Photo Editing Basics: Make Good Images Great Without Expensive Software | Tyler Brown | Skillshare

Photo Editing Basics: Make Good Images Great Without Expensive Software

Tyler Brown

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23 Lessons (2h 12m)
    • 1. Trailer

      1:11
    • 2. Class Welcome and What We'll Cover

      1:11
    • 3. Choosing an Editor

      8:15
    • 4. Similarities Between Programs

      1:16
    • 5. What Are Pixels?

      4:20
    • 6. How To Crop and Straighten Your Image

      6:16
    • 7. Understanding the Histogram

      4:17
    • 8. Editing Terms and The Tools at Hand

      3:21
    • 9. Editing a Landscape

      6:56
    • 10. Editing a Portrait

      6:43
    • 11. Sharpening your Image

      6:42
    • 12. Using Gradients

      9:55
    • 13. Using the Clone Stamp Tool

      8:47
    • 14. Using Dodge and Burn

      8:36
    • 15. Using Blur For Creative Effects

      5:30
    • 16. Black and White

      3:42
    • 17. Getting the Vintage Look

      4:08
    • 18. Fixing a Problematic Photo

      5:26
    • 19. Exporting for Print and Web and Class Wrap

      5:57
    • 20. What is RAW?

      11:21
    • 21. RAW Editing Software

      4:57
    • 22. Editing RAW Files

      8:19
    • 23. Using The New Tools on the Phone

      4:35

About This Class

Ever wonder why your pictures never quite look like a professional's? It's simple. The answer is editing. Half of making an image great is the edit itself.

This class will teach you how to use basic, professional editing techniques with free/affordable software (I'll cover Photoshop but it isn't required) to turn your amateur snapshot into a professional image.

Over 2 hours of video content and over 20 additional resources included!

What a lot of people don't know is that you can make professional images without Photoshop or other expensive editing tools. Whether you are new to digital photography or you are experienced but would like to enhance your ability to edit, this is the class for you. From theory to practice, you will come away from this class with  two of your photos that will go from good to great.

We'll start with the basics of what terms like Brightness, Contrast,
Exposure, and Levels really mean and how we can use a histogram to our advantage.

We'll look at how these tools exist across almost any image editor. From there, we'll review free and paid software options and dive into using these tools to see how they work in conjunction with each other. Many free image editors already exist on your computer!

Programs I'll be showing you how to work with:

After we cover those basics, we will see how much we can
improve basic images just by using these simple tools and following a proven formula.



Next, we'll then jump beyond the very basics and get into color editing, using gradients, and even some techniques to help you with
object removal and cloning to create a unique look to your images.


Through all of this, we will cover the do's and dont's of editing as well.
We'll cover what editorial and printed images need versus digital images
along with exporting your images for either print or the web.

I'm going to show you how these proven techniques can be carried over to editing images on your cell phone. The built-in Instagram filters are nice, but I'll teach you how to edit your own photos to turn out exactly how you want them to. 

Editing Skills/Tools Covered

  • Brightness/Exposure
  • Contrast
  • Levels
  • Color
  • Straightening/Cropping
  • Dodge and Burn
  • Clone Stamp
  • Gradients
  • Sharpening your image
  • Blur
  • Layers
  • Exporting
  • Advanced Editing with RAW (NEW)

By the end of this class, you'll be able to...

  • Work across any editing program
  • Understand the relationship of available tools
  • Read a histogram
  • Enhance any photo
  • Create a unique look and tone
  • Correct underexposed images
  • Discern the difference between bit depth


By the end of this class, you'll have the skills to edit portrait and
landscape images worthy of the front page of any major publication, website, or magazine!

