Night Photography | Phil Ebiner | Skillshare
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20 Lessons (1h 42m)
    • 1. Enroll Now

      0:37
    • 2. Introduction

      1:03
    • 3. Equipment Recommendations

      0:52
    • 4. Basics of Night Photography

      6:58
    • 5. Creative Camera Movements

      2:53
    • 6. How to Shoot Light Trails

      7:39
    • 7. Night Photography with a Trigger

      1:56
    • 8. Photographing the Moon

      2:38
    • 9. Intro to Editing

      2:01
    • 10. Make Stars Pop

      5:38
    • 11. Improve Skies with Graduated Filters

      8:05
    • 12. Remove Objects from Night Photos

      3:44
    • 13. HSL Panel

      3:10
    • 14. Reduce Digital Noise

      2:03
    • 15. 3

      6:54
    • 16. 3

      6:52
    • 17. 3

      13:09
    • 18. 3

      10:03
    • 19. 4

      2:09
    • 20. 4

      13:37
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About This Class

YOU CAN TAKE BEAUTIFUL NIGHT PHOTOS!

That's why you're here right? 

We're excited to show you how to take your own amazing night & low-light photos.

With this complete night photography course, you'll learn the ins and outs from the gear we recommend, the settings we use, the composition tips we have, and the photo editing process we use to end up with award-winning night photos.

Follow us as we head out to Joshua Tree National Park to teach this night photography course!

In this course we combine entertainment education in this complete behind-the-scenes course. We're not just sitting behind our computer desk, showing you slides. We're out in the field, showing you exactly what we do to shoot our own night photos.

Key things you will learn in this night photography course:

  • What gear you need for night photography
  • How to prepare for your photography trip
  • Basic camera settings such as shutter speed, aperture, and ISO
  • How to compose beautiful night photos
  • Using a shutter release remote to shoot long exposures
  • How to shoot light trail photos
  • Composing creative night photos of the stars
  • How to shoot photographs of the moon
  • How to edit night photos to make them look even better

Why learn from us?

We are three instructors who love photography, and love teaching. We're the teachers of the best-selling Photography Masterclass. We always take our student's feedback, and use it to improve our courses. That's why we created this course in the first place - because fellow students wanted us to create a night photography course.

What students are saying about our courses:

Absolutely loved loved loved this course. - Ashonti

I really like this course. Its the best course I have ever taken on photography. I have come to really like Phil and Sam, and I think if you take the course you will to :D - TJ

I loved this course! The basics of photography were fully covered, plenty of practical examples, the tutors were very clear in their explanations and very quick in answering to any question. - Ornella

Perfect course for beginners and intermediate photographers. Duration of the lessons is great you can move at your own pace without needing to sit for hours for just one class. - Omar

If you want to take great night photos, this is the course for you.

Cheers,

Phil, Will, and Sam

Meet Your Teacher

Teacher Profile Image

Phil Ebiner

Video | Photo | Design

Teacher

Can I help you learn a new skill?

Since 2012 have been teaching people like you everything I know. I create courses that teach you how to creatively share your story through photography, video, design, and marketing.

I pride myself on creating high quality courses from real world experience.

MORE ABOUT PHIL:

I've always tried to live life presently and to the fullest. Some of the things I love to do in my spare time include mountain biking, nerding out on personal finance, traveling to new places, watching sports (huge baseball fan here!), and sharing meals with friends and family. Most days you can find me spending quality time with my lovely wife, twin boys and a baby girl, and dog Ashby.

In 2011, I graduated with my Bachelor of Arts in Film and Tele... See full profile

