Photo Editing Made Simple: Free Tools to Great Pictures. | Andrew Hind | Skillshare

Photo Editing Made Simple: Free Tools to Great Pictures.

Andrew Hind, Professional photographer and teacher

Photo Editing Made Simple: Free Tools to Great Pictures.

Andrew Hind, Professional photographer and teacher

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10 Lessons (54m)
    • 1. Introduction

    • 2. Uploading and Organising

    • 3. Great Free Software to help sort images quickly

    • 4. Selecting You Images Like a Pro

    • 5. The Best Free Software for Editing

    • 6. Basic Adjustments

    • 7. The best Free Software for Fine Tuning Photographs

    • 8. How to Achieve Professional Looking Results

    • 9. Editing More Quickly

    • 10. Moving on to Lightroom and Photoshop

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About This Class

A photograph can often look great when it's being taken but is disappointing when finally printed or looked at on a computer monitor. Many beginner photographers assume that they are not photographing well or that they need a better or newer camera but often all that the picture needs is some enhancement and editing. Nearly every professional picture you have ever seen has been manipulated in some way and this course will show you how to do the same using FREE tools and some easy and quick techniques.

Enhance your photographs using FREE software

  • Learn how to select, catalogue and archive your images quickly and efficiently
  • Make basic corrections using free software to make your images stand out.
  • Discover the free software that you can use to enhance and shape your photographs to achieve a professional finish

In the course I show you exactly where to download the free software that you will need and also how to use it to achieve a smooth and time efficient workflow. We start by selecting the pictures to work on using software to quickly and efficiently save and catalogue images. We then go on to make basic corrections that will lift your images up a level before finally moving on to shaping and enhancing the photographs in exactly the same way as a professional photographer to achieve a final high quality finish.

Meet Your Teacher

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Andrew Hind

Professional photographer and teacher


I have been a photographer since I was 16 starting with film cameras, processing and printing my own films as a teenager and then becoming a professional photographer in 2003. I have wide experience of shooting weddings, portraits and commercial photography at a professional level both using film and digital equipment and I enjoy shooting street photography on my Iphone in my spare time as well!

I also have a professional teaching qualification from Cambridge University and I have taught photography alongside my other work in schools to a wide age range of children as well as at A level to more mature students.

