Lightroom Masterclass: Become a Photo Editing Genius | Ben Knights | Skillshare

Lightroom Masterclass: Become a Photo Editing Genius

Ben Knights, Digital Content Creator

Lightroom Masterclass: Become a Photo Editing Genius

Ben Knights, Digital Content Creator

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8 Lessons (1h 24m)
    • 1. Course Introduction

    • 2. Welcome to the Course

    • 3. Getting Used to Lightroom

    • 4. Working with Presets

    • 5. Working with DNG Files

    • 6. How to Reduce the Intensity of a Preset

    • 7. Bonus! Creating LUTs in Lightroom

    • 8. Class Project

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About This Class

Welcome to my Lightroom Masterclass. 

This course is jam packed with Lightroom tips and tricks. If you are a complete beginner then this is the perfect course for you as we cover every inch of the software so that you will be 100% confident in going out on your own and editing photos. 

If you are a more advanced Lightroom user, then I guarantee you will find some hidden secrets in this course. There are things I wish I knew years ago that I reveal inside. 

On top of all the Lightroom goodness I'm also giving away a bunch of FREE assets to help you get started! I give more information in the second Welcome video, but its basically free presets, free RAW photos so you can follow along and practice on RAW photos yourself, and a few other little goodies. 

Here's the link to get all of those assets (be sure to download them all to your computer before starting!) 

Let's talk about some of what you will be learning about in this course. 

  • Importing photos
  • Shortcuts 
  • A detailed explanation and visual representation of EVERY single slider in Lightroom 
  • Live editing tons of photos
  • How to use presets (the correct way)
  • Transferring presets to your phone
  • Plus a bonus lesson 
  • And much more! 

Here are the links that I reference inside the course. 

The Fader:

LUT Generator:

Meet Your Teacher

Teacher Profile Image

Ben Knights

Digital Content Creator


Ben is a Digital Content Creator. Specializing in video editing, graphic design and animation. He has a wide array of skills in the creative field. 

When Ben isn't working on a new project, you can usually find him exploring Los Angeles.

Follow along with the journey on Instagram or on his website where he showcases his travel and brand videos. 

As well as being an avid content creator Ben is also very passionate about health and nutrition, on this channel you will find courses and trainings covering a wide array of topics form freelance business to creative techniques. 