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Transcripts

1. Enroll Now: Are you interested in nighttime photography? Well, we're out here in Joshua Tree, and we're gonna be going through all the tips and tricks shooting photos all night long. By the end of this course, you'll learn to take a photo like this big epic starring night photo or like this with awesome light trails or something like this where you can start really playing with your creativity and become comfortable with night photography. Thank you so much We can't wait to see in this course. 2. Introduction: everyone. Sam here. We're out here in Joshua Tree, Phil, Will and I. We are shooting a night photography course for you, and we're really excited to share this with you. It's kind. A new approach were out in the field, showing you what we go through when we take our photos. So we're really just going go over a gear and then jump right into taking photos. And there's law, different techniques we want share with you. All were on tripods, so obviously the general long exposure getting the stars may be leaking some landscapes in there. Alongside that, we have a moons that will be able to do some moon shadow shots, which are really interesting. It makes it look like it's daytime, but you also have the stars in the sky. Also, we have our headlamps, so we're gonna be writing some stuff out with our headlamps and gangs and cool stuff there on, then also just playing with it, just just seeing some of the different things that comes out when you just get to hang out with friends and take some photos, it's It should be really easy and really fun. So, yeah, let's jump right in 3. Equipment Recommendations: everyone. So we're out here in Joshua Tree Ah, Sun's settings that we're getting ready waiting for the stars to start coming out. We want to go over what gear we have with us, and really, it's pretty easy. You know, we have our campgrounds right down there and we'll be able just come up here. We have a tripod. Obviously, you really need that to do this long exposure night photography to keep the camera nice and stable. I have my Nikon D 800 with the 24 to 70 millimeter lens. All probably be sticking towards the 24 side just to get those big epic wides. Have plenty of batteries and plenty of memory cards. Warm jacket, obviously big thick socks. It's going get cold here in a second, and I know we'll shooting has Fujifilm X T. Two, along with the 14 millimeter Lands King Really nice and wide, and we'll have a trigger which is going to enable him to do over 32nd exposures, minute long exposures, and we're really excited to share that with you. 4. Basics of Night Photography: using. Hey, guys. So it's night time. We're ready to get started. The sun's completely down. Um, we're ready to get started here right now. The light you only see is coming from my little lay in turn. So we're gonna go in, start with our long exposures. So I'm shooting with my fuji x t to, um I know from experimenting a little bit last night and just in general that a good place to start for me is a 22nd exposure at an F four at 1600 I s 0 16 hundreds. Kind of a good place to start with, depending on what kind of camera you are using. That's where you're going to start with your base for exposure. Uh, usually an older camera may not be able to go up that high and may want to be at 400 ISO or 800. I s O. But I know for the food txt to 1600 is a good mid range. I have some remark by. Have some room down. Um, I know that if I to use anything above 32nd exposure, I'm gonna need a trigger. Get into that more later We also know from experimenting. If you use anything over 2030 seconds thes stars, they're going to start to move a little bit because we are rotating, The stars are moving. So the longer the exposure, the more likely those air going to start to move 20 seconds. Good place to start. Um, And then I also like to start an F four to wait. I'll get more stoppage, but before it feels like a good place to kind of get whatever we need to get in focus. Um, cool thing with e x. T two is that I can see the digital readout for focus and all Set that at 30 feet to infinity when I'm shooting just the stars. If you don't have the 22nd exposure you can set on your team owed on your camera, you have bulb where you can push down and hold it and we go 20 seconds. You just have to be very careful, cause any movement in your camera is gonna really shifted around this long of exposure. You really need to switch into manual focus mode. The way cameras work with auto focus is they fix on a light source, and they focus to that, making it sharp. It's gonna be really hard at night to do that. If you're in a net nature setting into shooting stars, the sensor on the camera really tries to pick up light will be too hard for it. So you're gonna have to rely on your lens, the readout for infinity focus or the digital readout on the back, your camera. So those are my basis settings for the nighttime exposure. Really, you're just gonna have to test and test and test your own camera because we all have different settings and different sensors are different in every mode. So the best thing to do is to test test test, test your settings, this the base setting that I'm going to start with, depending on how we go, depending on light pollution. Um, we may need to use something different, speaking of light pollution. So when you're about to set up, we're gonna have to take a look. It's gonna be hard for the video camera to see right now, but we know that there's a city off that way. We also know the sunset that way, and it's still spilling some light over. There's some clouds. And some Hayes, it's gonna pick up even more like we do know that tonight. Unfortunately, the moon is pretty bright, so that's gonna put off a lot of light pollution. Also, we walked away from our camp ground to get away from the camp fires. Just get his little light pollution as possible, because it will affect you. I know you can't even see it with your and I. Sometimes the longer the exposure, the more it will affect your star photos. All right, so let's get started. First things first. You need to have a dry bond. With this longer exposure, you will not be able to hand hold this correctly. So make sure you have a sturdy tripod ready to go. Um, I have a very small one and seven Tallinn for this trip. Um, so let's get started. All right, so I got a little mini tripod here. Cool thing with the foodies. I can flip this out so I don't necessarily have to be down on my knees getting it. So the small tripods. Okay, um, we're going to turn the lights off for the video. Otherwise I won't be able to see. So, uh, let's get some photos taken and we'll see you soon. So we just took our first shot. Um, again, My settings are a 22nd exposure on the F four and I s 0 1600 As you can see, I'm getting a ton of light pollution on the bottom of my frame. You can see some clouds. It looks like it's probably coming from a nearby city. I think that's 29 Palms, Yucca Valley. But you definitely see some stars. I think for this one, I might tilt up a little bit to ignore some of the cloud at the bottom. And then I might just open up just a little bit. Maybe we'll try to point and see what that looks like. I think 20 seconds is a good place to stay at and, ah, let's see how that goes. So again, we got 20 seconds, stay there and open up to a two point a ongoing tilt up to avoid the light pollution. So let's try that. So here's my second shot. I tilt it up trying to avoid a little bit of light pollution, but I still feel like it's a little too bright, getting a lot of light pollution sandwich shooting. And he was testing some stuff out, which is so great when you're shooting with someone else, I think I might shoot for less time. We'll shoot for 15 seconds and, uh, well, dial down I s a little bit so we're gonna make it a little bit darker. And maybe those stars will pop a little bit more and we'll get a little less light pollution on those clouds so we can see a little bit more. I think this photo is great. I think you can do post editing, which you'll see later where we can kind of bring the stars out even more. But we'll see how that goes. So let's try the new settings. So this photo is my fourth attempt. And, uh, I'm still testing things out based on this guy that we see right now. I moved it down, Teoh. 15 2nd exposure. I left it at 1600 I'm outta to wait. So you opened up a little bit. I like it. I think that there's enough room here to do post on. I think we can pull out the stars little bit. We could crush the blacks a little bit, and I think it'll be a really nice star photo. My main problem with it is it's not that interesting. It's just stars with a cloud, which is cool, like Don't get me wrong, Very cool. But I think what would add a lot more composition to it in a lot more emotion would be putting something in the foreground or giving it some reference so we can see kind of landscape or something near the stars. Basically want to see how expansive the universes, I would say. So I want to shift this around and put some foreground in it, Maybe put some rocks in here, but some landscape. And maybe I'll keep the same setting and we'll just see what that looks like. Okay, so I'm super stoked to the shot. Um, we tilted down. We got a ton of stuff in the foreground. You can see the entire landscape is lit by the moon. You can still see the stars in the sky. There's definitely some light pollution coming from some sort of town or something. It's got to be, um, there's some streaks in the top looks like from some airplanes and my settings here with same settings we left with of the stars above were at 15 seconds, were F 2.8 and were at 1600 shooting raw. I know we can take this in the post, and I know that I could bring those stars out a little bit and I can crush the bottom just a little bit and have a thana fun playing with this photo in post. Okay, so just as an experiment, I just decided to turn around and look in the direction that the sun sat and there's also we know a city over there and there's some light pollution. And check out this photo. Same exact settings again. 15 seconds. 1600 s, 2.8 f. Stop and look at it is beautiful. I caught some and he looks like a sunset, But you can see stars. Rat is so sometimes when you're out here shooting just looking every direction when you find a setting, you like shooting every direction because really, you don't know what you're gonna end up with. I mean, right out the gate as a raw photo. I think that looks awesome. So now that you know the basics of night, a long exposures, let's see what we can do and play with a little bit. Let's go see Sam, see what he's doing. 5. Creative Camera Movements: everyone. So just heard everything you're doing with will going through some of the basics. I've been kind of playing with some stuff, seeing different tricks that we can try and play with. Ah, really? What I've been doing is playing with taking a long exposure and then so many seconds through spinning the camera. Um, there's a couple, you know, getting the exposures right, moving slow enough so the stars really pop is important. But no, no, there's a bright moon in the sky. So I tried doing something there. I just did one. That's pretty cool. I'm going try and get a full circle this time. So, um, im currently shooting 15 seconds f four I So 1600. So a stop darker than wills camera. But the moon's quite a bit brighter, so that's why I stopped. Stopped down a little bit. So I'm going to take the shot, triumph a light and see what happens. So that was interesting. Hum, I got this nice sort of half dome from the moon. It wasn't perfectly centered, but we're shooting of raw file, so I'll probably just go in and crop that a little bit. Ah, the camera did slip away from me at the very end. So we have this kind of strange vertical light streak. But ah, it's kind of fun just playing with this finding bright stars moving slow enough so they expose away and just gangster different textures in there. A couple earlier, as doing was with the landscape in the foreground, are exposed for 10 seconds and then in the final five seconds, start to move the tripod. So starting some streaks of lights and stars throughout the photo. Um, this is all stuff that I'm kind of overexposing so that then editing I can go in and really crunch things down on Make the stars pop a lot more. So I'm calm purposely doing it a little flatter, a little bit more of exposed. But just or the information's there so that imposed I'm able to go back and crush it all. Also want to show you what I'm actually doing here to get these photos? Um, more or less. What I'm doing is I'll lock my till, let's say for the moon, which is right overhead, something straight up. Uh, and I've moved it so that the moon is in my right side of frame here, I think. And this is just to show you with the light on it won't work. But I Then take the photo and I'm counting in my head. One what? Three for five six And just count it off so that I know how much time I have left before the timer goes off. So at this point, I've checked my end frame already. So I know here is the end of the moon leaving my shot. So it's the I didn't check my fame to start, so I kind of messed up on where was starting. But it got to the end here so you can see this light flare actually from the light. So just want to share this quick little tip of these this different look of night photography with you. Next, we're going into doing light streaks with actual lights, eso writing things and playing with all that. It's really fun to do and has a cool look to it. So let's go to that 6. How to Shoot Light Trails: So you've probably seen these really cool shots of people spelling things with lights at night and doing all sorts of cool things with them. I know. I've seen plenty of YouTube videos and cool things with it. Ah, so we want to show you how to do this technique. And for this, you know, you really need a friend because one of you is going to be taking the photo, making sure the camera safe while the other one right something. And with this will probably start at 27. Let's do 22nd exposure. Eso Phil has 20 seconds to