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1. Introduction: Hello and welcome to photo editing, made simple free tools to great pictures many years ago, when we all used to shoot on film. Producing great looking photographic prints was a fairly simple process. You often sent your pictures to a lab. They dealt with all sorts of things, like color management and density, on how bright will dark the picture should be on. Did you literally pick them up? And they look fantastic these days with digital capture. Things are a little more complicated in that the photographs that you get directly from your camera may not really be the sort of finished results that they may be slightly disappointing, slightly flat looking a little bit on. Interesting on boring. There's a process that you need to go through to get your pictures looking really fantastic . Between capture on between sort of final printing or viewing on that's called editing or photo manipulation. You could see it is a disadvantage that you have to do this, and years ago a professional lab would do it for you. But the great advantage of it is that it gives you I'm creative and final control over what your first graphs finally looked like which it which is a great thing for a photographer. You might be feeling slightly put off by the fact that you might think that you might need to use photo shop or light room for this. And if you've seen any photo editing software like that inaction, you'll see that they are incredibly complicated on. They really can do thousands and thousands of things to your pictures, and that could be very, very off putting. They're also incredibly expensive as well, on its a big hurdle to get it to get over it, sort of actually getting that piece of software and then learning how to do it. This course is intended a sort of stepping stone, I suppose, is a sort of first step. We use free software on having used both the professional software on free software. This does not a massive difference between the two the free, the free things that were going to use our of incredible high quality, considering that they are free on with some work on with a little bit of knowledge, it is possible to get fantastic looking photographs with them just the same way as it is with light cream or Photoshopped. This would have paid alternatives. I also have a look with you a ways off. Organizing and selecting your files, I think, has many photographers take thousands of pictures on down, load them onto their computers. It could be very difficult and daunting. Teoh be able to sift through them effectively and quickly and work out which pictures you would like to keep red singing, which pictures you think are not for keeping. We'll go through that for a start on that will save you hours and make you much more efficient. And I will also teach you a very quick and simple way that I use Teoh. Organize and store your files for future reference. Well, then go through some basic photographic manipulations using using light zone on. Then in the next section, we will look at doing a little bit more, sort of subtle shaping. Using a piece of software called gimp on the first manipulations that we do in light zone are to get us to a good base image to get a good image, Teoh sort of starting points. They make sure that the densities right, make sure that the exposure is correct. We've got pure white, so we've got pure blacks, and it's nice and straight and on a good clean image to start with. When we work in gimp for the fine tuning, we will do thought of what you would have done traditionally in the black and white doctor and will shape the image well. We will guide the viewer's eye to the most important part of the photograph by generally lightning in Dartmouth, darkening different parts of the picture on creating some sort of shape in three dimensions . The photograph, rather looking, flattens on boring. Then, at the end of the course will have a look at what the rial differences are between the three software that we have been using on also between light room on photo shop, which are the professional alternatives. And I'll also give you some ideas that might help you decide depending on what stage is there for talking for you are on whether it will be a good idea to you to upgrade and to pay for those, or whether it's a reasonable decision to stay with the free alternatives. Okay, so let's get started on. I'll see you in the first video 2. Uploading and Organising: Okay, So the first thing we need to do is to get the images off the camera and onto the computer so that we can work with them. I'm going to show you a system that I've used here for years and years without any problems . There's another. There's a number of ways of doing this, and there's many, many ways to skin a cat, and wherever you look on, the Internet will probably tell you a different method. But this is This is a very, very simple method that I've used, um, really, really consistently for years and years and years, and I've never had any problems with it. And also, I always found it to be very reliable and very easy for myself to sort of understand and go back to. If I need Teoh, retrieve any images in the future, I don't particularly recommend downloading by plugging the camera into the computer. I don't particularly myself recommend using any of any other sort of separate software to sort out at this point. What I do for simplicity Steak is to take the memory card up to the camera, plug it into the computer via a USB three and card reader on, then copy and paste every single one of the files that you've taken every single one of the pictures that you taken from your photo shoot into a folder called camera Files. Now I suggest actually, you start off by making a folder of the actual photo shoot. So I've called it sample images here, which is what we're going to use for this course. It may be that this is a seaside photo shoot or holiday photographs or whatever for you inside there. You gotta make three folders. Don't you start with the focal camera files and this is what you download everything into. So I don't lead the whole set of pictures into that before editing. You're also going to have to other folders. So let's make anyone here called selected files and you're also going to need one called edited files. Now that sort of shows you the system or the the path we're going to go through. We're going to go from the files that comes straight off the camera. We're going to select the ones that we actually want to edit, and that's that. That's very much the sort of first stage to doing this quickly and efficiently, working out which actual ones you want to photograph in putting them into this folder, then actually editing them on making them look really, really great. And they go into this, which is the final folder, so it's a sort of 123 process. 