the right, it is saving into this one edit. It's not going to save anything like graduated filters or radial filters that is going to be up to you to add to each specific image. Next, you can enable Lens Correction. I'm not going to enable lens correction for this one. So let me just deselect that transform. I never have that selective because each image is different. Then we have the effects, then we have the process aversion, calibration, everything we did over here. We want everything to be there and you can do check all are checked, none. But I tend to just go through this myself and make sure everything that I want checked is checked. So make sure yours looks like this and this is going to save everything that you want to be included. So next you click Create. And it doesn't look like anything changed. But let's go over here to our presets. Let's scroll down. And if we look carefully, we now have a new one here, flower dress preset. Now if you see, if we hover over it and nothing is changing, that's because the preset is already applied to this. So how do I apply this to another image? And you can do it in a couple of ways. So I pulled in another image. I don't know if this is going to work, but let's give it a shot. If you hover over presets, it's going to show you a preview of what is going to look like. So let's hover over our flower preset. I don't really like how it looks like. This is how you can apply it to your image. You just click it. And every edit that we made has been applied to this image. Now, for example, let's say you want another edit. So this is my personal style. I have TK 3-sat one that I've created. It's a cyan orange Genet. But I want to apply this to all the images. Let's say I have a 100 images. Make sure you have the one image that you have edited the way that you want with the preset that you already have. And you can shift select every image. After that, make sure you're still on the one that you have. And then you click sync. And this is going to synchronize all of these settings. So the preset that you've made across every single edit, it's not going to put over the transform or lens correction or the crop, but everything else it well, so let's click synchronize. And if you hit controller command, it's going to de-select. And now all of these images have the same Edit applied to the same cyan orange. So if we look, this has that cyan orange edit applied to it, as does this image. So this is one way you can create a preset and apply to every single image from a shoot, from your whole feed, you can change the complete look of your website or your Instagram feed to match one unique style. So that is how you can create a present and use it to the best of your abilities. So in the next three videos, I'm going to go over three unique styles of editing that you can learn from and incorporate into your own style. So let's keep going and let's go over these three styles. Let's edit together. And let's do this. 8. Let's Edit Vintage Film Style: Now we've come to the really fun part. We're going to be doing something that I talked about earlier on how to find your style. And that is practice. You have to practice, you have to create edit, you have to go out and shoot. And we're going to go over three different styles in the next couple of videos. And this first one is going to be a vintage film look. So let's go ahead and do that. We're going to use this first image that we have here. So make sure that you've downloaded this and imported it as we did earlier in overview of Lightroom Video. So we're gonna start with the rainbow girl dot DNG mixture. You have that selected and let's go over to our Develop tab. So we're going to be doing quite a bit of editing on this to give it that vintage film look. Now, just by importing it, you might find there are already some edits applied to this image. You see the exposure has been brought down. The profile is not an Adobe Standard. So what we want to do is just click Reset. That's gonna reset any and all edits that have been made to this image and make it the original. So we're gonna start with this image. So first things first, I do want to change the profile of this from Adobe Color to Adobe Standard. And it's a very subtle change, but that's just the color profile that I want to work with. Next, we're going to adjust the tone of our image. Now it's a little bit too bright for me. So I want to just exposure first because it's a little bit too overexposed from my liking. I want to bring that down quite substantially actually, maybe to about point. Let's do, I wanna do 0.75.5. You can also type that in and make sure you have a negative in there. Perfect, I can hit enter. Next. I want to make it a little bit flatter. Vintage film look has a flat look to it and most of the time. So let's go ahead and bring this down. Just about minus 12. Nothing too much. Very nice. Now let's move down to this section. Let's adjust our highlights or shadows are whites and blacks. So now for the highlights, let's go ahead and bring those down a little bit. I'll bring that down to about minus 14. Minus 16 is fine. For the shadows. I want to bring that up. I want to add a little bit more detail to the shadows. Not too much. And for the Whitehall and to bring that down to minus, spill down to about minus two. So as I see, we're flattening out our image. And that's really important here. Next to the blacks, we want to bring that down to about minus. Let's go minus 20. Very nice. And next we're going to touch upon the section down here with the presence. So let's scroll down a little bit. And I'm not going to touch the texture or the D Hayes, but I will touch the clarity. I'm going to bring this up a little bit to about 15, and