See full profile

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1. Course Introduction: What's going on, guys, welcome to my latest Lightroom or course. In this course, what we're gonna be going over everything, Lightroom, 20-20-20. So in this course I've taken months and months and months to pour in some of the best knowledge that I know about Lightroom. So some of the things that we're gonna be getting either all understanding all of the basics of Lightroom. So understanding what each and every single slider does, moving it around, seeing what's happening to refer to live on the screen. You're gonna be watching me edit a bunch of photos and I'm gonna go through and explain why I'm editing that. Water is going to be changing on the screen as we're doing it live. Then we're going to be getting into presets, how to use them, how to add them, and then most importantly, what to do once you've applied a pretty set to make it look good. We're also going to be going over what to do when you added a preset. What you can do beyond that, so you can add a preset, we can export it onto our find, use that presets on light removal on the guy. We can also export it out as a lot for video editing in a David premier, These are just a few of the things that can be going every day in this course, guys, I know you can get a ton of value out of it. So I will see you on the inside. 2. Welcome to the Course: Thanks so much for joining me in this course, Guys. And now to get you started, and before you get into this course, what I've done is I've created a folder with a bunch of free resources VA, so that's some of the presets that I've used in this course. You can add those to your photos and follow along completely free. I've added some of my favorite rural photos so that if you want to get started with library, but don't have any raw photos and you don't wanna go outside and take some photos at the moment and that's totally fine. You can just download some of these rural photos and add the presets and follow along with some of the instructions to the link to download these resources going to be in the course info section. I'll, there's hyperlink mat for years can take you to a Google Drive folder and you can just download all of those resources. 3. Getting Used to Lightroom: In this video, we're going to be going over like basic two. We're gonna be going through light rain began to start off by importing a photo. We're going to look at getting that into the Develop module to start everything in the photo, we're gonna look at each and every single one of the sliders, including the new Sita from the 20-20 Lightroom Update. And we're going to tweak every single one. We're gonna go down the entire list and move each tighter around and we're going to see exactly what's happening on the screen. Then when we're done, we're going to look at best practices for export settings. Okay, let's get into the video. So the first thing we're gonna wanna do is we're going to want to Open Library. And in this video we're going to be during library and classic, not Lightroom CC. Lightroom CC is more of an on-the-go solution for light room to if you're moving around and you want your library to be backed up in the cloud. And that's what my MCC is now lots of it aids can be very similar. But this one we're gonna be focusing on Lightroom classic. So we're gonna wanna open-minded classic. We're going to want to go to the top tab, which is the library tab. And we're going to want to import the new photos that were working with said we're gonna choose import photos and video. And then over here on the left we have source and that's going to be where our photo is a stored and saved and then navigate to where there's ferritin is a stored on our computer, say for me it's in this phone app and the spread is just from a shoot recently in San Diego that I took. So we're going to have all of these selected and we're going to import all of them. Those are the four days they're going to get added to our library and they're going to be stored in these tabs under catalog. So you've got all photographs, that's all photographs that you've ever in ported into librarian, which has saved interlibrary. Now if you do, if you save them on a hard drive and that hard drives are plugged into your computer, they're not going to show up. But as long as you've imported them, they're going to show up as a little stored cached thumbnail. You just won't be able to edit it if the computer cotton located a for now, it's selected the previous imports and that's gonna be the last import of the photos that we selected, say for here we just have 22. So here we have the individual photos and were under the library taps it to be able to edit photos. We want to move into the develop module. We can do that by clicking developed, or we can hit D on our keyboard, D. And it's gonna open up the photo that we selected in the develop module. And you'll see at the bottom here, here's all of the photos that we just imported from our previous imports if we were in library school photographs and here are our last imports. If we, I've been mapped in the Develop module, you'll see now here at the bottom of every photograph that I'd ever imported into library. For now, we'll get back to previous imports. We can just see the last set of factors that I was working with will hit D to open up, develop, and develop is where we are going to be making all of those adjustments. That's where we're going to be editing the colors, changing the valleys and making these Fridays more visible. So we'll start on the effect that we can see just a little bit clearer. Okay, so we're gonna go with this photo of the view from San Diego upon one of the mountains. And then what we're gonna see here, we've got the basic settings. Now we've got all of these sliders. So let's take a look at what they did. We've got temperature is nicely illustrated by the collar towards the left is going to cool it towards the right, towards orange is going to warm it up. So if you're looking at this Friday and we see, we want it to look a little bit more warm. We wanna give it a golden now. We can just slightly move that slider able to there right now. Tint is going to be the same for two different colors. We'd go grain that Pappus would be content to it more towards the grain or we can tint to it more towards patho. I wanted them to go for us and think a little bit more woman with this photo. So I'm just gonna push up towards the exposure. Exposure is the brightness of an individual photo. So it's not going to affect the individual parts of the photo is just going to brighten up the entire factory. So let's have a look at the slide that out and you can see how it just below that fade out of proportion where if we dragging me otherwise, it's going to dock in it to the point almost of pitch black. I think in terms of exposure is a little bit too bright, but we're not going to adjust the exposure setting. That's the April brightness and darkness of that photo. If we drag any slider up in library, we can either drag it back down to 0. If we made a mistake, we can do commands that to undo, or if we want to change a bunch of things all at once and you can't undo that many times. You can get back in time that fall, We can just double-click on the text that we go ahead exposures. If we just double-click on exposure, it's just going to reset it back to 0. So you've got a bunch of edits and you want to undo all of them, but you don't want to restock completely just and we'll click on that, on that word. And it's just going to reset that for you. So you can see, hey, we want a bit of extra contrast and contrast is going to brighten the lighter areas and dark in the darker areas. So it's going to increase. There's ranges between light and dark and make them more permanent. Explaining contrasts a little bit easier for you were vast contrasts. You see how flat if we go to negative 100, it's kind of flat is no bright areas, doesn't adopt areas is this kind of gray wash. Increasing contrasts is the opposite darkening and these dark areas and bright, sunny and nice bright areas to add contrast this very naturally pretty flat, so we're going to add some contrast. Now, hollowness highlights the brightest pot I've an image. So here in this image, we're going to have the highlights are going to be sky and a little bit of the ocean and the coastline. Now if we just drag those highlights down, you can see beginning just a little bit more info in the sky and the sea. On the flip side, if we were to increase those highlights, you see how it blows out the sky. And we use all the kind of detail in that essay for this, we're going to drag it down, wound away because it's not doing too much except shadows. So defined lights reflecting the brightest part of the image. Shadows of the dock is parts of the image. And we can enlighten those dark parts of the image or we can darken this dotplot to the emit pretty drunk up shadows. You see how everything that is in the foreground that was naturally a little bit darker. There's more information that would say we're bringing the shadow it back up. Now if we were to crush those shadows, drag it all the way down. We're going to dock in shadow Dhaka areas at the Fed. But I want to do is I want to bring back some of the information in the shadow areas sit that's this whole housing greenery area. We get all this lovely information by moving on to whites. Whites is just going to increase or decrease the whites in the photo there, we can direct that up and see how it's brightening the White positive writer but not the darker possibly shatter repository just increase or we can drag that down to dock. And I'm just going to leave the whites exactly where they are, because I think the whites look good as Dan. Blacks is exactly the same as whites. But for the blacks, say, saying that we have shadows and highlights, we have whites. But when they do something very similar, we've got the doc is Pasiphae image that we can. Crush all the way down to pure black or we can increase them to more of a great non peer blacks. And let's have a look what that does if we increase them, see how very similar to or the shadows were doing right? It's lifting those darker pots. And if we drag it back down, it's going to crush those shadows and it's gonna make it look more contrast Day. So I'm just gonna pull that down just ever so slightly on this image. So now you have presence under the basics tab. We've got these selections here. We've got texture, clarity and behaves. And these would do something very similar, but they do have a slight difference. If we increase, the texture, is going to pull out the textured parts of the image. So it's basically just adding in pixels to give more detail photos. And let's sharpen a tip for this one because there's so much detail and me amazes, those have buildings or sub-trees in the ocean. Texture is great. Adding in the texture. If we pulled textured down all those textured areas, if we just zoom into the image, will these textured areas a little bit softer? It's kinda like designing like a whitewash over the entire thing. So let's see that I didn't want was even if we increase the texture, see how she's adding individual contrast of these micro elements. So it will just reset that. And just by resetting AC, how that pulls it back down to a more soft, this lighter block clarity is gonna do something very similar to text ship on a more contrasty basis and it's zoomed out. And if we drag clarity up, you see how it's adding in detail on a more contrast bases, right? Will go dark areas at Docker. Sit out if we're able to drag it down, you see how negative 100 and clarity is much more of a soft wash them the textures, I think for