3. Great Free Software to help sort images quickly: So we now need Teoh. Go through the images or files that we have in the camera files folder on select the ones that we want to you get ready to edit and put them into the selected files folder. Theon V s way of doing this, I suppose, is to use something like the Windows image view. Or there's a similar thing on Mac called Preview, which that we sort of works. It's a little bit long and laborious and slow and difficult. You could presume, presumably sort of go through each of the pictures and, you know, delete the ones you don't want or copy and paste the ones that you do want. It's fairly slow and laborious, though you really need to use some specialist imaging software. Um, I'm gonna recommend that you use fast own image viewer. Here we go to look fast. Own image viewer. If you do a search a Google search for fast stone image viewer, it comes up. This is completely free. It works absolutely fantastically. I've just downloaded a version of it here for this computer here and it, and it really doesn't have any out wear or spyware or any problems, that is how any problems downloading it. Also, I'm also wary slightly went downloading free software such as this, that when you get to the download page, if you don't read it quite carefully, you confined that you download some sort of associate ID software with it often anti virus software and free, you know, sort of free versions of things on trial periods. I didn't notice anything at all on this fast stone page and managed to download it without any problems. I mean, that may change, but that was that was today. But it's always worth looking out for once you downloaded it, it asked. If you want to make a donation, which is perfectly reasonable, it's a is it really is fantastic. Top not piece of software, but you can if you wish, download it completely free and use it completely for free as well. So I'm just going to stop this now and allow you to find that so fast stone image. You download it onto your your computer on. Then in the next video, we will have a look at how we actually use this piece of software to really speed up and make the whole process of sorting through your images and working out which ones you want to actually keep. Which one's your keepers and which ones in your *** are suppose really, really quickly. 4. Selecting You Images Like a Pro: So here we are in fast stone image. Viewer on. We've got the camera files folder open. As you can see here, this is just as you like. It's expects, and you can just go through and change and find a way. Your pictures are, as you'd expect today. Um, it's showing all of these raw files here. We can obviously read raw file data. You can also view tiff files. PNG files J. Pegs. Obviously, if you don't know what any of that means, it's really not a problem. It will be basically anything that you want it to do. Um, it's a really simple but effective piece of software. There's a few controls and bits and pieces up here, which we're not really going to use. We're just going to use this for selecting and tagging the photographs that we want to edit and manipulate and work on possibly worth saying at this point that I think the term said it can often refer Teoh selecting files and also to manipulating the moment we just we just selecting them. I want to select the photographs that I want to then put into the selected files followed Ready Teoh edit and manipulate on. I'll show you how to do that in the next section of the course. Um, when you first open this, you need to go to tag, and you need to allow file tagging. If you don't do that, you won't be able to do what we're about to do. So when you open the software for the first time, go to tag on, allow file tagging. Just make sure it's ticked there, Um on. You could potentially tagged the photographs as they are here now to tag a picture, which means just to put a little pink dot to say that you've selected it there, you need to press on your keyboard that you need to press on your keyboard, the left hand slash key. To go through the pictures, you just literally just go through by the forward and backward IRA, and to select them or to tag them. It's the it's the left hand slash key, so you can go through as quick is that and select the ones that you want or the ones that you don't want. Just goingto antagonist. All of those just for a moment antagonist outwards, uh, that sometimes the most manually. So there we go get it lets you know that's been That's OK, so it's too small at the moment. The easiest way to do it is to make it bigger. Double click on it like I just did then and you can still forward and backwards, obviously. And you can still tag and you'll see that when you do tag, the little square comes up here. So that's tagged. That's untouched By using the backward slash button. You can also keep tubs of where you are by just going up here just touching the top here. And it will give you this sort of slideshow view here as well. So let's have a visible go through these and decide which ones were going to use or not. And these will be some of the pictures that we use for the for the course further on as well. So I quite like that once they're going to going to attack that, uh, quite like that so tight that you want that. Oh no, that one. That is address photograph probably actually nicer than the previous dress photograph of the beginning here. So let's go back to the beginning and let's untie. Take that by just pressing the tag button again on Let's actually tag that one. So there we go. You see that one's typed, going forward again with the forward arrows who got to shoot food photos. Preferred that one, I think. So. Let's take that. Let's have a makeup picture. This one will have that one more have. Let's have that. That's nice, but there's another one there. So I got one of those. We can look at the T sort of two and fray like that. Let's tag it. There's certain software. This allows you to. You can probably do it in this, actually, to put the two pictures up at the same time. I just find it far too tedious and time consuming. I would rather just flack just flag through them like that. Really? In see them, you know, sort of full size. Say I prefer that one. OK, quite like that's attack that we've had something similar to that haven't way. Sort of potential silhouette in a church doorway there. So let's keep that one. Um, so we're currently here. Go forward. Yeah, let's take that. Let's take that. That's nice. Let's take that. Don't want that. Yes, I do, actually, cause we'll talk about the sky. So let's keep that. So you see, this is actually it is quite quick. Don't really want that when I can have that. So let's take that hat cell tag. Yes, it's Take that on that and I think that's the last one on. That one has got to be a number of problems we can sort out in when we edit a bit later in the course. So let's just go back to the overview. By pressing escape on, you could see the ones that are selected here by with their tags on. I find that while I'm using a relatively high resolution monitor here, but I do find that seeing them in full size is great. You can see what's in focus and what's not on. Do you know this is really pinpointing any real focus problems? Because this is fairly huge on my monitor, at least so is well worth doing it full size rather than trying to do them any smaller than this. Which is sort of why I don't like splitting the screen to compare pictures. I do like to see the full size. So it's press escape again to get out now. What we need to do then, is to take the pictures that we've tagged or chosen on to just transfer them into our there in his look into our selected files folder, don't you? Um, so to do that go up here tag select tagged foils only. So a press that, and you'll see that it's highlighted that detect files and then right click on one of them , and this is really, really cool. You can then just move, so move to folder or copy to folder. Now I would personally copy them into the selected Files folder. You could move the maps if you want to. But if you if you if you want, then wants to sort of, you know, go back and on, revisit them or you want to make a difference selection. It sort of makes life complicated. I like to copy them, and it keeps the thing that keeps all of them in the camera files folder, which is sort of your original set, and then you copy the ones that you want into your selected files folder. I think that's