Transcripts

2. Class Welcome and What We'll Cover: - Hey, - everyone, - welcome to my class on photo editing basics making good images, - great without the use of expensive software. - My name is Tyler Brown, - and I'm gonna teach you how to make your images go from this to this. - But the focus of this class is not on a particular software, - but on the tools that exist across all software that will you have the flexibility in the - power to jump around whenever you need. - And you're not reliant on one single program. - We're gonna cover everything from straightening and cropping to brightness and contrast to - reading a hist, - a gram and the information that that could give you. - We're also going to cover color attorney images, - two black and whites or maybe the vintage instagram feel whatever it is you may be going - for. - I'm gonna give you the tools and the techniques to be able to do that. - We're also gonna go over fixing problematic photos. - If you have problems with exposure, - maybe have problems with color, - we're going to fix those as well. - And then we're gonna bring it all together. - Now I've noticed online on tutorials. - Usually they don't cover is exporting or images. - It's actually really important to optimize your images for the Web or for prints, - depending on what you want to use them for. - So I hope you enjoy it. - I'm looking forward to what you guys come up with. 3. Choosing an Editor: - Alright, - guys. - So we're first going to start about how to choose an image editing program. - There are a ton of programs out. - There is a lot of software out there summer online based summer subscription based, - like the new photo shop CC. - There a 1,000,000,000 different programs out there at the end of the day. - But again, - this class is gonna focus on the tools in these programs as opposed to a particular program - So it may sound like a lot, - . - but I'm gonna cover about six programs in this class again, - we're focusing on the tools that exist across all of these platforms. - That way, - you're not completely constrains toe one program and you can move around as you need and - have more flexibility in the future. - The ones that we're going to cover our pain dot net Photoshopped, - pixel, - Mater preview, - live gallery and gimp. - And I'm not here to tell you which one is the best or which one is the worst, - because all of them do something a little bit different. - Some of them do everything. - Some of them lacked functionality, - but it's about what suits your needs. - When we're talking about this, - what's the difference between an advanced and a basic image editor. - Well, - first things first is that Advanced Image editors allow you to edit on a pixel level, - so they allow you to get down to the tiniest square and edit that specific color or that - specific adjustment. - That's the difference between in Advance and a basic image editor, - along with a bunch of other tools. - But for the most part, - that's the biggest difference. - Well, - what is the pixel? - You may ask? - That's a great question. - Glad you asked. - And since it is the basics course, - I'm not gonna talk about it in this video. - But check out my other video in this section for a more detailed answer. - But in short, - a pixel is essentially the building blocks of digital photography. - Each individual pixel combined, - basically like a mosaic, - makes up an image. - Each one of them is a different color. - Mac users first thing out of the box. - I'm telling you right now, - turn on your right click if you don't have it on already, - many image editing programs require right click functionality, - so it's really important you use it. - This is something that PC users don't need to worry about because it's natively something - that you use if you use the PC in the past and you're now a Mac user. - While you probably remember right click, - everyone's used to PC. - Everyone knows the functionality of right click, - so let's turn it on. - So here's how we do it. - We go to system preferences first. - Then we go to use the mouse if you're using a magic mouse or something similar on a desktop - Mac or the track pad. - If you're using a laptop Kilic either one of those, - whichever applies to you and then third turn on secondary click. - I like to set mind to click in the bottom right corner, - so it just kind of functions like a PC. - But again, - this is really important. - I mean, - right click functionality is a really key, - essential toe working with some of these image editing programs. - So go ahead and do that. - Now get it over with, - and we'll move on. - So basic image editors. - Let's first talk about what basic image editors exist already on your machine. - If your PC user and I'm specifically covering Windows seven, - here's if you're an XP user, - a Vista user Windows eight user. - I'm skipping you a bit and I'm sorry, - but Windows Live Photo Gallery is something that exists on Windows seven. - It's the most common a west for Windows right now, - so that's why I'm covering it. - And then if you're a Mac user, - you're going to see preview, - which is also preinstalled on your machine. - And both of these have basic image editing functionality, - probably with Windows Live gallery coming out slightly on top. - It is a few more tools, - and I like it a little bit better. - But if you're a Mac user, - you can use preview again. - They're not much different, - but they're built into your machine and they give a lot of functionality. - Surprisingly, - for something that's preinstalled and you can do a lot with these, - that's what I'm going to show you is the tools that exist across all image enters. - Even these basic ones are the essentials to making good images. - Great. - How do you open these? - Well, - basically right click Not. - You haven't turned on Mac users and go toe open with pretty simple and maybe set as your - default already. - Don't worry about it if it's not, - but just go ahead and right click and then Goto open with and you can open these programs - Now here's a quick screen capture of what these actually look like. - So on the left, - we have Windows Live photo gallery on the rights we have Preview. - Now, - what about Advanced Image editors? - Well, - the 1st 1 I want to talk about is gimp. - So basically the best thing about Gamba's that it's free, - and there is a ton of online support. - It's been around for almost well, - actually, - it's been around for over 10 years now, - which is really impressive. - It's competitive with photo shop, - which is amazing for a free program. - And best of all, - it's available for Mac and PC, - which is cool so you can jump across the U. - S. - Is maybe you have a PC at work, - a Mac at home or vice versa. - This is a program that you can use across both systems, - but the bad side is that has a steep learning curve and has a slightly difficult You I, - and it could be sometimes a bit sluggish. - I mean, - that's kind of the price you pay with free programs sometimes, - and one of my personal favorites is pixel mater, - which on the downside, - is only available for Mac. - But this is the one I'm probably gonna be using the most of this class. - But the nice thing is that it's really low cost. - It has great online support, - and there are a lot of professional tools. - There are a lot of online tutorials, - and it's really easy to learn. - Most of all, - it's easy to learn, - and it's easy to use, - which is really cool. - But it is missing some advanced tools. - It doesn't have as many tools as gimp. - It doesn't have 16 bit editing, - which we're not gonna talk about in this class. - But when you become more advanced, - you may want succeed but editing. - Hopefully it'll be in future versions, - but for the most part it is missing a couple advanced tools compared to get. - But that's okay again. - This is a basic class, - and this is going to do everything we want in this glass. - Next up is paint dot nets, - which is extremely popular program available only for PC. - So that's the downside of this program. - But it is free. - It has great online support, - a great online community. - It's constantly updated, - and it's easy to learn, - which is another great thing about it. - But it is missing some basic tools, - which is really unfortunate, - which is actually why I would encourage you to go with gimp over paint .net, - although again pick whatever works best for you. - But it is missing some basic tools, - like feather brushes, - dodge and burn, - which will talk about what those do later. - And you actually need plug ins for some of these features, - which is kind of a downside for some people. - So consider that when picking a program and lastly, - the one that everyone has heard about this photo shop, - right? - Everyone asserted a photo shop. - I used photo shop on a daily basis. - The beauty of photo shop is that there's unlimited support. - Practically, - there are countless online tutorials. - It's extremely stable. - It has an easy to use you I as the industry standard. - It's available for Mac and PC both, - which is great. - But the downside well, - unfortunately is it's extremely expensive. - That's why I'm Johnny Tale in this class is that we don't need expensive software to edit - photos. - I will cover this a bit if you already have Photoshopped Or maybe you're interested in - buying Photoshopped. - That's completely OK. - This class will still be good for you because again recovering the tools and not the - software. - So this class will go over photo shop a bit, - but we're not gonna focus on it because again, - we're focusing on inexpensive or free software. - But software updates are not free either, - which is a disadvantage of photo shop. - You know, - when new versions of Photoshopped come out, - be ready to pay for them. - So my choices on a PC I love to use gimp. - It's free. - It has an immense amount of tools available, - and I can pretty much do anything in gimp that I can and photo shop with a learning curve, - of course. - And on the Mac, - I'm gonna pick out Pixel mater is the best. - The reason I'm picking out pixel maters because of its extremely low cost, - and it's really easy functionality. - So Mac users out there if you're with me, - I'd suggest pixel mater PC users. - I'd suggest again, - but again, - it's up to you. - There's a lot of choices, - and again we're focusing on the tools at hand. - I'm teaching you how to use editing tools and not a specific program. - And so that's why it's important that you pick your own. - So those are my suggestions. - Check them out. - Check them out in the additional resource is area. - Look around, - get a feel for it, - see what works best for you. - Make a decision and let's get ready to edit. 4. Similarities Between Programs: - alright guys. - So again, - we're talking about similarities between these programs and want to focus on the tools that - are available as opposed to the programmes themselves. - So here's the four I covered in the last video. - Take a quick look at these here, - the tool boxes from each of these different programs. - And do you notice any similarities? - There are quite a few standing out, - and you can see that these tools look almost identical when you really stare at these. - The 1st 1 we see is the selection tool, - which will be using, - but the selection tool looks near identical again. - That's something that we can remember these icons. - Then we can pick these up in every single program we go to. - So we have the selection tool, - Which other ones look similar? - Well, - how about the clone stamp tool that looks near identical and all of these, - which we'll talk about later on about what this clone stamp tool is? - And how about the most common eraser erasers and every single program, - at least the advanced programs? - And they look identical in every single picture near identical, - So that's something to keep in mind. - We see a lot of icons across the board here that look the same in every program, - so don't be intimidated with which program you pick. - If I don't cover much of it, - that's okay. - Look for these icons and you'll find out yourself. - You can find these because they look similar in every single program. - That's the beauty of this. 5. What Are Pixels?: - the pixels are the building blocks of digital photography. - It's what makes an image, - so millions of pixels are also known as megapixels. - At times are single colors squares that make up a single image, - much like a mosaic. - So given Think of mosaic. - When you stand for their back, - you see a picture. - When you stand close, - you usually see single colored squares or something similar. - So that's exactly what pixels are there. - Single colored squares, - which make up one image. - So let's take this image of mine, - for example. - Now we look at this man's face. - We zoom in a little bit closer. - Things start to get a little bit blurry. - That's because there's less pixels. - The pixels are starting to grow essentially, - which gives us less detail that we zoom in even closer. - So here you go down to the one pixel level. - So why is it important that we know what pixels are? - Well, - Number one is that when we edit with advance image editing software, - we can edit down toe one single pixel. - So secondly, - it's important to know so that we were cropping are images or exporting for the Web or - exporting them for print. - Whatever it may be, - we have an idea of what they're gonna print. - Like what they're gonna show like on the Web. - How big the file sizes. - All of this is related to how many pixels, - maybe in your image. - So there's some common terms often related to pixels, - which you may have heard. - You may already know these, - which is fine, - but for the most part, - I want to quickly cover these because they come up a lot. - And in fact, - you hear these terms a lot on the Internet. - And when you're exporting your images, - it's important to know what these may actually mean to you, - which will cover later on in the final section exporting your images. - But for now, - these air some classic terms you for the 1st 1 being 10 80 p Well, - that's also known as HD or full HD, - which has actually referring to 1080 pixels in height, - 1920 pixels on the width. - 7 20 p, - Also another common term, - which is 720 pickles and height. - A new buzz word going around is four K, - which a lot of people will think it's four times the size of 10. - 80 p, - but it's actually only twice the size, - roughly because it's 3840 pixels in with instead of in height. - So it's a bit confusing there, - and another one is P. - P. - I. - You hear this term a lot when people are talking about displays, - maybe on mobile devices, - maybe on computers, - but essentially means pixels per inch. - Should some people also call this dots per inch? - We could get more into detail on this, - but again, - it's the basics class. - We're not gonna deep dive too much. - So looking at this across different screens, - we have three different screens that I put together here, - which we can all say that they're 10 80 p, - the 1st 1 being a 27 inch TV or monitor at 10 80 p. - That means that there's going to be 82 pixels per inch, - would go down to a really small device, - a really small hands that her phone at 10 80 p. - Now we have 426 pixels per inch in a larger TV with the same resolution is gonna have only - 48 pixels per inch. - But kind of the point I'm trying to make here is that the amount of pixels stay the same. - It's only the size of the pixels that change. - So keep that in mind. - A 10 80 p t. - V, - at 46 inches, - is going to have the same amount of pixels as a 27 inch 10 80 p TV and same as a five inch - phone that's 10 8 So it's important to remember that pixels and size are completely - independent of each other. - Pixels can be large or small, - depending on the device they're viewed on and is a wrap up. - Having more megapixels doesn't equate to better image quality. - This is a big confusion for a lot of people. - Starting out in photography is that higher megapixel phone camera, - whatever it may be, - doesn't necessarily mean you're gonna get better quality images. - So always keep that in mind. - However, - more pixels do allow you a little bit greater flexibility when cropping your image. - Since you have more pixels, - you can cut down the size of pixels to a smaller image and still have a relative amount of - work with a quick graphic that show you different sizes across what megapixels really mean - . - So the mega pixel term comes from a multiplication of the with times, - the height of pixels. - So if we come over right here to 11.5 megapixels and read, - write about the center, - you could see 4520 times 25 40 equals 11.5 megapixels. - So that's essentially where that number is derived from. - Something to kind of think about when you're looking at megapixels. - But this is how these images would stack up against each other if they were all on the same - size screen. 