this button what I'll do is I will add some texture and drag the slider of clarity of D. Hayes is the next one that we have to work with. And that's kind of exactly how it sounds. So if you've got a image, this kind of hazy, a little bit of haze in there, little bit of clouds where you can drive that Apple, drag that down to affect the haze. So if we were to drag it up, we're going to get to know less if a hazy leg and it's going to work to add contrast into those highlights. If we just focus on this guy up here, we increase that D Hayes, you see what it's doing. It's adding in all that crazy contrast into the highlighted areas. It's affecting the shadow areas as well, but it's mainly going to be affecting the light areas because it's removing or adding in the haze. If we wanted to add haze n, Maybe it's to contrast and we want to add a little bit of our hazing or we can drag it down and you see how that's giving it a whitewash lightly with this crazy overcast, hazy time per day. For this, I don't want any hands and we've got Vibrance and Saturation to very similar sliders, but they do different things. So if we're looking at vibrant with push five runs all the way up. So what that's doing is it's affecting the individual color channels. Say CBA Shen is nice and blue and the green is, the trees are really crazy blue, obviously this is too saturated, which we wouldn't want it. That's a 100 on vibrance. Let's see how that compares on a 100 and on saturation. We push it up to see how it's not as saturated as when we used the vibrance. And vibrancy is just a little bit more and at contrast into those individual colors as well as saturation. So what we're gonna do is we're going to increase the vibrance and I'm going to increase the saturation for this photo a little bit. And then we can move on down to ten KEV. By default, we've got the tunnel, tunnel carb allows us to do is mess with those individual sections of aphasia in terms of the light. So if we're in this one disease on Monster tonal curve and what is con to deal with tunnel cast is to create an S. And by adjusting the tunnel curve, we can affect the contrast and there's individual color channels. We can also break that down by red, blue, and green, and we can affect the contrast of those individual colors. So let's stop playing rounds. If we have the mid-teens are in the middle and the highlights are in the highest part and the shadows are in the lowest part. And we want to make the S curve, say whenever you think of ten, perhaps we think of as calves because that's what's adding in contrast, contrast in the highest and in contrast in the shadows in the bottom part of that ascap. So we'll make a point to lock us in in the middle and we'll make a second either hand, which is where our hundreds ofs. If we lift that up, you can see how the highlights are getting lighter and lighter and lighter. If we were to bring that down, they're going to get louder and louder and they're going to get greater and greater. Say we'll put a little bit in the highlights and then Abraham, which is the shadows. If we were to bring that down, you see how this will effect this is having on the shadows if we lifted up, it's increasingly shadow is similar to that slide that we had earlier, but it just gives us a little bit more of a refined control. It's not just an add contrast in the shadows or remove contrast in the shadows. We can really find chin, these individual elements. We're going to crush the shadows, but pulling this down, you see how it's just dot in that area. It's going to pull this down ever so slightly. And now we've got the blacks are in this far corner and the whitest whites are in the top corner. So say for example, could affect that Blacks in the blacks slider under basics, We can also affect the bytes here in the tunnel curve. If we were to take this point, we can click on it. We can drag it up. And you see how that's moving the shadows to pause grade toward below. And we can inject all of that extra color into their darkest parts of the image. Or we can have true black, which is in the far corner of the tunnel curve. That's exactly the same for the highlights in the top right corner. We can pull those down and you see how it's used. Pulling down these highlights and we're left with this kind of re looking thing. Now, we want to pull those down just ever so slightly. And now we've got the midterms in the middle of the image. That's nice and easy to remember. So if we look at the Midtown to me, click to add a point, he just click anywhere on the graph. You can just double-click on any point to remain that say, if we want to look at this mid tones, C is going to affect the myths of the image and not just the highlights or shadows. The midtown, say that's where it was in the middle, we think it was two dot. We can shift it to the left and it's going to brighten up those maintains or fingers to bright. We can shift it down and to the right and it's going to start to darken. These maintains said that's maybe down because they've already pretty bright to slightly to the right. And I say, for example, we get a little bit too confused in the tunnel tab. We have too many points is kind of all over the place. We didn't really know what to do. We want to we don't want to individually that will collect all of those points. Where we can do is we can just right-click and we can hit reset channel and they give us that straight line down in the tango cap section. He didn't, he didn't have to get in and readjust right-click. We set it and you're good to go. Now what we can also do is we can affect the individual. Color channels in the Taino fat section. So just like before, that right-hand side is going to fit the brightest parts of the image, the highlights on the left side, it's going to affect the dark is past the shadow reports that about one individual color channel. So let start to see what happened. Let's make a point in the middle farm maintains. And if we increase it, we're gonna start to introduce read into the image. And if we decrease it, we're going to start institutes that grain in the image and what's greater than this is one of the newest features that Lightroom is at. It is it gives you the shapes on either side. So you can see up to the left is the red and towards the right and the bottom is that green color. So whichever way we shift that's going to be adding in that color. Now we can also do that S curve in the individual color channels that give more contrast to those colors and make them really pop out. So that's a pretty popular editing things. If we go here and we increase a point here, and we go down to the bottom here and click make a point and make the low contrast S have been read. You can guarantee that into our green channels. And here we can have grain and patho similar to the tenth feature at the top and free. Up towards the left we get grain. And if we move it down towards the right, we get papel, say we'll do the same again. We'll make an S curve, make a point in our middle from_id times. So that's going to lock in that value so it doesn't get moved down to the way. We'll make a little lift data here in the grains and then it will decrease, adding in a little contrast. Same again for producing book blues in the uppers and yellow in the now. And let's see what happens if we start to shift those channels, say reelected up to the left, we're getting added, blew into our image. And if we come down to the right, we're getting added, didn't yell at, into image. Settlers lock in a point from mints and make a point I behave for a highlights, an increase and it will make a point down hand for a Shadows and just decrease. And that's made and pass cap. And now we have a nice scab is relatively even across all of our channels and we're going to do the same, the master title calves. So any point in the middle with debit in the highlights increase and then it points in the shadow. That's it. We've got our ascap across all of our channels. And that's not the only thing to do. That's just a common way of adding in a little bit more contrast into a public channels. Of course, if you wanted to, you can add or decrease any of the colors using the ten tab. And you can create some unique things that's just a quick lifted them. You'll notice are other tabs here. They all have a little switch to the left. So if we are focusing on attain cabin and we can click on that switch, what it's gonna do is it's going to turn that section off so you can see before an octet. So this is before any title card adjustments. And it says after, see how that adds contrast and other popular punch into adipocyte, anything that looks amazing, I would need to get our end and adjust the basic settings. But for this tutorial, I think it's more important that we look at what each value does rather than trying to make a good photo. So we can turn things on and off using that little switch. Speaking of before and after, if we want to, we can see the entire fairy tale without all of our adjustments. So we can tap all of our adjustments off and on again. And to do that, what we do is we just hit the backslash button. So we can see before I'll draw original photo and often with our adjustments. So that's just backslash on your keyboard. Just press that one time and it will turn everything off and you press it again and it's going to turn everything on. So that way you don't have to get in and prestige individual. On and off buttons for each tap, moving on to R H S, l section. So that's hue, saturation and illuminance. Q is the individual color range within a set and set of colors. So you've got to calibrate bound here, and then we've got the hue. So where they fall in the middle, that's perfectly neutral and we can start to shift colors more towards that different colors and which they fall between. So let's explain that if we look at the green channel because there's lots of grains in this photo real the trees. If we were to shift that towards the left, we're going to start to change the individual color of the green channel. And we can also shift it all the way to the right. So you can really start to get some unique color variations. So that is the Hughes saturation is the individual saturation of those colored channels. So we can affect the, how saturated the reds and the blues, the greens, all of the colors. Or we can desaturate them. We can take away all those color channels. So let's have a look. So we've got the grains that were figures out. If we increase that, we're going to increase the saturation and the gradient, we take it away. We're going to decrease the saturation of the great, where you'll find is some colors are linked to other colors. And what I mean by that is if we go and look at yellow, we can shift it hues of the yellow by sliding it all the way to the right, all the way to the lab. And yellows are often connected to agree. And so if we move the greens are gonna affect the yellow is removed, the yellows, they're going to affect the greens. So we can make these trees live really nice. And orange, a little bit of orange and TL effect going on if we just dragged yellows down towards the orange side of this slide. And now it can increase or decrease the intensity of those trees, right? And see if we can push it all the way up to their supersaturated sleep orange, or we can pull it down and we can make something a little bit more stylized where there's hints and flicks of Orange coming through in the tree. So just by tracking down the saturation of the yellow, it same thing for those oranges and oranges if relaxed here we can see rooftops, they are orange or we can make those yellow by dragging that slider all the way to the right. Or if we wanted to keep with our orangey theme, we