I will show you a little before and after each section when we go through it or as we go through it. And finally, what we want to do is with our saturation, we wanted to bring that up to about plus. Let's do plus. If I can get, I want it to be just like plus four. Plus four. So let's see what have we done here? Let's look at our before and after. Let's cycle before the before and after and just seeing we flatten the image, we've taken a lot of the contrasts out. And that's what you want when you, when it comes to these kinds of images, we'll be adding some contrast back later on using some different techniques. So let's hit D to go back into loop view or you can just click this button down here. And now let's go down to our tone curve. Very nice. And you want to make sure if you're not already, you want to make sure that you're starting out on your parametric curve, and that's this first little bubble over here. So how are we going to adjust all of this? Well, we're going to do it by actually typing in numbers down here and you can just click and drag. But I want to be a little bit more specific with what I'm doing and how I'm doing it. So for the highlights, I want to bring the highlights down a little more as we see. It's a really being picked up on her jacket here. And I don't want to clip too much as we see where clipping ever-so-slightly over here and on her head been. So let's go ahead and bring this down. Let's go minus 11 on that. Very nice. Now for the lights, we also wanted to bring that down. Let's go minus five on that. And now for the darks, we want to bring that down where essentially bringing everything down, I'm going to go minus seven on that. And you'll see what fun to add some of the contrasts fact4 image. Let's go minus 12. And let's talk about that on and off. You see what adding some of that contrast them back into our image, but in a more intentional way. So next thing that we want to do is we want to go over to our point curve. And that's going to be the second bubble over here. And this is where we're going to start adding a little bit of the S curve that I mentioned before. So first things first, I do want to crush Him more of the blacks of the image. And how are we going to do that? As a very simple, we're going to bring this edge up. And as you see here, you have input output. So we want to bring this up and make sure the output is going to be around. I wanted to be around 60. Seems a little intense, but that's what you need. Very nice. And we want to bring some of this back down so we don't lose all of that contrast. So let's go ahead and add a point here. And let's bring that down. I want to bring that down until the output is around 74 ish. Very nice. Let's keep it down there. And we're going to add one more point along this curve to create the S. And we're going to bring it out somewhere over here. And the specific number, I have a few specific numbers of written down. But for the purposes of this, let's try and aim for somewhere around. Here. We want the input to be around 144 and want the output to be around 170. So let's put that down. Let's go up. And as you know, if you go left and right, that's going to be your input and output will be up and down. So we have this curve. Now, let's toggle before and after. That's what we've done. We've really crushed the blacks in this image. But we're not done just yet. We're going to go ahead and edit the curve for both the red and the blue channel. We're going to skip the green for now. So let's go ahead to the red channel. And this is going to be a very subtle little edit. We're going to add 1 here, and we're going to bring it up to about 67 on that. 6467 is what I'm aiming for. 6465 when the input is good. And then let's go down like that. So that's the red. Okay, so what we've done here is we've brought some of the darker colors closer to read ever so slightly. Next we're going to go to our blue channel. So click the blue bubble over here. And we're gonna do a little bit here. Actually we're going to add a few points. So first, again, I want to crush the blues of our image. We have some in her jacket here, we have some in the reflection. So let's bring that up. And let's be careful that we select the right point here. If you do end up adding a point and just hit Control or Command Z to undo that. So let's bring this up. And as you see, we're cooling down our whole image here. I want to bring this to about 28. Very nice. Now let's add a point here and we're going to want to bring this back close to where this equilibrium curve is. So we want this to be around input of 65 ish. Let's go input of 65. They're going output of 57. So let's go down until we get around 57. And I'm going to explain exactly what we're doing here in a second. So we have 6757, but we want this to be more 6557, so that's gonna be got 6667. Now we're going to add one more point in here. We're going to start and bring that back closer to this middle line here. We want this to be around 133121. That's going to be close enough. 