6. How To Crop and Straighten Your Image: - All right, - guys, - enough of the technical stuff. - At least for a while. - Let's jump on into our editors and start doing some work. - So the first thing we're gonna do is crop and straighten our images. - So cropping is basically cutting down your image to focus on a particular area. - And this can really make or break your image. - So take some time in your cropping things. - Think Look around on your image and see what you want to bring into focus and keep the rule - of thirds in mind. - When you do crop What? - It's not always necessary. - But do it looks best. - Take some time. - Don't go with the first crop you make play around with it and see what looks best. - So here I am with the cute little picture of one of my students down here in South Africa, - and I'm gonna start by focusing on her face. - So I shot this with a wide angle lens, - so it gives kind of a cool perspective, - and it's fun to see your sitting down, - but I don't think we really need that. - So before I crop, - I'm gonna show you how cropping works differently in each program. - So preview and gimp and paint dot nets all work the same way that you use a selection tool - and then you crop. - So if you remember this tool, - which exists in pretty much all programs, - you have this and you first want to make the selection of where you want to crop. - So I'm thinking maybe something like this I could move it down a little bit. - Maybe something like that's pretty cute right there. - We'll see how this looks now, - once you do that, - what? - You set this little crop here and going to go to tools and crop, - Okay. - And it looks pretty nice. - I'm gonna mess with this a little bit more. - I'm gonna undo that for now. - And let's look, - if you actually are using pain dot net or for using Windows Live Gallery. - So here's pain dot Net. - It's the same thing you're going to use thelancet selection tool. - Decide what you want to crop, - and they're going to come up here and float over this button and click crop to selection. - Now it works a little bit differently in pixel mater and in photo shop because there's an - actual cropping tool. - So if we go to pixel mater, - we have the same picture and this is the little universal cropping tool here. - So go ahead and get your cropping tool. - And now I can draw my picture, - draw my crop line. - Sorry, - I have a picture already. - Mm. - Well, - do something about like that. - And what's nice about this program is it gives you these little lines for the rules of - Third. - Something will kind of get this close to her. - I and will crop here, - and all I have to do is hit. - Enter, - and there we go. - And this works exactly the same. - In photo shop, - we look in photo shop, - we have the crop tool, - it looks the same, - weakened our box, - and we have our rule of thirds. - So again, - there's two ways you can either use the selection tool or have to use a selection tool and - select crop, - or you have a crop tool built in again. - Gimp is the same way you need to get your selection tool, - draw your crop, - and then you're going to go to image crop to selection. - Now, - what about straightening your images? - Let's say we're working with the landscape image and you want this, - Straighten your image. - Well, - the first thing you need to do is figure out where the straighten tool is in whatever - program you're using. - If you're using gimp here and we want to straighten something, - maybe we want to straighten the horizon. - Let's look at a different image here. - So here we have my Sonoran Desert picture, - which you've seen plenty of times now. - So let's say I want to straighten this a little bit. - Maybe I want to make a little bit of slope. - Honestly. - Landscapes almost always look better when you straighten the horizon. - So just remember, - that is you're going forward editing. - I have some weird highlights election here. - Someone turn that off by going to select none. - And you have this little rotate tool. - So click this and let's wait for this to open. - And here we go. - And now we can adjust this. - So maybe I want this it like an angle, - like it's on a hill. - Um, - not that I would keep this, - but just is a demonstration and click OK, - and now that we have that, - you can see that there's some areas that aren't covering the whole canvas now, - which is fine, - because now we can go back to our selection tool and drawing our selection and decide what - we want. - So, - you know, - maybe I want a little bit more sky here. - Or maybe a little less sky. - Definitely want that cactus about something like this. - Want to move this over to make sure that what you're completely covered and go to image - crop the selection. - And there we go. - So this isn't what I'm going to use but Justin idea of how that tool works. - Now if you're on PC, - which is really nice, - that's built into Windows Live photo gallery and not into preview. - In fact, - you can't straighten images in preview, - but you can and Windows Live Gallery, - which is actually really nice. - You have a straightened photo and cropped photo down here, - so use those tools as you need. - They work really well, - especially the straighten tool. - In fact, - I think it's a little bit more intuitive than gimp itself. - Now what about pixel mater? - Well, - let's go back here. - Let's undo this. - And here we are, - back to the image uncorrupt. - So let's say we wanted to straighten this and you're using pixel mater or you're working on - a landscape image. - Well, - what you get here is when you float over the corner, - you get a little rotate tool and you can use this rotate tool. - And it was straight normative that women. - We want a line to the bricks at the bottom. - Here, - let's go with that. - Looks about nice. - We didn't really adjust it much, - but it's something more Crop it right there. - That looks kind of good to. - Maybe I'll go with the horizontal layout as well. - I'm not sure, - but But again, - the point is just to play around with ears, - hear crop in your screening before kind of make a decision. - So here we are, - back and Photoshopped. - Same thing When we hover over, - we get a little rotates here, - and then we can crop in that manner as well. - And you can use these little guides on the rule of thirds to use a straightening tool. - However, - you want to do it but do your best to go ahead and give a good crop to both images, - and let's see the changes that you guys make 7. Understanding the Histogram: - understanding the history. - Graham. - What is this thing? - Well, - if you own a digital camera, - you have probably seen this somewhere in your menus or somewhere next to an image. - And you will undoubtedly see this as we start editing images. - So it's really important to know what this is, - or at least have a general concept of what it is. - So let's talk about what it is. - Well, - first thing is, - basically there is no good or bad his two grand pattern. - It just is the hissed. - A gram is there to tell us information about our image, - and that's all it is. - So again, - remember that there's no good or bad hissed, - a gram moving forward. - So the left side of the hissed a gram are very dark tones in your image and the very right - side of history. - Graham are very lights tones in your image. - So this is something to remember when you're actually looking at your image, - getting ready to edit. - We'll talk about here in a little bit on why these things are important. - Think of a hist a gram as a bar graph. - It's actually 255 bars and the furthest left bar is actually Pierre Black. - The reason this is important to remember is for printing and export purposes, - which again will cover here a little bit. - And the far right side is pure white pixels. - So the furthest right bar is pure white. - So let's look at the history ram on an actual image. - So here's an image of mine unedited. - You're gonna be seeing a lot of this class. - I hope you like it. - But what we look at when we see this history Ramez, - we see information to the right of the highest a gram and a little bit to the left of the - hissed a gram. - Now the right side is our highlights. - That's our light area. - So that's gonna be the sky, - the lighter tones in this image. - Now, - how does the his diagram break down on an actual image? - Well, - the left side are the shadows. - It's a confusing term, - and photography shadows don't necessarily mean the shadow we think of when we block Light - shadows are dark areas in an image. - So remember that again shadows or dark areas in an image. - And in the center we have mid tones. - The mid tones are kind of your mid range colors, - your mid range atonality. - This is going to be what you see here in the bushes, - maybe on the back side of the mountains, - there, - until the rights. - We have a whole bunch of pixels or bars in the history Graham that show the highlights, - and the highlights are going to be the light areas in the sky, - the clouds. - And that's a pretty big chunk on the hissed a gram. - So the majority of the sky there is falling on that right side. - Let's look in a different image, - so to throw a curveball for you guys, - I'm showing a different Instagram. - This time it's from photo shop, - and it's showing the three different color channels. - But the point of that is to show you that the history am looks the same no matter what - program you're using, - and we can read it the same. - So this image I intentionally shot Dark, - supposed to have an eerie kind of a theory Elif act going on. - So I wanted a lot of shadows or dark areas, - and that's okay. - That's not a problem, - But just remember these things is your editing and as you're shooting your images moving - forward. - So now that we have a lot of data on the hissed a gram on left side, - what does that actually mean? - What is the instant? - So now that we have a lot of data to the left side of the hissed a gram, - what does that actually mean? - How do we actually use the instagram? - Why is the History ram even important? - Well, - the history Ram tells us what's too dark, - What's to light and what's just right Now. - What may look black on your screen may not be black on someone else's. - There are monitor calibrations, - color calibrations, - a lot of things that come into effect that we need to remember when our editing images, - especially for printing as well. - So if we make things too black, - or if we adjust things according to what looks good on our screen, - we may run into problems owner printing when we're exporting, - when we're showing it to someone else and the same goes to the other side to the right side - of the Instagram. - If we make things to light things, - maybe two white on their screen when they look fine on ours, - So it's important to remember to use the hissed a gram to not push things too far toe left - with right. - So we know that they'll appear nice across every platform, - whether we print them, - whether we look at them on a different screen or anywhere else. 8. Editing Terms and The Tools at Hand: - So what is exposure and brightness? - Well, - if you've been into photography for a while, - you've definitely heard this term. - And if you haven't, - we're gonna talk about it quickly. - These terms are often interchangeable, - but not always. - And exposure is the amount of light collected by the sensor in your camera during a single - picture. - So when we use the term in editing, - we're talking about adjusting this exposure to improve our image. - So when I use terms like decreasing exposure, - that means that I'm going to dark in the image. - And if I'm increasing the exposure, - that means I'm brightening the image. - So just some things to remember as we go along to a note on brightness. - As I mentioned, - the terms are not always interchangeable in some programmes. - Adjusting brightness only effects mid tones and not the entire image. - Some programs you'll see an exposure slider and a brightness slider. - Some programs you'll only see a brightness lighter, - and some you'll only see an exposure slider. - So what is contrast? - Contrast is the difference in luminous and our color that makes an object distinguishable. - And if you look at this Wikipedia image I pulled here, - you can see six different examples of contrast. - We have very low contrast in the bottom left me a very high contrast in the bottom. - Right now, - there's not necessarily a correct contrast, - but there is a contrast that works best for printing and professional publications. - Sometimes you may want more contrast to stylized your image. - Or sometimes you may want less to give it that vintage feel. - So it really depends on what you're doing, - but more simple terms. - When you add a contrast to an image, - you're making the bright areas brighter and the dark areas darker, - and this gives us a wider range of luminous or bright areas and dark areas to improve the - look and feel of the image. - So what are highlights and shadows? - We actually covered these in the earlier video, - but just is a reminder. - The shadows air the dark areas of the image. - They're not the actual shadows that we think of blocking light. - It's just the dark areas of the image and the highlights of the light areas of the image. - So your whites, - you're very close to whites. - Your very like grades are going to be highlights. - So what is white balance color, - balance and temperature well, - just like exposure. - Brightness These terms are often interchangeable is well. - There are all essentially the same thing. - The terms relatively mean the same thing. - Now, - when we're talking about these terms, - they refer to the color tone of the image. - So we have a more blue image or more yellow image. - That's going to be the temperature of the image of the color balance of the image or even - the white balance. - They all basically mean the same thing, - so photos tended towards blue are often referred to as cool. - Images and photos tempted towards yellow are often referred to his warm images. - So for humor used these terms. - That's what I'm talking about. - And as you move forward, - progressing and image editing yourself, - you're definitely gonna hear these terms in the future. - So here's some quick examples below. - I have this same image that we've been using in the center. - We have a warmer white balance, - kind of somewhere yellow tones on the left. - We have a natural white balance, - which is closest to the original shot, - or how it appeared when I took the picture. - And on the right, - we have a cooler white balance, - which has a lot more blues and almost some resident as well. - So what is saturation? - Well, - saturation is a uniform raising of the intensity of all colors in your shot. - Don't overuse this slider. - I mean, - you approach this with caution. - Oversaturated images are typically something a lot of people do when they first get into an - image editor. - They like to add a lot of color, - but be careful with this. 9. Editing a Landscape: Alright, guys. So now you know what the tools are. Well, where do we find him? In the program you're using. I'm gonna go over that really quickly here. So if you're working in preview very simple. Go to tools, adjust color and boom. There we go. Famous sister Gram. Plus all of the adjustments we just talked about. Now, if you are working in preview or in Windows Life Photo Gallery, the first thing you need to do is go to file, save as and make a copy, or, in this case, go to file duplicate. And the reason that's important. It's so you don't overwrite your original file. Now, if you're working in gimp, you'll find all of these same tools right here under colors. And here's everything we talked about, plus more. Now, if we go to Windows Live Gallery, here's some screen shots I took. Go ahead and first click fix. And then here you see to the right, all of our tools. Boom! There's the famous sister Graham. All the tools we talked about once again. Hopefully, you're starting to see the pattern between these image editing programs. Now, if we look in photo shop if you're using photo shop, I already have my history ram open. So I'm ready to work, click image adjustments and once again, here, all the same tools we talked about. But today I'm going to be working in pixel later. So here we are in pixel mater. Where do we find the tools and pixel mater? Well, I already have mine open to the right here. Color adjustments. But to find those, I'm going to go to image color adjustments. And that's going to open up this palette here. So the first tool I want to talk to you guys about is the levels tools. I'm gonna click that. And what do we see? We see a hist. A gram? Well, look at the other programs here. If I go back to Windows Live Gallery, you see the history and you see these two little arrows just like the program we saw. If I go to photo shop and I click image adjustments levels, we see a similar looking tool with a little arrows here. And even if we go to preview, we're going to see the same exact tool. Here we go right here with a little arrows So, what do these little arrows mean? Well, the furthest left arrow sets the black points of your image. So this is gonna add contrast. You can make the dark areas a little darker with this left arrow. So if I start sliding over, you see a little bit getting darker here and to the right arrow is going to be your whites points that this is going to make your light areas a little bit lighter. Okay, so again, we don't want to add to what whites, But I'm not gonna mess with this in here. I'm gonna go back to Pixel Mater and again I'm jumping around like this to show you guys that these programs exist and these tools exist across all programs, So click levels Here we are. So I'm gonna set a black point. I want to add too much black, because again, we don't want to go overboard. It looks pretty good right here. Go ahead and add some whites. I'm watching my sky in this area. I don't want to get a two whites, but I do want a little bit more whites and this center. If you do have it depending on which one you're working on The center arrow will adjust your mid tones so you can see on a bright in the mid tones a little bit. Okay, that's looking really nice. And one of your most commonly used tools And in any imaging program should be your edits. Undo all rights. So keep in mind, you can also do command or control Z. But just remember, us haven't undo. So let's do an undue see what that looks like So you can see the big jump we had here. So if I go back, quite the change just from a little levels adjustment, So I would suggest you start with levels. Next, I'm gonna move to brightness or exposure. Depending on what you have available in this program, I'm gonna move to brightness. Open up brightness. Here. The bump this up just a little bit more, given overall brighter image. I prefer brighter images, but everyone has their own editing style. Now I'm going to go ahead and go toe light