can move it all the way to the left, and that's going to introduce a lot of red. So we want to keep it in the middle and orange and red channels under the Hue. If we've made it all the way to the right and on the way to the left there's nothing that's happening in that photo because Lightroom has decided that in this photo, there's no red channel, is nothing red in the image for that slider to effect. So now let's look at the blues and the aqua. So these are another two colors that are gonna affect each other ever so slightly to aquifers are going to be that the blues. So we can shift those towards, more towards that tail, more towards that blue set we're going to leave alone. Blue is going to also do the exact same thing is going to affect them. Blues as well as the aquifer. So think of AC, whereas at micro adjustment and the blues are the overall adjustment. So what we'll do is we'll just introduce just a little bit of tail into the blue sticker that TO look over in the sea. Now coming down to the saturation, allocate the saturation of the image we can look at in the blues and we can increase, and we can add a lot of blow into the ocean and we can take it away and wash it over way set. We're going to add just a little bit of saturation into the sea there to give a little bit of a pop and there's no papoose or magentas in this image for this saturation to be affected by. Now that was the hue and saturation pot of HSL sliders that the L stands for luminance. And luminance is the individual brightness face colors. So we can affect the color range in the hues. We can affect that the intensity of the color and saturation. And we can affect the brightness of the colors on the luminance to here is where we can really darken or brighten up some of those areas. So if we're looking at the reds, let me slide that around. There's nothing that's really being affected because there are still no reds in the image. You're looking at the oranges, we can increase that. You see how it's whitening and lightening up all those rooftops or we can dock in it and add a little bit more contrast. And said For this one, they're a little bit too bright so we can just decrease the luminance and darken. Approves, say, Yeah, he's going to be that trees because it's affecting the grains as well. How we can brighten them up or we can dock in them down. And same as Elliot guys, we can just double-click to reset the individual slider back. Say for this, let's just add a little darkness him by dragging the slider down to their right. The grains again, it's going to affect the trees. That brightness and darkness, say for this one will just increase it a little bit. I was gonna see that in mediation, the individual brightness, if the hacker channel say, Let's just document just a tiny bit saying for blood. And it's going to have a much more dramatic effect. Get to the maximum ranges below. So you can see how that's just fetching the police in the image. It's just decreased that alumina and then there is no papilloma agendas for us to effectively imminence of this image. And when you first open library, you'll HSL might look like this. It might be broken down into the individual Thompson hue, saturation and luminance if you'd like to, how I like it laid out where that will therefore ye where you can just get back and tweet without having to go to the individual tabs, you can just click on All and he's going to show you all of them lined up for you. So now we can see one affects the HSL slider is having. We can turn that tap off so we tied it off. You can see the before and after. So we're just adding a little bit of orange look into operator which we can do HSL. It's never gonna get split tanning, rethink the HSL as moving the original colors of the photograph around. The split toning feature is adding in fate color so we can add digital color into areas of the photo like the shadows and the highlights, so we can fall sin extra color if we want to take. So let's look at the highlights again, the hearts can be the brightest part of the image. We'd go here, slider, which is showing us that he's, so let's say we wanted to add some blue into OS guy. We would move us slide, I gave it to the bilayer range, which we can see illustrated by colors right hand. So we can just click the blue and then we can add saturation, said we increase oldest saturation is the Helen's just digitally adding in fake blood. So let's say we filled out, it's good to designing a little bit of extra blue in that. And if we wanted to see what it looks like with other kinds, but we can just shift that top slider around. So you can see that adding different colors as we change in the, he's ever leave, the Blake will leave a little bit of blue in the sky. And shadows is gonna do exactly the same. But in our image, it's the lab portion that dof is parts of the image. So Richie's off he that we think we might want to add in and it's just say what you want to put in some orange will put osteoid antibody orange section and we just dragged up that slider. So you see how it's adding in oldest fake orange, which is really cool, is we have to add Mb fake pilot that say here's its there. And Hayes with a lil bit. Orange initiative, which leave a couple of pixels of orange in our shadows. Now we can turn that guy off and on, and you can see the effect that the split turning his hand, the next section, the Royal Academies detail. And this is going to focus on individual areas of the image. So here we have a little preview of our image that we want to get a closer look at the image. So let's just leave it hand so we can see this is all the way over here. This is gonna show us a little close-up in that thumbnail and we have sharpening so we can add digital sharpness to our image. So where light room sees individual points, say, let say for example, it sees this building here. We've got a change in colour, pixel density. So that tells Lightroom that that is a part of an image. And what sharpening does is add digital pixels to enhance that image for you. So we can add fake sharpened activity, just reset that down to 40 or addicts. You'll see that all those pixels, a lot of pixels with digitally added in. And if we just take it off, turn it on, take it off, take it off. And you can see how that's affecting the image. So we can just add a little bit of sharpening if we wanted to radius detail and masking day to worry about too much. But with masking, you're gonna tell library where to add those extra pixels for the sharpening effect that we can press and hold Alt. And we can drag this slider up and you see what it's doing. It's going to show you where it's thinking you want to add those sharpening pixels to say, for example, you wanna shop in the whole image. Well, that's where we're going to leave it. We're going to leave rides at 0. And if we increase it, we don't want sharpness in the sky. We don't want sharpness really creations and we can keep dragging that up. And there's areas that will white, they're going to become black. And it's gonna keep highlighted and as an outline where it's going to add very shopping pixels. Say we're gonna push it all the way up to a 100. And it's only going to shop in these areas and these areas that were left drawn out by library, not the ocean with Scott. Now, noise reduction is great. So say for example, you have a Docker image and it's got lots of pixels is pixelated, you took it, Bob didn't have enough light. Now you can crease. There is noisy parts of the image by driving up the Lehman slider. And that's just going to start to take away all of those noisy areas. And how it's doing that as is creating almost a mosque over those pixels and just kinda like rubbing them out, blaring them out, if you will. The trade-off with that is if you have any sharper parts of the image, maybe it's someone's face at nighttime. That face is gonna get a little bit softer. Okay, so let's move down to lend correction. So we have two boxes that we can play with it. Move chromatic aberration, sometimes where the lenses, what will happen is the red, blue, and green channels. We'll do a split, not noticeable to the naked eye, but if you zoom in, zoom in and zoom in into an image, you might notice on sharp areas, edges of walls, and little fringing of those colors, red, blue, and green. And what this box does, we can remove that from happening. That's what chromatic aberration is. It's the separation of the red, blue, and green channels. Then the second box we have is enabled Profile Corrections. Now, different lenses affect images differently. If we were to shoot on a really wide lens, what bat tend to do is cause a slight fisheye effect to the FedEx. Now if we click Enable Profile Corrections is gonna try and flatten it. It also can do is onsets and menses, especially wide angle lenses. You can get a little bit of vignetting in the top corner. So that's a little bit of darkness in the top corners because it's shot so wide, it gives that little bit of vignetting around. Now if we enable it, we didn't see any can change for chromatic aberration because remember it's not really noticeable to the naked eye. But if we do click Enable Profile Corrections and wait forever. It's just got button it. There was a slight fisheye effect to it and it removed these vignetting parts in the top corner says see before and after. So you see the effect in that time. And then when it's also going to take, if you use the camera, it's going to also pick out the camera lens, VSD, say see here. It's also felt that for us when I say tamarin, it's got the lens that I use a 28 to 75 and that's just gonna be prefilled. And then we can affect the distortions that we can increase that fisheye effect with decrease it to make it kinda look as flat as possible. And that vignetting by increasing or decreasing. But it does all of that for us. So that's already a great box. Just to check off, when you start editing, what can happen is you can do your basic sayings. You can go through the HSA, you can attain all curves and the heat come down here and check Enable Profile Corrections. And it kind of flattens the image for you, remove the vignette, but it also makes the image may be a little bit brighter and I have to get backup, reduce some of the basic selections, pull-down, the highlights are kind of dark going off the image. Whenever you start a fight to just start by checking those two boxes. So moving on, we've got the transform tab, and that means we can just start to manipulate the photo in a slightly weird where I try and stay away from the transform field. But if we want to look at it, we can click constrained crop. And that's what's going to make sure we don't have any white areas lie this around our image, we want it to scale, but within the confines of our viewfinder, let's hit constrained crop. Remove ball, scale feature I would constrain corrupt selected. Let's start to manipulate some of these channels. If we want to move it vertically, we can stretch the image up or negatively. It's just going to stretch and squash that image. Horizontal is just going to stretch it the opposite way to vertical. We need the image straightened for you wanted to affect a horizon line which will go on to in just a moment. We can do that here in row tank. That's definitely not the best way of doing it. We have aspect, but just gonna squash and stretch it out again just in a different way. So you get a different look to our image. Scale's gonna scale up or scale down the image. We can move it left and right. So these aren't commonly used. But here if we wanted to manipulate those values of a photo, we can do that in transform and we can move down to the effects tab. And we only have a few options here. The first one that we have, audios