Portrait Photography: Create Compelling Photos With Low-Budget Lighting and Adobe Lightroom | Chris Dennis Rosenberg | Skillshare

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Portrait Photography: Create Compelling Photos With Low-Budget Lighting and Adobe Lightroom

teacher avatar Chris Dennis Rosenberg, Photographer

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

Watch this class and thousands more

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

Lessons in This Class

10 Lessons (38m)
    • 1. Introduction

    • 2. Class Orientation

    • 3. Tools and Techniques

    • 4. Light and Portraiture I

    • 5. Light and Portraiture II

    • 6. Ideas and Pre-production

    • 7. Ideas and Production

    • 8. Ideas and Post-production

    • 9. Publishing and Resources

    • 10. Conclusion

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About This Class

Ever felt like your portraiture would be more amazing if only you could control light? Well… with this class, you just might!

Hi, my name is Chris Dennis Rosenberg, a photographer based in Kampala, Uganda. My creative practice explores the idea of identity as well as the complexity of a minoritized existence.

During our time together, you will follow me behind the scenes as I plan my portraits in the pre-production stage and then follow along as I make the portraits in the production stage. Using Adobe Photoshop Lightroom Classic, I will take you step-by-step through my post-production process and show you how I elevate my portraits with minimal adjustments.


  • Tools and Techniques: Exploring equipment and techniques.
  • Light and Portraiture: Understanding light and portrait photography.
  • Ideas and Pre-production: Idea and concept development.
  • Ideas and Production: Making portraits.
  • Ideas and Post-production: Editing in Adobe Photoshop Lightroom Classic.
  • Publishing and Resources: Exploring resources and platforms to share your work.

Whether you are a beginner, intermediate or professional, this class is perfect for you as long as you have a basic understanding and interest in photography. Our goal for this class is to feel empowered to utilize the resources we currently have, you shouldn't stop making photographs because you are missing lighting equipment, get creative and use the light around you to create at least two new portraits.

I am excited to go on this journey with you, good luck, and thank you!

Connect with me:

HOME: https://www.chrisdennisrosenberg.com/

INSTAGRAM: https://www.instagram.com/chrisdennisrosenberg/


Adobe Photoshop Lightroom Classic is either a registered trademark or trademark of Adobe in the United States and/or other countries.

Meet Your Teacher

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Chris Dennis Rosenberg



Chris Dennis Rosenberg Kimbugwe (1997) is a photographer based in Kampala, Uganda. His creative practice seeks to explore the idea of identity and the complexity of a minoritized existence. Through portraiture and visual storytelling about people, nature, and wildlife, he aims to highlight the importance of coexistence in its many forms.

His work has been recognized at the Uganda Press Photo Awards 2018 and 2019, Future Africa Visions in Time, Konrad-Adenauer-Stiftung & Goethe-Zentrum Kampala photography competition 2019, and the Alexia Student Grant 2019. In 2020, he was selected by acclaimed photographer Andrew Tshabangu as an apprentice for the fourth Kampala Art Biennale. In 2021, he received the Adobe Creative Resid... See full profile