a much better way of doing it, so I'm gonna copy them to the Selected Files folder. We can browse for that. It's there. Look, click on over. They go quite quickly like that. So then, if we have a look in the selected Files folder, you will see we've got the ones that we have selected the hair. The other thing you can do with these now that you've selected them, if you wish. It's not, strictly speaking necessary. I tend to do it to make life simple. For me, when I'm editing a large number of photographs is that you can now rename them. You cannot. You can select all of them like this. You can go to tools and then you can go to battery name on. You can do all sorts of things in here and change things. I'm not going to go through this next. It's fairly self explanatory, but you can rename them so that they have, like they start at one on the end upon on whatever your number is here. If you wish to do that 5. The Best Free Software for Editing: now, having chosen the photographs in fast, and you'll want to now make them look much more professional and make them release would leap off the screen by doing some manipulation on them. There's some very crude and basic controls to do this in faster, and you can do cropping and rotating and things like that. And if you select a photograph, impress on the smiley son. You can do some very basic adjustments here. Um, this is very much that such a sledgehammer approach, and I would really recommend it is No, it's not Firestone's great forte. Thes air. Very, very crude. So what we need to do is Teoh actually download the pictures into a specialist image manipulation software. Again, this is completely free. It's called Light Zone open source on their website, his light zone project dot, or has been around for a long time. It's very well known, manipulation software slightly more complicated to download in that you need to register now. The download process is very, very simple. You simply just go down here, create an account with a user name and password. They email you then so that you can log in on. Then simply download as you would do any other piece of software. The download page currently has quite a few different versions on it. I simply downloaded the most up to date most recent version. Eso Just check that that that is all laid out in chronological order. So it's fairly straightforward, I think. Just as an aside, you might find it while worth looking at something like Hala Brize as well. His counter caliber rise dot com This'd is a free tool that helps you to calibrate your screen again. It is a click and download, and pretty straightforward to do is to say it's slightly outside the scope of the course of the moment. But if you feel that your your monitor maybe needs calibrating, or you need to get the colors on your monitor more accurate or the brightness of your monitor more accurate than this is a free and easy way to do that, Okay, so in the next lesson, then we will have a look at the light zone and start doing some basic manipulations with that 6. Basic Adjustments: So here we are in light zone on dive opened up the folder of images here, and you can see them here in what's called the browse window. There's two windows in lights, and the browse window and the edit window were in brows at the moment where you can see all of the thumbnails of the pictures could just have a look up and down like that. We can change the thumb now size if we want Teoh on the edit window, which is, which is different on is where you can actually start editing your your pictures now to go from once. The other is very simple. If I want to edit this photograph here, I need to have it highlighted down here on. Then click on edit or just double click on the picture. And as you can see, it opens up in a different window. Now there's three things. Three basic I'm changes that were going to make for a start to these, we're going to again to check the crop earns. Just see if we need to rotate and straights and anything. We're going to check the exposure and make sure that we've got a pure white point on a pure black point on. We're also going to check the color balance. Now there's a number of different tools along here that we can use as well under number of styles along here. But for the purposes of this course, we're going to keep it really, really simple on Dwork with this sort of simplest but most effective tools that were available here. So first of all, then I'm a little bit of cropping and straightening for me. This picture needs to go down a little bit on the right inside. It needs to rotate a little bit and straighten up. I'd also quite like to crop out a little bit of this. Not particularly. Nice sticker on the wall or whatever it is notice on the wall here. So I'm going to go to crop modes up here. I'm going to just hold the mouse onto the edge of the picture and just take it in a little bit like that on then by just pulling away So I get the circle and then just going to rate eight like that to strain it up just a fraction when I'm happy with that thing and click undone here and it'll re save and go back into browse mode and you can see it saved a virgin here. This is the original version on This is the change version. You see, He's got Anel, Zaidan and the in the and its name here to say that this is the changed version by light sign. So let's carry on editing that, Then double click and go back into the edit mode here. So the second thing is to make sure that we've got the exposure correct. And actually, in this picture is not bad at all. We need to make sure we've got it some pure whites in there and I could see we have here. We've got some blown out highlights, in fact, here on also, to make sure we've got some pure blacks. Now to check this, then we must go up here and we do something called the zone mapper. As we go up here, it shows us where the different zones are on. Do you can see here right in this top zone here. We've actually got some of that top zone here in the windows. I thought here she's sort of unavoidably burnt out, really know it might be a different story down the bottom. We just go down and have a look at the blacks. So I'm going down his own at the time that I can see there's blacks there, but not there. Which means we haven't really got sort of pure black in it. So if I just click on that last bit there, t lock it here and then pull it down, it's gonna make a tiny difference. Possibly. There we go. It will just mean that we can. We've got a pure black and pure white in there now to see the difference. This is just toggle it on and off here on, but also to see sort of what progress we're making. Generally I can go back to the original. Here is well, so we've done cropping and straightening. We've got the exposure pretty much, pretty much OK, we've got pure white and we've got pure black in Their next thing to do is to make sure we've got the color balance wife right or the white violence right again. It's not bad in this picture. It may be a little cool. We're just going to use the temperature slider here. This will cool it down as you see, and gradually we can. We can warm it up a little bit. That's too warm. And it was somewhere round about there, I think, wasn't it. That's just moved until it looks about right. And I think it's right about there. Look, actually, that's where itwas I can see very little difference between the two. Maybe we should warm it up a little back. Okay, so that's that one. Done. Let's click on Done and it will save it and we've got We've got her version there. That's that's the original and that's Ah, currently improved version. Let's move on to a different picture and do the similar