and dark in this program, which is the equivalent of highlights and shadows. So I'm gonna show you that this tool exist across most programs, actually exists across all of the programs at this point that I'm using right now, even the basic ones. So looking at Windows Live Photo Gallery here we have shadows and highlights. If we go to preview, we have shadows and highlights right here. If we go to photo shop, go to image adjustments, shadows and highlights. So I hope you're seeing a theme that we're seeing these tools across all image editing software. And that's what's important is seeing these tools, recognizing the patterns and realizing that these at its work across all platforms. So let's go back to pixel mater and actually mess with ease so we can add, we can add a little bit to our shadows. I can brighten my shadows a little bit and dark on the highlights for my sky a little bit darker. If I had too much, it's going to start looking a little fake. There's also some color banding issues here, so I'm not gonna get to extreme here. Just add a little bit can it looks pretty good now. I think I'm gonna jump back to my levels, actually and add a little bit more black now so you can see the hissed a gram actually looks different since we made those adjustments, and that's fine. So I'm gonna take this black point right to that edge right there. There we go. Okay. Right there. That looks really nice. So now we're going to do is we're gonna just the color temperature of this or the color balance. It depends on what you want to call it, but here we go. Color, balance, tool. Well, how do we do this? Another programs. Let me show you quickly. If we're in gimp, what do we have here? Well, we have a couple. We have colorized color balance. This is what we want right here. If we go to preview, we have temperature going. Same exact to a little more simple. If we go to Windows live, we have a just color. Okay, so getting these tools exist across all programs. Gonna go back to pixel mater and start messing with this. So I'm gonna warm my image up a bit. I want it. Ah, more of a yellow tone here. Someone kind of come towards yellow and you can see it's getting a little too yellow. So obviously we're gonna go to extreme and put little reds in here for the deserts. On this told a little more advanced, I can actually change the color balance of the mid tones, the shadows in the highlights, which is really nice. But for now, I'm just going to stick to the mid tones, actually, maybe add a little bit to the highlights. That way I can get some yellow in the sky as well with that kind of nice sun color there. That looks nice right there. Okay, guys. So that's our first basic image edit. So go ahead and do this to both your portrait and your landscape and upload them and let's see what you can do. Start playing with these tools and create something awesome. 10. Editing a Portrait: - Alright, - guys, - let's use these tools that we learned on a portrait. - Now so again, - to access these tools in preview, - we're going to click this little button here. - Or we can go to tools, - adjust color in preview or again, - and pixel mater, - we're going to go to image color adjustments or in gimp to access. - These tools are going to go to colors. - Okay, - at this time to change things up on you guys. - I'm going to do this in preview, - okay? - Or it again, - the concepts of the same. - I'm challenging you by jumping around on programs to remind you that it's not about the - tool it's about. - I'm sorry. - It's not about the program. - It's about the tools that exist across all programmes. - One nice thing about previews, - it actually has a live hissed A grams. - You can see as I play with this exposure here, - you see it jumping around, - which is really cool. - So all right, - so what are we gonna do with this image? - Let's find out. - So again, - to add contrast. - We want a lot of whites and a lot of darks, - So first I'm gonna bring this up. - It's a little dark. - Okay, - I'm gonna bring this edge here. - Alright? - Abouts to the white point there Looks about good guy. - Bring it a little more blacks. - No. - Kind of losing detail on her. - I if I go too much here, - but we'll add a little bit. - That's okay into this little peek here and now to get some of this back, - I'm gonna brighten the shadows you consume can bring in a bunch here. - Never got logs Really nice right there. - And her skin starting to look a little bit red. - So I'm gonna go to my saturation, - tone it down just a bit. - And then let's warm up this image. - Just It's sad here. - Okay? - I pull out some more saturation, - has a nice look there, - and let's leaving a dark in these highlights, - and I'm gonna leave the highlights. - And like the nice white contrast there, - it's not have a lot of whites and a little bit more blacks, - but that looks good. - It's kind of right on the edge of the instagram, - which is fine. - We want to keep the detail in her eye, - so that looks really nice. - Look at the difference here. - Well, - you could say It's a major differences brightened up quite a bit. - It's a lot more character in this image. - Now it pops quite a bit more. - So just for fun, - let's jump over to pick some later. - See if you can kind of re create the same thing. - So again. - Ah, - just like I did before. - I'm gonna start with the exposure. - So unfortunately, - in this program, - we don't have a history graham toe work with, - so I'm just gonna have to kind of eyeball it, - But I can see it's getting kind of white on her face here. - I don't want it to be toe have too many highlights on her face. - I'm thinking about the right there. - That's fine. - And let's go ahead and jump. - Teoh are highlights are called like dark Here. - I want a dark in the highlights that I do want a light in the shadows reveal more detail in - their face. - Go and let's go to that nice level stool. - All right, - let's bring some blacks in here. - I'm saying to you guys now, - any time you have plaques, - the images almost always gonna look better. - But just don't add too much. - You don't want to lose details in the eyes. - You don't want to start smearing hair together by adding too much black. - Obviously, - we had too much. - Black gets a bit extreme, - but some black can really make a difference in an image that looks really nice. - And actually, - I think your skin color looks a little bit better than it came out in preview. - But we'll go ahead and mess with the color balance anyway. - And so just a little bit of warmth here. - She's a little green. - Took some greens out of here, - all right. - It looks nice. - I think that looks great right there. - Alright, - guys, - let's go for 1/3 challenge it, - See if we can recreate this. - And gimp, - Let's go here to Gimp. - Here we are. - And first of all, - if you ever need to zoom on an image you can see down here, - you can zoom on your image in gimp. - And if you're using pixel mater, - you have a zoom tool right here, - which is usually a magnifying glass. - And the same is true in previewed Windows Live gallery as well, - and paint dot net and photo shop is a matter of fact. - So let's go back to gimp. - Here we are. - Let's see if we can recreate that. - So I'm not seeing an exposure tool. - But as we talked about in the other video, - brightness will typically mean the same thing in a lot of different programs. - So let's start here. - Let's first bring this up a bit. - It's a little bit sluggish, - right speed? - That's okay, - though. - And to me, - it looks like it's just adjusting the mid tones and not seeing the whites get much wider. - It's OK. - We can use levels to bring those up, - wants to fix that kind of flat. - Look, - let's add some contrast. - Let's go toe levels. - We can set our black point right to the edge of the mountain here, - and then we're brighten it up. - Add some whites right to the edge of the mountain. - Over here. - It doesn't look like anything as to why it looks like a little bit more room to go and have - a little bit more. - Bring in some light on her face by using the little mid tones. - Slider here Looks nice right there. - Right there. - That looks nice. - A little bit more black. - Okay, - beautiful. - Okay, - that and you'll notice that there are no highlights and shadows, - so you're going to have to use the levels Mawr. - If you're in gimp, - you don't have the highlights and shadows tool. - But the levels can pretty much accomplish the same thing. - You play with them, - right? - So let's go to color balance. - Ryan's that a little bit of yellows a little too much there. - Sion, - Magenta. - That looks nice. - It's a little less saturation on this, - but the exposure for the most part is really nice. - We brought it up a little bit. - There's a bunch more contrast in this image that we started out with some mates, - a major improvements. - But I worked with all three programs to show you guys that the same thing could be - accomplished in whatever you're using. - You just focus on those first tools that we learned in Create something awesome, - decided to see what you guys upload 11. Sharpening your Image: Alright, guys. So one really key important elements of working in these advanced image editors is using layers. Okay, so we see the layers panel up here, and if we go to photo shop right here, we see a layers panel here I go to gimp. We see a layers panel here, and these are the three we're going to use. There are layers in paint as well. Pain dot net as well, But we're gonna stick to these three. So why're layers important? Well, good question. If you're doing multiple edits, you need to overlay things. Maybe you want a certain area in a different color. This is when layers are important and think of layers as putting paper on top of each other , stacking paper on top of each other. So whatever layers on the top is going to be the one that shows. So let's go ahead and duplicate this layer for a next step. So right click duplicate. There we go. You can turn it off. And on here, obviously we see no difference because they're the same exact image. Same in photo shop, you can right click, go to duplicate layer and in game, same thing, right? Click duplicate layer. So, as an example, I'm gonna show you a sharpening technique That is really nice. And this is when layers become important, depending on if you want a sharp in certain areas. So let's get out our sharpening tool. Okay, So to do that, the first thing I'm gonna do is go ahead and close my brushes. We don't need those right now, and I'm going to go to image color adjustments and let's click here and go to sharpen can hear some different options. If you're in gimp, go ahead and come up here to image. I'm sorry. Select and sharpen. And in photo shop image. I'm sorry. You can't jumping around here filter and sharpen. You see some different options here, but we're just gonna use the regular sharpened for now. Let's go ahead and do this in pixel mater, so I'm going to click this one. Okay, so I usually recommend that you zoom in when you sharpen your images. So I'm gonna cancel this first. Let's zoom in a bit here and a little secret that I've been keeping This is actually a picture I took on my cell phone. That I've been working with just to show you guys. Sometimes it's not about the camera you have and how big of a difference and edit can make . So let's go ahead and sharpen this up just a little bit. Get some more detail in the cactus. Let's click are sharpen. You see if we had too much. It starts looking a little bit crazy. Almost gives too much edge contrast. So that's saying, But right there looks pretty nice. What's a little a little grainy, but that's OK. Okay, Now let's go ahead and zoom back outs. See the whole image. Okay, so we sharpened this layer here because that's the layer that we're working on now. Why does that matter? Why don't we just sharpen this layer? Well, it does give us some advantages. So what I'm going to do is I want the sky soft. I don't want this sharpened clouds. I just want the cactus. Maybe out here sharpens not even in front as well. So I'm gonna find the eraser tool. And if you hover over, you get these little tool tips is cooked the eraser and to adjust the brush eyes again, you need to click here, but that looks about right. I'm just taking out the sky. So I'm going to now be erasing this part of the layer of erasing the sky off of this layer . I should probably be good. Okay. You can see here that there's no sky on that part of Les. If we turn the back one off that you can see the sky is gone. I'm gonna go ahead and take out some of this in front. We just have a focus playing out here. Here we go. So now that's all we have on our second layer. But it sharpened Swingley. Overlay it on top of this one. It looks really nice. So what about when we're working with the portrait? Well, let's check that out. So back to our image. Havana. I'll go ahead and do this and gimp to change things up a bit. So maybe we just wants a bit of sharpness on her eyes. Hey, we don't really want to sharpen everything, so we're gonna come here on a select sharpen and let's add a little bit more and this doesn't have the adjustment tool, but that's OK. So you can click this until you see enough sharpening that you're happy with. It looks pretty good. Okay. So again, like I said, gimp is sometimes a little difficult to use. Here's a perfect example of this. If you start erasing, you're going to just get pure white, which isn't gonna work very well. If you want to erase that layer, I need to Right Click Go to add Alfa Channel. Now, when we erase, it will be transparent to the next layer. There we go. Full opacity. Let's make this brush a bit bigger. We'll leave some sharpness in her hair. Takes him out back here, though. Okay? And there you have it. Now we've added just the sharpness on her eyes. Thanks to that layers, we turn this one off, we see just her eyes there, and I could be more detailed with this. So spend some time on yours. Really? Take the time. Figure out something, figure out an area that you think you want to bring in some detail with. You can really get creative with this. And just remember how layers work again. The one on top is always going to be the one that's you see first. So you have to raise any part that you want the show from underneath 12. Using Gradients: - Alright, - guys. - So now that you know how to work with layers, - let's talk about another layering technique. - And creating Grady and Spear images is really good for skies. - You can use it for a bunch of different things. - Maybe you want a dark in the foreground or the background. - That's a bunch of different things that you can use a Grady in for. - I'm gonna show you how to use it on a sky, - because that's what I most commonly used them with. - You can really change the look of your image by darkening the sky and giving it some nice - color pop or something else. - So let's start. - First thing is to create a new layer. - Now I don't want to duplicate this layer like we did last time so I can right click here - and just go to New Layer. - Or I can click the little Plus. - It's good little plus and here we go. - So what I'm gonna want to do is pretty much overlay a dark blue for a nice blue skies. - We have the nice, - warm tones down here. - I want to give kind of a deep colored sky, - so let's see. - We can Dio. - So what I'm gonna do is click this little tool called the Grady INTs tool, - and you can adjust the great right here tool palettes in the way And let's go to show Grady - into some presets here on with close click show. - Great! - And so here's what I create earlier. - So I'm gonna go for a deep blue, - actually get the blue little darker than that. - There we go. - We're gonna lighten this up anyway. - So a nice deep blue and this is going to be you. - Just click these little arrows down here on your radiant drag. - This to the deeper sign is, - Well, - lighten it up a bit and start with something like that, - Okay? - I'm gonna click and hold drag up like first sky and there we go. - So obviously we can't see the other image because this one is on top. - Toggle it here. - Now there's two things going on when you layer your images. - Yes, - you have them stack. - But there's also a blending mode. - So if you want them to blend together, - you click this and you can select all these different ones and they're fun to play with. - So play around with them. - See what they do. - In this case, - I'm gonna use dark in or multiply. - Let's see what applies. - Getting close to what I want. - My sky toe look like overlay is also a nice tool. - And overlay looks good. - But see, - we're getting some some weird noise in here, - some grain. - So I'm gonna stick with multiply for now, - and there we go. - So now I'm going to go back to my eraser and I'm gonna race that part of my layer. - Okay, - so that doesn't look great, - but that's OK. - What I'm gonna do now is go back to my brushes. - Remember, - if your brushes aren't on, - just click this here and I am going to change the opacity of this brush a bit. - No, - I'm sorry is going to be here that way I could soften this little more. - Go to extreme. - A little softer. - Okay. - Looks about right where we want it. - Okay. - Now I'm going to click the layer and I can adjust the layer opacity right here. - Pull this layer opacity down. - So there's the original at 0%. - 100%. - That's a little much gonna tone this down. - Just kind of like it dark like that, - but we're kind of losing my clouds. - So what I can do? - Just pull a little bit more out from here, - Wanted to extreme. - And if you really want to get detailed, - make this small and just kind of a race on the cloud areas is best is you can actually that - doesn't look very good. - More detailed. - I'm coming through here. - And what's cool is we can change this brush. - I'm gonna go without that. - Have a nice deep blue sky, - The clouds air Kind of I'm going through. - Pull this off just a little bit. - That's it. - Totally. - It's nice the