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1. Introduction: Ever felt like your portraiture would be more amazing if only you could control light? Well, with this class you just might. Hi, my name is Chris Dennis Rosenberg, a photographer based in Kampala, Uganda. My creative practice explores the idea of identity as well as the complexity of minoritized existence. In my three-year professional career as a photographer, I faced many challenges with equipment, especially with lighting, which is needed to compensate for the failures of my entry-level DSLR. Needing to make photographs regardless of the constraints, I started pushing mine and the camera's limits with natural light and other low budget light sources. The more I worked, the more I realized that I enjoyed pushing these limits. During this class, I'll show you where some of my inspiration comes from, my preproduction practices, my production process, as well as our 2D photographs in post-production. I will share some insight into what I like to see or not see in my photographs, as well as the steps I take in order to include or exclude these elements. We will explore the upper useful post-production. Take you step by step as I edit a photograph and talk about the file formats and export settings that I use. More importantly, we will explore light, it's sources and how we can make use of it to elevate our portraiture. Our goal for this class is to feel empowered to utilize the resources we currently have. From light to people, we're going to allow these resources to work with us because they're willing. This class is perfect for photographers at any level. Let's start our shared experience into something we can all benefit from. Welcome to portrait photography with Chris Dennis Rosenberg, a class on how to create compelling portraits with low budget lighting in Lightroom. I can't wait to see what you make. See you in our class orientation. 2. Class Orientation: Hi, and welcome to our class orientation. As this class progresses, you will be introduced to light and its sources, which you will experiment with, to create at least two new portraits. These projects can be of you, i.e, self portraits, a friend or a family member. The light sources you will experiment with will include the sun, on-camera flash, phone flash, table lamp, car headlamps, and so many more. The tools you'll need for the pre-production stage will include: a piece of paper or any other surface you can draw or write on, a pen or a pencil. These tools can either be digital or analog. The tools you'll need for the production stage will include: a camera, preferably a digital camera, and a light source. The tools you'll need for the post-production stage will include: software, i.e, Adobe Photoshop Lightroom Classic, CC, or any other image editing software you have at your disposal. Hardware, i.e, laptop, smartphone, tablet, or any other device you have at your disposal. You can use whichever software or hardware you have available to you or are comfortable with. Never feel pressure to use what I'm using or what others are using. For your success with this project, I suggest you allow yourself to dream. Feel free to mess up and to make the right kind of mistakes which can only be made when you try, create and experiment. All you have to do is give yourself permission. As artists, we know that we don't just make one of work and stop. Experimentation means doing something over and over again to achieve multiple results or just the one. It's the process and not just the one piece of work. Therefore, for all the exercises that we're going to do for this project, I encourage you to think and walk like artists. Fall in love with the process, not just the result. You must think about this project as yours because it is yours, it's not mine. This will encourage you to want to create more work for yourself. Think of me as just a helping hand. The project brief states, "With the sun's position in mind, i.e, presence or absence, use natural light and artificial light to make portraits that communicate your feelings throughout the day. These feelings can be from memory or in that very moment. Tap into something deeper and invite us in. Let us be with you in your joy, pain or uncertainty." You can experiment with whatever light source you have available that falls under the law budget to no budget category. The qualifier for this category is anything that was initially acquired to serve a different purpose, but cannot be used to layout your photographs at little, to no added cost. The best part about this project is the fact that you're going to learn how to work with the resources that are already available to you, and that includes people. Due to the nature of this assignment, I recommend you experiment with self-portraits. If showing your face is an issue for personal, cultural, or religious reasons, then challenge yourself by finding creative ways of including us by excluding yourself. However, if you definitely don't want to photograph yourself and you have participants who are willing to be photographed at any time of the day, feel free to collaborate with them. Aside from being free and more reliable, photographing yourself is a great way to develop empathy for everyone else who may be subjected to the beauty and damage that can come from using your camera irresponsibly. Good luck, and see you in our first lesson where we'll cover tools and techniques. 