write something out and space everything correctly, and we'll get to them some of the finer details. Let's see how he does. Just off the bat with us. It without Yeah. Just first try. See what happens. Uh, where you going? Right. I'm gonna write VSO for show. Okay, there you go. Online for all of that video school online. Yeah, We'll give it a try and see what happens. One thing as he's walking down there, I have composed this shot. We've looked down where there's a nice flat area for him to be walking on and We're out here in the dark and we don't want be tripping over rocks or anything. So there's a nice sandy bottom down there. I've composed already, more or less where the sides are. He's now going flashes light and all. Checking my frame where his father's left is ways for this writers, and he'll just have to space himself out as he writes it. So, yeah, let's see what happens. So here we go in. I got 20 seconds starting now. Way to start. This is our heart, because they go do you might not be able to see it, but we've marked out to Bush. Is that is with to play with to I just Wow, that was a little bit harder than I thought I was gonna be. A couple took a couple takes, but I think we got we got something good. Oh, yeah, Pretty epic. So we'll, at least from my perspective, I was holding the light. And well, for the first thing is good to test out how you're going to write it, because you're going to be actually writing it backwards. So luckily for a VSO, the V A and the oh, it's the same, but the s you can get it backwards. So testing out beforehand, we were testing out different angles of the camera. Um, just in terms of the light, I could tell if I held it for too long or if the light turned a little bit away from the camera. Then it didn't actually show up in the photo. So I got a couple of es sees. Yes, please take a look at this image. He had the light going the entire time, but because it turned away just on that one side, you know, it didn't register for the camera. So it lost that side of it from this end. I mean, really, I pretty much just clicked it and did the same thing each time I did it. Just famous a couple time. There's that one shot where you used the's bought mode on your headlamp and say the flood is a much more intense direct light. And that wasn't as good for writing. And last night we played with red and white light, writing some stuff in both white light and red light, which I thought was a really cool effect. I know there's other headlamps have blue light, so you can really get creative with this and spell all sorts of things. Um, at a headlamp, it's cool, But you could use really any source. That's kind of directly pointing at the camera. I really think this guy, because it's so soft, could be really cool to Yeah, Um, yeah, let's directional on mawr floating. But another thing that I do want try right now is playing with space because I've seen people that instead of just doing flat to camera play with more Yeah, then the shot. Okay, so maybe we get two of us writing something but one farther back and one closer up or something. Yeah. Do that play with that death. I mean, the other thing that you know you did it wasn't just Let's find just a spot and shoot. You were paying attention to the competent physician. Even Will was shooting some other kind of behind the scenes shots of us, and his came out really cool with the tripod and everything in the foreground. So it's all about creativity in that sense to and not not just paying attention to the lights, but the whole picture. So Yeah, and really? I mean, having those two bushes was huge, cause, uh, knowing sort of, I start he's going to go from start to end. And then I put little space on either end so that just to be safe knows nice composition and also placing it so that were higher up than where he was writing. So I have the horizon above the VSO. So we have the story skies without the lights in it and then below the horizon, we have the VSO, So I think I think the compositions really nice. Yeah, And the last thing I was gonna say is that Okay, it was a little hard at first, but in the end, it's actually really easy to Dio You just got a set of your tripod, and I've Personally, I've never done this before, but thankfully, these guys are the pros and know exactly how to do it. And so they're teaching me some stuff tonight too. But just get out there practicing, set up your tripod, get a flashlight. You're gonna be amazed about how cool your photos can look. Just with a little bit of effort. Yeah, and and really, I mean, It's great here because we have the story sky and everything. You can do this in your backyard. Yeah, this is really I mean, as long as there's not too much light around you And the main light is your headlamp. You can write stuff anywhere pretty much. And we were using a 22nd exposure. Yes. So we're 20 seconds. I moved in F eight just to really make everything in focus. Ah, and I believe I'm a 1600 eyes. Oh, yeah. I was just thinking that if you are in the city with more lights, you could use a shorter shutter. But you just have to go a little bit faster with your writing or be more simple. Yeah, and I will say, you know, 1600 for the day. 800 is easy. There's not much noise in that image is really clean. I mean, we're going to post and see what happens. But for other cameras, 1600 Aiso might add a lot of noise, so you might want to use a slightly lower eyes. So depending on your camera again, test test test to take it into your computer, see what's actually going on Uh, yeah. I hope this has been informative. You want? Yeah, I got a couple ideas, So let's go play with some things. Well, I was a bit of a rabbit hole. It's been about an hour since you last heard from, Not more. Yeah, but we got some really cool shots. Were really excited to share them with you if you haven't already seen them. But really, you know, having multiple people out here playing with creativity, playing a spacing font, all that stuff. It's just fun to mess around with and try some different things. Really, This is a really, really easy thing to do and really comes to your creativity and just playing with exploring different ways to get these different shots and hope. Hope it's been informative for all of you. Get out. Do it is awesome on Uh, yeah, well, we're gonna be moving on to a couple more set ups. Well, it's gonna be shooting something where we've got something in the foreground. Looks pretty cool. And then one more of we're gonna be looking up at the moon and trying to get a nice shot of the moon at night. So I will say one thing to be careful of as we're running around doing some of these shots , we did run into a cactus. I won't say who, but it's something to be where you so keep your eyes open. It is dark when you're running around doing these types of shots. 7. Night Photography with a Trigger: one thing about a lot of these cameras without a trigger is you're only gonna be able to shoot for about 30 seconds at a time. Sometimes you want a little bit more movement in the clouds, or sometimes you want to create a little bit more time for your photos. So I dropped my I s O down to 800. I s So I'm at a F eight. It's a kind of a higher stop eso it closed down a little bit because I will try to get more things in focus in order to see the clouds move a little bit. I'm gonna have a longer exposure in order to do that for my Fuji. I have a little trigger here, and what we'll do is it'll hold and it allows me not to touch the camera, which is really awesome, because for a long exposure, even the 32nd exposures Any time you touch the camera, it's going to really start to bump it and make it a little fuzzy. So once I plugged the trigger and I have to switch over the bulb mode and what that means is, ah, I click it when I want to open, and I click it when I want it closed. So the cool thing about this trigger is I can push it and slide it up, and it will hold itself. And then when I let go, it's as if the shutter would be closing. When you're having trouble focusing, the best thing to do would be to shine a light on it with maybe a headlamp or flashlight, and sometimes you can have your camera auto focus to it, or you could do it yourself. So once you have auto focus, switch back to manual focus so that when you start your camera shooting, it's not gonna try and find focus again. For this one actually had my camera autofocus fill for me, shined a light on the Joshua tree and let it autofocus. Then I Lakoff let it sit on the tripod and let it go. All right, so, sure enough, we have something in the foreground. That's our Joshua tree, and it looks like our clouds are moving a little bit. There's a little bit of movement, a little of softness. I think if you're to shoot this at a shorter time, you wouldn't see as much softness and movement. You probably also see the stars little bit sharper, but I'm kind of going for this Look is kind of soft, ethereal. Look, um, what a cool thing is that we're shooting at an F eight. Is that allowed me to expose for the city lights in the back, the moon at the top, And then it kind of silhouetted the Joshua tree in the front, which is kind of cool. Yeah. So really worked out. Well, I can't wait to get this in the post. 8. Photographing the Moon: So since we're out here, we've gotten a lot of questions about exposing and shooting. The moon were in a really great area to shoot it. There's not a lot of light pollution on, and I have a long telephoto lens Now. I would suggest having a longer lens and this. I have a 1 40 on a crop sensors. It's closer to 200. If you really want to get close to the moon, the best time to shoot it would be a moonrise or moon set. It also depends on where you are if you're in a city with lots of light pollution and maybe difficult, really should track a full moon and get it right when it's over the horizon potentially at sunset or sunrise at the same time is theirs moon rising, Moon said. So, like, you have to kind of research it and see if you can find the best time to shoot it. Either way, best way to shoot the moon. Go ahead and take a look at it, Um, and just get it to exposure. Using your light meter or using a mere list camera, you can tell I'm actually shooting at a 1600 eyes. So which is pretty standard for me? An F 11. So I know I can get it. Knows much focus as I can and a 5/100 of shutter. So it's not like I'm doing a long exposure here. Anything. The moon itself is just really a giant bounce card coming from the sun. So there's a lot of light on it. Shouldn't be too hard, so I'm gonna dio zoomed in on it. I locked off on it with my tripod. That's one thing that might be hard if you don't have a tripod. It is small in the sky if you're not shooting it at moonrise. Erman set. We're really shooting at High Moon and ah, it's Roy high up there. So you have to use a tripod. They really lock it down. I can use autofocus because I can kind of use my square for autofocus and move it over toward the moon. It's gonna click it, take a shot. There we go. Let's take a look. And there it is. Now have to zoom in a little bit because my lenses in that long but pretty good exposure it's 1/2 moon. You can really see the detail in there. So again, shooting Ross The best way to do this If you don't have a really long lens, you can zoom in as much as you can without losing too much resolution. You can see here resumed in a ton because the food you really only shoots 24 megapixels. Unlike the D 800 some bigger DSL ours that shoot 36 you could really zoom in with a low lens. So now that we've gone through everything we can do outside at night with long exposures, we're gonna take our raw photos and we're gonna go post edit them. It'll be interesting to compare the D 800 versus the X T to. I know a lot of photos emptying out of the camera from the exit. You're looking amazing. I'm definitely going to do some post work on mine because they're a little bit flattered, less saturated. But, uh, I'm excited to see the difference is I mean, it's been interesting just learning what these two cameras they're capable of. So, yeah, let's let's get back home 9. Intro to Editing: they fill hear back from our trip. It's been about a week. I'm a little bit scruffier. So welcome to this brand new section on editing our photos in what we're going to be using his mostly light room. That being said, if you're not using light room, it's OK. What we're doing in light room can be done in most other photo editing applications, whether it's on your phone or on a computer. Basic things like exposure, white balance, cropping these air, the things we're going to be doing mostly, and you can do it in your own application. We do love Adobe Light Room. We recommend it for professional photo editors and amateur enthusiasts. It's a great editor that allows you to batch at it photos very easily. Photo shop is also very cool, but it's not as great for batch editing photos, and it's not as powerful for organizing photos as well. The only thing I want to make clear is that this is not a complete photo editing course in Adobe. Later, we have that course. It's called Adobe Light Room Master class, and it's a great course if you want to go from complete beginner to advanced in adobe light room, covering all kinds of tools that we actually won't be touching upon. In this course with this section, we want to go over the main things we do to our NYTPhotos. But first we will be doing a refresher, a crash course into Adobe Light Room. If you've never used light room, it's a great way to learn the basics, so you're ready for the next lessons. And if you have used light room but you're not too comfortable with it, it's a great way to get up to speed. So remember, we are using Adobe Lie room, but what we teach can be transferred to most other photo editing applications. If you're confused and can't figure out how to do it yourself, let us know. Google is also a good friend for searching on how to do a specific thing. Really, what we want you to grasp are the theories behind what we're doing because it's not about the tool. It's about how we use them. Thanks so much and enjoy this section 10. Make Stars Pop: Okay, let's dive into some editing