sort of thing. Let's have a look at this one here so straight into edit mode here. So first thing to do is to have a think about cropping and straightening up. Now, Mike, my feeling on this is that it doesn't really need anything doing, so I'm not going to do anything without I'm just going to leave it. If this line here wasn't straight ish, I would be cropping that exposure wise that looks pretty much OK, so let's But let's have a look here. Design map. We can have a look at the whites. Yeah, there's a Weitz. Well, yeah, that's OK. You can see just here, here and here. So at the top here on down here, that's and again, I think probably with this camera I am using at the moment, the blacks might be Yeah, the blacks air out a little bit, so we just lock that and pull that down and it will just slight difference, isn't it? Look, if you look in the water, you can just see it. It just gives it that full range of contrast there, color balanced and say, Let's go have a look, their temperature again for me. I think I'm gonna warm up just a tiny, tiny little bit. So I'm just moving this later. Tiny, tiny way better. That's way too much. Teoh Hardly noticeable today. So that's where we were. And that's where we are now. Snow or gained by compare. That's the original, and that's where we are now. It's possibly tattoo warm, but it is. It's nice. Is it is there. So I'm happy with that and save and done Let's do another one. So I'm doing. I'm doing very basic sort of adjustments here. We will take this a stage further. Ah ah, a little bit later on. But I'm just getting a really good sort of base image for the moment where the exposure is absolutely cracked on the color under and the crop is absolutely right on. The color balance is is good. So, actually, let's look at this one. So there we are in. I didn't made here. Now this one for me, this needs cropping. I must take this off the bottom here. I think it's also is leaning, possibly slightly, to the right inside. So that's going to crop made. Let's just take off a little bit there, keep the edges, then I think they're quite like that. That's what it looks like if we just rotate that way just a little to straighten up. So let's just saves us and say, that's what it waas Okay, that's the new version, which is a little bit better, so we're straight her now. I think it's going a bit too far to the right, hasn't it? But you can you get the idea? Um, let's check how? Ah, exposure. So again, though. Yeah, the top is absolutely fine. Your camera, your your camera may be different and you know, if your exposures not spot all night and exposed pretty accurately and my camera's pretty good exposing generally. So the tops All right, maybe being up one. But I might. Well, it is lifted up here quite nicely, but it's starting to burn out the dress, isn't it? I'm going to get rid of that. We can do something with that later. Let's look at the bottom here. So the blacks okay again, cutting out about there. So let's just lock that there and pull it down and not be a slight difference. Let's just track. There we go. Look, a tiny little difference. Okay, color balance on this Neeson work doesn't. It's there. Let's have a look and see it again. It's quite cool. So I'm gonna warm this up too far to about there. So that's where we were. That's where we are now. If you look in in the dress here, you can see that it actually blew almost on my monitor, and that's just warmed it up a little bit. We're going to save so three things and we go through your pictures, do all of the fit, all of that. All of those three things are old. All of the pictures you're going to straighten up by using the crop tool on the straightening a bit crop in if you need to get your exposure Correctional white points in your black point by using his own mapper and check your white violence as well. 7. The best Free Software for Fine Tuning Photographs: Okay, so we've used light zone to get a very sort of basic adjustment and to get a strong, a strong sort of base image to start with with the three adjustments that we talked about. So I'm just going back to the previous session. We talked about rotating and cropping. We talked about getting on the exposure right with the correct white and black balance black point on the picture. And also I'm getting, ah, proper white balance. Now, those changes make very subtle differences, really, particularly with the pictures that I showed you you might find with your camera. If your exposure is further out or your your cropping or your your composition is further out that you need to make bigger changes. Your camera may not creates such a sort of pleasing image straight straight from the cameras. That makes that you might need to do more adjustments. But by and large they're relatively small adjustments that get the image to a good place to to start doing some sort of really serious work on it. The next stage. Then it takes us from something that looks like this to this. This is clearly a black and white conversion. But it's also it's also got a little bit more punching, a bit more clarity in a bit of shaping to it. A Z you can see here, and it just makes that makes the image leap out off the off the screen a little bit more, going back to this same image again here. So this is that this is as it came out of light zone, and this is the next stage that we're going to look out here. There's not a massive difference, but it just pops off the screen a bit more. On dure eyes, take into the center a little bit more to the brighter parts of the picture. I've overdone it here a little bit, just to emphasize it a bit more so you can see the difference between what looks like a relatively flat picture now on the left hand side, which is the initial photograph straight out of light zone. Teoh the manipulated picture here on the right, that's a bit overcooked. Well, it's a bit hot and a bit warm on a bit too strong in its in its difference, but it's you can see it a bit more clearly on that one, um, again, here as well. This is This is a complete image here. This is as it came out of light zone when it came out of lights and it looked OK, but you can you can see the difference. This is just got more shape to it. It's dark around the edges, your eyes drawn to the bride's face and sort of upper torso. Here, whether whether brok is and everything tweet the color a little bit of water up a little bit more, it's just gotten mawr shape, and it just leaps off the page. Now the software that you need to do this is called gimp, and you can download this from www gimp. Sorry. Www dot gimp dot orc. Again, it's a straightforward download without any problems. Again. When I when I downloaded it, there was there was no problem with with any sort of third party software being downloaded with it. So just to just take care to make sure that you're reading exactly what you're clicking on to download. But I didn't have any problems with this at all on this. This is a completely free piece of software that we're going to do the next stage in to take us from essentially those rather flat pictures. As we can see, that came out of light zone to a much more professional, polished looking picture that you've just seen from what I showed you a moment ago. Okay, download that. Andi. I see you in the next session and we'll get going in gimp, and I'll show you how to actually create create the effects that we've been looking at. 8. How to Achieve Professional Looking Results: Okay, here we are in gimp, and this is the basic gimp desktop. We need a couple of tools to help us with this. First of all, let's find making new toolbox. So we need the toolbox available here so that we can