are grayed out, but as soon as we start to affect this first one, it's going to allow us to change the settings here. So this is a minuet. There's emits a tab before how we check the box and it removed the vineyards everyone to add in a vignette if we want to add that adopt vignettes are bright been yet this is how we would do it. We would drag it down for a Docker vignettes. We would drag it up for a brighter vignette. If we drag it down and it just going to dock in those corners and matching an iris coming at the top of that photo and scanned doc in. Not just, but it's one I like to have a little bit of vignetting on my photos. You can move it around and African and to see what the other side is there, we can drag it all the way down and we can change the midpoints. And that's just going to effect the middle point evolving yet the roundness is gonna be how round the vignette is. So we can have it in the middle, which is more of an iris, or you can drag it to the left and it's going to be more of a square, or you can drag it all weights to the right as me moreover, round Sacco. So if you have a fighter that's in a different aspect ratio noted 19-22 formats, we can affect the roundness, not a feta is going to be how harsh not been yet. It's here, it's a little bit of feathering. Before the black affects the image. We can increase that further or we can decrease it to give it a hot on to this one more, just a tiny, tiny bit of vignetting grain is going to essentially add grains and kind of like a noise, some extra pixels to make it look more like a film lead, less of a digital that we add grain and we zoom in. You can see all of these extra pixels that are coming from the grain. So people like to make their photos look a little bit less digital, little bit more like a film camera. You would do that in the grain channel, say migraine and chlorine, that brain getting out of debt. And we can affect the size of the grain with a slider. And the roughness, say How much grain is going to appear or how little grain is going to appear. So we can just reset that one. And the last time that we have to look at today is the calibration. And that's going to be a digital changing of these red, green, and blue channels if we look at the fast ficus on the rents, so similar to how we had in the HSL, We could affect a hues, saturations for color channel, we can do something similar but more extreme in the camera calibration settings. Every Jews read, we drag it. It's going to affect water-based Reds. So it's gonna make them orange or red. See how that's having a dramatic event. Or we can do that saturation, increase or decrease the saturation past the point of what we've already done in the HSS and say we want to college how to be more saturated, mole pushed to one side of a queue. Or we can do that in the camera calibration settings saved for grains, and then we can affect saturation. You see how that's also having an effect on the blades. And even the Reds, say these ones thought to affect all of the others they tend just simulate the effect that one college, you know. So you can increase or decrease the saturation of the greens that's reset them back down to 0. And then lastly, there's believes again. So you see if we increase or decrease the blaze, we're not just changing the look at the blaze. We're also changing the MOOC oranges. So these three are all connected. So you can kind of counteract these ones. So if we were to say, pull this one down to negative 50, we were to increase this one to plus 50. Now that doesn't look so different from the original because we are balancing out base. So if we're moving then at the same pace, and that's just going to keep the cutter ranges at more of an equal level with just increase or decrease their saturation. That we can turn it off unintended audiences just adding saturation color channels without dramatically affecting one color channel is not affecting the other. So now that we've made our way through the times we are, we can see two buttons here. We put previous and reset salaries. Wanna totally reset our image. We didn't like it when to start from scratch. We can do that right-hand by hitting reset. And it's gonna reset in Thai image back to what it was before we started working on it. So now let's have a look at some of these areas that we have to play with him. This is gonna be occur where we can change the crop, the image and have a this point in the image. And now because this is a rural photo and it contains a lot of information, we can crop right in on something and it's not going to under cool pixelated when we export it. Here we have aspect. So we can choose a certain crop that's going to be predefined for us, one-by-one is going to be a square and so on. So say we wanted to do an Instagram format, that torque and Syrian format. We're going to choose eight by ten. And this is doing on a wide scale for us. And if we want to portray to, we can just click the Crop and move it until it snaps to the tall. And now this is going to be the perfect Instagram size. So every maybe I'll focus point more towards the middle. If a hey, we're gonna get a live update window for us and then we can just hit done. And that's going to crop the Friday for us, which is, again not perfect Instagram size if we get back in here and there's a few other tools that we can play with. We can change the angle, which is just going to very tank to say that's right. It wasn't taken perfectly on a tripod or that you were leaning one way or the other way, or you can get the horizon line profit. You can change the angle to lie enough for you, or you can do something else. You can click this icon and your mass is going to change to digital spirit level. And we can draw a verb by clicking and holding, can draw over that horizon line. So you can see the horizon nine days like desk free, let go. It's going to rotate that image for us to make it straight. We always want our images to be straight in times where the horizon line falls on the image. And this is a great little tool, so you don't have to eyeball it. You can click and drag and hold and draw a line over that horizon line. And it's going to rotate your image for you. Say, now we can hit Done to the next thing that we're gonna look at guys, is that filters that we have a linear filter and a radial filter that we're gonna get some new options in a drop-down box here. And a linear filter is always to draw EVA, ascent section of an image and adjust that kinda like drawing a curtain over something and then everything that's under the cat and is going to be affected. So let's have a look at that. Every click and hold and drag and pull down. You're gonna get these lines that pop-up. And when we track down this part of the talk is going to be what's affected. And in the second part of these lines are gonna be the feather up to 0. So web that middle, this little middle sacral icon is that's going to be up to a 100. And then from the middle sacral bound, that's going to be everything that can be fed down. So let's say we just want to draw over the sky. We can do this, we can let go. And now we've got all of these settings that we're used to now from the basics tab and when we started and we can adjust even more. So we can drag down pilot, which is starting to affect up hand. To pull down exposure, you see how it's affecting the top. And then from here downwards it's feathering down to 0. Or we can change the temperature. We can increase oranges, increased blues, saving for tint. We can add tinting into that section and in the other slide is from our basic side as well. When we fast analyzing the photo that all available here, which is just going to affe 4. Working with Presets: In this video, we're going to be going over Lightroom presets. We're gonna be looking at a bunch of different photos, were going to be importing some presets that I've made onto the photos. And we're gonna see what to do once we've applied it, once we apply a preset, that's any of the beginning stages after we've applied a preset as a bunch of individual edit that we want to do. And that's going to be different on each photo. So in this video, we can be using a bunch of different photos with different presets and seeing what individual settings need to be changed to give it the best look possible. Presets are a really good starting point for a fighter, but then not the ending point. There are a starting point because they give us the kind of the style that we're looking for. But we need to change a few of the settings to get the overall result, the weak ones. So now in this tutorial, we're going to be using two of my presets. Am I going to be working with a range of different factors? And we're gonna be applying those precess today's photos. And you're going to see that when we apply them, the immediate result isn't exactly what we're looking for. It doesn't the greatness, little bit crappy. And we're going to kind of tweak the settings from that. And you're gonna see the settings that we need to tweak. And that's kinda consistent across most of the photos and that's kinda the White Presets walk is a great starting point, but it doesn't, it doesn't give you the end result. You have to tweak a few they settings to get a style that you kind of often. Okay, so let's get into the computer and we'll start with the outline those precepts that checks. And now we are in light room. These are the photos that were gonna be whacking with. So you can see this fight. It's me in the mountain, the mountain. So what we can see from this photo is that lots of rich groans. There's lie scholars. More I want to do is I want the skin tones to be kind of that nice orange warmth and I like the saturate that talent. So I know the perfect preset for the eyes, this y, one preset that I have. And what that does is it does saturates all of those grains, leaves in a lot of the nice orange is the first thing that we would do for just the colors. We're not gonna be worrying about the cropping or removing anything like this. In this tutorial we're just going to be focusing on, we need to tweet for those colors. Because if we look at this one, I think the first thing that I can see is it looks a little bit to contrast these. It will push up those shadows because I want a little bit at the Moon, Venus will bring down the exposure. So that's already looking great. And I think we can see this guy's a little bit to TL. I think that's a debt gave away. And for people who use presets and Dane tweak is when you look at the sky so that season they just to town. So they're going to move that out of the negatives and backup into the positive until it just looks a little bit more. And say, the saturations have been very desaturated. So it will just bring back a little bit of a yellow to bring back a little bit of coloring the grass. And let's look at the orange. Maybe we'll just warm up my skin turns a little bit and I think that it's pretty cool. And they think there's a tiny bit of hotspots in the back of the neck so we can pull down the highlights and then caught certain color wise, that's, that's looking great. So if we come over to this one, we get this photo. You can see it's very different and there's a few greens in that stick like character in there. So we know that this is gonna look good with our Y1 preset. So we've clicked immediately, we get a really nice, nice luck. It's a little bit to punch a little bit to contrast that which we don't want. Or we can just lift up the shadows to bring back a little bit of information. Character here. For anything that we can just pull down that contrast a little bit negative. Pulled down the highlights to soften up these highlights ham. And I think that's looking really, can we get that