bright sky But it's cool to have the blue. - Maybe we just want it in the top. - Let's see what that looks like. - It's gonna like up here. - Get my bigger brush back, - take out some more down here Maybe a little bit more even turn my opacity back up. - Cloud detail in there. - Then I'm gonna soften this brush a little more. - We're sorry. - Turned the opacity down. - That's not bad. - So we toggle. - It's on and off. - Quite the difference, - right? - Nice. - Deep sky looks pretty cool. - It's crazy to think we took this on a cellphone here. - So go ahead and play a round of this Grady Int tool. - I recommend it's using it on your landscape image. - See what you can add to your image. - You can also do it here in the foreground if you want a dark in the foreground. - But just play with this Grady int tool and go ahead and erase the areas that you're not - gonna want and then play with your opacity. - Ease and remember to a pretty play with your opacity when you're racing it, - same thing, - it takes practice. - So here we are in gimp and we have the same exact tool right here. - We have the blends tool with a color Grady in, - so it's called different. - But it is a Grady in stool. - So same thing you can click here for creating new layer and again hover over these little - items that you don't know what it is, - and it will say what they are. - You can right click, - say, - new layer, - new layer. - That's fine. - You can name your layer if you want. - Just click. - OK, - I'm going to click the Grady Int tool. - You can double click it here you have. - All these presets is nice and deep sea looks nice or you can make your own. - But let's start with the deep sea. - And this is my own evident edited image, - of course, - but I'm just showing you how this is also possible in gimp. - So again, - you have your blending mode here. - It's like we saw before. - We have overlay. - We have dissolve, - which we're not going to use. - We have darkened multiply, - so we use multiply in the last one. - Let's try multiply. - So we get cool. - Actually, - that's kind of a cool looking sky already. - Okay, - so let's go ahead and erase that. - Okay? - So we already have an Alfa Channel. - If you don't make sure you add one because you will need it. - Click this racer tool here, - and let's make this a lot bigger. - You can adjust your brush opacity here. - Okay, - I'm just gonna put in a big number here. - Let's get this done quicker. - Okay? - All right. - Let's get the racing this layer. - Now that we're at that edge of the rise in there, - I'm gonna turn my capacity down. - Let's go toe like 40%. - 38 That's fine. - No, - here. - That's too much. - I'm gonna undo that. - You know what? - I'm gonna try now, - as I'm just gonna mess with the opacity of this actual layer. - So here's the a layer opacity. - Let's turn this down. - So we get it's got a nice it looks really cool. - Dark. - Let's keep it dark and will make a bigger brush Here My turn. - The capacity down. - Even more like 10%. - Do a quick wipe right here so often the blend. - That's kind of cool. - I mean, - we could work with something like this. - I think that looks good, - and especially if we go back and make our judgments on levels, - everything else, - We have a great looking image here. - So again, - you can see how this works. - Across both programs, - it's the same and photoshopped as well, - I'll quickly cover that In photo shop, - you have your Grady INTs tool. - And so you have these little tiny arrows next to your tools. - And so when you hover over these, - you can see what they are. - But if you click and hold, - you get more tools. - So here we go. - The radiant tool. - Same thing you can adjust your radiant ear. - When you click there and click these little guys, - double click them and you can pick your colors and same thing. - Make a new layer. - Same exact way. - You can either click this little button here or you can go toe layer new layer. - So there you have it. - Give it a go even you can see with me. - I've been editing for years and there's still a little bit of adjustment. - I mean, - I don't know exactly what I want to do with an image until we start playing with it. - So jump in there. - Start working with your stuff, - see what looks good, - Take some time, - play around with the tools and upload and let's see what you got. 13. Using the Clone Stamp Tool: Bye, guys. Let's jump into some advanced tools. The 1st 1 we're gonna jump into is the clone stamp tool. And what the clone stamp tool does his copy an area and paste it where you wanted. Teoh is great for covering blemishes. Or if you need to remove something out of a sky, maybe an airplane, maybe a Kim trail, maybe a bush on a landscape, anything you want to remove. You can do it with the clone stamp tool, and it takes a lot of practice, so don't expect to be perfect at this. First, try a basic rundown of this tool to show you that it's pretty easy to use. It does take practice, though. So here we are in Pixel Mater once again So I can click my magnifying glass and zoom in a little bit because you will need zoom in quite a bit using this tool. Now, if we're in gimp when he does, Oum, we're going to use this here. Okay? Down here, we can select our zoom. Don't cover up on me like that. Here we go. 100% okay, Much easier. All right, but we're gonna be working in pixel mater. So these are the three programs that have these this tool. The reason I don't suggest pain dot net is You can't feather the clone stamp tool and that's a major problem moving forward. So at this point, I'd recommend you be in gimp Pixel later or photo shop. So we actually didn't edit this image in photo shop. But here's the clone stamp tool here and in gimp we see the clone stamp tool here and in fix lemaitre. We see the clone stamp tool here. So, like we covered before, they look similar and they do the same thing essentially in all these different programs. So how do they work? Alright, well, check this out. If you're working in this program, what you need to do is click your clone stamp Click up here on this little streak, and that's going to show your brushes. If you don't see all of this stuff, you may have a little drop down that you need to click to show these tools. But here you can select your brush size, and it's not changing my breast size because I first have to define the clones source. So I need to decide what I want the clone. So let's remove something little blemishes on her face. So this looks like a close area to this little blemish here. So I'm gonna click here. Now, here's my clone stamp tool. All right, so let's get a smaller brush that's away. Too big. That's not a bad size. Okay, so now here, the important tools I can adjust my diameter my size, and I can judge us the hardness. The harder this is, the harder the edge will be. And the less percentage you have here, the softer the edges will be, and there's sometimes you need to use either one. So I'm gonna go with a softer edge, so it blends right in. Let's click over that. How beautiful. All gone. So what happens if I come over here and click some other ones? Very nice. And if I hold this, you can see that little cross air above. It's still cloning that area. So the crosshairs, essentially, where it's sampling from some little ones on her nose thes aren't bad. I'm gonna clone a new source, so I'm going to hold alter option for the Mac users here. Let's go like about right here. Take some of this offer. Knows that's looking a bit streaky. I'm gonna undo this. So one thing you also have is you have the opacity, and this is how much is actually visible. So is it actually cloning 100% capacity? So it's completely opaque, or is it slightly translucent? I'm gonna go slightly, trans. Lucien, just to soften this a bit here, it's not bad. That looks pretty good about this little spot. Here. Let's cover this up. Okay. So you can still kind of see this because my capacities down, let's turn it up. And then there we go. I don't think that will be pretty good. I don't want to go too crazy on her face. Looks like she may have. We'll snack on her face there. I'm not sure what that is, but I'm not gonna worry about it. Let's jump over to another program. See how this tool works on gimp when we click our clone stamp. Ah, here we go. And let's open this up a bit and you see brush options, right? Same Like we just looked at. You have ah hardness. Here you have a size. So we can adjust the size to make this bigger, smaller, and we can soften it. Or you can select some of the the preset brushes ends to define an area just like we did on that other program and pixel mater. You're going to hold command or control putting on if you're on a PC or Mac in, click your area, come over and click and there you go. You can see that this tool works pretty much the same exact way as in pixel mater. And as you can see here, I think there is a bit, as I mentioned before, a difficulty you. Why? But it works great. It's a free program. You can't ask for much more. And it does all the same as these other programs. Now, how about Photo shop? Same tool? Let's click here. Okay, well, where are brushes? Great question. If you're on photo shop, well, that is going to be right here in this drop down Click here. There you go. There's your hardness and your size. And let's make it bigger Just for fun. Okay, Going to zoom in a bit, Click actual pixels. Wherever I go, I said, close. You can also adjust down here If you want to change your zoom or you could do commander control minus or plus scroll up a bit. Start with this one. And I never edited this image, but I'm just showing you how this tool works. The same. So in this program to define a source, we need to hold option are Ault no option. And then cold option and then click. And there we go not see. My opacity is down as we talked about that other program. My pass it back up. There we go. All right, beautiful. So how about on a landscape? Well, let's check this out. Will do this in photo shop and the other programs as well. Is there anything I want to remove? Well, this isn't a great example. Maybe want to pull this cloud out over here. Let's take out this cloud Looks kind of funny. So what will go ahead and dio it's command. Click. Define this area. Want to soften this brush up? Maybe a little bit more and let's go over this. It looks nice. You can hardly dealt with ever there Can't at all, actually. So just you're gonna have to practice is a bit. And the reason is is because where you sample is going to have an effect on what it looks like. You sample up here and you're going to take this out. Well, you can see we got a Blue Streak. Doesn't look very good. So sometimes it takes some practice on where the blessed best places to sample. Okay, so play around with that jumper rounds, move around with their samples. It's gonna take some practice and get used to using that. Undo. Let's go back to pixel later and look at the landscape again. Same thing with this tool. We click here. We have our brush adjustments over here, diameter and hardness on. Let's take this cloud out again so we can do the same thing. We didn't photo shop. Okay, this program, you click. Even I'm jumping around, have toe learn the buttons. But again, we're focusing on the tools. All right, there we go. It's not Looks pretty good, So give it a shot. Guys, go ahead and clean up. Your portrait's a little bit. Maybe someone's face. And if you need to remove something in your landscape, do the same and do this on your edit images, the ones that you already did it. Some color adjustments on going to keep working with those. So take the edited images, do some clone stamp work on them and go ahead and upload them. Let's see what you did. 14. Using Dodge and Burn: - Okay, - guys back again with some more creative tools and actually very commonly used tools when - photo editing called Dodge and Burn. - And these tools actually go all the way back to the dark room and have carried into digital - photography. - Ansel Adams is the one to make these famous, - and what they actually do is give you the control to decrease and increase exposure in - particular areas. - So if you want a bright in a particular area, - if you want a dark in a particular area, - you'll use thes tools, - so they're very commonly used, - and they're actually pretty easy to use. - But they do take practice just like any other tool. - Have the Dodge tool here, - and we have the burn tool here. - Little fireball to make areas darker. - In photo shop, - we have the Dodge tool here and click and hold. - We have the burn tool here and in gimp, - we have the similar looking icon. - You have the Dodge burn tool package together when they click this, - and we can scroll down here and you can change between dodge and burn here. - So let's go back to pics. - Lemaitre will start here with their image of Ana, - and we can adjust our brush size because this is a brush by clicking here, - turn that gone. - We have our brush adjustments, - so basically, - you can choose what range the dodge or burn will effect. - So again, - this is going to increase or decrease whatever you click. - So if you're here and we're on the burn tool, - we're going to dark in the highlights for here. - We're going to dark in the mid tones. - If we're here, - we're going to dark in the shadows and vice versa. - Here, - we're going to lighten highlights mid Don's etcetera. - So let's start with a Dodge tool, - and what I want to do is brighten up her eyes a bit. - So let's try this already pretty bright, - But let's bring a little bit more in. - So I'm gonna start with mid tones just to see what these look like. - And here's my exposure. - The higher I have this up just for an example, - the mawr effect you'll see. - So if I have it low, - you could barely see it there. - So, - just like the eraser tool, - just like the other tools have been using, - this does take practice. - So, - you know, - take your time with this? - Uh, - get the diameter out there and let's go ahead and bring some of her eyes out. - Okay, - so another way to do this as well as I'm going to head and undo this on. - Do both of those. - And I'm going to do this on a new layer so I can see what it looks like. - And I want to cover quickly that if you already have your sharpened layers or something - else, - What you need to do to combine these is you can hold, - shift and click them both together, - right click and then go to merge layers and that will merge them together. - That way, - you're not working on one single layer. - I'm sorry that what? - You will work on one single layer and not your top layer. - So let's click off these. - What I want to do is duplicate this layer for now, - already merged mine. - And then that way I can see what adjustments I have really easily. - So I'm gonna try, - actually, - this time on a try shadows to see if we get a different look here. - See, - that's looking a bit weird. - Ryan's and looking, - making her look a bit scary there. - Let's go back to mid tones. - Keep the set about 50%. - We'll make our brush a little larger on and just like that. - Okay? - And I can turn this layer off, - okay, - just a little bit. - But enough to make a difference. - Remember, - don't overdo. - It's want to take it easy. - Wrong tool. - Do it again. - Yeah, - just a little bit more light in her eyes, - which is really nice so we can do some other areas as well. - Let's actually burn some different areas, - so let's get a larger brush here. - What I want to do is kind of dark in her shirt down here to bring a little more focused to - her face. - We'll start with mid tones again. - We'll go about 50%. - It's cranked up the sizes, - brush a little more. - Start painting through here, - dark in her shirt, - just looking a little nice. - That looks good. - Let's see with it on. - Ah, - that's great. - So bring a little bit more focused to her face, - which is really nice, - and you could do this the opposite way to maybe you want this lighter, - then you can actually use the Dodge Tool if we jump into gimp, - we can say that it's the See that it's the same exact thing here. - If we're wanting to do this, - going to click my Dodge and you can adjust your brush size up here, - make this a bit smaller. - About 50 pixels. - These numbers Aaron pixels, - By the way, - it's still too big. - Let's try dry brush of about 30 and looks about nice, - and you can adjust those right here on your exposure. - And then, - if you need to adjust the hardness of your brush, - you can adjust that here. - Here we go. - It's probably a little too much. - It's getting a little extreme. - It's bumped down this exposure. - Yo, - no, - I didn't make a new layer here, - and that's okay. - Z amounts. - Yeah, - that looks. - But if I had multiple at it's going on, - then I would definitely have a second layer that looks like super basic. - We could do the same thing with our burn tool and increase the size, - and we could dark in her shirt if we'd like Teoh too much Mr Nice little feather there and - there you go, - Dodge and burn. - Really simple tool, - but you can really get creative with this tool. - Maybe you want to burn the outsides here to give her some more focused on her face. - Let's try that. - You know, - maybe you want to lighten them to bring more focused on her face. - Remember, - we're trying to create contrast. - We're trying to make the subject that you want to focus on pop out, - and you probably use this to a little bit less on landscapes, - but you can use it on landscapes as well. - So let's get our Dodge tool. - I'm sorry or burn tool here in photo shop. - See him out a bit and we can use will set this to mid tones. - Same exact adjustments, - just like the other program. - It's a really big brush and Aiken dark in my sky with this tool so I can also use the burn - tool to darken skies. - I don't always have to use that technique I showed you, - but sometimes you're gonna get some weird, - grainy effects if you over burn areas. - So just keep that in mind. - That's why I like to use a Grady int