see some tools to work with, and it's useful. Also, Toe have a history folder or history pain here as well. So that's from edit and under history, which gives us a sort of blow by blow account of what we run and we can see what we're doing. A where we've come from, Let's open our first photograph. This is looking quite familiar by now on. This is as it came out of light zone. We really need to make this this pop off the page. Now, Andi, look a little more professional. What I want to do is to bring the eyes attention to this middle area here, which is where the main subject is. I want to darken the outside of little on, bring up the contrast on it to make it more punchy and possibly put a vignette around the outside. That's the basic principle for for all, all most of what we're going to be doing just great shaping the picture, bringing the I to the subject, darkening the less important things. Or put boosting the contrast a little bit and possibly being getting around the outside as well. So the eyes drawn into the middle of the picture or drawn to the subject matter of the picture. I want t. I want Teoh Select the subject area, so I'm going to use this tool here. She's a free select two. I'm going to go around it very, very quickly and loosely. It doesn't have to be particularly exact. Make sure you meet in the middle there again so that you get this sort of marching out. It's the fact now to light in this, we're going to go to colors. We're going to use curves. There's lots you can do with curves tool. But for the moment, we're going to just light in the image by pushing up the middle of it like that and you can and you could see that makes it. That makes a big, big difference. There's a little preview tick here. That's as it was before, speaking quite dark. That's as it is now, and you can see that that's that. That's a really big difference. And already your eyes drawn into the middle of the photograph a little bit more effectively . Let's look okay on that. Now I want to work on the outside here. So the bits that aren't selected here So I'm going Teoh inverse the selection or invert the selections that select on invert. And now, if I go to colors and I find our curves control, you can see this that what I'm doing is affecting the outside of the picture, but not the middle. Now, I don't want to just make this doctor is gonna look a little bit muddy. In fact, it might bring it just up a little bit, but I'm going to make a lot more contrast. E to increase the contrast of a picture you need Teoh make a really nice s shape with curves. Something like this, the stronger the SS that the more contrast yeses the area up here is the light of lighter parts of the lighter shades in the area. Down here is the darker shades. Now that's a little bit O t t. I think it's really over the top. So I'm going to just move down that curve a little bit. So we've got something like something like that that looks about about right. It still a little bit stronger, I think, to be honest, but there we go. That's not by this all, Um, then let's go to the selection and will de select everything. So I seem to have lost my history palette for some reason. Let's find that I get that back again. There it is. Look. So we started with a base image there, which you see now is looking quite flat and dull, and we've finally got to something that looks like that now for me at the moment. Big difference. That's still a bit to contrast. The I'm not totally happy. I would probably spend a minute taking out the lady's face here, So let's let's do that. Let's bring our toolbox back. Not quite sure whether it's gone, but let's click on Toolbox. Let's make a smaller selection just in this area here. She's looking at a bit muddy, isn't she? I think probably on Let's bring her up. So we need to go Teoh colors, curves and just a tiny, tiny adjustment There we go is not a lot of difference. Ah, hitting the preview again Here. This is where we were. This is where we are now on. You can see that said, that's a big improvement on where we were previously. Go to de select everything so nothing is selected anymore. Bring up the, um, history again so that you can see So we started there and we're currently we're now there now I would really like It's just a dark in the edges, particularly side a little bit eso going back to our tools Parlor it. Let's just find that again are tools box. Just use this one here. Now, this is a rectangular selection tool. I'm going to drag this over the photograph, so that's essentially selected the whole picture. Really? And if I dio going to color's again, if I do my curves adjustment, you can see it's affecting everything, which I wish I don't I don't want I'm gonna just straighten that out and get rid of that for a minute. I just want to affect the edges. So I'm going to inverse the selection. Invert So we now working on the outside. My God goes Carlos again curves on. If you see if I pull this down to make it dark, you could see on the right hand side, particularly on the bottom. It's just it's just putting a darker edge around the outside is quite nice. Which dress draws your eye into the middle? Let's inverse Sorry de select all of that like that. Let's find our history again under history again on then we can look at where we started. It's not particularly pleasant now to where we finished on. You could see that's a huge improvement now in gimp. You can also change to black and white very, very easily. But the number of ways of doing it the simplest ways to de saturate like that and click OK , there are much more complicated ways of doing matins and all sorts of subtleties that gives slightly different black and white effects, but that's the simplest way of doing it. I'm not sure whether I prefer that's in color or black and white, so I can under your history, I can go back to my color version here, which was there, in fact, and I could just have a look through the two versions and decide which I like. Not sure. Okay, so that's one picture in the next video, we'll go through that a little bit more quickly with several other images as well. The principles exactly going to be exactly the same. You're looking for a lighter point in the middle or where the subject is to draw the eye in . And you're looking for the rest of the image to be a little darker and shapes away and possibly around the edges to have some sort of edge of ing yet on it so that your eyes are drawn into the center. Okay, See you in the next video. 9. Editing More Quickly: okay. In this section, we're going to go through using gimp a little bit more quickly. We'll open some of the pictures that we've looked at previously on. Edit them just a little bit more swiftly. So you get the general idea. Is toolboxes open here? We're going to do exactly the same thing, really, with most of them. This one again. Here. You can see that. I I want to look at this part. Here are my has been drawn to the bright part of the dress at the moment. I want to be drawn to this area here, and I'm going to darken and give a little more punch to the outside. I'm not gonna post being yet on this because it's got the doors on here already. So I'm going to get the tour here. Just double click on it. If you have done it already, just check that you've got feathered edges here, and this is pulled right up and you get a nice soft edge around the outside. I'm going to get around this area here. She's the most important bet. Rarely. Okay. Until we've got that, then I'm going to go Teoh curves. I'm going to just bring that up a little bit to something like that Might give it more contrast by just tweaking like that. Click. OK, they're gonna work on