3. Tools and Techniques: Hi, and welcome to our first lesson where we're going to explore the various tools and techniques that we each have at our disposal. I believe it is important for us to develop a basic understanding of the tools we're going to use to make work for this class. But before we go too far, I want you to know that I understand the constraints that most of us are facing as far as access to this equipment goes. My hope, however, is that we can find a way to use what we already have to create work that can get us to where we feel we need to be. Therefore, I encourage you to take the time to explore whatever equipment you're going to use to create work for this class. I'm going to show you around my camera, the Nikon D5600, paired with the AF-S DX Nikkor 35 millimeter F1 point 8G lens. This is going to be a short tour of my most used buttons, as well as the settings that enable me to work more efficiently with this camera and lens combination. The mode dial. I prefer to use my camera in manual mode, so I moved the mode dial to M, which stands for manual. This gives you more control over the camera and the settings you want to use when you're making photographs, I suggest you do the same if the camera you use supports manual control. The exposure compensation button. In manual mode, holding down this button and moving the dial enables you to control aperture. The empty dial, in manual mode. The dial enables you to control shutter speed. It also allows you to control aperture and ISO in conjunction with their assigned buttons. For example, the exposure compensation button mentioned above, which allows you to control aperture. The AE-L and the AF-L button. Depending on the focus mode, this button can be assigned to AF-ON, which allows you to lock focus to the subject. This is equivalent to lightly pressing the shutter button, but this feature is disabled if you enable AF-ON. Personally, I prefer to use the shutter button to acquire focus. The FN button. Depending on the kind of camera you're using, you might have one or more FN buttons that can be assigned to different functions. On my camera the Nikon D5600, I only have one FN button which I assigned to control ISO. Therefore, I use it to adjust my ISO values. Holding this button down and moving the dial back and forth allows you to change ISO values. Here are my tips for you for this lesson on tools and techniques. Tip number 1, for your benefit, I suggest you take out your camera and try to identify some of the things I mentioned about my camera on yours. Give yourself some time to get familiar with them. Tip number 2. You should also know that you don't have to use everything that is available on your camera at the same time. You just have to identify what works best for you or what enables you to create the work that you need to create. Tip number 3. Whenever you feel like you're getting too comfortable, change it up a little bit and experiment with a different feature. To recap this lesson on tools and techniques, we looked at my camera's interface, as well as the buttons and shortcuts that I use. In our next lesson, we're going to look at light and portraiture. Think about what those two words mean to you as you prepare for that lesson. See you then. 4. Light and Portraiture I: Hi and welcome to Part 1 of light and portraiture, where we're going to explore light on a basic level. To see that we can exhaust this topic would be a major understatement, which is why this lesson has been broken down into two parts. To start, let's briefly talk about the exposure triangle, which according to Fstoppers is a common way of associating the three variables that determine the exposure of a photograph, namely: aperture, shutter speed, and ISO. I like to think about the exposure triangle as a reminder of which of these three variables I need to adjust in order to compensate for the addition or loss of light. With light in mind, each of these words also reminds one or what one needs to prioritize in order to highlight the elements that upon once in that specific photograph. For shallow or deep depth of field, one must prioritize aperture. For slow or fast capture of moving objects or to you introduce motion blur, one must prioritize shutter speed. This means that once you get the right settings, any of the other two variables in the exposure triangle can change, except for the one you need to achieve your desired look. You will find that ISO is rarely adjusted if any of the other two variables can achieve the desired result. In other words, in favorable lighting conditions, unless you want to prioritize or to introduce noise into the photograph, you can get away with using one ISO value. In unfavorable lighting conditions, when you can't push aperture and shutter speed any further, you must or can adjust the ISO. We all know that the main source of heat, warmth, and light on Earth is the Sun. You got that right. While this might seem obvious to all of us, you'll be surprised by how many of us don't make use of this great resource as much as we ought to be. But you remember, making use of some things should not mean exploitation. If you're lucky enough to have windows, or live in a place with reliable Sunlight, you should start studying the Sun's movement, see how it transforms as time goes by. You'll be amazed by how it changes beyond our surface understanding, this part of the lesson is meant to help you realize that the Sun is always present even in its substance. The absence of a Sun has