1.3.2 E122 was starting to add that vintage. You'll look to our image. Very nice and very goal. That's it for the tone curve. So if we talk about the before and after, we've taken it from this very flat image to one that has a lot more character to it, a lot more style up more of that vintage film look very nice. So now let's head down to our hue saturation illuminance panel. There we go. And let's hop over it. Let's start with the Hue tab. We're not going to adjust too much here, but we're gonna just every color, but not too much if that makes sense. So we want to bring the reds a little closer to the orange, give it more of that sepia tone. Kind of look someone at a very little bit to that. Let's see, let's go five on that. And what we want to do with the orange, we want to bring that closer to the red. So we want to find a little meat middle spot between the red and orange. So let's bring that down by about 20 enough. The yellow, we want to bring that closer to the green. I feel like there's a lot of yellowness image. I want to balance that out a little bit and take it closer to the green. So let's take that over to about, let's go 37 on that. And we're going to bring the green ever so slightly closer to the yellow, sorry little bit. Next we're going to tackle the UCLA End of blue. So the OK, well we want to bring that closer to the blue. So we're gonna go and add a little bit to that. Let's go plus, plus eight on that. And the blue, we want to bring that a little bit closer to UCLA. I want to be very close to that, that sepia tone, that vintage film look. So if you study some film images from film photography, you're gonna find that light leaks into the film and that creates different colors, different tones. One of the things that happens is it takes a lot of the blues and takes it closer to an aqua cyan type of color. And that is what I'm trying to emulate right here. So let's bring this blue a little bit closer to cyan. I'll go with minus 17. And now let's tackle our purple and magenta. I want to bring the purple closer to the magenta. Quite a significant amount. Actually, I don't want to have a lot of purple in this image. So let's go 2027 on that. And I wanted to bring them magentas closer to red. So let's go ahead and add bring that up to about plus 17. So if we toggle the before and after, you see the colors have changed of our image. The rainbow in the back here is a lot more defined and our model here is set apart from that a little more just because of the colors. So next, let's go over to our saturation tab. And let's clear round with the saturation of our colors. Now once you bring in a little bit more saturation into the reds and the oranges because that's what we're going for here was the vintage film work. So let's go ahead and bring the saturation of the read up. Not too much again, little bit goes a long way. So let's do about plus. Let's see if we can get to plus 20. If you're having trouble with the slider, you can just type in the number over here. Now for the orange, let's go ahead and bring that up with the Saturation, about 27. Very nice. Now for the yellow. So I went to D saturate the yellow actually a little bit ever so slightly. I'm going to bring that down to about minus ten. Just these saturate that a little bit because it seemed that that was a little bit too and you're faced with the yellow. Next, we want to add a little bit of saturation into our greens. So let's go ahead and do that. Don't go any more than plus ten for that one. Now for the aqua, I really want to punch the saturation on that because we're going to have a lot of that in her shirt and her jacket here and in the reflection of this window behind her. So let's go ahead and bring that up to about 25. Maybe even bump that up and 27. And let's bring this saturation of the blue as well up fairly high to about 17. And as you see, her jacket is starting to pop more as as a reflection in the window, creating a nice framing for her face. Next, for the purple, let's bring the saturation of the up a little bit. Let's go up to ten. And I'm not even going to touch the saturation of the magenta as there isn't, there isn't really much in magenta in here. There's a little purple in her head band here and in the reflection there. So there we have the saturation. Now finally, let's hop over to our luminance panel. And we're only going to touch the luminance of the orange, the yellow, the magenta, and the purple. So we want to add a little bit of black into our orange, want to bring the luminance of that down. But it's going to be very subtle. Let's go minus three on that. If we can get it minus three and we're going to bring it up with the yellow, won't add a little bit of white into the yellow train. Wash it out a little bit like these old vintage films. Look uncle plus five for that. And now for the purple enum agenda, we're going to add black into it. We don't want these colors to pop too much. Someone to bring the luminance of those down. I'm gonna darken them down. So for the purple, let's bring that down by about. Let's go minus five. And for the magenta, let's bring that down to about minus eight. Very nice. So let's toggle this on and off. What have we done with our hue saturation and luminous? We've done quite a lot for the color tone of our image. They're significantly different. And I think that's looking really good. Now, we're going to hop over our split toning section. We're not gonna touch that for this edit, but we will go ahead and do a little bit with our sharpening here in the detail section. So first of all are sharpening and we want to increase the sharpening of our image. Let's go ahead and increase this to about, let's go to about 85. We want to really push this. And for the radius, let's bring in a radius down. And I'm gonna show you again the before and after of what this detail section does. Now when it comes to the detail and masculine, we're not going to touch the detail, but the masking, we want to bring the up from 40 to about 47. Very, very nice. Next we have our noise reduction and you want to take that from ten down to 0. And we don't wanna have any noise reduction. We want to have all the grain, all the grittiness that comes along with a somewhat film look. And that is it for the detail section. So toggle it on and off. You might not see much here, but let's zoom in a little bit. And if we talk about the off and on, you'll see a lot of change happening