tricks that we use to make our NYTPhotos look better. Hopefully, that last lesson caught everyone up in terms of using light room. And like I've mentioned before, whatever program you're using, you should be able to do these things or most of these things in your program. There's a couple of things like graduated filters and adjustment brush is that you might not have available. But basic things like how to make your stars pop or your city lights really pop in. Stand out. This could be done in basically any photo editor. So here's the photo that will took in Joshua Tree. It was one of the first ones he took at night, just up at the stars. Now it's a pretty cool photo because you can see lots of stars. The Milky Way's turning to show up and appear, but, ah, it's just not as dynamic as I would want. For one thing, it was a little bit too long oven exposure or not too long, but it was too long to capture the darkness of that night sky. So what we want to do is bring down that dark night sky. But the good thing about the long exposure is that because it was longer, it captured more of the stars. If I bring up the white right here, you can start to see even more of the stars that appear. It's hard to really see, but if I do, let me just go crazy. Bring the black whites all the way up and the blacks down all of those little dots, those air stars. That's not digital noise. If you zoom in, you should be able to tell the difference between the noise. It's kind of hard to see there is some digital noise there, but all the actual little dots those air actually stars. So just doing that, that's gonna make a cool abstract photo. But that's not going to make this look better. The first thing I want to do is test shadows before I get into the blacks, just to see what that does, and I can see up in the hiss Graham. It's doing a little bit, but not much, so I am going to have to bring down the blacks quite a bit, but not too far or it gets completely black, which may be what you want. Let's just bring it down like so Then let's bring up our white. But I'm also going to do is actually bring down my highlights quite a bit. So that helps. Now let's go down to our tone curve. This is where we can really pinpoint specific colors. So we see our history Graham in the back of the tone curve. So if I bring down the area of the curve right around here, but then I bring up over here. That's how I can more pinpoint the brights, the highlights and the whites of the stars. And then the darks of the night sky slumming just turned this on and off, impressing backslash on my keyboard to see the before and after so automatically we can see that the night sky is popping a little bit more, and that's pretty much all you have to do. It's just adding contrast to your photo. Let me just reset and show you another thing that you can do simply increasing this contrast. Slider is kind of doing what we did, but just with one slider, I don't think it's as good as what we did custom, but it's a quicker way to do it. Another thing that I would do is boost the clarity just a bit with clarity, your boosting, ever increasing the edges of things or making those edges a little bit more clear. And with stars, since they're so small, it actually makes them pop really good. The other thing you start to notice, though, is as a boost. Clarity. We start to see the actual clouds that were in the sky this night. They're actually a little orange because of the light pollution from the cities, and without the clarity, you don't see much, but that's pretty good. And so if you do boost clarity, you are going to see any clouds or any sort of moisture in the air more. But there is something in the latest version of light room that could help with that de haze, which is all the way down in the bottom under effects. Now we have this D Hey slider, which basically gets rid of haze in a daytime photo or smog, or those clouds you see in the distance making things clear. But with NYTPhotos, it can get rid of some of those clouds, so you can see here that, as I do, it starts to get rid of some of those clouds, which is good. But then, over a year on the left, when it can't get rid of the clouds completely, it starts to get a little distorted. So what I would do is either crop in. So we don't see this, especially at the bottom. Or just don't go too much just a bit. If you go the opposite way, you can see adding haze. That's not going to look good. So let's just increase just a little bit. And then what I am going to do is crop in. So this is, I guess, another thing you can do with your photos. But it's just something that comes up once you start playing with all these tools. Now let's look at the before and after and here you can really see the stars awesome, basically from bringing down the dark, spring up the whites de hazing and adding a bit of clarity. And that's what you could also do for city scapes, where you're editing photos of city lights to really boost that contrast and make those lights pop cool. Hopefully, this tip helps you. And in the next lesson, I'm going to show you a quick tip to make your skies look amazing. Absolutely amazing when you have a bit of land in the to. Thanks so much. See you then. 11. Improve Skies with Graduated Filters: welcome to a new night photo editing lesson in this tutorial, we're going to learn how to use a graduated filter to really make your skies look amazing. And one thing that I do with graduated filters is change the colors a bit. So before doing anything else with this photo, I just want to show you what those graduated filters can do without any other editing. So let's go to our graduated filter in light room. If you're using another program, you might not have this. It might be credible in ear filter or some other name, but what it basically allows you to do is at it just a portion of your image. So once you have this budding clicked, I'm gonna turn on show selected mask overlay so you can see what's happening when I click and drag in my photo. You see these three lines up here? Then when I un click, you see that the top half has turned red or pink. This is basically my selection. This is what is going to be affected by this filter. If I want to move this around, I can just click in the middle on that circle drag it around. I can rotate by hovering over the right or left hand side of this middle line and clicking and dragging up or down to rotate. I can also extend the fade where the feathering of this filter by extending how why it it is by clicking or dragging the top or bottom line. And you can create these however many ways you want, you can create multiple of them if you want. So let me just delete that and just show you and still have the selected. I can go right to left. You can go top bottom to top. So if you want to do an edit on just the land, that would be fine, too. Let's just start with the sky, though, because this is how you can really make night skies look amazing without affecting the land . So I'm gonna turn off show selected mask overlay so I can see what I'm actually doing. The first thing I'm gonna do is bring down the shadows, bring down the blacks kind of like what we did in the lack last lesson. But now we're just affecting the sky without affecting the land which we don't want to dio , I'm going to use a little bit of D Hayes. And as I do that, it depends on where you shoot your photo. But we start to get a bit more blue, which is really nice. And that's really what I want to show you. When I play with the color temperature up here, you can really make your night skies look magical because I think a blue night sky just looks absolutely magical. And by just dropping the color temperature, it looks really good. Now you do have to be a little careful. If you go too far, it starts to look just fake. And if I click done, then we can get rid of that little line that we see from the graduated filter, and it just starts to look a little unreal. Soto edit that again. I click on the little dot and we're gonna drop down the color temperature just a bit. But it is sometimes good to just take these sliders to the Expo stream and then dragged back. That's one thing I like to dio. We can even go the opposite way to see what it does. That might be some sort of cool effect that you like making a little bit more orange more actually black instead of blue. But I just found that with these voters that we shot in the desert, adding some blue just makes it a bit magical. And then, lastly, let's just add a little bit more clarity. Just see what it does. As we add more clarity. We start to see more of the stars. We also sees more of the sky and the clouds. But that's fine. Really great photo. You can see the Orion's belt over here. This looks like the Little Dipper and one thing right here we see this little streak in the sky, which is from a plane, and that's a little bit annoying, and I'm actually gonna show you how to get rid of that in the next lesson. So that's pretty cool. Now is add 12 the landscape. If I just go and click on my photo and add another one, what happens is that uses the same settings from that last graduated filter. Let me delete that instead, what I want to do is click new up here and now create a new one so Now we have this orange sky. Let's just see what happens if we do have a graduated filter, edit the sky. If we want to bring up this landscape, maybe what I'll do is bring up the shadows. I don't want to lose too much contrast. And if I bring up the blacks, it starts to look a little faded, which I don't like, So I just gonna drop it down just a little bit with the temperature. Let's just see what playing with adding blue looks like might actually look pretty cool. But we're not going as far as we went with the sky, which is why we use graduated filters rather than just using the overall color temperature slider in the basic settings. If we like that orange look, one thing we can do, rather than than actually boosting the orange up here is actually just increased the saturation, which just brings out more color in this image color from the sky, which is from both the sunset but also the city over there, which is crazy that you get this amount of light in the sky. So that's one cool thing that we can do with the landscape if we want. Even boosting the clarity can add a little bit more surrealism to this one. Other last thing I'm going to do is show you how to use the radial filter. If you do have some sort of sunset or something like that in the your NYTPhotos or in your daytime photos, you can use the radio filter to make it look really cool. So basically click that circle and then click right around where the sun is, or the light source and drag out kinks, a sort of oval look. Now let's just play around with these colors. You see if I bring up that temperature, what's happening is it's affecting everything except for what's inside this mask. I don't want that to happen. I want to invert this mask so everything is just happening right here inside this oval, and I also want to boost my feathering. I usually like boosting my feathering as much as possible just so that everything kind of fades together a little bit more. I don't want to go too crazy, but I think that looks pretty cool. Actually see about boosting the saturation, So this is really where you can get creative with your photos. I don't wanna affect too much of the land because then it's going to look weird. So if I click done, what's happening is some of that orange nous is appearing right here on this rock. You can actually get rid of that pretty easily. Let's go back to that radio filter and then we're going to click brush right here and actually erase a selection. So click a race set the size of your brush and the feathering. Now let me just a race right here and you can see it probably better by clicking shows like Mask overlay, and now you can see where the selection is. You can add as well if you want, by clicking a and painting over. But I don't want to add any more. Let's just turn off click done. So now let's look at the before And after all this was done using the graduated filter and the radio filter. Pretty cool, huh? Just get one more look at the before and after. I would say that this photo on the right is much better and just much more dynamic this than this one on the left. Awesome. Thanks so much for watching in the next tutorial. I'm going to show you how to get rid of those nasty little airplane lines in the night sky . 12. Remove Objects from Night Photos: welcome to a new editing lesson in the night photography course. When you're shooting long exposures, you might inevitably capture airplanes flying throughout the sky. And at first you might think, all yeah, nice. They captured a shooting star, but it's most likely going to be an airplane. So this kind of ruins this photo, at least to me personally. And so I want to get rid of it in light room. It's pretty easy. We can use what's called the healing brush by clicking this little spot removal tool. And there's both a clone brush and a hell brush. The clone brush basically allows you to copy and pieced one part of this photo to another part, which can work. But I like using the Huell brush, which is how light room sort of intelligently copies and pastes a portion of another part of this photo to where you're paying and blends it together. So let's zoom in here first. I'm pressing Z on my keyboard and pressing space bar and then clicking and dragging while I have the space bar whole held to move this photo around. And you can do that whenever you're using any of these other tools without affecting the photo. Now let's increase the size of our brush. I like having a little bit bigger than our line, and I like having a bit of feathering. But this could be a just later. Actually, no past am going to leave at 100. So what I'll do is start over here on one side of this line and just paint over, and I see it's kind of hard for you to see, but I see that it continues here is not red, but it's white. So let's just leave it at that. And then what happens is light room copies and paste this little line we made and kind of moves it down here. If I take this, move it around. What happens is this is the part that is light Room is using to blend with that original line that we made. So if I put it over here where this other line is, you'll probably see that line appear. That's not what we want to dio, but just wanted to show you. What I try to do is actually move this to a space where there's not too many stars, because while This is one way to actually increase the stars in your sky by probably using the clone brushes easier. Doing the same thing with the Klum brush. I don't like Teoh unnaturally odd stars to this guy pretty easy, right? So let's just click done to show you. So let's see the before and after and you see the edits that I'm making but pretty cool. So you I already added a bit of editing. If I want to just turn on and off the brush, I can do that by turning on and off right here. Pretty amazing, right? So let's just do that quickly with the rest of these. And then I'll show you what it looks like with and without. These lines and light room typically does a pretty good job at finding a different part of the image to blend with it. So let's just click done and look at the before and after. So here's the after before, after before. After I think this photo looks much better without those sky streaks from the airplane. Now that's totally preferential. If you like those, then you can leave them. But this is how you can remove those from your night sky. Awesome. Thanks so much for watching. Here's the before and after. In the next lesson, what I'm going to do is show you how I actually made the changes to the sky. Not using a graduated filter, but using the HSE l panel on This is a great way. Teoh, change up how your skies look in your nighttime photos. 