really nice contrasting colors if the orange and the, and the tea. But that's skies just looking a little bit too teal full may say, well we just adjust the blue hue, bring back a bit more of a normal scale. We still get a nice contrast of the orange and blue tails. Say already that's, that's really good. Just by tweaking and highlights, shadows, exposure, contrast. And it's shifting that the hue of those codons FSA slightly and the saturation of them. That's where the magic is gonna come in with presets. And so I'm going to put down the intensity of the red and just having say slightly on the orange. And now we can see a before and after. So we've got very nice stylized facts I had said is next Friday is me on the beach doing a handstand again. So we can see if you've got most of grains that blazed as a subject. So we know that the Y1 preset What's great for when we have those conditions, and what we'll do is we'll apply it and we'll see the result. But we get, so go up to the top and it's just a teeny tiny bit bright for me. So it would drop that drove those highlights just ever so slightly. We can warm it up to give it a tropical vine, maybe even bring the contrast, bring up the shadow is to soften that out. And that looks, that's looking pretty good. So then we can kind of scroll down. We can shift the blue hue out of the teal to give that a bit more of a believable sky, maybe even what the quiz is, well, now we want the water and this guy's a little, little bit more prominent as This is a beach photos that we won't that kinda nice intensity of the blues to come back in. So we can just lift up the saturation of the Blues back to about 0. And we can see that brings back a lot of nice blues into the skies. We can see this nice yellow is coming through hints at what we can do is we can just increase that just to give a little bit of that extra RNG every nest to the fight. So I think that next color wise, that's great. So you can see again just a very few minor tweaks to keep it kinda perfect result is not a one-and-done situation is apply the preset, see if that looks good and then kind of tweak from there. Again, if we're going to post this to select my Instagram, Well, I'd like to do is added to the eight by ten crop that gives us the most real estate on the Instagram screen. Get US object, nice and send it. Make sure our sky horizon line is nice and straight by drawing the line I've, it's gonna twist it for us, which is great. And then we do before nafta, you can say this is really nice. Edit has got really nice desaturated greens in the nice bow my skin times and posted on one's looking good on these onto the next one. This is obviously a branded photo for company needn't treat brain. And we can see the photo is extremely flats. But again, we have that, that pass in. The subject with nature isn't a nice orange Aeneas go the grains. And so we know that our wire one preset is going to work great with this one. So just go ahead and apply it. And because it gives a pretty nice bass doe t flat. So what we'll do is we'll just push in some contrast. Maybe just bring out the exposure down shadows to give it the more contrast play with the whites. And then it's still looking a little bit flat. So what we can do is we can actually increase the vibrance and push up that saturation to give it that nice color contrast, which is what we're looking for. And then we can add some more warmth into the photo you see on at bringing out the oranges back in the mountain. So now if we look at the oranges is just looking at a little bit to Brighton these oranges surgeons pool the separate duration down ever so slightly and the brightness of the color is the luminances that was going to direct that down, remove richness to the orange. And now I think that it's really just obviously incubator corrupt straight up and it would be great. So now we're going to look at a different set of fights eyes. We're going to look at that more landscape photos. And we know that the Y1 preset is great for a subject and the frame with a nice kind of green backgrounds and it's gonna desaturated colors. For this next set of lectures, we're going to be walking with the original zed one presets, which is great for landscapes. So if we apply the xa1 preset, you can see it doesn't give us the best result immediately. You might look at that and think it's okay. The way the power comes in is the most, the majority of the work has been done for us in that preset. So we can use that as our starting point. And we can tweet from that just by just playing with the exposure. It brings my oldest lovely color information at the fights I am. We're going to lift up the shadows, bring about more information and give it a bit more contrast, make it a little bit more punchy. We can maybe just increase the clarity by a couple of pixels and then we're ready. That gives us an amazingly different approach than what we had when we fetch the plied the preset, just basic changes. Now the orange is still look a little bit too orange. So what we'll do is we can just pull down the saturation or maybe pull up the saturation of the ELA to bring back a little bit of color in the orange down there. And then if we wanted to, we can overstay adjust the hue of that yet i to make it a little bit more grain. Okay, who said Now we have a phase out of LA city skyline. Say unobvious is more of a nature ones that we know that's gonna look great with Zed i1. So you can see we can apply it and it does some really nice stuff. Pretty cool is that the highlights in the city making it nice and warm, golden hour vibes and even a bit here in the, in the clouds and either here on the sky. But what we can see straight away, just a little bit too dark. So one of the things we can do is we can just increase that exposure. Maybe pull down the wise to put off the harshness and maybe even just lift up the shadows to bring some of that information back and had a bandage on trust. And then we can just won the photo up because we want that gold and our phi because that's the kind of data that we're going for. And maybe even just bring that back down to 0. And now we can say we can go from a very normal photo to a really stylized golden Alice city skyline photo by just applying a preset bar as we can see when we fast appoint the preset that results when that great, right? They just kinda dock not just by tweaking a few of those key settings. We've given us a really nice, provided a wide width cosine. Now we have. I've ruined the Malibu mountains just because it's bothering me way too much. I'm just going to have to rotate it as because I caught edited that that rotates it. And what I always think you want to show that must been forming over co, so we can go ahead and apply the Zed I won't present. And what we can see this out, it's a lot of our engines of the vita, which is way, way, way too much. And say, if this was a preset that we just bullshit and we were super excited to see it. We sorted out the before and after five days and we applied it. And this was the result that we got. We might be really disappointed. But as we've been talking about, there's a lot of ways that we can just easily tweak and we can easily fix. Say the first thing we can see, this is two orange. So we can just try and correct that by just moving the temperature slider to cool it down just a touch, maybe even just a touch more. And that's a ready made it look very stylized, still, very orange was still gonna walk on that. We can just draw our exposure a little bit more to make it a little bit more moody. Bringing down the contrast, maybe up the, up the shadows to review a little bit more of the fight. I drove that exposure even more to make it look even most honest to bring out some of the deep oranges that we now have in this, in this beautiful mountain. And then we can just bring back some of the information at the bottom and the shadows. We can provably Just bring back some of that flyer I say readies looking just a million times better, just increase that vibrance. So now if we wanted to be just pulled down a little bit of the orange and nice down just ever so slightly. And then we can bring back some of the colors in the green. Just bring some of that life back in the bottom of the fight to, and now we have a really nice fatigue from what was at the very beginning in it. Really, really not a great diaries just ties to the orange. We might just use that and give up near by tweaking just a few of the settings we've arrived over. Really nice stylized photo in the style that I would have edited this fight so from scratch. So we can see before and after it gives us a really nice, nice photograph of e and cosine. And we have the last photo again taken it go now the sun is setting back. There is a very dark photograph. You can see that again, we had to use the ND filter, which is what we are getting, the vignetting and the top. And so what we'll do is we'll apply Zt1 preset and that gives a very contrasts the sunset photo, which is pretty cool, but we wouldn't want to just leave it that as a great starting point, it gives us some really beautiful colors and texture in the water hit. But again, it's just a starting point. So I think what we'll do fast because that vignetting is so strong, possess some bright will come down and we went Enable Profile Corrections. And that's just going to clean that up for us, which is great. And sit then as the highest pull down as low as they can go. Not just increase the exposure just ever so slightly, and just lift the shadows to pull back all the information in the dock areas and the fact that I called the sound. Now we can put down the explosion that we're there was a little bit more information making it look a little bit more golden hour can kind of flatten it off by reducing that contrast MSA slightly. Kid even increase Saturation just to touch every scroll down. Now there's lots of nice colors that are going on here. And we want to save time is such the really good trick. And I've just recently started using CV. Click this little icon, and he got into a fight I because we clicked it in luminance tab. Whatever, whatever color area that we click and drag up or down, it can increase the brightness of that color area. So if we click on, click and hold, drag up and drag down, you see that's affecting the brightness and the darkness of that content bunch. And you can see a behaves the oranges in the yellow eyes that, or maybe we just wanted to brighten them up just ever so slightly. So that brings this incredible light tread on the wool tip. It just looks absolutely beautiful. Simple git pull that down just a little bit to reduce the intensity. So then one other thing we can do, we can see we've got some reds haha, that hating the sand. I might just push those up just to give a little bit more information in that color. And then just increase luminance because we know that this is written as kind of brighten up that comma prideful just that little bit. And because I have issues with straightness account even okay, this anymore we're gonna straight up. And then the next rainy nights we might even just increase the neighborhood exposure. And I think that next absolutely stunning. Say we have a before and we have an often said when we applied the preset, we had some really nice Collins that just by tweaking and spending just a few more minutes on the fights, I rather than just applying that preset being done, we've ended up with a result that is just a many times better than just leaving a present. 