here. What's there was a lot of muscles, a lot of grittiness over here. When we have this on as smooth, a lot of that out. So that is very nice. So let's zoom out. Very nice. And let's go down to our lens correction section. We're gonna enable profile correction. And by default, it's going to enable it for Apple, Apple iPhone ten s. That is what this particular image was shot with. And we're gonna keep it and just as it is. So what does this lens correction to? It fixes ever so slightly the warping that happens with this particular lens. So that is all that we want to do. Now we're going to go past the transformed section and we're going to stop by the effects. We're not going to add anything getting to our image file, we want to add some grain. This is an old vintage filter and old vintage look that we want to do. So let's go ahead and add some grain to it. Not too much. Again, a little goes a long way. And I'm going to keep saying that because that is very important to know when to increase the amount to about 35. And we want to decrease the size. We don't want it to be too big of a grain. Very nice and roughness. We wanted to bring them roughness down as well. We wanted to be very subtle with that. So now let's zoom into, let's look at this section. You'll see that there is some grain in this part of our image. So let's talk about that before and after you see the difference. Very nice. I'm really happy with that. It really gives that film look. Finally, let's go down to our calibration section. The section that in my opinion is the scariest looking. But you should not be scared. All we're going to do is we're going to increase the saturation of our Green Primary by about four. And we're going to decrease the saturation or a blue primary, about three, or let's say by about four, let's do four. So if we talk about the before and after, it is a very subtle change to the greens and blues of our image. And there we go. We completed this vintage Film Style. And now let's look at the before and after of this image. That is a significant change. If you have your whole feed with this style, that you have a unique style, very unique style. You can tweak all these settings to yourself. So let's go back into Luke view and let's turn this into a preset like we did before. It's going to be very simple. We're going to click this plus icon by presets. Create presets. And we're gonna call this vintage no heart and getting creative with how you name things. So I'm going to keep everything the way it is. I'm not going to include the transformation, nor am I going to include the lens correction. This is all we want. Let's click Create. And we now have a preset here called a vintage film edge. Very, very nice. Salt lets hop over back into our library. And next we're going to do a grunge style one that one of my favorite photographers uses, Peter MacKinnon, he has a very grunge punching in your face, contrasts the style, and I'm gonna show you how to do with our next image. So let's keep going and let's do style number two. 9. Let's Edit High Contrast Grunge Style: All right, and we're ready to get into style number two, and that is going to be high contrast grunge style. This is one that I personally like. It heavily influenced my personal style. So let's do this together. Let's practice, let's train, let's learn, let's get into it. So for this one, I'm going to be using this second image that you've downloaded called Looking up CR2. Make sure you have the imported. And let's go over to our Develop tab. Very nice. So looking at this image, it is very washed out, it is very plain. There's not a lot of contrast and we want to change that one to make this more cinematic. That is the point of a high-contrast grunge looks that makes it look more cinematic and really punching in your face. And I really like that style. So let's go all the way back up to the top. If you're not already at the top of this side menu here. And this gets started unwilling to change the profile again from Adobe color over to Adobe Standard. And I'm not even going to touch the temperature or ten for this one. Not at all. And I'm actually happy with the exposure. What I am going to do is I'm going to start increasing the contrast. I'm going to start up here very subtly. I'm gonna do plus 11 on that just to get things rolling. And let's bring the highlights down. There aren't many highlights, but I want to adjust the highlights of later on. So let's bring it down here first. And we're gonna crush it very much actually we're going to bring that down to about minus, let's do minus 16. And for the shadows were going to bring that up to about 50. Let's do 51. Were making our image flatter before we make it more contrasty. And it takes time for this. Next we're going to adjust. The whites were going to actually bring it down ever so slightly to about minus seven. And we're going to bring the blacks down very little. Let's do minus two. Very, very nice. And we're going to go now to our present section. Again, I'm not going to touch the texture or D Hayes, but I won't increase the clarity of our image. Let's go to about, let's go to about plus 12 for that. Very nice. And I'm only going to adjust the saturation, give a little bit more saturation to our colors and du plus five. So what have we done with this? Let's put our before and after. So we flattened our image both with the contrast and the color. But we're going to add all of that back in, coming up in the next few little tabs here. So let's go back into loop view. You can click this or hit D on your keyboard. So let's go down to our loop view. And we're going to start right here on our parametric curve. That's the first little bubble that you see here. So I'll make