layer because it gives less of an over processed look - . - Sometimes that looks nice right there, - so again. - You can use this tool to darken skies. - Maybe we want a light in this area. - Maybe, - you know, - the adjustments that we used earlier just weren't quite enough. - So we can click here, - we can get our Dodge tool and we can increase our brush size and same thing down here. - Go a little bit larger here, - guys. - I know we need some blacks to put back in this, - but you get the idea. - I think remember that dodges toe lighten areas and burn is to darken areas. - And again, - we can really create nice contrast with these tools. - They take practice, - so I don't feel like you're gonna nail it. - First try Give it a couple times play with the softness of the brush. - Play with the opacity ease of the brush, - which are going to give you a lot more flexibility when you start editing. - And if you want, - you can always make us separate layer. - That way you can see your adjustments in real time 15. Using Blur For Creative Effects: Okay, So another video here on working with layers this time we're gonna use it for more of a creative effect. So as opposed to sharpening, we're gonna actually blur parts of the image. And we're gonna do it much like we did with the sharpening technique. But we're gonna do it with Blur instead. So let's get started. I'm gonna right click my layer just like before. I'm gonna duplicate that layer. There we go. And now, to get back to my tool palette, I'm going to go to color adjustments and then click on the effects browser and blur. There it is. And was quick, Ghazi and blur. There's different options that you can play with. I'm gonna start with Ghazi and blur here kind of gives up that depth of field. This is another picture from my phone. Just tryingto liven it up here. Click OK? And what I want to do is bring more focus to this flower up here. So the first thing I'm gonna do is just kind of erase in this area. No. Now I'm gonna kind of soften the Blur's. We go down with a little less opacity, okay? And then we go. It's pretty simple on that tool. There's kind of some dreamy effects going on here, and I could play with us a little bit longer if I wanted to, But now it gives a nice feel here. What I could also do is I could duplicate this layer up here. So now we have 1/3 layer and I can add my Grady in tool over that I'll probably use a darker color. I don't want blue. Let's undo that. Let's go with a black here, dark in this up about there. We'll set this to multiply. Now I'm gonna take the capacity down and then get my eraser tool once again kind of take out that area it's on. Let's turn this capacity back up on my razor and there we go. So that looks a lot better. So even without this layer still looks pretty nice. But just a little dark and spot. Using that Grady Int tool like we talked about in the last lesson really gives it a nice feel and really brings interest to this. And I haven't even adjusted exposure the colors, anything on this image. So this is a great start, but Let's do the same thing in gimp. So in gimp, just like every other program, we have our layers panel. Let's right, click, Let's go to Duplicate Layer. And now we're going to go to tools. I'm sorry, Filters, and I didn't mention earlier, which I apologize, but under enhanced, you have another sharpen filter, so you may want to use that one instead. But for Blur, same thing. We're gonna go to Gaza and Blur. And here it is. And again, this program isn't quite as easy to some of the others. So you have to deal with numbers here. That's fine. There's a little preview paying here. Let's go to about 30. Can you let that process come on, gimp? And please, guys, tell me Hollywood gimp runs for you. I'm interested. Some people have good success with it. Some people have a little bit sluggish problems like myself. I really hope that it's fast and peppy for you guys more than it is for me. Okay, here we go. So just like we had in the other program now, same thing we can click this and remember, we have the right click and add an Alfa Channel I really wish that were default, but it's not. And then we can start racing. This one's not quite cropped. The same gonna raise that part of the image on my opacity is still in getting that really kind of hazy dream. Look, that's because my capacity is low to turn this all the way up. Come on, there we go. Knock this down and then same thing we could duplicate this layer and then go ahead and add ourselves, Ingredient. Want the deep sea? We're gonna go with the default. That's fine. I'm sorry. Gimp works backwards, then takes a later, so I need to drag the tool the other way. There we go. Let's set this to multiply like we did before. And since this is white on this one, actually, I don't need to really erase that much, but I definitely need to tone it down. It's a little black down here, so let's just ah, rapacity so we can get more. And I haven't even touched the colors on this image like I mentioned. So, you know, this is looking good already. If I start playing with exposures and levels and everything else, this image could really come out pretty nicely to give it a shot. Guys, come up with something cool and uploaded and let's see, we have. 16. Black and White: - Okay, - So creative color editing. - You know, - a lot of times you will want the perfectly balanced image with correct color, - but sometimes you want to get a little bit funky. - Maybe you were going for that kind of instagram filter. - Look, - maybe going for a vintage look or maybe just the black and white look. - So we're gonna go over how to accomplish those things with the tools that we've already. - We used the tools that we've already learned and how we can get the best results possible. - Why? - Just using those tools. - So if I look over here in my color adjustments again by gilling to image color adjustments - , - I see a few tools here that could do that for me. - We'll start with black and white. - So black and white is here. - Yeah, - I could start with that tool. - And yes, - we'll look at it. - But I want you guys to think critically other ways we could do it. - What about just taking out the saturation? - We talked about saturation. - Well, - let's try. - That saturation is actually hidden under Hugh in this program will call double click that, - and so we can disrupt. - I'm sorry. - That's the lightness will take saturation all the way out and click. - Okay, - so there we go Black and white looks pretty nice right now, - but what I like to do with my black and whites, - as I really like to ADM. - Or contrast to amend so darker areas darker, - lighter areas lighter and looks like we can get away with a little bit. - So let's see what we can do to add some contrast. - So let's go back to levels. - That's a good place to add contrast slide this year. - I'm watching her eyes. - I don't want these to get to dark toe where we lose the detail. - And again, - that's the beauty of the hissed a gram. - I know if I go here, - then it may look cool on my screen, - but maybe completely black on someone else's, - because we put the black point all the way and get rid of all of these pixels. - So let's go ahead and slide this toe where it's a little bit more black about right there - in white. - Same thing. - We're already We already have Pierre White. - I can tell because the very far right side, - just like we talked about, - is all the way up. - So this is Pierre White here that some other Pierre White's going on, - and that's okay. - We don't really care much about these areas, - but we definitely don't want to lose the detail in her eyes. - So we need to watch that. - We don't want to overdo it. - So we're kind of losing some of her face when I add some white. - So I need to be careful. - That's okay. - It's already got some good white, - so I can actually but add a little bit more mid tone. - I was bringing just a little bit more black. - OK, - beautiful. - So what does it look like without? - Let's see? - Yeah, - nice difference, - right? - Bring it a little bit more black. - Looks good. - So that's it. - I mean, - basically, - there's a couple different ways you can pro chit. - I took out the saturation and mess with levels, - and that's a great looking image right there again that went from good to great from the - beginning. - But let's go ahead and play with the other tool that we have this black and white tool. - Here's the black and white tulips is nice. - The contrast edges built in. - You can just add contrast straight, - but we don't have the his to grand. - Really? - Tell us what's going on. - That's okay. - I mean, - if you want eyeball, - just make sure you know I'm watching here. - Don't want to lose that side of her face. - Toe white Too much on we can. - So you take out some brightness. - I'm not gonna add any green. - This is a cool tool tool. - This is what filter is being used on black and white. - You get some funky results which will give different looks, - you know, - for the green filter. - If we come up here to the greens or if we go to yellow depending on how we do it, - it's gonna be different results. - So give that a shot. - That's black and white. - I'm gonna show you on the next video some different cross process effects and vintage - effects, - and you can decide which you want to do to your photos 17. Getting the Vintage Look: - okay, - So much like black and white. - Question is often. - How do we create a vintage feel? - How to create that kind of instagram filter look? - Well, - it's pretty simple, - but it does take time to play around with. - So let's start with our color balance tool. - You remember this tool, - but we can really tone things up in here, - so maybe we can make our shadows a nice kind of a blue tone, - that kind of vintage look, - there just actually really cool. - Just adding some blues, - read a little bit magenta as well, - just on the blues and in our highlights will kind of add some yellows. - Wrong slider. - There there we go. - Really simple adjustments. - So just added some magenta, - so the shadows and added some yellows to the highlights. - And if we toggle that, - is that a nice little vintage feel, - which is really actually pretty cool looking? - And another thing we can do is take blacks out. - So we talked about most of this class about creating contrast, - making your subject pop out. - But you can kind of do the opposite effect and take blacks out, - which will give a vintage feel. - So to be able to take blacks out. - You can do that a few different ways. - So to take blacks out, - I'm actually going to go back to Brightness and we see the contrast slider. - You can take some blacks out like that by just going down. - In contrast, - you can't really do this with levels as much as you can, - as well with the contrast slider. - So find the contrast lighter. - And then there we go have a nice little kind of vintage instagram feel A lot of people are - calling it these days, - but it looks nice, - and it really depends on what you're going for. - But this is a classic technique that I like to use. - Go to your color balance, - play with the color balancing tones and see what you can come up with. - So let's look at the same thing in gimp to here we are. - And we could do the same exact thing by going to colors and we have color balance. - And just like before here we go so I can adjust my shadows independently. - So in my shadows I'm gonna add some blues a little too much there my highlights. - I'm gonna add some yellows And there you go, - just with a few clicks. - We have a nice kind of vintage feel going on, - and we can do the same exact thing to bring blacks out by going to brightness contrast - right here. - So just to keep you guys thinking on your toes, - we're back here in preview and I'm gonna show you that this is possible even in the basic - image editing tool as well. - So let's get back to color. - And yeah, - I exported this from Pixel later, - and that's okay, - but we're just going to do the basic color edits in here to get that vintage feel of that - black and white feel. - So let's do black and white on this image in this program. - So obviously there's no black and white tool in here, - but we could take our saturation all the way out, - and, - yeah, - it looks nice, - but I think now that it's black and white, - we can add more contrast. - So let's get some more blacks in here. - So what can we do that with, - well, - weaken dark in the shadows? - I'm sorry. - Light in the shadows to start and then dark in our highlights, - starting to look nice and bring the sky in. - I'm actually going to use the contrast lighter like I showed you guys earlier. - Brings in darkness and and there we go. - There's a really nice black and white image just from using the tools built into preview. - So keep an eye again on your hissed a gram. - We're not pushing our blacks too far. - There's a few pixels over here that are clipping, - which is okay. - And there are a few over here, - which are, - but that's all right. - It's a black and white. - I love the way it looks. - It looks good, - especially when we compare it to the original. - Quite the difference. - So go ahead and do this yourself with both of your images. - Come up with something cool. - You can do black and white, - or you can give that vintage look. - Come up with something nice uploaded and let's see what you have 18. Fixing a Problematic Photo: - okay is a challenge to everyone. - I want you guys to correct this image of mind that I've uploaded. - So how do we fix a problematic photo? - Well, - now you have all the tools at your disposal. - You know how to use them. - Let's put them to work on an image that needs some work. - So what can we start with? - Well, - first, - we can use our clone stamp tool to maybe clean up some of her face here with some blemishes - , - and it's a little bit dark, - and that's okay. - I mean, - that's kind of the look. - I was going for shooting this, - but maybe a little bit too dark. - We want to bring some lightness into her eyes, - think about dodging and burning in that area, - thinking about just bringing up general exposure on her face with maybe another layer. - So let's get started. - Let me show you my techniques. - And then you come up with your own and see what you can do. - I'm gonna start first with my clone stamp tool, - something Zoom in here. - I'm sorry. - Wrong button. - And so we can clean up some for blemishes. - Here again, - this program works a little bit different will do it. - Define click and that brush is too big. - We'll click up here for our brushes. - Change the diameter. - Still too big. - It's trying 19 regular. - It looks okay. - And that's not very good. - So I'm gonna define a new area by holding option or Ault, - I'm gonna cleaning up here. - I want to go to Extreme. - I'm defining a new area every time I move around doing this pretty quickly. - But I have practice. - You'll get there. - You can see me clicking next to the source of that one didn't come out very well. - It's Trey for their way. - Okay, - this doesn't need to be perfect. - This is just practice. - So let's just go ahead and go with that. - It's a good start. - So what I'm gonna do is duplicate this layer on a right click and duplicate like I showed - you guys and I want to bring some more light into her eyes. - Well, - first, - I'm gonna start with some general exposure. - Let's close this brush menu here. - Specter effects browser again. - Once again. - Image color adjustments. - And let's go toe levels. - You can see. - Obviously this is a dark image with most of the pixels being on this side of pretty much - all of them. - So I have quite a bit of room to come up with this slider here. - Like, - come all the way to here to set the white point lot closer. - That's a little too bright. - I mean, - you can decide what looks good, - but I'm gonna want to still keep this a little dark, - so I'm gonna go about right here. - Have you had a little bit more mid tones to bring some light into her? - I That looks nice right there. - So let's see what a difference this made. - So obviously that is a massive difference from what we had before. - The exposure is majorly improved just by bringing up the white point on our levels. - So I'm gonna zoom back in. - Let's take a look. - Probably use a little bit more light in here, - And those air shadows there really dark. - So I'm going to get my Dodge tool and let's get a different brush size. - And since those air blacks, - I'm going to select shadows a little bit of a brush. - Now that doesn't look right. - Sometimes I don't get it right either. - There we go. - A little bit of light over here when there we go. - So that looks good. - That's a good start, - but it still doesn't have that dark feel that I want. - So how could we dark in these sides? - Well, - there's a few ways we could do it. - We could make another layer, - and we could turn down the exposure or decrease the exposure and then erase this section - with the eraser tool. - Or we could just use the burn tool on these edges. - Let's try that and see how that looks. - So we'll start with mid tones 50% and get a pretty large brush. - I won't even bigger than that. - I really wanted to be soft. - It's pretty nice. - I could make a smaller brush and get between her arms here. - See, - this is something you'll learn with the burn tool is you can end up getting this glowing - effect, - the long edges if you're not careful. - And that looks pretty bad. - So I'm actually gonna turn the brush down, - be a little more gentle on hair to avoid that glow effect, - and there we go. - So the original layer is the original copy of this image. - We can see the difference we made here. - So there is the original and there's the final in less than five minutes. - So show me what you guys can dio use those tools that you know how to use. - Remember the clone stamp tool, - the brush tools, - the exposure tools and even the color tools. - If you want to change the colors on this but correct