13. HSL Panel: welcome back to another tutorial. So today I want to show you how you can edit just the sky without using graduated filters. Let me reset this photo So we have the original one. So really, what I like to use sometimes is the HSE l panel. So I did do a bit of basic correction in this photo. First I just brought down the blacks shadows boosted the whites just a little bit brought down the overall exposure just a tiny bit increased the clarity and I left the vibrance and saturation as is. I don't want to just play with the temperature because if I do that, then the rocks get really blue. Now that might be kind of cool for you if you like that, but I want to leave my rocks unaffected. I could also use the graduated filter and create a filter like so and edit the top half. But still, we have this rock over here that's getting affected, and I could go in and erase that part of this graduated filter. But there's an easier way to do it with the HSE l panel. Let's go down to hs cell, which is Hue saturation and luminous. This is how you can edit a specific part or a specific color in your image for saturation. If I click right here, I can pinpoint a color on my photo to edit, which I like to do. So I'll go over here on my photo and click somewhere in the middle. I don't want to go too far down where you get a lot of oranges and grays or two far up here , which is a little bit too dark. I want to pick one of these mid range blues up here. Click and then I drag up. If I go super far, you can see that it gets supersaturated and you can see the sliders down in the right hand side, increasing or decreasing if I want to make it de saturated. So this is affecting all of the night sky. Pretty much everything up here. I can also click down here and see what happens, which will bring up actually more of that aqua. It's drying up this aqua, and sometimes when I see that it's affecting a certain slider, what I'll do is actually just go over to the slider and boost it to see what happens. I can also do this to decrease the saturation of the land, which I want to look a little bit more natural and not as orange. So let's just click on right there and dragged down, and you can see it's decreasing the saturation of yellow and orange. I'll go over to illuminates and click on the night sky and drop the luminous of blue just a little bit or of the night sky, just to get a little bit more definition in that night's guy. I usually leave the hue section of this alone unless you want to get super creative with their colors. Cool. Well, this is just another tool that light room has to offer, which allows you to edit portions of your image. Great for horizons, where you have rock formations or buildings or things that do kind of jump up and down in the middle of your sky. And it's not perfectly straight line. Thanks so much for watching and we'll see you in another lesson. 14. Reduce Digital Noise: all right. Here's another cool trick to make your NYTPhotos look pretty darn cool. So before we've talked about increasing the contrast, increasing the clarity, sharpening your image so that the stars really pop out. But if you want to go in the opposite direction, this noise reduction slider can make your photo look pretty darn cool. That's really what this lesson is all about. If I drag this up, I'm just gonna go all the way and then let's see the before and after it. Well, of course, this before and after shows the color and the other edits I've made. You do lose some of the stars in the sky, but the edges of things and everything. It doesn't look too bad, especially when you're civil wedding. It looks pretty sharp still, but it gives this nice sort of softness to your photo. Almost looks like a painting and sense you might not want to go too far with it, but adding a bunch of noise reduction is one creative way to just make your NYTPhotos look even cooler. The other thing is, without noise reduction, you are going to see a lot of digital noise, depending on what camera you're using. Let me just take all this down. You see all these little dots in there and you can see the detail right here on the right hand side. This is zoomed in little box. That's all digital noise. And even though I was shooting at a relatively low I s 0 1600 which even on my canon seven d d is pushing it. And on most lower tier DSLR and Marylise cameras 1600 is pushing it. But you're at night. And if you don't have a trigger, my longest exposure was 30 seconds. So what could you dio? So you're automatically going to end up with some of that digital noise. So to get rid of that, we just use this noise reduction tool And not only does it remove it, but it makes the photo look pretty darn cool, too. Thanks so much for watching and will soon Another lesson 15. 3: all right. Now that we've gone through a lot of the different tools that we can use to make our NYTPhotos look better, let's walk through an entire at it. Now, this is what I do in the follow up lessons. We're going to see Sam Edit and will edit a photo so they might edit. There is a little bit differently, and actually Will has a very similar photo that he took with his Fuji. This is with Sam's Nikon, but a similar photo that he's going to edit, and it will be interesting to see what he does with it. For me, the first thing I want to do is Crop, and I have to decide. Do I want to keep this aspect ratio or change it? I'm on this whole thing with wanting, Thio added. At 16 by nine, I use a lot of 16 by nine photos for my blogged for YouTube thumbnails for putting on my screensaver on my phone and appearing as my desktop on my computer because everything is 16 by nine. So I'm gonna choose 16 by nine. I also like that because I get a little less of the moon and this lens flare that's at a top up there that's coming from the moon. I still want the landscape, and I could just rotate. But I'll just use my angle tool to click and drag to straight in my landscape, which is just very subtle. That's pretty good. I like having the Joshua Tree Center dead on. I could play around with just zooming in a lot and putting on the side, which now that I do that actually really, really like, I also get rid of this little red line. But I want to put this exactly on the third, and I like that third better. Wow, cool. I'm gonna go with that really cool. The next thing I do is just play around with my basic sliders up here, bringing down my blacks. I do like a complete silhouette. I can see the pure blacks in my image by hovering over this triangle or clicking on it in the history. Graham and I can see what's in the pure blacks. If I wanted Brian this up, I could I still have information there, but I wanted to be pure blacks. I'm also gonna bring down the shadows. It's a little hard to see with that little highlight on. So I'm gonna click that off next. I'm going to just bring up the whites a bit so that I do get all the information for the stars, then bring down the highlights. We're gonna have to mess with the sky quite a bit with clarity. I will boost the clarity just to get a little bit more definition in the stars. I'm not gonna boost the vibrance or saturation here. I'm gonna go straight down to D. Hayes under effects to see what that does with this photo. I think there's were so maney clouds looking in this direction that actually don't really like what it's doing much because you're really exacerbating the clouds and it starts to look like you're getting a little bit of digital noise, which I don't like. So I'm just gonna leave that as is, since I m Sila waiting most of this image, I'm going to see what a graduated filter can do for everything above the horizon. I'm just going to create a little graduated filter, like so. Then I'm going to drop the temperature of the sky. And if I want I might just move it up a little bit. Extend this. Just that we get sort of that Grady int look with the blues and the oranges, that looks pretty cool. So let's just increase the blue. Let's just boost the saturation just a little bit. It's also just boost the conscious overall contrast. Let's see what D. Hayes does here just for the sky. Maybe that's better now, Not gonna do any DIY hazing, and I'm pretty happy with that. We can turn on and off our mass to see what's happening. There's a little bit, you know, not natural, does not what the sky looked like. It wasn't like this orange sunset and then the deep blue sky. But it looks pretty cool. This photo was taken well after sunset, actually hours after sunset, which is pretty amazing that you still see the light coming from the sun and from the city over there. I like that. Let's just go and see now what? Adding a bit of saturation to this orange would look like using hs cell. So I'm gonna click on hs. All right. Here, click in the sky and then increase. If I go too far you start to get this weird distortion going on, so I don't want to go too far. So let's just use our sliders individually to see what happens if I boost orange just a bit and yellow just a bit as well. Let's just see. Go back up here to the general White balance and see what happens. It's just go crazy, go the other way. That looks kind of cool, but it looks more like a sunset. I don't want it to look like a sunset. I do want it to look like a night photo, so adding a little bit more blue does help. Now let's go down and do what I can assure you before with the noise reduction, because we do have a bit of noise in the sky. So it's just increased. The illuminates just go a little crazy with it. Let's just drop the detail because we don't really need too much detail because we're not seeing a lot is just the silhouette. I like that a lot. We can see the before and after of this detail bygone, turning this on and off. That's pretty darn cool. I really like that with silhouettes. That kind of noise reduction looks really good. I do want to just see what a lens correction would dio just to see. You know, for this image, I'm just going to leave the lens How it was. I do want to get rid of this little streak right here looks like an airplane flying in the distance. So I'm going to take my healing brush, make it a lot smaller, just paint over like that, and will make the past the 100 done. And that seems to have gone rid of that perfectly cool. So that's pretty much all I would do. So let's see the before and after before after. I think that's pretty amazing going from this on the left, which already is a really cool photo to this on the right. It's magical, and that's what you could do with light room. And you can do a lot of this with any other photo editing application as well. Thanks so much for watching, and that's our basic process. And in the next videos, Will and Sam are going to be editing photos of their own 16. 