sure that you're on the parametric curve. And again, I'm going to type the numbers in here because you can't get to specific clicking and dragging this here. So let's do controls the on that. So for the highlights, I want to start bringing the highlights back here. I'm going to do plus 20 on that. Hit enter. Very, very nice. And now for the lights, let's bring it up as well as be 15 on that. You see, we're bringing some of that contrast back into our image. For the darks, let's do a plus seven on that. But for the shadows were going to bring that down, I'm gonna go minus ten on that. And already before and after what? Adding contrast into our image. Very nice. Now we're going to actually skip over our point curve here. We don't need to adjust too much. There. So if we click that and we can just leave that as it is. Paul, we're going to adjust every single channel here this time starting with our red channel. So we're not going to crush the black sort of this like we did for the vintage edit. We're going to create contrast with this and that's going to be using S curves, something I mentioned before for my personal style, ice S curves a lot. And that's something I highly encourage you to experiment with. You might find that you really like using S curves as well. So let's go ahead and click our first in here. And let's bring that down. I want to bring that down to about 70 on the input, and I want it to be about 38 on the output. There we go. Let's do 3769. Very nice. Now this is looking very, very cyan green, not looking very good. We will be fixing that. Don't you worry. Now we want to bring the middle point back to the midpoint here. So let's click on a point here. And let's bring that to somewhat the middle point here to about 130 to 139. So let's see if we can guess where that is 132. And then 1.3.6, let's go that 138 and there we go, one 33, 138 meters close enough. And finally we want to bring up point up at the top here. And that is going to be around 204222. So this is actually a very good starting point here. So let's go to o for if we can get it. And then to two H12 O6, two-to-one, that's going to be close enough. This isn't looking too good, is it? But what have we done here? What we've done is we've brought the darks, the blacks of the image closest to green. So as you see, the dark parts of the image are closer to green. And we fought the highlights, the light parts of our image closer to this red. So you see that on his skin and in the sky here. Now for the green tone curve, I'm actually going to be typing in the numbers. So I'm going to show you another way that you can do this. So the first that we're going to add, we're going to add a point here. And you can just type the number N. We're gonna go to 36. And we're gonna type 12. So adding some purple now into the darks of our image, we're going to add another point somewhere around here. And this point is going to be around 78. And the output is going to be around 57. Never go trying to get that cinematic look. And this time we're not going to add a midpoint to this. We're going to add a high point. I'm going to bring a point up here somewhere and we're gonna type in specific numbers. We want this to be 175. And we want the output here to be 198. There we go. It's getting more to that cinematic look that we're trying to go for with this high-contrast Ranjay style. So finally, let's go over to our blue tone curve. And I'm going to keep typing my numbers here for simplicity sake. Let's start again with the bottom. We want to bring our darks now closer to the yellows. And one time the little yellow back into that to counteract what we've already done. So let's click our first here. And this is going to be 29, and the output is going to be just nine. Very simple. Our next point is going to be. Anywhere I can click up here if I wanted to. And this point is going to be at 7353. So make sure you typing that in the right places. Input 73 out of 53. Very nice. We're going to add a point here. We do want this point to be near the middle of our equilibrium line here. So let's make sure this is going to be at 129 and alpha is going to be 133. Perfect. And we're going to add one more point to complete the S-curve. That's just drag that up. And we're going to type this in manually again to be 188, already very close to the end. Look that we already had 211. That was a great guess. And look at this. We're done with the tone curve. Well, let's look at the before and after of exactly what we've done with this. So if we taught them before and after, we've added contrast in where it matters where we wanted it, we were very intentional with the colors and aware we were taking them, we were taking the darks into the cyan, also into the magenta, and into the yellow. So we cooled that, cooled down the darts before adding a little bit of warmth back into it. And at the same time with the highlights, we added a little warmth into it, some warm tones here, before adding a little bit of cool to balance it out. Alright, so next, let's hop down into our hue saturation and luminance section. And let's tweak those settings ever so slightly. So let's hop down here right now. So let's start with the hue. And again, you can type in numbers here as well. So I'm going to be typing for this one. So you guys see a few different ways of doing this. And you can tab through all of these. You can just tab down. So I will be tabbing down. This can help speed up your workflow. So for the red, we want to bring that a little closer to the orange. I really want to have that be warmer. Salt. Let's do plus 11 for that, for the orange. Let's bring that closer to red again, I want to find that middle spot. So let's do Vout minus 12 on that. And I will