historically been used to communicate powerful messages such as loss through visual art. Remember that, whenever you choose to acknowledge the existence of the Sun, you're making use of it to communicate beyond our surface understanding of light. With respect to actual studio lighting, which we all know is not always low budget, in this section, we're going to focus more on the other alternatives to light our photographs. First, we have the on-camera flash and the smartphone flash, which are designed to do just that. However, now I want to introduce you to other alternatives. We all know that when it's dark, we use whatever we can to make light. On the road at night, we turn on our car headlamps. In bed, we use our bedside lumps and so many more. Maybe we can use this to light our portraits. Wow, what a crazy idea. Yes, I know this is not original and some of you are already using these alternatives in your photography. But for those of you who are new to this, this is your chance to experiment and show us old dogs some new tricks. Here are my tips for you for Part 1 of light and portraiture. Tip number 1, take time studying the Sun, its light and its movement. I don't mean this academically. If you have the time, sit in your bedroom and look through the window, see what changes and how that inspires you. Tip number 2, allow yourself to feel. Ask yourself what the absence of the Sun means and how it affects you. To recap, we looked at the exposure triangle, which determines the exposure of a photograph. It consists of three variables, namely: aperture, shutter speed, and ISO. We also talked about the sun being our main source of light and the fact that it slides presence or absence in a photograph can expose much more than our superficial understanding of late and other things. We went on to explore a few artificial light sources, that fall under the low budget category. In the next lesson, which is Part 2 of light and portraiture, we're going to explore the different ways of lighting a portrait. Don't miss out. 5. Light and Portraiture II: Welcome to part 2 of light and portraiture where we're going to look at the different techniques we can use to light our portraits. We'll kick it off by answering these two questions; what is a portrait and what is portrait photography? A portrait can be defined as any creative visual work that depicts only a person's face or head and shoulders. Today, portraits can be used to represent any object or subject, but for this class, we're going to look at portraits in relation to people. Portrait photography or portraiture is a type of photography aimed towards capturing the personality of a person or group of people by using effective lighting, backdrops, and poses. A portrait maybe artistic or clinical, but we want to be somewhere in the middle for this class. Let's look at some of the most popular types of portrait lighting. Rembrandt lighting. Here, the light source illuminating the subject is at a 45-degree angle to the subject. This creates the signature inverted triangle of light under the subject's eye on the opposite side of the face. Split lighting. Here, the light source that illuminates the subject is perpendicular to the subject. This creates the effect where only 1/2 of the subject is exposed. Low key lighting. Here, a black or dark background, under lighting, under exposing, and post-production effects are used to achieve a dramatic dark look. The subject is either placed against a dark background or at a distance along with a light to prevent the light from falling on the background and illuminating it. High key lighting. Here, a white background over lighting, over exposing, and post-production effects are used to achieve a dramatic bright look. The subject is either placed against a white background, light books or illuminated from the back. Butterfly lighting. Here, the light is placed above and directly in front of the subject's face to create a shadow under the nose that resembles a butterfly. One important thing to consider while working with flash is the sync speed. The sync speed enables one to synchronize the opening or the shutter to let in light with the firing of the flash. Different devices have different sync speeds, but the maximum sync speed on my camera is 1/200 of a second. One of the most important things for you to remember is that these techniques are mostly achievable in a studio setting with controlled light. This means that despite their importance and us looking at them now, you don't need to obsess over achieving these exact effects, especially with our low budget setups. The purpose of me showing you these effects is mostly to broaden your knowledge base. Hey, maybe you'll achieve these effects effortlessly with your bedside lamp, you'll never know unless you try. Here are my tips for you for part 2 of light and portraiture. Tip number 1, if at first you fail, try, try, and try again. Just like with the exposure triangle, ask yourself what needs to change in order for you to get closer to your vision. Tip number 2, allow yourself to experiment, make a fool of yourself if that's what it takes, but do all of this within reason. Tip number 3, remember to be patient with yourself, after all, creativity is a process not the result. To recap part 2 of light and portraiture, we defined portraits and portrait photography. We looked at five different portrait lighting types namely, Rembrandt lighting, split lighting, low key lighting, high key