Post Processing in Lightroom - Learn Creative editing Techniques for your Landscape Photography | Daniel Gastager | Skillshare

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Post Processing in Lightroom - Learn Creative editing Techniques for your Landscape Photography

teacher avatar Daniel Gastager, Professional Landscape Photographer

Watch this class and thousands more

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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

13 Lessons (3h 15m)
    • 1. Intro

    • 2. The Basics

    • 3. Some Words about Sharpening

    • 4. How to create a Panorama

    • 5. Merging different exposures

    • 6. Enhancing Colors - make your images stand out

    • 7. The Power of the Split Toning Tool

    • 8. How to use the Tone Curve

    • 9. Tipps on how to use the Graduated Filter

    • 10. Working locally - The Radial Filter

    • 11. Be a Painter - Use the Adjustment Brush

    • 12. How to use the advanced tool - Range Masks

    • 13. Editing from start to finish

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About This Class

Whether you’re a photographer who uses Lightroom only, or if you want to make the last finishing touches after you edited your files in Photoshop. This tutorial includes the right techniques for you!

This is my in-depth, 3-hour Lightroom Masterclass where I demonstrate all the different functions you need as a landscape photographer to edit your images in a creative and professional way.

After watching this tutorial you will be able to process your Raw-files so they stand out from the crowd.

You can follow me along step by step how I use each adjustment technique in different images.

I’m also going to show you how to edit one image completely from start to finish with my unique editing techniques inside Lightroom and Camera Raw.

The programs I use are Adobe Lightroom CC and Adobe Camera Raw. Right after your purchase, you will receive a download link for the videos.

These are big files so if you are on Mac, please use the program “Unarchiver” to unzip them.

All the sample Raw’s are included for practice purposes. If you have any questions, feel free to contact me. I'm always there to help.

The following techniques are demonstrated in my Lightroom Masterclass:

  • RAW-Processing Basics

  • Sharpening techniques

  • How to merge a Panorama

  • How to blend different exposures for more dynamic range

  • An in-depth overview of how to adjust colors in your image

  • How to use the split toning function to create an amazing color contrast

  • Tone Curve Adjustments

  • How to use the graduated filter to achieve the best results

  • The creative usage of the Radial Filter

  • How to use the brush tool to enhance details and colors of your image

  • In-depth instruction on how to use the range masking feature to achieve amazing results

  • Editing a Raw-file from start to finish

Meet Your Teacher

Teacher Profile Image

Daniel Gastager

Professional Landscape Photographer


Hey guys! :) My name is Daniel Gastager, birth name Fleischhacker, and I'm a newly married professional landscape photographer and photo editor based in Rosenheim/Germany.

I'm in photography for over seven years now, and I do use Adobe Photoshop on a daily bases. I love traveling, but I also love shooting beautiful images in my backyard. Photography is a great passion for me, and I love every aspect of it.

It's not just in the field surrounded by beautiful mother nature; it's also about the technical perspective like photo editing in front of my computer. That's where you can get creative and set yourself apart from other photographers.

I won several awards, such as the German national award at the Sony World Photography Awards, six gold medals at the Epson... See full profile