show you the before and after of the huge Saturation Luminance as well that we're going to do. Now for the yellow, let's bring that closer to the orange. Minus 11. Little bit goes a long way. Remember, now for the green, I want to bring that away from the yellow, bring that closer to the green. So let's do plus six on that. And the UCLA, I wanted to bring that closer to blue. I don't want to have as much cyan in this image. So let's go ahead and add a little bit of that, just plus four. And for the blue, let's move that closer to the Aqua with a minus six. Very nice. Now for the purple and the magenta, I'm gonna have both of these be around seven. Very nice because what we're doing, we're bringing the purples closer to the magenta and we're bringing the magenta closer to red. So essentially we're getting rid of all the purpley blues that are in this image. So if we talk about it before and after, you can see some of the colors changing in his shirt, on his face and his ellipse, which has fantastic. Let's go over to our saturation tab here. And I really want to get rid of as much green and awkwardness image as possible. So we're going to be very intentional here. So let's start with our green. We're essentially going to desaturate everything in this. So let's start with the red. Let's go minus 12 on the red. Let's go minus seven on both the orange and the yellow. I want to have those be as balanced as possible. Now for the green, I don't want any green in this image. So let's go minus 58. And from the aqua, let's do minus 14 ray. Nice. And for the blue lets the saturate that two minus 27 and for the purple minus 24. So as you see for starting to really disseminate these colors and create that cinematic grungy look that we really want to achieve. Finally, let's want to luminance, and we're only going to adjust the luminance of the red, of the green, the aqua blue. So let's start with the red. We essentially want to dark and all of these colors. So for the red, let's go ahead and bring that down to minus 16. Now let's hop over to our green as du minus eight on the green, minus two on the UCLA and minus 20 u. Let me type that minus 21 on the blue. So what have we done here? We've really desaturated it, added Black into it, added Black into our colors and really created a more cinematic, Moody type of look. Very, very nice. So we're done with the hue saturation luminance slider here. So let's keep going down here. We're going to hop over split toning. We're going to hop over detail. We're going to hop over lens correction. We don't need to do any lens correction for this image, nor do we need to do any transformation to this image. But we do need to do is make sure that we have no vignette and no grain because there's plenty of grain already in this image. So we're going to stop at the very last section of calibration. And this time we're going to adjust the red, green, and blue primaries. So for the red primary, and let's bring that closer to our yellow orange here. So let's bring that up to about. Let's do plus 11. Very nice. Now for the Green Primary, let's bring the hue of that closer to a sign-in. So let's do plus four on that. But we're going to desaturate it at the same time by about five. Finally, it, we're going to change the blue primary hue to be closer to the blue instead of the cyan here. So let's do plus, let's see, plus seven there. And we're also going to increase a saturation of this ever so slightly. So if we toggle the before and after of this, you see a few little color changes happened, mainly in the skin tone. I got rid of a little bit of the magenta in the skin and made it a little bit more cinematic. And there we go. That is our high-contrast grunge style edit, which is very cinematic, very similar to one of my favorite photographers out there, Peter MacKinnon. That's why to inspiration from for this Edit. Let's take a look at the before and after of this. So let's click this look at that. That is a drastic change in our image and I'm really happy with how it came out. So let's go back into loop view. Let's head back into a library tab. And for the final style, I'm gonna be showing you my personal style, which is a cyan orange editing style. And let's keep going with it. Let's practice, let's train. Let's develop our style together. 10. Let's Edit My Style: And we're ready to do our third and final style for today. And that is my personal style. My personal style is a very contrasts. These cyan orange type of style that I've really honed in over the past couple of years that I've really liked. So I want to show you how I achieved my personal style. So what we're gonna do that with our final image here, which is titled hiding away. Now, first things first you see this is not rotated correctly. So you can click these arrows in the bottom, left, and right to rotate our image. There we go. Now let's head over to our Develop tab, and let's go all the way to the top. Very nice. So let's get started here. First things first, I want to make sure that I'm an Adobe Standard. A lot of my edits aren't always standard, and that is what I like to edit window size you can see in all the images that we've edited today, I use the Adobe Standard profile. Now, first things first, I want to cool this image down a little bit. So very warm tones. So let's go ahead and bring this down to about. Let's bring it down. I want it to be around 5100. And if you can't get the exact number, this one is very hard to get right on this slider if you want a specific number. So I'm just gonna go 5100 on that. And so the tints, I'm going to leave that as is. Now for the exposure. It's a little bit overexposed. So I want to bring that down by almost a full stop. We're going to go down by 