lighting, and butterfly lighting. We also briefly talked about flash sync speed, which basically lets you know the maximum shutter speed you can use with your flash and camera. Next, we're going to play around with ideas and preproduction. With this in mind, I want you to think about all the things you do before you actually get to make photographs. What does that process look like? I'll share mine with you in the next lesson. See you then. 6. Ideas and Pre-production: In 2020, I was introduced to the idea of a visual diary. Based on my experience, I define it as a book, although it can really be anything, where I sketch my ideas through text and drawings. In this lesson on Ideas and Pre-production, we're going to look at how we can conceive ideas and visualize them in physical form, before we get to the actual production stage of our idea. This not only helps you keep this memory safe, but it enables you to visualize these ideas before you can truly commit to them in that moment. You can either work on them immediately or save them for later as you develop them further. This is my visual diary. I'm going to show you some of my past ideas and also make a few new explorations in line with our assignment. I started keeping this in March of 2020, which is last year. It was a rough start, but I don't think a lot of the things in here are safe for work, but I can show you. I've written notes in here, I have explored ideas, sketches, as you can see, possible project names, critique from my trainers and mentors. This I did while I was developing the course, this course, this class. I'm going to start sketching out ideas that I've been exploring for these project. Initially, I thought I was going to work with other people, friends, or family. But due to unforeseen circumstances, I think I'm going to be working alone in creating self-portraits. I'm going to be sketching out ideas that I've been thinking about, and see what comes up. Remember these things should not be taken as gospel. This is just a way of capturing some of the ideas you have in that moment, and then they are allowed to grow after that. Don't obsess over it and don't stick to anything forever. Let's start sketching out some things that I thought would be interesting to see. I definitely want the orientation to be the portrait orientation, so I want a vertical photograph. I do obsess over these things. It's also a nice way to pass time when you don't really have ideas on hand. But the more you sketch, the more you put down on paper, the more it feeds your next idea or what you think you could do. I want to fill out this frame, maybe the head should be somewhere here. I think, I want it to be cropped a little bit. Not all the important information left out, but I want a part of it to be missing. I know that I want my shoulder here, somewhere here, that part of the shoulder. Of course, the neck should not disappear, so it's somewhere here. I don't think I want to be wearing anything unless it's black. But yes, see how the head is disappeared in this thing. Let's draw the jaw. This is not how people draw and I don't encourage you to draw like this, but I should listen to myself and say, "Don't obsess over the drawings." Maybe let's say this is my hand. This is so bad. Sorry. This is not good. Portrait like we said, and then I think I definitely know I want my head to be here. That's the hand, and I know I want the other part of my shoulders to be there. Maybe we can do eyebrows, and then we can do the nose here. I know I usually prefer my lips closed. My eyes, I think I want them to be staring directly at the camera, so that means they have to be open. I think this does it for this particular photograph. This is how I want to fill out that frame. I want the light to be coming in. It could come in from the back or it could come in from the direction of the camera. We'll see what that's like, but I know this is how I want to fill out my frame. We can make another portrait. I guess it could be a full body portrait. If circumstances allow, it could be lit by car head lamps, so the direction of the light would be from here, exactly where the camera is as well. Everything here will be pitch black, because it's night. We could write up here, car head side lamp. You can use anything you want. You don't have to commit to any of this. This is what I'm thinking right now. When I put up the camera and set up the lights, maybe something else will come to mind, but for now it helps you to know what you see in that moment. If you set up a scene and you set up a place where you want to photograph, if I said, the last sketches, I want to see myself on a bed, and so I know that I'm going to be in my bedroom. I'm going to set up my tripod there, my camera there, my lights there, and that's where it's all going to start. Then you have this framework from which to start, then anything else can happen there. Here are my tips for you for this class on Ideas and Pre-production. Don't obsess over the quality of sketches. Prioritize the technical aspects of the idea instead of the ability to sketch. Have fun with it. Don't restrict yourself. Think of these sketches as a way of trapping all the elements of your idea in one place. To recap, in this lesson, we explored idea formation. We also looked at how to sketch our ideas and bring our vision to life. The first assignment for project states; with the project brief in mind, use what we just discussed about ideas and pre-production to come up with an idea for how you are going to approach the project. From that idea, create sketches showing your vision for the portraits. The sketches don't have to be precise or expertly made. We just have to hold the most important elements of your idea. These sketches will be instrumental in our next lesson on ideas and production, where we will start producing the photographs for our project. I hope to see you there. 