3: everyone. So just want to do another photo night at it. Here we have. Ah, the photo of light streaks. And I really like it cause you can actually see will here and myself here. Ah, so moving through the different fields. But at the end, I stood here in the l um and yeah, it's kind of interesting photo. You know, we have this pretty extreme vignette going around the sides. Um, obviously, you have the highlights of the of our light streaks will call. Ah, and then you have the stars in the moon. And so there's a lot going on here. You know, these these dark areas are pretty much gone. I mean, there's really not gonna be a whole lot of information there, So I just want to show you another edit. So first and foremost going go in and correct my sort of crazy vignette that's going on here. Um, you know, so more or less what happened is I was shooting with a crop sensor zoom lens on a full frame camera, and I was somewhat zoomed in, but there's still a lot of vignette going on here, so let me see if I zoom in a little bit. So I've cut off those edges. You know, I'm still gonna have been getting but again, it's a nighttime photos. I'm kind of OK with that. I'm just going to try and get it even here. Yeah. So this is, you know, this is looking pretty nice. I still have you know, these vignettes in the corners, but they at least are some somewhat matching. Um and I've just have lost all this just dark material on the sides. Ah, so little punched in now, Still donating all sides. But, you know Ah, that's what I get for using a crop sensor lens. I want to leave a little room over here and bring back some of the vignette just so it looks nice and even so going back up and getting into the actual exposure settings. So what's tricky here is that you have these really bright highlights. The stars, obviously are equally is by just smaller and the moon, which is definitely as bright. Eso you won't find a happy balance. And really, I think what's gonna end up having it is you're not gonna be able to do a whole lot without making it look kind of crazy. So broadly exposure a little bit brought my contrast up a little bit. My black point is I mean, it's there already. I really don't have a whole lot of room to play there. I'm grumbling the white. So I'm bringing my white point up. And you can Seriously, what's happening there now? This was, I believe, a 32nd exposure so you can actually see the stars were moving. But again, because I have so much information here, I'm OK with the mouth noise I'm getting by, um, bringing those whites up so great being back a little bit. But then being my highlights up to sort of make l pop more again, I was just so focused on the stars. I wasn't looking at my little call. It's getting a little extreme. Bring the whites back down a little bit, bring my highlights up. Shadows are to be honest, Neil, I can do that. I can try and big noise. I just don't think it's gonna Well, actually, Well, this game is pretty incredible. Um, but it is noisy. You know, this isn't necessarily, um I don't need those shadows to be there. So I'm going to leave them. Serve hidden, hidden in the shadows. Keep your focus on the light streaks and the stars. Ah, and this is actually one wedding clarity could do some cool stuff. Um, you know, I don't wanted look to digital. Like, I think this just is too extreme for me. Obviously, the stars really pop at that point, but it's a little too much for me. So bring it back to zero go all the way down, so find that happy still someone natural looking spot. Bring up my saturation or vibrancy a little bit. Just get those colors to really pop. Actually, I'm gonna leave my saturation close to where it is. Ah, One thing I'm wondering about and I don't really know how it's gonna affect it is this Red is just really fierce. And I might just soften it up a little bit. I think that's nice. I just bought the saturation of the red down a little bit. Um, and you can really see here. Basically, wills headlamp went read between the whites. And so you Conservancy these trails here. It's not horrible, though, um, trying. Think if there's anything else I do. But to be honest, I think this is pretty much where it should be. Playing with color temperature can definitely be fun. You. So that's when you have a law blue going well, warmer with it. That's actually I can't like that a lot. What I might do now is just come back and add blue to the sky. Bring out Take the purple down. Just get these. Get that sky in a nice place again. Let me actually bring the warmth who? See? That's kind of interesting. All right, so I'm pretty happy with this. Um I kind of like playing with the colors. Oh, you know, maybe getting that sky to really pop Let me see if I add some blue into this, You know, it just adds that saturation to the sky, which is kind of nice. Um, yeah, that's not doing a whole lot. You can really see you. What's going on with the blue There A little magenta up from the ah, concede that up on the moon. Take that out. I can't like that not being quite as extreme. And yeah, I think I'm I think I'm pretty happy with us again. you know, you what I always like to do. Step away for a minute. Comeback to the photos, Reassess after some time. Um, but this is looking pretty good to me. So you can see the before and after. I just, you know, Brian did a little bit. Got the stars to pop a little bit. Mawr cropped in because I had this vignette because, as using crops answer lens on a full frame camera. Um, but, you know, it keeps this nice little vignette. So it keeps your focus Ah, in the middle here and hope this was helpful. 17. 3: Hey there. This is Will, And I'm gonna take you through editing some of my NYTPhotos. Um, here's a photo right here that I got, Ah, a Joshua tree at night. And unlike salmon Phil, I tend to like to add in photo shop. I think they're both interchangeable. Um, but I've just kind of grew up using photo shop, and I use light room a lot for editing a la Tana photos. But when I want to spend a lot of specific time on something I like to use photo shop, Um, so we're gonna go down that road we're going to right click on my photo, and this is linked to my raw from my food g x t two. And we're going to click edit in edit in a deal be Photoshopped and it should send it right over. So if it doesn't pop up right away, just go check up photo shop. And here we are, So in photo shop, I tend to use, um, you know, layers. So we kind of can keep track of what we're doing. Um, right off the bat with this photo. I definitely want to crop it and straighten it out. Um, to start with, um I'm gonna go ahead and click the crop button open here on the left will come down here. Make sure arrow is the little rotating squiggly guy. I'm gonna hold down on the mouse and it gives you this grid, which is great, because you can help straighten your lines. And I'm kind of pulling down to the left. Two straight. Now our horizon. Um, I'm not too worried about losing resolution because it's a pretty big file. Um, I'm using the lines by my eye tow line up the straightness of the Joshua tree with the vertical lines and the horizon with the horizontal lines. And it's great with photo shop because it automatically resize is your image you can see on the left and the right without having zoom in. And we're not losing anything on the left or right, so I'm gonna let go. And here, this looks pretty good with these squares. It even is giving us kind of a nice rule of thirds. Um, I think I could probably crop in a little bit more because this circle is kind of faint. I would love to be right over our tree, which it is. But I love it to be dead center with the photo. I love cemetery in our photos. So I'm gonna grab down here. I'm gonna hold down shift because that's gonna maintain our aspect ratio. And I'm gonna click that I'm going to drag just a little bit in. Ah, until we see that it's, you know, centered as much as possible. That looks pretty good. Um, I'm a little worried about losing the bottom, though. So maybe we just open up just a little bit and then we'll let go. The click will let go shift. And I think that's that's pretty close. I think in shooting it, I could have shot it better. But, um, you know, it was a 22nd exposure. And so framing that stuff up and I can be difficult, but I think this is pretty close. So I'm gonna hit, return or enter Teoh. Basically validate this crop. Bam! Here we go. Now there it is. So I'm missing a little bit of the horizon, and it still seems a little crooked to me. So maybe let's click it again and I'm just gonna just move it up just a little bit. Here, make that tree a straight as we can. Um, you can see in the upper, right? I'm starting to get off the screen. I think it's photo shops. Not happy with me. So I'm gonna hold down shift, pull this in just a little bit and hit return again. And there we go. I think that's about as close I'm going to get with this photo of maintaining resolution. Pretty stoked on that. Um, that's our base layer. Now, um, so immediately, I'm going to hit command shift s, um, to save as a different file, and we'll just put this under, uh uh, at it in the same spot that we have it in. Um and I'm gonna keep it as a P S d. No, not a pdf a Photoshopped file. And just so we have it. And it's separate from our original, um, file and so that we don't mess up anything, so all right, so right off the bat, um, I want Teoh. I feel like there's no really spot corrections when you do hear the stars air. Kind of moving a little bit. Um, this would've been a great photo if there was less Ah ah, Moonlight coming. Um, the moon really disrupted the sky shot, which is why there's kind of a long exposure and like, you kind of don't see the stars as well. We also let it open. I think this may have been closer to 30 seconds to a minute. Um can't totally remember. But you can see that the stars are moving. Um, so we're open for a while down here. This is a city. Um, you know, it's close. Biasi can kind of see the light pollution from there. So there's a lot going on here. Um, I'm gonna go ahead and again, edit by layers so that we're not super destructive, and we can see what's going on. So let's go ahead and add a layer. And what I like to do is first use the levels to see what I can kind of do with a specific photo that were working in. So artist a gram here is telling us how much information we have. It looks like most of this information is in the shadows and in the dark. On the left side, this little knob controls the shadows and on the right side. We're controlling the highlights. And in the middle it's the mid tones, so you can see just by messing it right off the bat, I can control mid tone range. If I pull this all the way out here, you can see how much information is there. We start to get a little bit of noise. We lose our shadows. We'll keep that in the middle. Right here again. Highlights weaken, bring up our highlights all the way into our shadows. And you can see the highlighted areas they're just blowing out. And like, that's kind of where all our highlights reside. We'll leave that. And I'm just doing this to show you exactly what each one of these does. This little shadow will crush our blacks and make them more will make them stronger, basically. So you can see war. There's black information. We just lose it immediately. So this is a little bit too much of a general edit for me. Um, using these normally I might like wanna, because I took the shot and thinking that the Joshua tree be silhouetted. This is sort of the area that I would pull this in in levels. Um, I crushed the black, so that brought the highlights a little bit. And I just brought the mid tones, um, up or down a little bit, just to kind of bring in a kind of this vignette and make this silhouetted. Um, let's close this. And now because we had an adjustment layer as just levels, we can click on and off the eyeball and see exactly what we just did. It's nice because it's bringing in the detail of, Ah, the Joshua Tree itself and you can see the stars a little bit more, and there's just it's just got more mood to it, um, a lot more contrast. But for me, I kind of want to try seeing what it's like using curves, because you can get a little bit more out of that. So we're gonna go layer and we're going to go to new adjustment layer and we're going to go curves. So again I'll leave it. LaBella's curves. Everything's just normal. And so here we're gonna turn off levels. So we're back to our original layer. Um, and I want to see what I could do. The history Graham again is here curves is a little bit more precise. You can see our highlights here. We could do the same thing. We could bring our highlights over again. With our shadows, we can bring our shadows over and drop them. So it's the same thing as levels, but in our mid tones were able to really pinpoint exactly which direction we want to move. Um, via the hissed a gram. So this is a little bit more precise and there's some mathematics to it. But honestly, once you start messing with it, you'll start to learn ah, and get used to where you can move this type of stuff. So I'm gonna pull the entire curve in the mid tones over to be a little bit darker. I'm gonna crush the blacks just a little bit to bring that silhouette back, and then I'll just spike a little bit. Ah, the reason this is not doing it as well because as you bring the highlights over its adjusting the mid tones automatically. So knowing that I'm gonna pull back the mid tones a little bit, I'm gonna pull this just a hair. So we're not affecting it too much, and I still think you be a little silhouetted, so yeah, that's a little bit closer. Let's close this. So what we do with the levels, But I think it has a little bit more contrast and it's a little faster, so you can see this is the curves correction. This is the raw curves correction, raw levels, correction. Raw levels is a little bit more. We went a little bit more extreme, whereas in the curves you in a little bit softer, actually, for this one, you know, it might be nice just having the levels version because I do like the contrast and how dramatic it is. Make sure you don't have both of them on because then you'll get both corrections, which doesn't really make a lot of sense. So for this, let's stick with the levels correction and will delete the curves. And this is kind of what will work with here. Um, this is this is a really fun photo. I'm kind of bummed. That's a little blurry. Um, so now let's mess with the color a little bit. We're gonna go layer, we're going to add a new adjustment layer, and we're gonna have a hue saturation adjustment so we'll stick with all the regular things that pop up. So here, this is kind of like the levels of of ah, color. Um, basically, you have your hue, your saturation, your lightness. This is pretty close to almost like your levels. In a general sense, I'm gonna hit Command Z to get rid of that. And the saturation is your color, right? So obviously, more saturation will really make these colors more vibrant and what's already there and less saturation will turn it black and white. Um, you kind of find a happy place for that. We're gonna leave it. And Hugh is where you could make a really general color correction. Um, you know, you shift it to making it a red kind of sun, making a little more stylized. You go. You know, Alien purple blue. Um, you can Really This is just a general edit for the entire photo. Um, we're gonna leave it at zero, and I'm going to just saturate it a little bit just to pull the colors out a little bit deeper. Um, I think it adds a little bit more drama to it, and then we're gonna get out of here now, a more specific kind of way to edit color would be to use the color correcting so we could go toe layer new adjustment layer again and we'll go to color balance. So this is a lot more specific again. All that's fine. And in here we can really decide, you know, Do we want to keep this yellow and orange, or do we