5. Working with DNG Files: So in this video we're gonna be going over how to create DNG files from library so that you can get your favorite presets and edit from your computer library and onto median library on your mobile phone. In this video, we're going to be going over how to get Lightroom presets on your phone plus how to make your own mobile presets. And on top of that, I'm gonna be getting every little secrets that we never have to pay for both mobile presets and desktop presets again, because they're actually the same thing. Okay, let's give the easy part of the way. You've just patchy some library mobile presets and now you won't be able to use them, right? Because here's how to do a super-quick. So mobile presets are saved as a PNG file. Basically a DNG is just an image that contains all of Lightroom's adjustments saved onto that image. So now we're going to want to transfer that to offer. The easiest way is if you have Apple products, just add drop it to yourself from your computer to your plane. Peet, don't have Apple products may problem. Just use Google Drive, uploaded to Google Drive and then download it on your file. So now you've got the DNG fall on your fine. We're going to want to open that up in library DNG files make it nice and obvious because they literally say DNG on the image. So now you're gonna want to tap that image and start editing. Now you see all the adjustments have been made to the photo. So all we wanted to do to save as a preset is tough the three dots in the right-hand corner and create pre-set. Now you can just use a custom name here and hit save, and you've got it as a preset value. Now you've done so now you can access that preset anytime you want. So the cool thing about mobile presets is you can also create your own and you say you do a sick at NYU around or you have to do is just follow the exact steps to make your own Presets and now you have access to them anywhere. So just like on my room desktop, once you not happy with the fine tuning the IV made, you can save it as a preset to access it any time. So here's the crazy part. You can actually create DNG files yourself to say you buy somebody's desktop Lightroom presets and you want to be able to use them on your funny where instead of having to go and buy that mobile presets, you can just do it yourself, His house. Okay, so now in library and if we just apply, say one of my presets like this one, obviously this doesn't look. We would wanna make some adjustments to it. So now we've got the preset on all we have to do is exported as a dN j. So we get a File Export with preset export to DNG. Choose a place for where we're going to save our DNG and then we can just have open, it's gonna pop open a folder for us without the PNG file when you've got your very own DNG fall of that presets and now you just need to follow the steps from Elliott to get it on your phone and save it as a preset, and that is it. And now you can do that with any other of your photos and any other presets that you fought, whether that's processed that you've made on your own and Lightroom Desktop presets that you bought and then have them saved in your library and folder. Now you can transfer them from Lightroom Desktop to your fine by saving them yourself as a dN j. 6. How to Reduce the Intensity of a Preset: In this video, we're going to be going over how to add an intensity slider to on Lightroom Presets. Lightroom presets it great, but being able to reduce the intensity of a preset is even better. That's what we're going to cover in this video, guys, let's get into it. We have so many amazing options when it comes to color grading, photos, videos. We can use presets for light room, we can use lots for mayor. Lots are amazing because we can buy lunch from off favorite content creators to get similar looks and styles that they won't. But as we talked about before, presets on lot that justice starting point for the color grading process. So with lots, you can do your basic color correction. You can make micro adjustments. You can get your footage looking great and normal, and then you can just slap on a la. The best part for me about lots is that they have an intensity slider. You can work and you can increase or decrease the intensity of that slider to give you the look that you're after. But have you ever add it on a lot? You crank it on, it goes to a 100% and back, totally blown out, totally out of proportion. Looks silly at all. The color that you are looking for. That's not a problem because we have the intensity slider. So if it goes too much to one extreme, if there's college looks to you blown out and who looks to you on realistic, we can just dial by that intensity. And that's just a great tool to have your disparities or Archigram to increase or decrease the intensity of a lot. But when it comes to Lightroom, I can't tell you how many times I've wished that's been an intensity slider to increase or decrease the intensity of a preset without having to go in and manually change with a different settings to keep that cinematic that we'd like and that we're going full can fund. It didn't exist until now to the precedent that we're talking about is called the fader. And what the fade it does is when you run that plugin, that precept, but Lightroom, it gives you a little slider that pops up and you can slide that got all the way down to 0, all the way to a 100. And if you want Kuwait pasta a 100, you ever plotted pretty sad, it doesn't seem to be doing enough and you just want to enhanced it a little bit more. Well now with this, you can just drag it up and you increase it. What i'm gonna do guys, is I'm going to leave a download link for the fader in the description to this video. So you can download it and you can, you can install it, you can use it, you can make the most out of it. You can say that these have hours of time and frustration like I have. But in this video, I'm going to be running for how to download it, how to use it, what it looks like. And hopefully we can get your photos looking even better with presets. Lets get into it. Let's jump into the computer. I'll show you how to use the favorite and how I was. To get that all we need to go to the URL www dot capture slash fader. And don't worry guys, I'm going to be linking this in the description so you can just click it and follow along. You don't worry about having to type it down or anything sitting like that. So when you own the fader on capture and monkey, you just scroll down and you're gonna say it downloaded the data set, license, DO that. I'm working on a Mac, so areas might look a little bit different if you're working on a windows are very to my downloads folder and I can see is downloaded the beta as a z, which is going to extract that. So just to get that set up and installed into Lightroom, or you have to do is go to File Plug-in manager. You're gonna see here it's got some basic plug-ins already installed. You can see here the fate of for me is already installed. Going to hit Add and you going to navigate to where you saved that plug-in in the first place. They are going to select it and then you're going to add plug-in, and then you're gonna hit Done. And that is it. That is the plug-in just totally installed on Lightroom for you? Say now, let's see it in action. Let's look at this photo of me in a tree. Let's apply a preset. First of all, I'm going to add my subject in nature preset. As you can see, this photo is already pretty dark. It doesn't look too great. So what we can do about that is we can use the fader. I would like this bracelet. I like the colors is giving me. I just want to reduce that intensity, right? So I'm gonna go up to here, file, plug in extras, and then we're gonna move on. The fader. We're gonna click on the fader, is going to run it and it's gonna do its thing. Now, we have to navigate to where that preset is. It's not just going to work with the original one, right? So we have to cancel this, we have to reset. And now that we know the preset that we want to use, we have to remember the one that we want to use. We have to remember which folder is in and we just hit reset. So we're starting with a clean photo. Let me do those same actions again. We go to file plugin x-rays and hit the fader. So we go to my presets folder. And if you remember, my one was subject in nature. And then we can see that's it. That's how it looked originally and that has a 100%. Now where the amazing thing comes in is now that we can reduced the intensity of that preset. And what it's basically doing is it's mapping to images, right? It's mapping the preset image in front and the original image behind. And it's just going to reduce the intensity of that pretty set, just a dial it back. But it's doing that very cleverly exists also adjusting the settings. It's super small and it's a great, great, great tool. I cannot recommend it and laughs. So now let's take a look. We drag it all the way down to say that's with nothing on that with the original photo looks like. So now if we drag it back up to a 100, a 100% of that preset necessarily apply a preset and it's just not doing enough. We just wanna take it just a little bit fatter. But what we can do is we can just crank it up a little bit more and you see how it's just intensifying that preset even more beyond a 100% beyond the original preset. It's just adding extra contrasts, extra dot in SHE saturation, all of these things being added in possible the original preset was doing. If you are Premier Pro USA, you know, you've got that intensity slide out when you've had a lot tongues of the creative module, you can just increase it so you can get beyond what the original Lot was suddenly. Now, we can do that in library. Say where I think it's gonna look good, is about Hoff, maybe 50% of the original preset. And that is a really nice starting points. So we can see before and after, we've just got a little bit of those dramatic towns in a pullers highlights down. They would, if they shadows up a little bit more, add a little bit of that Moody contrast, increase that vibrance, pull-down the blues to hide that sky. And that's a pretty cool photo. So what we've done is we've taken a preset that we like, we use it. It's the style that we like, but sometimes on some Verdi's, it just doesn't work. It's too intense. It's not intense enough. And with the fader, what that does is it totally fixes it, which I think is super cool. Okay, let's do one more as an example. So let's look at this photo and it is of my friend brick. She sat down in front of this graffitied area. And it looks great as it is, but we want to add a preset to just intensify the look of this fight psi. So what we can do is let's screw up through our presets, see which one kinda looks cool as a good starting point. So I'm getting a good feeling about Beach Bob's, I think it looks pretty good. We've got some interesting colors, nice, lots of oranges rooms, but again, it's just too much. You would have to go on here and we would have to scrub through the settings and we'd have to start tweaking, moving things around. And so we got that preset more or less where we wanted it to look to, then start adjusting those individuals settings. But now the data comes in and we can apply that. Say I remember seeing which preset we want, we know which one looks best. See now we have to go ahead again for reset it. Remember the one that we wanted? We remember it was in my folder on the beach vibes and omega i are up to File or login extras. The fader. It's gonna move this guy the way so we can see what we're doing. And it's saved the last folder that we were in regard to presets. And it was Beach vibes. Sometimes with the fader because it is an extra plug-in, it's not always gonna be a 100% accurate. So did you see just then it took a while for it to load. It stayed on the original Vita. But I have a here in the thumbnail preview that preset had been applied. It took me a while to figure out what