7. Ideas and Production: Everything we've talked about up to this point is going to be put into practice either actively or passively. Remember, while onset, look at your sketches and try to bring that original idea or a version of it to life. Hi, and welcome to Ideas and Production, where we're going to make photographs for our project. Let's get started. Here are my tips for you for a successful production. Tip Number 1, don't obsess over getting exactly what you envisioned. Sometimes things change, and that is okay. Be guided by your original idea and plan for the session, but also be present and open to the process. Let all the elements around you, guide you. Tip Number 2, if things aren't working, ask yourself what you can do differently. Can you move around the subject? Can the subject be moved to a place with more light or can the light source being moved? Try to find solutions, I'll not dwell too much on the perceived failures. Tip Number 3, photograph with intention, but also make as many photographs as you can. Try to get it all right in that moment and not rely too much on post-production. To recap, we started with a production stage of our project, and we will continue to make photographs until the post-production stage. The second assignment for our projec6t states, "With the project brief in mind, use your idea and the sketches you made in the pre-production stage to create at least two portraits." Make as many photographs as you need to, to bring your idea to life. In the next lesson, we will be looking at ideas and post-production, where we will learn about photo editing. I can wait and see you there. 8. Ideas and Post-production: Hi, and welcome to ideas and post-production. In this lesson, we're going to start editing the photographs made we made in the production stage. I'm going to show you my process after a photoshoot, as well as how I edit my photographs in Adobe Photoshop, Lightroom classic. For this step, I'm going to use my laptop and my software of choice, which is Adobe Photoshop Lightroom Classic. The reason why I like Adobe Photoshop Lightroom Classic is because of the catalog system. It just makes things so much is in terms of organization and file storage. This is the Adobe Photoshop Lightroom interface. The very first module you're introduced to is the library module. This is where we import our photographs, which we are going to do right now. Press "Import". You go and select the photographs you want to import, click "Import", and there you go. The first thing that I do when I import photographs into Lightroom Classic is I have a few presets for my copyright information. So this is for 2021, Chris Dennis Rosenberg. That's basically all that I change when it comes to this section. And once I'm done with that, I move to the Develop panel, the shortcut is D for that. I'm going to hide some of these things just for space. These are the photographs that I chose. This is the Develop panel. Here you can store your presets on one side. You can download them or create them yourself. On this side, this is where you make the adjustments. I always start with lens corrections, so remove Chromatic Aberration and then I enable profile corrections which remove distortion and then vignetting. Then I go up and I know that I want this photograph to be black and white. So we're going to convert it to black and white and then I touch up the contrast. I want it to be at 30, contrast of 30 and then I go to the point curve and I change the contrast to Strong Contrast. Because I like to use a lot of contrast in my photographs, so on the plane curve, we go with the Strong Contrast preset. That made the photograph very dark, so we're going to increase the exposure by 0.5. Then we're going to open up the shadows up to, let's start with 25. No. Let's check it out slowly. Sorry. We're going to go to 25. No. I think I want this to go to 50 but I can't select 50 on this dial. When you're editing, you have to remember that people are going to view these photographs on different displays. My display is not the best, so what I see on here is not exactly what's going to be seen on cheaper displays or worse displays and definitely not what's going to be seen on better displays. Usually, on my laptop, I see very bright photographs, and then when the photographs are viewed on amazing displays, the photographs tend to be a bit too dark, so I focus on the levels and then I try to see if the blacks are clipping or if the highlights are clipping and I make my adjustments based off of that. For print, it's going to be a different kind of editing. Web usage is going to be a different kind of editing as well. But while you're editing, even for web, you have to consider what displays people are going to view this on. So don't just focus on what you see on your display. Focus on what might be seen by others on their displays. We'll start by converting it to black and white. Then we will go to lens corrections and remove chromatic aberration and enable profile corrections. Then we're going to go to the point curve