want to make it even more yellow and orange by adding a lot? Or do we want to take away and cannot focus on the blue night sky? In addition to that, would we want to bring in some red and kind of stay away from the blue? See, this one's a lot more specific in what you can actually do. And really, you can play around with, you know, the drama, the color that you may want to be more stylized with. And I would say this one's This photo itself is definitely focusing more on color and texture versus the actual starry night sky. Because our exposure so long the stars aren't as prominent, their little shaky. They're moving, Um, also because we're using a higher I eso and the, um, shutter was open for so long, we get in a lot of noise. So on this photo I would really focus on making this kind of stylized and and really fun to look at. Um so I'm gonna go a little bit more blue the blue night sky, um, going to stick to the san because I kind of like that blue And then just to keep it more contrast in interesting out, bringing a little bit more red to kind of offset the two blues in the magenta area. So, yeah, that's kind of fun. And so again, you can come down here and look at your eyeball and you can see where you where you started and where you are now. Pretty nice little quick at it. So once you go ahead and save your file, um, it will actually go right back in the light room So you can see here are two photos. That's what we started with. And here is our colored image from Photoshopped. If we move over to the right side and you're right panel and we school all the way down to detail, we're going to have quite a bit of noise reduction Now I feel like, you know, this is not necessary. The greatest non know his photo. So we're gonna try and see if we can pull back some of that reduction by upping the loo minutes. See, it's getting a little bit softer. Let's just go crazy. Oh, yeah. Look how buttery smooth that is. I think that looks beautiful. So now I'm in a place where I would love to print this photo. Um, I think it's a pretty crazy amount of noise reduction Leterme's able to do. You can see you can click on and off, and you can see how much gross details in their on off, and just it really changes the photo quite a bit. So if you have that issue, I would highly suggest doing it. I'm going little bit extreme. I think it looks nice, ethereal Ah, and beautiful. And I would definitely print this photo so hopefully enjoyed this tutorial. That's how I personally edit a photo in both Photoshopped and Light room again both to fully capable programs that kind of do specific things in different ways. Um, you can really go down the path of either. It just depends on how you work and your own style. I do prefer to do noise reduction and organization and quick edits in light room. And when I spend more time and do really fun color correcting things I like to use Photoshopped Photo Shop, I think, is also a little bit better for, um pinpointing clone stamping and ah, spot removal on all that stuff. But again Ah, you can do this on either program. It just depends on which direction you move in. So hopefully that was helpful. And ah, look forward to seeing you later. 18. 3: All right. So I wanted to try and add on a second photo here to this night course. Um, we had a lot of fun taking this photo, Phil. Kind of shot. And Sam and I just took off with our red headlamps and made it. Um, I really think this is kind of a more editorial, fun, creative photo that you maybe even see in a magazine or on a ah cover album for musical artist. Um, so I really kind of wanted to play with it and see if I can kind of make it even more extreme. You can see the difference in the last photos we edited. There was this photo got taken to this, um, which is a huge, you know, difference. And this guy, we're going to start by editing in photo shop because I like editing in Photoshop. We're going to go edit in and Adobe Photoshopped. Okay, so now that we sent in a photo shop, it takes a couple seconds. We're going to hit command tab, move over to photo shop, and here it is. Now immediately. I'm going to hit command shift s and I'm going to save this as edited just to be safe. I like to have multiple savings. And here's a photo shop file. Click save. All right, We're here to go now to start off with. I think I'm gonna crop it a little bit. I don't like this bottom part right here. And I could I don't know. I'm kind of indifferent about this flare over here. I think it looks cool, but I think we could kind of get rid of a little bit of it. So I'm gonna hold down shift, because that's gonna arm 1st 1 click on crop. I'm gonna hold down shift because that's gonna hold our aspect ratio. Ah, and we're gonna move it in just a little bit too. There. Um, I think that's kind of cool. Um, this is really nice, because we have this nice defined line. We see stars, we get a nice landscape here, and we get this kind of cool corner shop over here. We're gonna hit return. And now we've got our photo that we're gonna work with Superfund here, so let's go ahead and let's start with. I'm gonna go ahead immediately. Start with ah, layer and use curves to add some contrast. So again, shadows on the left Highlights on the right. Mid tones in the middle, off the bat. I'm just gonna crush the blacks here A little bit might be too much. I don't released to detail. You can see when I crush too much. The blacks really start to get money and we start to lose them. But we get to see the sky. So this is a little bit harder of a decision. We could isolate both of them. So I'm just going to get a general kind of edit with this, Um, here. I'm just gonna crush the blacks a little bit. I don't want to crush it too much because we'll lose down here, but I do want to get this so we'll use Ah, he's a burn tool for that. Later in the highlights, we'll bring up a little bit. There's already Aton of highlighted information in the light and in the background. So I don't wanna go too crazy and again in the mid tones. I don't want to mess with this too much. It's a It's actually a pretty nicely exposed photo. Um, and we'll just exaggerate here a little bit in a second, so we'll just kind of leave it in a mid range. So not a not a huge edit. So what I'm gonna do here is I'm gonna burn the top to kind of bring down the color in the ah, in the sky and make the stars stand out a little bit more. Um, but to do that so not super destructive is we're gonna copy our background layer by bringing this down and copying it, and you just drag that down there. We're gonna label this by double clicking, uh, burn and ah, what we're going to do now is make sure that we're not on the layer, but we're on burn. And again, if you want to see what we're doing with the curves you can click on click here. We have to make sure that the curves is above the burn on the layers because if you have the burn above the layer, the curves won't be affecting what we're doing. So we're gonna keep that curbs on the top. You gotta look at it as kind of like your eyeballs air up here looking down so they only see what they see through things. Um, so we'll go over to the Dodge and Burn Tool, which is this little guy right here. Now, Dodge will make things brighter. As you can see, I'm just kind of messing around here. We're gonna hit Command Z, Um, and burn will make things darker. So basically, it's what it refers to is back in photo shop days when you let the, um when you let the projector kind of project onto a photoshopped paper when you burn stuff , you're specifically exposing more light to those areas through a negative on a piece of paper. And when you're dodging is you're blocking the light from hitting certain areas. So back in photo shop days, you could really specifically do this in riel chemical physical way. Um, so we're going to kind of fake it in photo shop. Basically, what I'm gonna do is I'm in the ah burn tool. So we're gonna burn light and make it darker. And by doing this, we're also able to adjust the exposure. So if we do 100% it'll really affect it. Ah, immediately, you can see if I click a bunch, see how dark that gets, and it really like kind of burns it, but I don't want to do that was just doing the show, you know, and command Z, the undo two will only take you so far so real quick. We're gonna go toe window and we're gonna go to history, and that shows you your history of what you've been doing. So here's everything we've clicked on in the last. Ah, you know, a few minutes. So we're gonna go all the way back to this burn till when we got rid of here and we're gonna go back to a layer option. So it's gone completely. Very good. Quick way to get rid of stuff. Obviously can't specifically hone in on one thing. You have to go all the way back towards before, so we'll close that, Um so that's what the burn tool does. I'm gonna set it at 75% cause I feel like it's a really kind of nice, um you know, window to use. It affects things but doesn't crazily affect things. We're going to use the bracket tool on the keyboard to make our brush smaller on the left bracket and bigger on the right bracket as a short cut. Um, you can see it's changes this upper in the upper left corner from a large too small. You can also do this manually by clicking here and changing the amount of the size of your pixel. Um, hardness is I don't I usually leave it zero with when you're using the brush or the burn and dodge tool. If you go to 100 it's very much hard. Ah, hard to one you can see. It really is affecting the hardness. There's no feathering around it. You can see how it's just hard right there. So let's go back. Let's take our hardest on 20 because I like the feathering, So the range, it really depends on where you want to be editing. Most of this is in the mid tones and the shadows, but you can select where we want to effect, so mid tones will really give us more of an effect. Highlights will affect more of the highlights, obviously, and shadows will affect more the shadows. You see, when I burn this across its really focusing on the shadows and not necessarily the highlights, which is kind of what we want. That command Z as opposed to mid tones. I'll go in the same area. It's not as deep. It's just in the mid range of that information. Command Z again and in the highlights will do the same thing. But again see it only effects that highlights its really only affecting the white light and the and the cloud. So what commands you that? So what we noticed was that we like the shadows, right, cause this is kind of the look I want, right? I want this nice, ethereal blue sky here, Um and that's a little bit extreme. I just want to show you what it's doing because I think that's too extreme with one click. I'm actually gonna move this all the way down to about 35%. Um and I just know that number because that's what I've messed with before. And now we'll have a little bit more control. We're gonna go right bracket and get a big brush so that we can cover large areas were not clicking a ton. And I'm just going to start here. We're gonna make sure in our burn layer, and we're gonna go ahead and just one big wipe across, and that was a nice little way to bring out the sky without being too extreme. You want to be subtle in these in these corrections? There's more highlights down here, but let's go ahead and just take a shadow pass. I'm using the left bracket button to make a smaller brush, and we're just maybe make a little bigger. We're just gonna do the same thing. Just one nice wipe. And you should be brought out the stars over here. We kind of blended it in a little bit more. Um, I'm trying not to affect that rock too much. So I'm gonna skip a little bit smaller here and now I'm gonna go across here, so one big wipe here and there we go. So that's kind of a a really quick way to bring out the sky a little bit. And you can see here's our burn layer what's turning often on and see that? That's a nice, big way to just just the area that we selected and not the bottom layer and not our lights . So I didn't want to lose any information down here necessarily. I would actually go leave a little bit more extreme. So let's maybe take another pass and just see what it looks like. We'll go big, right Bracket one Nice wipe. Who? That's real extreme. I don't know if I want to do that. So we had Kimanzi a little too extreme for me. I think we're gonna mess with color a little bit and see if we could get there on that regard. Sometimes I think having a vignette also looks nice. It's a good way of doing that. Um, we can kind of just do the edges right here, and that gives us a little bit of a minivan. Yet, um, that might be able to extreme Let's go just the corner. So you know, a different way of really getting creative and trying toe have an actual designed, quick way to do. And yet there's more calculated lives doing that exactly. But it's quick way, Um, so let's play with the color a little bit. So we're gonna go up to our layer new adjustment layer again, and we're gonna get real specific and go into color, balance, color, balance one. We're gonna leave everything normal, and now here will be able to really precisely Pick what colors I want. I love the blues in here and I do love the pinks, but let's just see if we push the blue how blue we can get, Um, And let's bring out the pink even more and get really orangey. Get real, Majendie. Um, with that pink light Now we're getting really ethereal. Um, again, You know, this is just kind of per your style on what you like. Um, I really like the playoff this flare. Ah, and make this look real eighties Haiti's looking style. Um, so, yeah, that's a nice little quick way to make a crazy, um, fun little edit. 19. 