the part outside that so select, going to invert that selection. So we working on the better out here again go to curves one more time, bring it up a little bit. We're looking for an s shape. So let's just Brighton that's a little bit so I'll just big contrast. That's a little bit like that. Okay, take on that. That's actually a little bit stronger already. Let's just have a look historically, at what that looks like. So edit under history. Bring it over here so we can just see we started off. We started off there with the base image looking quite flat on. We're now here. That's de select S. So we have got those bits and pieces in the way we know there, which is an improvement that's quite flat. It's the wrong way around. You know, you're looking the wrong with the wrong place that's really reshaped. There's this is this is too bright Now I would possibly take a little bit of a minute to darken that down. Let's just find the tools again. Let's just select that back unless very, very subtly. Just take that down a fraction. So, yeah, there we go. Just a little bit. You see, if we go up, it blows out. Although these are we take it down just a little bit. We can get a little bit more detail in that area. Andi, that's d selector. So we have what's anything, They're all right, so that that that's the 1st 1 Not a lot to deal on. That one is going quite a nice shape to it anyway, in the middle here, and you've got the frame of the doors around the outside of the trees here, which gives a sort of natural shape anyway. And then you would file and say onda safe. So let's let's get rid of that one. Just go with that doing the another one. So this one again will look familiar. Yes, the bride in the hallway base image here. Okay, The important bet here is this area here. We want to bring attention to the to the upper part of the bride's face in this lovely light here on her flowers. Also possibly taking a bit of attention away from this lower bit here, which is quite bright and not that interesting. So again selecting here a quick selection around like this and round the clock join it up. Then we go to colors, curves. Let's take it up a little bit. No more than that, really, To be honest, possibly gives a little bit of contrast, but not much clicking. Okay, let's go to the inversion of that. So select invert. We're now working on their bitter outside of her curves again. Bring it up a bit, I think gives a little bit of color and then pull it down quite strongly. That's better. And I want to be in yet this I'm gonna put a vignette around the outside of this. I'm going to get rid of all of that from a toolbox again. Um, I need this here. It's just double check again. That that's got no is the feathering rips like that way we Oh, okay. This around dark corners on this as well that will help. Okay, And then let's just drag that over and you can see where that's going to do the business can't you? It needs inverting as well as we're going to be darkening the bit in the middle. So select invert colors, curves that's pulled down. OK, so you see the effect of that. That's where we that's where we were, is really good. If they actually get through that bright bit, there look. So let's just pull that down a little bit like that and then click OK d select everything. So no selections. Let's have a look at where we've come with that. So we started off up here with a fairly flat looking picture, and then we've got that. That's got a lot more shape to it. It says. It's a relatively subtle change, but it leaves off. The page is a completely different shape, completely different sort of field to the picture. Possibly want to just bring up this area here, let me start quite like to see the clock face. I think so. So again, let's just go to the toolbox. Let's click on there. Let's just go around that the clock face just a little bit. Andi, bring that up. Just a fraction. There we go. That's nicer, isn't it? Okay, then you would file and safe. Let's just have a look at the completed picture. So nice election. Um, on this is where we started. Not great, right? And that's where finish huge difference. It looks a little far off, significantly more professional. The big thing with this is not to overdo it. You know, it would be possible to over Bright and her two over contrast all of this stuff here to our having it around the outside, its subtleties, the name of the game. Really, it needs to look subtle and start on and stylish and tasteful s. Oh, it's just a case of experimenting with, you know, with the tools and not over doing it. Really. And finally, let's do the last one of the set that we've bean working on student the one of the of the lake. Okay, now, this has been hard. There's not a lot that needs doing to this for me, to be honest, well, possibly bring out this central bit a little bit here, so let's do that first. Originally I ever cooked this one or over did it a little bit to sort of show the point. It's gonna be a problem in a minute. When I do this in that whips from one kind of curves in that bride's dress is just completely white out, which isn't great. It's better actually going to see that popping off the screen a little bit more have brightened it, and I've also would really gentle left straight pins. Give it more contrast for the moment. Let's just do something with the outside. They're gonna just come back and see if I can maybe pick up a bit more detail in that. So we'll go to the outside. Have I inverted that? I can't remember. Invert. I will soon find out colors curves, yet we find Okay, say, let's go up a little bit on down a little bit You can see actually particularly house. How much of that look at the really what difference in the contrast there possibly bring it a little bit darker, but not too much? It's very easy to overdo this picture. Actually, To be honest, it still needs to look quite natural. There we go. Okay, lets de selectable of that lot put a vignette around the outside and then I'm going to just see received. We can catch any more detail in there. So again, let's find our toolbox. And here let's just check. We got everything we need on here around two corners and we've got feathered edges. That's good around we guy. Drag, drag, drag, drag, drag. Remember to invert it, so so act, invert. Then we're gonna pull it down, curves just a little bit. There we go that you see in the water, particularly now that's that's that's overdone. You see a quiet edged our it's starting to I would do. But there something like that. Select no selection. Let's have a look at how that looks from beginning to end. So that's where we started from a bit flat. That's got so much more shape to it. This is significantly better. Actually, I wonder if we could do something with the bride's dress well similar as well as similarly to how we did in the previous picture. I would select us and just bring it down a little bit, but I like that. That's that. That's a nice looking picture. Now all of the photographs essentially are going to look exactly the same. Oh, are you going to do the doctor the same thing to it when I edit wedding photographs like I edit hundreds of photographs with that base. In that basic way, it's very similar to what you would do in a traditional dark room in terms of dodging and burning. So you dodge or light and the most important parts of the picture where you want the I to go and you burn in or dark in the parts of the photograph, where you where you don't want the emphasis or where you don't want the I to go to putting it being yet around the outside, however subtle, also just it just leads the eye in this. The I obviously goes clearly to the middle of this picture