0.97. Very nice. And I want to start increasing the contrast here. So let's go to about plus 34. If I could get that 33 will be fine. And I want to get rid of all the highlights so I bring the all the way down a 100%. Next with the shadows, I wanna have detail in the shadows. So let's bring that up almost fully to about 70. Let's go 77. And let's bring the whites up to about 50. Let's go 56. Very nice. And again, the blacks, i'm gonna bring that up to about 35. Very nice. I'm happy with that. Now let's head down here. I'm going to touch on clarity. Andy Hayes, as you notice, I don't really touch texture ever. So for clarity, I want to actually bring that down. I want to soften up this image because it's a portrait. I tend to soften those up ever so slightly. And so the D Hayes, I want to bring this up to about 37. Very nice. And now for our vibrance, I want to bring the vibrance up a little bit about plus 11, but I went to mean the saturation down. So i'm gonna bring that down to minus seven. Very nice. Now, I'm not a fan of tone curves. I don't really like spending my time on that too much. So I don't do anything with the blue, the green, the red channels, but I do stuff on the point curve and the parametric curves. So let's start with the point curve. Shall we? Again, I use an S curve and all my edits. So let's start with this first down in the bottom left. I do want to bring that up. I want to bring this up to about 24 and went to crush all the blacks here. And now let's start adding some contrast back into our image. So the first that we're going to add is going to go to 4850. Very nice. The second that we're going to add is going to go at a 103111. Very nice. We're going to have a third here. At my, my point curve has more points than the other edits we did, but that's just the way that I work. That's a style that's matched me. So let's keep going here. Let's add our third. And this is going to be at 147. Were already very close to the 0.159. Very nice. And we're going to add one final point here for our highlights, for the lights of the image. And we're going to bring that up to 105. And the output here is going to be 209. So we're incredibly close to it. Very nice. So let's see what have we done before and after. As you see, we've crossed some of the, the high-contrast black and image. And we've really created an almost a vintage feel to the image just by this. Very nice. So now if we head over to our parametric curve, we see the curve is just the way we want and we're not going to just anything down here because we have just had it in our point curves. Very nice. So next, let's go down to our hue saturation luminance section. And let's go over to our hue. Let's start with the Whew. Now I'm not going to adjust to many here. I'm only going to adjust the yellow, the green, the UCLA End of loop, just these four. So what I want to do is bring the yellows closer to orange. So i'm gonna bring that down by about minus 27, Ryan ice. And for the green, I want to bring that way closer to the yellow. I don't want any green in this image. So let's do minus 71. Awesome. And then for the all Quote, let's bring that closer to blue. So we're going to add 30 to that. And for the blue island to bring that closer, too awkward. So again, I'm trying to find that middle point between the two. And that's minus 23. Very nice. Lets hop over to our saturation tab here. Very nice. So now we're only going to touch the top couple here. We're not going to touch the purple or magenta. So for the red or going to have this be more saturated, We're gonna go plus 19 for that. But we want to bring the saturation of the Orange and down. Let's go minus 28 on that because it was getting a little bit too saturated in the skin. So let's bring the yellow Saturation up now to about 22 for the green and we want to desaturate it. Like I said, I don't want any of that in the image. Same wave, the aqua blue. Both of those are going to be the saturated by minus 16, minus 34 respectively. There we go. Now let's head over finally to our luminance tab. And here we're only going to adjust the luminance of R are equal and the blue, I want to change the luminance of what is going on in the back here. So for the aqua, we're gonna bring the luminance of that up to about 39 and add some white to that and to the blues of the image, we want to add black to it. So it's minus 24. So what have we done with the hue saturation luminance? We've really changed the color tone of our image and the saturation. Now we're gonna go to one of my favorite parts and that is split toning. We're gonna split tone our image. And we're going to find a highlight color here, then is more in the yellow, warm orange family here. So let's go to about, let's find a good color. Let's go to about 37. That's very nice, but this is a little too saturated. So let's bring the saturation of this down nearly all the way. Let's go with about seven for that. Now for the shadows, you can click here and we're gonna go for a blue color. So let's see. I want to go for one that's around the sexual early national in 215. I like that. And we're going to want to bring the saturation of this down as well to about minus 13. You can click X over here to close that. And let's toggle this on and off. This is a major change to our image, is really adding that split tone which I use in a lot of my images. I love split toning, That is my style. So now we can pretty much hub over everything else on the site here until we get to our calibration section in the final section here. And what I'm going to do is I'm going to just the red, green, and blue primary, all of these. So let's bring our read closer to the yellow, orange. Let's do plus 11 on that. And let's D saturate those