4: everyone. So we hope this class has been helpful for you. It's been a lot of fun being out here. It's beautiful weather right now. It's springtime in Joshua Tree and we've had a blast. We've gone to play with the law. Things of experiment with things, you know everything from just going over the general long exposure rules again. It's been a long time since we've been out shooting long exposures, playing with the foreground. You know, playing with this moonshine that's happening right now. Ah, play with our lights. That was something that I don't think you guys had really played with yet, Um, and just and just going experimental with it. It's been a lot of fun we hope has been useful for you. And you know, if there's anything that we haven't covered in this course, or there's a photo you find and you're curious about how they did it, please share it with us. We would love to come back out here and show you how it's done, because there's a lot of things to do with night photography, but a lot of it is practice, and you really just got get outdoors, get to places, we can see the stars, and you really prepare for it. You know, we came out during 1/2 moon, and just the clouds today have taken away law the stars. Um so hopefully we'll come back again with a new moon and just have big, beautiful story skies on, then maybe even come back out during a full moon and just get those great moonrise moon setting shots. So again, hope. Hope this has all been helpful. Please comment, critique, leave reviews. Let us know what you think of the course, and we'd love to, you know, keep building upon it and make it the best it can be. Also, check out if you need some more refreshers on basics of photography, we have the photography masterclass that covers all the basics of photo. We also have this Siri's going on with these in the field, sort of going over the you know, these more specialty things. So we have this nighttime photography course. We have landscape photography class. We're gonna have portrait photography class. We're going do all sorts of different ones of Ben photography. Ah, and really wind honing your skills and help you become a bear photographer but also photographer that is diverse and can do love a lot different types of photography and start blending those things together. So hope this has been helpful. And again, thanks for enrolling. Can't wait to hear from you and yet. 23. 4: welcome to this light room crash course. It's a great refresher for those of you who have played around with light room but aren't that comfortable. Or if you're brand new to light room, this will get you up to speed with the rest of the lessons. This is an optional lesson, though. If you already know light room, you probably won't learn too much more from this lesson. So go ahead and move on to the next lessons where we dive into specifics on how we edit our landscape photos. So when you open up light for the first time, you won't have any photos in it like this at the top, you have a menu with different tabs up here, and these air different rooms where you can do different things from your library, where you organize your photos to the develop tab, where you actually edit your photos. You have things like Matt book, slide show and print and web, where you can do other things that we won't be covering. In this course. First thing you need to do is get your photos into adobe light room. I've already imported them onto my computer. They're actually on an external hard drive, and so to get them into light room, I need to click this import button down here in the bottom Left. This brings up the import module on the left side. Let's select the source where we're trying to find our import. The images from you will see the folders on your computer and any external hard drives. Over here. I've put all of my raw photos into this cannon 70 D photos folder, and when I click on that folder, all of those photos show up. You can either go through here and check or uncheck the ones you want to import. But typically I import all of my photos, and then I go through them later on. Another thing you might want to do, which you can do later. But it's easy to do it right now is add these to a collection so that you can easily find them at a later time. So if I check this ad to collection box and then I click this plus sign over here, I can create a new collection. Think of this as a new folder, so I'm going to call this Joshua Tree 70 d because these air the photos shot with my canon 70 d and I'll say create now I'll click import it imports all of the photos and you'll see up here, this bar going through as it imports all of the folders over here on the left hand side, there are different ways to find the folders or the photos that we just imported. One is through collections, which we just did. So you see this Joshua Tree 70 d folder. Here I have this other Joshua Tree folder, which includes all of the photos from Will and Sam's cameras, which all actually probably break out later into different folders for each camera and then up here under folders. You can actually go through your computer folders and find all the photos that you've previously imported into Adobe Light Room. So this won't include all folders or photos on your computer, just the ones you've already imported into light room. So that's why you see these three folders right here. The photos folder, which is actually my 70 d, the Nikon and the Fuji folders. So there's different ways to find the photos that you're looking for. You can see other folders and collections that I've imported in the past. Down at the bottom, you have this toolbar. It's a little tray that has all the photos that you've imported. You can view in this center area your photos in different ways, either in a grid like this or by clicking this single photo but and down here by single photo, you can either click on the image down here to go through them or press the right and left arrow keys. So this is the library. And the main thing that I do now is organize my photos and actually rank them. There are different ways to rank or to flag photos that you think are good or bad. The ones that I use are these star ratings right here at the bottom. Notice that if I have one of these focus selected and I press a star rating adds that star rating down to the bottom of this photo down here. I can also just press the number keys on my keyboard to add aerating 1234 or five. So what I personally do is I go through all of my photos, just pressing the right arrow keys in assigning a star rating to them. Typically, if there's a lot of photos that are similar, I picked the best one and the ones that I don't want and I won't edit. I'll just put a one star and the ones that I do want to add it. I'll put above one star. So maybe start out with three stars or two stars, so I'll go through and add that to all of my photos. So we'll go through ads star ratings to all my photos. And then if I want to even go even further, maybe all go back and change some of these star ratings to four or five stars to show that these air the really great, high quality photos that I know, that I want to add it, for sure, or that I'm going to share later. You could add ratings to your photos however you want. This is just how I do it, and the reason we add these star ratings is because later we can actually filter all of these photos with this filter rating down here. So it's kind of hard to see, but if we click this filters off button and change it to rated. And then we changed the rating too above one star above two star above three star. Or, if we click this above or equal to weaken change it, too, is less than or equal to, or is equal to say, I just want to see C three star photos I would say equal to and then select the three stars . Now, just the three star photos appear in this trade down here. That way, I don't even have to deal with the one star photos, and it's much easier to go through and just edit the photos that I want to add it. You don't have to organize your photos this way. You can go through all of them. So the next thing you would want to do is start editing. So in the next lessons were going to be going over full edits and specific things you can do for your landscape photos. But I do just want to go over the basics of how you use light room. So if you already know this, you can go ahead and skip this lesson and go on to the next lessons. But for those of you who are new Delight room. Continue on with this lesson. We switch over to the develop tab. On the right hand side, we have all kinds of different tools for editing, and if you scroll down, you have even more tools. Some of these might be opened or closed, depending on the last time you or someone else open light room so you might have some of these clothes that you want to open up later. The basic way you edit is with sliders. There's different ways to edit this lighters just by clicking and dragging to the left or right. You can also hover your mouse over this slider or any slider and on your keyboard pressed the up or down arrow buttons. You can also click here in the number setting on the right side of the slider and actually input a specific number. If you want to get very precise to reset a specific slider to zero or toe the original, just double click it if you make a lot of changes. This is just crazy. I would never edit my photo like this, but if you make a lot of changes and you want to reset all of the changes. You can click this reset button down here which resets the entire photo. This first group of settings are your basic settings, these air ones that will be playing around with a lot. They include white balance, tone presence. All these things will be going over in the future. But basically under white balance. This is the warmth of your photo. And also the tent which is goes from green to magenta below the tone. This is the exposure. So we have overall exposure. We have contrast, which is how dark the darks are and how bright the brights are. And this latter makes it less contrast e or more contrast, e. These next lighters affect a specific part of your image. Just the highlights. Just the shadows. Just the whites which are brighter than your highlights in just the block which are darker than your shadows. While I'm changing these, you probably noticed that up here we have a history, Graham, which shows the exposure of our image Over here on the left hand side you have your darks and on the right hand side you have your highlights. If you hover over this little triangle in the top, left or right, you can see what parts of the photo are clipping highlights or clipping darks, so this image doesn't have any clipping darks. Unless I brought down the blacks, you might see some clipping down there, which means there's no information there at all. It's just completely black, pure black or pure white, so that's something to pay attention to while you're editing to. You don't wanna have much clipping, either in the highlights or in the shadows. The low tone. You have presence, which includes clarity, which makes things a little bit sharper in a little bit more detailed or less sharp and less detailed. You have vibrance and saturation first saturation. This makes your colors more colorful for every single color across the image, and you'll see here if I really crank this up. Some of the colors get pretty wonky, including skin tones. You get that very orange skin tone. What vibrance does is it increases the saturation, but in a more intelligent way, it increases mostly blues and greens, and not so much the oranges and yellows maintaining a more natural skin tone while increasing the saturation of your image, so you can see if I bring up the vibrance. The skin tones don't get as orange as if I do that same sort of thing with saturation down below, you have your tone curve, which is another way to change the exposure and the contrast of your image. You might have heard of an S curve, which is a typical way to add some contrast. You can create a curve or edit this just by clicking and dragging up or down on this line graph. And if we want to create a NASCAR, I'll just do super dramatic. So if we click twice, you get this curve that starts to look like an s, and that has a lot of contrast. You wouldn't want to do that. You would want it to be more subtle than that, unless you're going for some experimental look. But that's another way that you can play with contrast on the left hand side of this little box or this graph are the darks. So if you click down here, you're editing the darks up here in the right, you're editing the highlights. There are more ways to edit, but we're going to be going over some of these things in the next lessons on a more practical way, So I'm not going to go over any of those. The only other thing I'll note is that up here at the top of your development tab over here on the right, you have more tools. One is your crop tool, which allows you to crop in to your photo. You can change the aspect of your crop by clicking to the right of aspect and choosing one of these other aspect ratios. For example, if you want a 1 to 1 ratio for great instagram pics shoes oneto one. Once you finish cropping your photo, just press done down here or enter or return on your keyboard. We have other tools. Such a spot removal, red eye removal, graduated filters, radio filters and adjustment brush is these are all things will be covering on specific uses later on, so that's pretty much a crash course in light room. We haven't gone over all of the effects, which we will be going over Ah, lot of them, but now you know how to change them, at least with the sliders. If you wanna learn every single thing about light room, take our adobe light room course, but I first recommend you just continuing with this course, seeing how we edit our landscapes and playing around. That's really the best way to learn just playing around, seeing what you like, because, like everything, there's usually no 100% right or wrong way to do something. It takes a lot of time and practice, and there's also multiple ways to do almost everything in light room. To adjust the exposure, you can use the sliders. You can use the tone curve. There's all sorts of ways to do the same exact thing in light room. We will be going over how toe export your photos in a separate lesson. So that's coming up later in this course, so we won't go over that just now. But really, I hope this was a great refresher on light room. If you have any questions, let us know, but again go through the rest of these lessons and afterwards, if you still have questions, please feel free to send them our way. Thanks so much and have a great day