and then change the contrast to Strong Contrast. From Linear to Strong Contrast. Adjust the contrast to 30. That's usually my sweet spot. Clarity to 15. I find those two work well together. Then I'm going to go to expose the photograph up to 1. We'll lower the highlights to minus 50. Lower the whites to minus 25. Open up the shadows to 50 and open up the blacks to 25. I might add a vignette. The three styles that are here are Highlight Priority, Color Priority, and Paint Overlay. I prefer to work with color priority, so I think I'm going to go with a white vignette for this one so I'll add it to 10. The midpoint will be at 0 and the feather at 100. This feels like a photograph that's done. Let's see how they look like together. To go to survey mode where you can view these photographs side-by-side, just the two of them, you press N and you can see what they look like together. This is great for comparison purposes and for editing and selection purposes. The shortcut is N for Survey view. This was interesting, just being blurred out. Of course, you start with lens corrections, remove chromatic aberration and enable profile corrections. I feel like the contrast is already high enough. I'm afraid of using 30. But let's do it, then let's see what one looks like. Wow, kind of like that. Clarity, we're going to say 15. Let's see what it looks like if I color grade with what I usually do. With This photograph, I have no interest in being extremely visible, so I don't care what the levels say. I'm going to take down the shutters a little bit because there's some exposure here that I don't like. I feel like this is great the way it is. Maybe let's see what a vignette would look like. To view the before and after, you press this. I'm quite pleased with this, so let's do them side-by-side. My favorites would be these two. There we go, my final selection. To export, go to the menu bar and click on the "File" button, which will prompt a drop-down dialog box, here, look for and click on "Export". Shortcut control plus shift plus E, or command plus Shift plus E. Pressing "Export" will prompt a dialog box with more options for exporting. Here you can save presets or use Lightroom's presets. Some of the preset I work with that I developed for myself are for high-resolution files and for lower-resolution files. Ideally, the high-resolution files are intended for print, while the low-resolution files are optimized for web usage. The high-resolution files have a resolution of 300 PPI or DPI, known as pixels per inch or dots per inch. While the low-resolution files start at 72 DPI or PPI. Sometimes they make them 150 PPI, but I never go above that. Then you have an option of resizing your image. The camera I normally use is the Nikon D5600 and the file dimensions that come out of the camera are 6000 by 4000 pixels. When I'm optimizing files for web usage, I resize the photograph to be 1500 pixels on the long edge at 72 PPI. When I'm exporting high-resolution files, I never resize them, I keep them at 6000 pixels on the long edge and 4000 pixels on the short edge at 300 PPI. Here are my tips for you for ideas and post-production. Tip number 1, depending on what you want to achieve, a little goes a long way, don't get too carried away with effects unless they add something to yours or the photograph's overall message. Tip number 2, get inspired by other artists' styles to identify your own voice. In other words, don't just copy and replicate. Instead, notice and reflect on why, how, when, and where. Focus on what you want to say, not what others have said. Tip number 3, spending a lot of money will not make you edit photographs any better. Tools and equipment definitely make the process easier, but you have to have a process to improve on to begin with, develop that and the rest will come to you. To recap, we looked at the Adobe Photoshop Lightroom Classic interface, as well as the different modules, panels, and shortcuts I use. We learned how to make basic adjustments to make our photographs pop. We also looked at how to export our photographs the right way for different media. The third assignment for our project states, using any post-production software at your disposal, as well as the techniques used in this lesson, edit your photographs by making a selection of the most successful ones. Continue your post-production by making aesthetic adjustments to get the desired look and then export the photographs. The final selection should consist of no less than two photographs and no more than five. In the final lesson, we're going to talk about publishing and resources. We're almost at the finish line. See you there. 9. Publishing and Resources: Hey there, and welcome to Publishing and Resources. This is our final class and I'm going to talk briefly about ways of getting our work out there. Even though there are many ways of publishing work, for the purposes of this class, I'm only going to talk about online publishing. Over 10 years ago I got introduced to social media. I started out with Facebook, and over the years I've been a part of so many different platforms that I've lost count, as I'm sure most of you have. But it wasn't about until three years ago that I started using social media to promote my professional work, and my platform of choice has been Instagram. On top of that, I added a personal website, and I believe between these two platforms, I'm be able to better represent myself, my interests, and my work, and also attract