anyway, but you can sort of direct the listener into the listener director him. The person that's looking at the photograph quite subtly bite by by shading and shaping in the ways I've just shown you in this in the two videos. Okay, I hope that's all clear. Have a go at some of that and we get on well with it. The any problems you're likely tohave, I think, are in the toolbox. If you forget to do the feathering here but a feather the edges on. Do that up. When you're putting a vignette on, you need the same thing here you need to feather and you need to round your corners. I think that could be an issue with using larger file sizes in gimp. Thes fire sizes are particularly big, and it works. Okay, you will find that the bigger the file size that less this feathering works and you'll find that you get much more sort of defined edges to the pictures, which could be a little bit of an issue that will depend on what camera you're using. There's a way around that by using not in gimp. I don't think that you could use is a way around it in photo shop, because this is a lot more controllable on in the next video. I'll show you how you would achieve basically what exactly the same as what we've done using light dream and photo shop just for your own benefit, really, Or Iran interest, really, just to see if you think it is worth upgrading, see if it is actually worth. We're spending money rather than using the free tools that we've been working with. Okay, see you in the next video 10. Moving on to Lightroom and Photoshop: Okay, here we are in light room. You can see it actually looks fairly similar to light zone on. In principle, it works the same. Same way just the same thing. In light room, you've got more modules to play with Up here, we've got a library module which which you can use to sort and organize the develop module , which is where we will do most of the basic manipulations that we did in Light Dream in Light Zone story. There's a map module which allows you to our geographical information. Two pictures. A book module which allows you to design books with your photographs. The slideshow murder all the print module under Web gallery creation module. The changes that we can make on this picture are exactly the same. Aziz, Weaken. Do as we did in light zone. I'm going to use the same picture just for the purposes of illustration. But in terms of just cropping on straightening, we're doing exactly the same thing. It's very quick and easy controls down the right hand side here, I think, a little bit more intuitive to use than the ones in light zone we did on exposure. Change didn't way we can lighten and darken here. We can check the black point up and down. Here s so if we wanted to bring that down a little bit the white point being up there we can see whether highlights in the white points are on the picture here. We can also change the color balance up here. It also has a very handy auto feature which actually lost the times quite accurate, that also correct a lot of the issues that we've been talking about with the flick of a button. It's not 100% but it is quite good. The great thing for me is that I now don't have todo out of light room Teoh to do further manipulation. I can't. I can actually go straight to added this picture in photo shop the to a sort of inter linked together. And that, for me, is a great time saver. I can actually I can actually open several images at a time. Andi can't go from light room. Teoh photo shop in a matter of moments which is a huge time saver in light zone. Essentially work separately from gimp. Doesn't you know you can't do You can't do that once we get into photo shop with similar similar artist again for quite striking, I think, um, you got toolbar down right outside here. There's a little bit of a navigator here. We can put in a history box here. Just as we had ons. We could do the same thing we can. Is the selection tool here on the lawsuit. All weaken, feather the edges. Here, we can go around it in exactly the same way as we did in gimp. Uh, image adjustments and curves this time, uh, we can bring this up now. I've just been working in gimp a few minutes ago when I did the previous video on the feel of photo shop. It's just a little bit. It's a bit smoother this this is an easier adjustment to make. It's a bit more controllable. It's a little bit more subtle. I think the actual qualities better we look at the face here. It doesn't lose quite so much detail. We need to inverse that snow invert just as we did before. Let's get images just spent curves bring down the bring down the outside a little bit like that. Thank you, Daiki. Not bad eso looking at the history that really need to do this because you know what it looks like. But, um, history was like on there we go This Waas the opening game age quite flat. This is where we are now. Just de select everything that I can say that to save it, and it will actually save it back into light room. There we go. So go the original one. There you go. That there we can do b'more in light room on it than if you want to. We might want that. I would put it being yet on. It's quicker to do it in my room than it is the way that I showed you previously in gimp. I just do that. Let's be too much, Davide, something like that. Um so I think this I think the similarities between, like, Truman's light zone are are very, very close. They are. They are very similar. I think like dream is a lot more intuitive to use its fastest two years. I think I think it creates slightly better quality of final results. You could actually link the two together. British opt of 1,003,000 things that Gim doesn't do and again, having gone from one to the other, this just works more smoothly. It's running more smoothly somehow. Azzam making the adjustments I'm there's a bit more of an intuitive feel. I think it might be the time more used to using light room. Afraid shockers like that's what I essentially used all the time. However, the results that I've got with Light Zone and gim have bean extremely good on. They are completely free. Um, I don't really see the point in actually paying for light room in light and photo shop unless you're processing a huge number of photographs or you're a fairly advanced photographer and absolute quality and control. Absolute quality control is your is your primary goal on debts. You know, it's a subtle difference. You can buy photo shop in light room in a monthly package, but I mean, I'm in the UK here, so this is impound. So this is a pounds 57 a month, including invited the 80 that we pay here. It's not a lot, really, if you think about what you're getting, but is it worth it? Well, only you can decide really as to how much sort of talk you do. If you're a relatively casual photographer and you're looking to increase your quality of your pictures, then you've got a lot that you can do for free with light zone. Andi, Andi Gimp Aziz, I showed you in the previous videos, if you getting If you're getting beyond that, you're finding both of those programs a little bit clumpy, a little bit slow. You quite fancy having the integration between the two and you want that little bit more control and more options than I would. Personally, I wouldn't buy them a standalone. I would I would go for the monthly creative cloud here, which is what I use on you. Get free upgrades and, you know, it runs absolutely perfectly for £8 a month as it is here in the UK. Okay, that's being useful. It's a question that comes up quite a lot, I think, and I hope that gives you some idea of whether it's actually worth moving from free tools to to pay tools of light room, a photo shop. Okay, thanks. Bye bye.