this, - change it around, - make it look good, - see what you can do. 19. Exporting for Print and Web and Class Wrap: so preparing your final image, wrapping it all together. How do you export it? This is something that's often overlooked on a lot of online tutorials. I see, and I'm not sure why. But you need to know how to export your image properly, for exporting it, for the Web or for print. So here we go. So when we're exporting for Web, we obviously don't need a full resolution image unless we're sending it to someone via email is a gift or something like that to print. We don't need this massive, multi megapixel image to upload to Facebook or Twitter or whatever else we may be using, so we need to downsize the image. So in this program, we're going to click image and then go to image size, and he we are actually getting to the nitty gritty for export. So first, let's talk about print. We have three factors. Syria of with heightened resolution resolution isn't gonna matter much when you're exporting for the Web because, like I said, the important thing to remember is that pixels aren't related toe width because it depends on the screen size and pixel density. So there's a few factors at play, which will affect overall resolution one. Someone views this. Usually the industry standard is that you have 300 pixels per inch, but sometimes on larger prints up Teoh, I would say 20 inches. You could get away with 240 pixels per inch if you're not working with such a large megapixel photo. So in this case I would click OK and then from there, have a go to file save or file export. Both are acceptable file save. And here's a suggestion to you. Always keep your file number the same as it came across on the camera. And the reason I tell you that is you ever want to go back to edit and image. If you rename it something different, you're gonna have a hard time finding your original file. So keep the file name. It's a really good strategy, and then I'll do an underscore and type print or maybe edited prince, and then I'll export it. You can click save copy as turn your quality up to the best because obviously this is for print and click save. So let's do the same thing for Web. Well, when we're exporting for Web. We don't need such a massive image, especially if we're going to Facebook or Twitter with the image or something similar. We don't need a full print resolution image. So come to image and go to image size. And let's a justice accordingly. Now my suggestion is that you do 1200 pixels on the biggest dimension. Sorry, that would be on the width here, 1200 pixels on the biggest dimension, and this could be 72 pixels per inch. That's a common ah, screen density. That's kind of been the the Web standard for a while, which is gonna change over time. But for now, you can stick with 72 pixels per inch and I like 1200 on the width, which gives a nice display across larger screens but isn't too large to where it's gonna be tough the upload or any other problems that you may face. So this is a good, happy medium size. This will usually keep your images under a megabyte, which is nice for emailing and uploading etcetera. So, again, same thing. Just click OK and you see it gets smaller here, but that's OK. That's not actually the image size for Remember, we click. Our magnifying glass resumed to 100% little big there. So that's how big the image actually is. And I'm on a high resolution monitor so it may appear smaller than it actually is because some on on a lower density, pixels per inch monitor, it's gonna pierre a lot larger. So this is a good size to export for the Web. You could go to export or save. It's completely up to you and select the J. Peg. And then there you go and actually shows. It's nice. The file size here. I usually like to keep them depends. If I'm uploading to my website, I'll keep them smaller. That way, my page loads faster. I'm uploading to Facebook. I'll give them a lot higher quality because Facebook is going to do their own compression on the image, so I'll let them do it as opposed to me doing it here. Okay, here we are, back in gim guys and gonna show you that these tools exist here as well, going to go under image and you can scale image. And I actually already resized this one. But you can see here we can choose. The resolution on this is again pixels per inch, and we can choose our pixels here, and I always like to work in pixels. It's just a little bit easier for me. Unless I'm doing print work. Then sometimes I will move two inches. But for the most part, I always use pixels. Just keep it as is, if you're printing and otherwise you can downsize for the Web. Now, even if we kick over to preview here, let's see what tools we have available. Got the tools, Adjust size, beautiful. Same thing. We can adjust the resolution so it can turn this up if we want a print. It's already a really big size and inches, but we would still kick this up to maybe 2 40 look OK, and then that's essentially ready for prints and same thing. We can use these tools exact. Same way to export. We could do the same thing in Windows Live gallery, but just keep that in mind. We don't need massive file sizes for the web. So there you guys have it. You know how to export for print, you not export for web, and you know how the label your files properly, that where you can find them quickly or edit originals. If you need Teoh, so take your best product uploaded to the class and let's see what you have. So that's a class wrap. Guys, I really hope you enjoyed it. I really, really hope you're taking something away from this class. The biggest thing that I want you to take away from this class is that it's not about the program. It's about the tools, and it's also about your creativity. So learn these tools, play with these tools, get more familiar with them over time, and I promise you're gonna be a master of any program you touch. So keep practicing, keep editing and keep making good images. Great, We'll see you guys next time. 20. What is RAW?: - All right, - everyone, - some bonus material for you here. - I didn't want to include this in the main part of the course because this is more of an - advanced editing technique. - But everyone's just been doing really awesome with what we've been going over putting up - some super good stuff, - and the results are really surprising me. - So I want to offer this up to you guys to take you to the next level. - If you're interested in taking your editing even further beyond this glass, - this is the first place to start. - So that's why I want to cover editing with the raw. - Now, - if you've been hanging out on photography forums or blog's or you have photography friends - , - you've definitely heard this term editing with Raw are shooting raw, - are shooting with raw. - What the heck doesn't mean we're gonna deep dive and actually talk about what it is and - what it can actually mean for you at it and going forward. - So, - generally speaking, - raw files are just a un compressed file format. - There's a 1,000,000 different types of file formats out there for raw. - Unfortunately, - there's no standardized file format. - I'm not really sure why, - because The manufacturers don't charge extra money for their particular editing software to - edit their raw files. - But for whatever reason, - there are a lot of proprietary types out there. - We'll talk about what you can do to overcome that and what programs will actually manage - different file types. - But basically, - when you stick your memory card in your computer after you've taken pictures, - if you've shot raw, - then you're gonna see raw files as opposed to seeing JPEG files that you normally take when - you take picture so most higher and cameras are capable of shooting raw. - If you own a DSLR, - then it definitely shoots raw. - My general guideline is that if you paid over 350 U. - S. - Dollars for it, - it probably shoots raw if you really want to be safe. - If you paid something like 600 bucks for your camera, - I guarantee it shoots raw. - There is a raw setting on your camera, - but we'll talk about how to actually look into your camera to see if it shoots raw. - If you can't find anything, - you're struggling to find that just posted up and I'll help you guys out. - So how do you set your cameras shoot raw. - Well, - first thing is to go to your camera menu and find image quality. - A. - Most camera manufacturers call this kind of file section or file format section image - quality, - but some actually label it is file format. - For instance, - Pentax labels. - There's this file format, - not image quality. - So look for both. - Most likely will be image quality, - but some have file format and see what you find. - So what will it look like? - Well, - if you're on a Nikon, - here's a picture of right here You're going to see all these different image qualities you - can pick from dot Any F file extension is the raw file extension for Nikon. - Like I said, - all the manufacturers have their own proprietary file type, - which is really annoying. - There's ways to overcome it, - but Nikon xyz dot any f so you can see two options. - You can see any of raw plus J peg or just any F raw. - If you're using a Mac, - then you don't need to set any F raw plus J peg. - You could just use any F raw Now, - the reason they have plus J Peg, - at least in my experience is because older computers on older operating systems I'm not - sure if Windows eight does, - but it's because those operating systems can't natively display a raw file. - So you need the JPEG file also to know what you're looking at. - So if you're paging through, - um, - a big photo shoot that Utah can you have only raw files and you can't preview them. - It's gonna be pretty difficult to pick which one you want to open and start editing. - Um, - fortunately, - if you're on a Mac, - you don't have to worry about that. - So if you're on a cannon, - it looks something like this. - You'll see a quality setting. - You see the little quarter, - um, - the little sphere there. - And if it's a little jagged, - that's supposed to mean that it's lower quality, - if that is the more smooth edge in its higher quality. - Now you look to the rights. - This menu doesn't look as nice as the Nikon menu, - but pretty straightforward. - You can select raw you can Slyke s raw one s rock to those are smile smaller raw files. - I would just suggest selecting the one that just says raw. - You don't really need to worry about storage. - At this point, - it's so cheap, - so just pick raw. - Um, - and if you want to do raw plus J Peg, - you can add J peg as well if you need to. - Um, - again, - I suggest a shooting raw. - If you're using Windows, - it may be in your best interests. - Also do raw plus J peg, - just like we talked about on Nikon. - And if you're on a pin tacks like we talked about, - it's under file format. - So they have. - Their is pretty straightforward. - Dcj, - Peg and raw. - This may sound overwhelming. - I know we've already talked about four different file extensions. - They're all the same thing, - really. - They really are just the same thing with a different label at the end. - So don't let that scare you away. - At the moment, - we'll talk about how Teoh simplify that process going forward. - If you're gonna pick between pdf for DMG, - my suggestion is DMG. - We'll talk about why, - but think of a raw file as a digital version of a film negative. - So we talked about how raw file is an un compressed file format. - Well, - just like a film negative, - it's undeveloped, - which means you can do a lot more with a film negative than you can with just a print. - If you have a film negative, - you can add, - you can over expose it you can under expose it. - You can do a lot more because you have more data there available to you, - and it's the same thing with a raw file. - Since its un compressed, - you have extra exposure data and extra color data and ah, - bigger color depth, - which will talk about two. - So think of it that way as a digital version of a film negative. - And if I go back, - you see that dot DMG file extension that actually stands for digital negative. - So A J Peg is an eight bit compressed image file. - You know, - when you take a JPEG image, - when you see a black pixel, - it's a black pixel. - There's no extra data behind it. - There's no censor information. - It's compressed. - It's a smaller file, - and a raw file is a 14 bit un compressed image file. - Well, - what does that actually mean? - Un compressed means more exposure information, - which means mawr editing flexibility. - So if you guys thought you could do a lot with your images at the beginning of this class - or through this glass. - Really? - Just wait until you start shooting raw. - I'm not joking. - It's gonna blow your mind. - It was the biggest difference in my photography since just learning how to use the camera - itself. - So what are bits? - I was talking about eight bit J peg and 14 bit raw, - and I was talking about it at the very beginning of this class, - saying, - Pixel mater doesn't let you edit in 16 bit. - Well, - let's cover that really quickly. - Ah, - each pixel is assigned a color. - So let's just take one pixel leaving the background. - You're looking at its assigned a color and color information on J pegs or even raw files - are stored as ones and zeros or binary, - right? - Um, - computers read ones and zeros. - Most of us know that. - So one bits can on Lee display one number. - So that means it's either going to be a zero or a one. - Well, - if zero is white and one is black, - then you're gonna have an image that looks like this. - The pixels, - they're gonna be zero white or one black. - So what happens if we go to an image with a bit depth of two. - Well, - that means that we actually get to add an extra character, - which means now we get four potential colors or shades. - 12000110 or 11 Right? - So you start seeing how this exponentially grows, - the more bit depth that we have now. - We're not gonna get into the huge details of this, - but basically color tones and variations X increase exponentially with bit death. - So the higher the bit depth, - the more color tones and variations that image is going to contain. - And obviously, - that's good news if you're editing, - because then you get more flexibility. - So eight bit color. - It's actually a pretty simple equation, - but a big color like a J peg to to the Eighth Power is 256 color. - So I know that some J pegs that you get off your camera. - They look incredibly vibrant, - and they are, - um, - but it's actually only 256 variations of colors where if you take a 12 bits raw file, - you're going to get 4096 colors so exponentially more colors available to you editing. - Now it doesn't necessarily make a difference from J Peg draw if you're not editing your - photos. - But if you are editing your photos, - then you get that much more color available to you when you're actually editing. - Now, - some of you guys may have noticed that when you actually do start editing your JPEG, - it starts falling apart. - When you start, - you know, - overexposing or under exposing or burning and dodging too many areas that starts just - looking like crap. - Basically, - this is going to change now. - If you're shooting raw, - I promise you there are pros and cons, - of course, - like anything in life, - greater editing flexibility. - That's the whole reason we shoot raw. - You can recover under expose photos and even overexposed photos much better than you can - with a J peg. - Un compressed means no loss of quality with edits. - You can re edit the photo over and over over again without doing any digital damage to the - image It all and white balance could be set after shooting. - What's so cool about raw is that since colors aren't necessarily assigned until you - actually develop its weaken, - say or edit it that you can set the white balance after you've shots, - and I know we went over some techniques in this class about how to change the color, - balance and temperature. - But what happens if you really screw up your shot and it just comes out way too cool or way - too warm? - But you don't have to worry about that at all with raw, - because you can completely adjust it when you're editing it. - But the cons, - their massive file sizes you should expect your files to be at least five times bigger than - a J peg. - Obviously, - we're dealing with un compressed, - so they're going to be larger, - more bit depth, - more information. - That's why these things are so big. - But, - you know, - let's say your average J peg is five megabytes. - You can expect to see a raw file around 25 megabytes, - so that means four pictures as, - ah, - 100 megabytes. - They eat up. - Ah, - a lot of storage quickly. - My argument is that storage is cheap. - It's worth shooting raw for what you get out of it. - The other con is that they're not ready to use. - You have to edit it. - So you know, - if you're taking a quick Snapple, - you still have to process it and edit it just to be able to share it, - you must convert it to a J peg if you want to share it with anyone, - there's no standardized raw format, - which is really a pain in the butt and the time consuming. - Obviously, - if you have a ton of raw files, - then you have to edit each one. - There are programs that you could do batch editing with, - for instance, - aperture or adobe light room. - If you've seen those programs, - is there for light editing of a lot of files? - But still, - it's time consuming. - You have to process everything. - So should you always shoot raw? - Well, - most professionals will say yes, - my opinion is not always. - There are definitely times when you don't need to shoot raw. - Ah, - I shoot raw for landscapes, - weddings, - professional shoots, - anything that's paying me money. - I'm definitely shooting raw, - but off their family snaps, - you know, - I'm getting quick captures. - I'm taking a picture of the dinner that we cooked that night. - I'm not gonna shoot raw. - It's just too