new clients. In this lesson, I'm going to talk briefly about the platforms that I use, and hopefully that will help you somehow. Currently the platforms that I keep up with the most on my personal website, my Instagram account, and my LinkedIn account. I also have a Twitter account and YouTube, but I'm not as active as I used to be. Today we're going to talk about my Instagram just briefly. I'm not going to teach how to use it because I'm not even that good either. But I'm just going to tell you one thing. On Instagram, I try not to upload everything and I try not to upload in real time, particularly when it comes to projects. While working on something, I try to give myself some free space before I get unsolicited advice or feedback from people. It's important for you to find what works for you, particularly on social media, because it's easy to get lost in all that noise and to forget your vision and what you want to work on. I try to work on things that make me happy or maybe not even make me happy, but that I feel like I want to work on in that moment, and then when I feel like I'm ready to share them with the world, then, and only then do I share them on Instagram. But now, I find myself posting on my personal website before I post on Instagram. I'm very happy with the new feature of hiding your likes because that was giving me a lot of anxiety. It's very important to focus on your mental health and your well-being, and I cannot stress that enough. Because for some reason when you making creative work, and I'm sure even when it's personal, feedback from people seem so important, even when you didn't ask for it, and then it comes, it just affects you so much that for people who maybe are not equipped in that moment to deal with that feedback, or it can be negative or positive, it can spin you in the wrong way. It can be in terms of how many likes you're getting, and if you can deal with getting less likes, it becomes about who is liking. Are the people you respect, liking your work? Are the people you don't respect liking in your work? It's this whole crazy thing that you get sucked into, and it's important for you to know that before you get into it, and also to know how to deal with it, and to give yourself time and to be patient with yourself when you're dealing with those issues. Be careful when you're using social media. It's important for you to create safe spaces for yourself and for others. It's one thing for you to want it and to seek it, but it's important for you to walk towards it. Because it's not just about you, it's this huge global community where the things that affect you also affect other people. I feel like even though it's not easy to talk about, it's better for you to find a way of working to create that safe space that you need and others need. Be mindful when you're online. This PDF contains links to articles whose material I've used while developing this class, definitions to some of the terms mentioned in the different lessons, some illustrations, media information, as well as texts from this class, among other things. Be sure to download it. It's important for us to share our work in order to keep track of our progress, to get feedback, and also to inspire others to create and grow. While online, remember it's important to find and or create safe spaces for you and others to be able to share your work. Whatever that means to you, walk towards it. The fourth and final assignment for our project is not mandatory, but it's highly encouraged. It states, "Upload one or more of the photographs from your project to this class' "Project" page and or to your Instagram account. On both platforms, please share your experience of this class and your findings while creating for this project." The PDF that comes with this class contains useful resources that I compiled while developing this class. You can find it on the "Resource" page and download it at your convenience. 10. Conclusion: Congratulations, you made it to the final lesson of this class. I'm so happy and proud of you. I really hope you found this class useful. But if you have any questions, please write them in the discussion section below or reach out directly to me on one of my social media accounts. When you post work from this class, please don't forget to tag me @chrisdennisrosenberg or use the hashtag chrisdennisrosenbergxskillshare for a chance to be featured on my Instagram stories. For quick recap on what we've covered in this class, we looked at tools and techniques where we explored the resources we already have and how to make the best of them. We also looked at light and portraiture where we talked about the exposure triangle, sources of light and portrait lighting. We then looked at ideas and the three stages of production, namely: pre-production, production and post-production. Finally, we explored the different platforms you can use to share our work. These are my final tips for you. Tip number 1, be patient with yourself. Tip number 2, give yourself permission to dream, experiment, and create. That is the only way you will find growth. Tip number 3, prioritize your health and well-being above any perceived success or failure on and offline. Tip number 4, remember to create responsibly, making use of something should not mean exploitation. Thank you so much for your patience and for taking the time to complete this class. I'm looking forward to seeing how you develop your photography. Good luck on your journey. Bye.