was going on. And you can't just click, drag and let go and expect to see changes. That's the only flaw that I found out with the fader. So if you click drag and let go of the slide, it's not going to update in a main viewfinder and I'm in Preview window in librarian. But you can see over here in this thumbnail preview, well now about 0 that has gone down to no preset. But on a main view, you can still see the preset has been applied at a 100%, the way to get around that, and this took me a while to figure out little bit Morrison, but I can find anything online. So hopefully this helps you. If you click and hold and drag, just don't let guy, you don't let go of the slider and you keep increasing it, then you're gonna start to see your changes. So cosine, let's have a look at a 100% that was the original preset that we applied. Remember, we can get beyond that and we can push that even further. It's going to dramatic size that photo even more. But I think if we just decrease air, repelled it down, surround the 70% margin. And this is what we're left with. And I think this color wise looks really cool. This is more in line with what I wanted when I was thinking about this photo and thinking about editing this by T. So we're going to pay, okay, there's changes have been saved. We can see before and after, and then now we will go through and make them micro adjustments. I'm not gonna make micro adjustments in this video, guys, this is just all about using the fade as they're being able to increase and decrease the intensity of presets using the fader. So this gives us a really nice starting point for the colors that we want to edit width. And that's it guys. I hope you found this video useful and in my mind was blown when I found out about the fader. Can't tell you how many times I've applied presets and it's been too dramatic or not dramatic enough. And I just wanted to increase the intensity just like he can do implement. I've never once supplied a lot implement and dog. Perfect. Let's go with that. I've always had to decrease that intensity quite a lot just to kind of get the color lip that I'm wondering after I've done my color adjustments, but never have I come across anything that can do that in Lightroom and I cannot believe I finally found it and I wanted to show it with you guys. So I hope you find it useful. I hope you use it. 7. Bonus! Creating LUTs in Lightroom: So in this video we're gonna be going over how to make a lumped in light room for your video editing. So we can take a preset or any edits that we've made and we can save the answers and former using external plugin. And we can create a lumped for Premier or final contour your video editing software of choice. Now did we lie remains one of the best color grading option out that when it comes to editing, you all photos and I don't know about you guys, but I use a David Premier to edit my footage and the color grading tools inside of permanent on that, great, they're very limited. So when I had first age, what I'll often do is I will do eight basic color grade in the data permit and then I'll add on a lot and indeed a fine Cheney from that. And it wasn't until recently that I discovered that I could be doing and lots using the power of the tools that we have enlightenment and then exporting very sang as a QP file and importing that into Premier to create my own loved to say he bought somebody's presets. In this tutorial beginning of how you can use those presets, there's edits within like rain and export them as a lots. So you can really get multiple uses out of your presets in library. So you can make a preset in my remote bought Presets Light Room and we can export it as a DNG farm, get it on your phone, and also exported as acute file so you can use it in your videos. That's what we're going to talk about in this video. So we'll jump into the computer guys. And this one is relatively easy, but there are few steps involved. Make sure you stick around to get the most out of it. What we'll be doing is using a piece of footage that I recently from my trip to Joshua Tree. And I'll include that piece of footage as a download link for you guys so you can follow along step by step. So we're implementing it. We got the clip that we're going to be using to colour grade. Let's just give the one that we're using a watch. It's just wanted me in Joshua Tree raising my ions up. So this is the clip that we're going to want to calibrate. So to do that, to get an insulin R3 and we have to export a JPEG. So we're going to select a part of the clip that we liked the look of like this part with my hands raised slightly and Punya, am I going to choose this icon? And we're going to choose to export it as a frame. Just JPEG is fine. And then we're going to choose the location and hit OK. And that's going to export it as a JPEG for us. And then we can employ that J peg into library. Now just for the interest of time guys is I will speak for the entire photo editing process so you don't have to watch. And if you do like the color profile that I use, and you do want to follow along on exported as a preset VH and include the and a download link as well. So you can just apply the preset and the color gradual begun done for you, and then you can follow those other steps as well. So let's edit in library. When he's download a lot generator. And that's going to allow us to create up keep files from our library next boats. So we need to go to this website, only a link in the description for you guys so that you can click on it. And then we're just going to download that generates app downloads. What's cool about this product is it's a naming price type of products or you can choose 0.100. You can choose when he failed his wife, if he can't get it totally brave or you can further a few dollars if you feel like doing say, so for this one I'll do $0 because I've already paid for it or Virginia and have it downloaded on my data. So it went to 0 and go to the next step will fill out this information and then we'll download it. Now once the love generators downloaded, unzipped an IV, run it, you're left with these two options, generates a Hound or convert to keep. Step one is we are going to generate a house. And what that's gonna do is it's going to open up or find a window and we're going to choose a place to save an image. The how is the image that we're going to save our colored judgments onto? Choose a place where we're going to save all of AMI files because we're gonna be wife and with a few different files, has a step Bonnie's, which can save this into my documents. And if we had not lined documents, you can see we are left with this image, neutral 5-1, two dot PNG. And it's the whole mess of color grids situations. And that is how we are going to create dialogue using base audit image, say Festival. Let's do some photo management. What we'll do is we'll create a folder. It's Joshua Tree color. And then we'll drag in there. Now we've got the how'd saved on our computer. What we can do is we can head into librarian and we're going to import that how the image in once you've been puts the how'd fall into library, we want to copy all of the settings that we've done on to our image and we want to paste it onto the house. So to do that, we're gonna go to Settings, copy settings, make sure the right ones is selected and hit copy. Then we're gonna go to where our hound fall is that we just imported does the colorful looking image and we can just do Command V and tasted on F. So now you can see this effective the how and what it's doing is it's changing the color profiles on the how the image. So now we've got the colors on the handle we can do is we can just go ahead unexplored that sellers do Export and choose the folder structure that we already had. So like it's ever going to have a few files that go on here. I civil make and export code, this folder hounds choose, choose, and then we're going to export it. Now we've got this held image without color adjustments onto it. So now the final step in getting this into a key file is we're going to open up the luck generator one last time, and we're going to choose the second option which is convert to Q. We can click converter keep. Now we can navigate to our Joshua Tree color lab folder are hounds, and this is the one with the color adjustments added onto it. We can select it, hit a plan. And what's gonna happen is it's going to run that file and it's going to come back to automatically into key profs. We're gonna get this low nitrification to say the operation was completed successfully. We can just hit, okay, and then here we have upkeep farm. So now let's return to prevent and Antioch clips it is I clicked with nothing on tastefully blank, no adjustments made to say in this case the common tab. Let's get creative grounds and will navigate to our folder. And here's our dot key file per unit. We can say Berry gave barriers that really lovely calibrate that we came up with in library. Now it's on our footage. But what we can do now in media with our color profiles, we can increase or decrease. The intensity is decreasing all the way to 0, or we can increase it past a 100%. So if we thought that the calibrated was too strong, we could just drop it down to the seventies and we thought it wasn't strong enough. We can just push it past a little bit. Obviously that's concerning. We can inherit me automatically do enlightenment Amy per manner. So there we haven't guys, we've got our loves created from my rape and added on to our footage in command and wikis, give it a little planning, surely so good. So that's it guys, that was how to create your own luck using library and a 100% fridge. I know there's a few steps involved, but once you've done it, once, it becomes really easy, once you've got that love Generator installed, and all you're doing is creating a Howard once you have that one house and you have an imported into library, barely ever have to do it once you don't have to do it more than once, you can just reset the settings on the help file and they just copy and paste your settings from your current phasor that you're editing onto your existing house while run that through the law generates, save it as a key, and then it takes a few seconds. 8. Class Project: That's it guys. I hope you enjoyed this course. I hope you've got some valuable things out of it, and I hope you learn a ton of information about Lightroom, classic 20-20 on as the Lightroom, such a big beast of a program. And there's so much that Jacqueline. But some of the information that we've gone over, I wish more than anything that I knew when I was starting out because it would have saved me a ton of time. You've done a great job going through this course. And your class project for this course is to take something that you've learned in this course and post it in the class project section in this course. So that can be using one of the presets that we gave away, adding that to a photo that you've taken and posting it in the project section. It can be using one of the lots. It could be anything that we've covered. We've covered a ton of information here. So you could have created a bunch of different things. Post one of them, give a little explainer, give other students and motivation to continue creating and going through this course. That's it guys. So just to recap your class project is to post something that you have created while going through this course. And as always, if you have any questions about light room, Any questions about me, you need any help at all? Feel free to post in the discussion section of this goal's always check. So I always reach out and replied to every single student that asked me questions. And I will see you in the next one, guys, take care.