a little bit, much to minus five on that. Now for the green, we're going to bring that all the way to the yellow. We're going to go two minus, minus 39. We don't want any green in this image. Remember that as my style. And at the same time we're also going to D saturate that a little bit. And finally, what we're going to do is for the blue primary, We're going to bring that closer to the cyan. So I'm gonna go minus, let's go minus 16 on that. And very nice. And we're going to saturate that up by ten or 11. There we go. And that's affecting the blue in the background here. And that is my personal style. It's very similar to the Peter MacKinnon style, the high contrast grunts style we just did in the previous video. But this is a little bit different color tone using a lot more science and oranges. And that is what you can find over on my website, on my Instagram and all the work that I do. So let's take a look at the before and after of this edit that we've made by clicking this down here and look at that. That is a substantial difference in the before. She almost blends into the background. There's not much differentiation between the two, the color wise, you know. But in our after we've really set her apart, we've cooled down the background. We've kept her skin tone, her color tone to really highlight that and you know, and really create that sense of depth, a sense of contrast in our image. So let's go back into our loop view, and let's go back into our library. And there we go. We've done three edits together and I really hope you've learned a lot. This has been really awesome. Either really fun time teaching you these styles, practicing with the gong through these with you. And I really hope you apply these to your own style as you find your own style. So next I'm going to talk about what you have to do going forward with developing your own style. 11. Going Forward: And we're nearing the end of the course. But where do we go from now? Where do you have to go, going forward after this course ends, after you continue creating? It is very simple. Do not give up, do not give up practicing, keep practicing. It's gonna take a lot of patients. Patients and practice are going to be key for you in developing your own unique style. It's going to take time, it's going to take effort. It's not going to happen overnight. And it might take years for me, it took years, but it is worth it. It pays off dividends in the end, when you're finally fulfilled in the content that you are putting out for others, as well as the content they end up giving back to your clients. It helps to build your brand, helps to create that unique thumbprint that makes your specific style you. And that is what is the takeaway for this whole lesson. Take her time, hone your skills. Go out there and keep creating and never, ever stop. In the next video, I'm going to go over some final thoughts as we end this course and talk about how you can get some of my personal presets to use to help you in your education as you develop your own personal style, you can learn from my presets. You can tweak my own Presets and go forward from there. So let's go and let's get into our final thoughts. 12. Final Thoughts: And there you have it. You've made it all the way through this course. You've made it all the way through Lightroom editing, defining your style and the importance of presets. I really hope you've learned a lot. I'm pretty sure you have, and I hope that you can take the things you've learned in this course and apply it to your life, to your editing, to your art going forward. Now, make sure that you don't forget about the assignment for this course. If you head back to that, your assignment and video in this course to see what you have to do and how you can get featured. And my next course. Now, during the course I talked about my own Presets. How you can, how you can get my presets. Or right now if you head over to my website, www dot there real Tom and head over to the presets section of my website. You can buy it and pack of presets that I've made at a very, very low price. I made it a low price to make it affordable and accessible to everyone is starting out most from beginner to intermediate and advanced levels. And I just want to help you guys out. So I hope that you go check that out and maybe use my presets. If you haven't already head over to my teacher page, I've made a plethora of other courses already on Photoshop and Lightroom, both photo manipulation and Lightroom photo editing techniques. So OP head over, check those out. I'm sure that you'll learn a lot from those as well. I'm really glad that you've chosen to enroll in this course and that you've completed it. That takes quite a lot of effort, quite a lot of determination. And I commend you for that great job on that. And I hope that it's really helped you to develop your skills and I'm gonna help you move forward in your artistic and photographic career. If you've enjoyed this course, please leave a review. I'm more than open to critique, to criticism. And as well as the good things that you like. Make sure to leave a rating on the course that helps me out as a teacher. And if there's anything else that you would like to learn, make sure to leave a comment on this course. Let me know what you'd like to learn. I'd be more than happy to teach it to you. Moving for it. I really hope that you'll be able to find your own style. I hope that I've been able to help with that and that you'll create your own thumbprint and that's gonna make you and your designs you. And that is the most important thing that I want you to take away from this. It has been a pleasure teaching you today and I hope to see you in another one of my courses. Take it easy.