cumbersome, - too time consuming, - and a J pick has a faster turn around. - One of my friends is a professional sports photographer, - and he rarely shoots raw because he has to deliver his images so quick. - So the whole point of me saying this is that raw isn't for everyone, - and it's not something you want to be doing all the time again. - If you're shooting landscapes, - I recommend shoot raw something that's paying you money. - Definitely shoot raw, - but you don't always need to shoot raw. 21. RAW Editing Software: - Do you need special software to edit? - Raw? - Well, - in short, - you dio. - Unfortunately, - if your camera shoots raw, - then it came with software to convert your files, - doing more user friendly format like we talked about. - There's no standardised version of raw, - which is really frustrating, - so you either have to use their software or something else will show you how to convert - those here in a second. - But the most friendly, - UN compressed format is a tiff, - vile. - If you've seen a tiff before, - it's a general un compressed file format. - Works great for photos definitely good to use because you can open it in pretty much any - program, - and the other alternative is adobes dot DMG raw extension. - But D and G isn't a bad thing to convert to its Ah, - pretty widely accepted on most editing programs. - Uh, - editing with a tiff, - you can pretty much guarantee you can open it on anything. - So all programs that we've been working with coincidentally in this class will handle on - compressed files, - photo shop and give with a plug in Connecticut your files without converting them to - anything else. - You have to pay a lot of money for photo shop, - so it's really not surprising, - but they give a plug and actually works pretty good. - It's a little sluggish compared voter shop. - But, - you know, - if I'm editing raw, - I'm not gonna lie. - Photo shop is pretty nice, - but this glasses about affordable software. - So I'm gonna cover that more than photo shop itself. - So does your program support Rob? - Let's quickly talk about that on the left. - We have gimp. - It supports tiff files natively. - So if you convert to tiff, - you can guarantee they'll be able to open it up. - You'll have a nun compressed format. - You can just add it away with. - Now, - if you want to edit your files natively and gimp, - then you're going to need a U F raw plug in ah link. - It's in the extra material section so you won't have to go chasing around on the Internet. - Um, - like most things in gimp, - it's difficult to install. - Ah, - you just need to read around, - look around, - find the right build, - etcetera, - etcetera. - It's the price you pay for free software. - Now going on to my personal favorites is pixel mater, - and it natively supports tiff and DMG. - So if I do convert to DMG adobes file format that I can still open in pixel mater. - Um, - and what's cool to is if you just double click your raw file, - it'll actually convert it to a tiff upon import. - My big gripe about this program, - which I mentions at the beginning of this class, - which you now know what it means is it can't edit 16 bit. - You can Onley edit in eight bits, - which is really frustrating. - You'll still have a nun compressed file, - so you'll still have some extra data to work with. - But you won't get quite the range you will and gimp or photo shop, - or even preview. - Surprisingly so that is one my gripes, - but I know it's coming soon. - They actually just released an update that supports 16 bits on the new Mac pros. - So once they get 16 bit universally across the board, - I'll definitely be off photo shop and on pixel mater full time exit out. - We have preview the built in program that we all know and love on a Mac, - and it supports all file formats, - which is really cool for a native program I like. - I talked about, - um you know, - you can view your raw files on a Mac without having to install extra software without - having to install a plug in eso. - It does make sense that it can open these, - but it can actually edit them. - What it does is when you open your file, - it automatically converts it to a tiff upon editing or saving it. - And you can actually export a 16 bit tiff out of preview, - which is amazing, - which is so cool for, - you know, - free native program that you can work with raw files. - I think it's really cool. - Photoshopped. - What a surprise. - It supports all file formats and no conversions necessary. - Um, - that's what you get when you pay a lot of money for a program. - Are at least I was sure would hope so. - At the bottom we have, - um, - paint. - .net paint dot net is a classic. - It does support TIFF and D and G, - which is really quite nice by the program, - Does have some limitations, - was talked about earlier. - But if you're just doing color adjustments paint on, - that's a great way to go. - There are some other free native raw editing options. - If you're just totally sick of converting your images after trying this. - These are two great programs that are available to you. - Raw therapy was really popular, - pretty user friendly. - There's a lot of support for it online and dark table. - Basically, - all you have to do is update thes after a while. - Anytime you get a new camera, - you may have toe updates so we can read the newest proprietary raw file coming off your - camera. - But these air great programs a lot of support, - definitely. - Look into these if you don't want to go the other route of converting to a tiff every - single time. - And actually, - if you're just doing basic color editing, - the programs that came with your camera are actually pretty powerful. - I'll put a link in the description below that. - We can actually download those if you want them, - but they work. - They actually do a good job of exporting J pegs once you've edited your files. - So if you don't want to go any of the routes I just showed you, - you could just use the software that came with your camera 22. Editing RAW Files: - All right, - So enough of the technical jargon, - Let's actually get our hands dirty with some editing here. - So I have two different raw files that dot cr two, - which came off of my cannon camera there. - Jay Peak. - Friends on the rights. - These aren't the greatest pictures of ever taken, - but they give a really great representation of why raw is just the coolest thing in the - world and why it's gonna make such a big difference to your editing. - So first, - as I said, - these files are gigantic. - Ah, - this one's 26 megs. - As you can see, - the J Peg is probably gonna be around half that size and coming in at 10 megs. - So this thing weighs a modern 50% more than it's something to definitely consider if you're - short on storage. - But the goods outweigh the bads. - Every day of the week, - I'll keep shooting raw. - It's really worth paying the extra storage to get so much more flexibility out of your - photos. - Um, - but check this out. - Let's start with the this one first. - Normally, - I would open this in photo shop or something else, - but I want to jump into this in preview just to show you how powerful preview can be. - So just like we always see in preview, - normally we could go over here to the adjust color. - Well, - that's not gonna work because it can't actually edits a raw file, - even though it's displaying it. - So I'm just gonna click Save here and you can see here does not support editing eso - duplicate as tiff. - And the nice thing about a tiff is it's pretty much accepted across all different editing - programs. - It's a great great file format. - They are even bigger than raw files. - So watch out. - I guarantee, - when I say this, - it will be over 100 megabytes, - but we'll see what happens. - So let's get started. - Like I said, - we can edit right here 16 bits within preview, - which is just awesome. - So you're making basic color adjustments. - Don't need to even jump into some of the other programs going to stay right here. - So where should we start? - Well, - this is really, - really dark. - It's pretty much black. - If this is a J peg, - you couldn't really do much of anything with us. - This would just stay black. - All of this detail would be lost. - But since we're editing a raw file, - we have ah, - ton of exposure information in color information exposure data within the file itself. - Check this out. - We can recover this. - I'm gonna pull the shadows up and look at that amazing detail coming out. - Um, - you can see some Children over a year. - This was taken in Georgia, - the country, - some incredible detail in the trees, - which used to be peer black. - I mean, - if we put this back to where it was, - this is just complete black. - So you can see the recovery that I was just able to dio Onley because it's a raw file. - There's no way you would be able to do this or the J pic. - So big, - big, - big, - big advantage come with their levels again. - We can do whatever we want to this now, - now that it's basically a lot closer to something did I actually want to work with? - And like I said, - that temperature isn't actually set on raw files, - so you're gonna get some really nice tones and colors. - It's not gonna be so monochromatic when you start adjusting colors like you do on a J pagan - and get a lot more when you're working with a rock. - So really, - really cool. - That's one example. - Now if we wanted to save this, - we've got two options. - We can go save, - Um, - and we can save this year. - You can see right there depth as well. - You guys all know what it means. - Now I can say this is an eight bit tip or a 16 bit tips, - and right here, - 143 megabytes of this thing is monstrous. - But let's just go ahead and save it. - Let's just say I want to bring it into another program so I'll save it out. - Or I can save it as a J peg of I'm done, - of course. - And then, - you know, - shared online. - Print it, - whatever you want to do. - So let's get rid of these. - Let's go ahead and openness with Pixel made her. - Now it's been our program of choice. - This glass. - Okay, - so here's my tiff. - Um, - now, - against this is un compressed. - I can start editing this file and we're going to see some really amazing things. - I can do anything I want. - Since its un compressed, - there's no loss data with us so I can readjust everything that I just adjusted preview - without really causing any kind of digital damage, - if you will. - Okay, - effects browser open. - We all know now some color adjustments. - Um, - I'm not gonna hold your hand this time. - You guys were all pros now, - so I'm just gonna do this as quick as I can, - but this is kind of looking a little faded here. - You know, - this is a raw file, - so I can get pretty crazy with us. - So I'm gonna go ahead and throw a bunch of detail back into just this little church here, - look at a little and bring it exposure. - It's not bad. - Okay, - so obviously our skies blown out that eraser mines make this bigger, - and I just want the church on this layer. - So I'm just Only thing I want is the church, - and I want the background of show from the other layer. - Big difference. - Um, - let's go ahead and merge those on some saturation in here. - Not too much. - That's too much. - Okay. - And through some levels, - that's okay. - I can bring this up. - It's looking little white, - but I can brush that right back. - Since you're editing raw. - I'm gonna get my burn tool. - It's exploded little low. - It's got a little higher. - Wants to say we want a really dark sky. - Why not moments dark in these too much? - All right now this is nowhere near perfect. - It's still kind off de saturated there. - It's is really low contrast down here. - It's not perfect. - That's definitely overdone up here. - Just a quick quick at it to show you guys the power of raw Um, - this is something that you could just never achieve with the J. - Peg all of this detail that we were covered down here just be completely lost if we were - shooting in JPEG. - So this image is pretty much only possible because we shot raw. - If we compare this to the original um, - major major major difference. - I'm not gonna waste time to try and edit the J peg and see if I could get a deal with the - same. - There's no real point because I know I can't. - This is just completely rich and vibrant with color. - There's so much detail that's still existing here, - which just will not exist on this J peg. - So unless you got that other photo real quick. - We got a couple seconds. - This will open up this time with photo shop. - The reason I'm gonna do this is just to show you another tool that we haven't played with - that much. - So this is Pierre Black, - as we can all see, - If this were J. - Peg, - there would not be very much detail in here. - This would be black. - It would be pretty dang hard to change it to anything else. - We'll use the feel light, - which is basically a shadows tool like we saw. - Check this out. - This is pretty much completely magical. - This is a shot I took in Georgia as well. - Deep in the mountains, - we see trees. - We see house back there. - I mean, - it's ridiculous how much information is still in this file. - So on a J peg, - this is what we get now, - Here I can bring this up and actually start doing things with it and start working with it - and getting way more detail than I ever would have been able to get out of a J peg. - So give it a shot. - Guys post up. - If you're having any questions or problems with this, - it can be a little overwhelming at first, - but once you get the hang of working with raw, - it's going to completely change the way you at it. 23. Using The New Tools on the Phone: All right, guys, if you're still watching my video still listen to my voice. By this point, I'm super impressed, but we have just one quick little wrap up video which is taking these techniques, taking these tools and applying them to a simple at it on a cell phone. So I'm here in my favorite program for Android, which is called Picks a Pro. But this end this app doesn't actually exist for the iPhone or IOS. Eso anyone with those Iowa's devices? Sorry, guys. I can't help you. Hopefully someone else could tell us. But I've been using a Mac this whole class, so I got to get some love the other way. So let's see. We can do in this program. We're gonna be editing your favorite image in the whole wide world. Now they even seeing all class long. Um, you're probably a sick of it as I am, to be honest, but that's okay. I'm using this image again because I actually did originally take this on my cell phone, and I think it is a good one. Teoh espouse the mantra of that. It's not the camera that makes the photographer, and this is a good example that also show that in my belief, half of a good photograph is the edit itself. When you take a picture, you take a picture. When you edit it and make something good, you make a beautiful image. So you can really transform something with an edit. This is a good example that so let's get started. We cook, just still see what tools we have. And I'm gonna fly by the seat of my pants on this edit. We'll see what we come up with. I don't really know what's gonna happen here. Uh, as we talked about in that first, you know, close to the first lectures. Exposure and brightness are often used in the same vein, but in this case, they are two different adjustments, much like it's seen Photoshopped as well. So my guess like I said, is that brightness is probably just gonna affect the Midtown. So check it out. So, yes, it does look like it's affecting the make tones. It's kind of bringing some light to the shadows, not really touching the highlights so much. So this is ice was suspected. So I think actually, what I first want to Dio is at a little mid tone, little little colored in the mid tone here. I'm not color. It'll be like to the mid tones, a little bit of light to the shadows, and we can add some blacks back so I don't see any highlights and shadows adjustments. I don't see any levels adjustments. What's where. Are are my two favorite tools. So let's go ahead and just start with the brightness we can actually bring in. Submit, don't here? Let's not go to extreme. I don't want to lose the sky up here pretty nice about right there, and then we can add some blacks with the contrast. The reason I didn't talk to you guys about the contrast tool is because you can't do find adjustments with it. The thing with the contrast tool is you get blacker blacks and you get wider whites. So when you just want to add black, you don't have that option with this tool. So that's kind of the unfortunate side. About the contrast is that you can't, you know, fine tune the highlights or the shadows, but in this case, one of a choice. So that's gonna add about a little bit of blacks there. It's pretty good. I want to go to extremes, starting to lose my sky and check out this super cool tool what we're gonna mess with right here in this program, which is somewhere here. Where are you? Papuans? Filter. So this is almost the equivalent of a radiant, which is super super Kools already adjusted this to make this quicker, but you can adjust the hue here. Whatever color you on, just the brightness in the opacity as well. I'm gonna pull this in, which is completely makes our sky looks super rad. Looks super good. Now let's roll with that. And I want a warm this up a bit. With temperature. Yeah, this way. Not too much beautiful right there. And I think this whole thing get probably bumped up. Just It's sad. Like I said, I like my images a little brighter. Yeah, right there. So there we go, guys. Was that 56 minutes? Superfast cellphone edit. And we have a beautiful looking image here. In fact, I actually think I may have done a better job on this one than I did through the whole class in the computer programs So I hope you guys can take something away from this hope you enjoyed. Check it out on your cell phone. Get a good app. Used these tools. Experiment. Play around. Make some good stuff, you guys.