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1. Intro: Hey, guys, welcome to my in depth light room masterclass for landscape and nature offers in this skill share class. I'm going to be demonstrating you guys how you can edit your own landscape images inside a relied room in a creative and really advanced way. Have you ever wondered why some images on the web looks so nice and polished? And this class is right for you? I will show you step by step, how you can edit your own images from start to finish. But not only that, I will go into detail on every single creative step. I like to use my own images. Together we will work on many sample pictures. So I have the best opportunity to demonstrate you all the steps using the creative local functions inside light room, such as the brush tool or also the in depth. And it wants technique called branch masking. So whether you are a light room user only, or you want to make the last finishing touches after you process your photos inside for shop, this class is the right for you. My name is Daniel Gassed Aga. I am a professional photographer for almost seven years now and I used Adobe Light room, slash camera or on a daily basis, so we should not have fun Now. Guys, I hope you will enjoy watching this class. And I just want to mention again. If you are a already experienced user, I recommend skipping the 1st 3 or four chapters, since it will be a little bit about basics. Not much, just a little. But then we will dive into more into steps. So you have any questions? Feel free to contact here in the community section skill share. And I'm really curious for your results. Post them in the project section and I'm always there to give you a thumbs up or critique. So that's it Now, guys, I hope you will enjoy editing and watching and see you next time by 2. The Basics: All right, guys will come to the first chapter here. Hey, it will be only about the basics off light room and come over raw in this case, light room. I usually use ah, no, become a wrong. It's just something I got used to earlier on. But it doesn't matter that one is better than the other. It's just a personal taste Preference. So, yeah, you can use lighter, more camera whenever you want. In this case, I will demonstrate you my techniques based on the program led room because many people use it and it will be easier to understand. But the engine is completed, the same behind it. Only the interface is different. Well, in this short chapter here, it will be only about the basics. So don't expect any super creative stuff if you're already know basics. Simply skip this as it was already mentioned in the intro. The more creative and interesting part will be later on in the other chapters. Okay, so, yeah, like I said basics in this case, I want to show you them, Um, based on this image from Iceland, the beautiful coastline stocks nous Yeah, it was a stormy evening. with some nice golden light shining through the clouds. See on the left side Pretty cool. And this place is super popular. And for good reason. It has everything. It has mountains. It has water. Coast Beach dunes. Yeah. What? What else do you like? So supercool? Iceland is popular for reason. Guys, I'm sure you know that already. Okay, So, like I said, it's about the basics. First of all, I want to change the color profile. I mostly switch between color and landscape landscape, um enhances the color a little bit and flattens the contrast as we can see here up in the history. Graham, the right part here shows us the highlights, and the left part shows us the shadows. And since there are no spikes or something on each side on either side going on, we still have some. The contrast room, some room for more contrast adjustments. So that's the reason I like to use adobe landscape. As you see, color is a little bit more contrast, but not much. But, um, that always depends on the image. Yeah, like like always, Um because sometimes you have already really colorful raw files, and then you then choose adobe Landscape. You will enhance them, even mawr And it might look not too good. But yeah, it depends on the scene. Like a set. Yeah. Okay, so let's this case we pick a landscape and the next weekend, work of the white balance if we want. It's important to understand that those settings here with Calvin and tint will tend is available in Indiana. Yeah, parts off my tutorial as well, but Calvin is only available when you work on a true raw file. But of course, you can also use the camera raw adjustments on a tiff file. And that's what we will do most off the part here in this tutorial, since we want to make some creative edits to our image, which we probably already processed in photo shop or whatsoever. And that's reason when you use a local adjustment. As you can see here, there's no Calvin or anything anymore. You have numbers, so don't be surprised when that doesn't show the same like it does here. But, um, yeah, At this point, it doesn't make any difference. I usually keep Calvin Howard boss because it's a global adjustment anyways, but add some extra magenta because sometimes the raw files committed to green, especially in sunrise or sunset light conditions. That's where I like to add some extra magenta and yeah, then I usually go down with the exposure. Depends on the image again, of course, but at some extra drama to the sky, then I add some shadow detail back and also some blacks and some whites to get some contrast back. And there. You already see how powerful it is when working locally, because when I add why it's globally, I have some nice effects here in the foreground. But this guy's blown out completely. So yeah, that's why I created this tutorial to show you the best methods. But something like this year in the thirties is fine. And then we can also go down the highlights. So it's not blowing out in the sky too much, and you see it indicates where it's two brides, so but it a little bit off. White points are fine, so it doesn't matter if it's spiking up here a little bit, okay and leave the rest. Actually, I don't like to add contrast globally too much, and the clarity and stuff like that is something which I like to work in. Local. Yes, well, so we will talk about that later on. So you really simple guys, that's it with the basics here at a basic adjustments. Now we can also look at the lens corrections. So to remove chromatic aberrations, as you see, they happen a lot. On contrast, edges depends on your lens, of course, but here you have some green tint going on, and when you click on this, it's gone and enable profile collection. Correction basically means that we're flattening out the horizon in case there was any distortion from the lens. But sometimes I like to keep it because it doesn't matter and you have been getting is something I like to keep anyway. Because, yeah, I like vignettes. When you have darker corners, the viewer has it easier to concentrate to the middle part. But I like to add that manually a bit more. A swell Yeah, transform means we can change if there something if the resinous cricket, if it's a real direction. But in this case is you see everything is fine. We can simply auto means. It adjusts vertical and level fooled us the same even stronger and leveled us only the yeah horizon line and vertical. Yeah, if you have some problems there. But in this case, everything looks good. Okay. But like I said, really basic. I'm sure you know that already you can also use the crop tool to make some further adjustments if we desire but needed In this case, when you press on the lock here, then you keep the ratio also really simple. And you can even change the ratio if you want. Maybe a panorama or something. Yeah, depends on you. But you can always go back and changed to the default. Yeah, that's actually almost it. I will also show you how to use to spot removal to real quick as we have some thing going on here, some dirt or whatever to this You can adjust the feathering Iram. Recommend a medium sized Feder because then you will overcome any artefacts since its feathering out to the other parts off the off the image. So there's no hard Etch going on. Yeah, something like that. Photo shop is better for stamping. But light room also does a good chop for basic stuff like this groups. Yes. Well, something 1/3. No. If you don't like it, we can always readjusted it free. I think it helps. Okay, does it guys? Like I said, it was just about the basics. Not much going on here. In the next chapter, we will talk a little bit about detail. I mean, sharpening global sharpening. I have to say that I'm not a shopping, shopping Google, so you won't learn any super secrets there. But in my opinion, there aren't any big secrets. It's a pre sharpening method. At the end, you shop in your image for Web or print individually anyway, so that's just the first shopping step. And I like to keep it on default most of the time. But we will talk a little bit about it later in the next chapter. So see you there, guys, by 3. Some Words about Sharpening: Hey, welcome to the second chapter here. I will shortly talk about or quickly talk about the detailed section here of light room and camera roll. So we will basically talk about how to sharpen images. And we'll also show you how to reduce some noise in the second example shot. Okay, so the default always is 40 as on the amount that basically means how much you're sharpening radios means how many pixels you're touching detail is another shopping amount. It basically lifts up the small details a little bit more, as it says and masking is, Yeah, where you actually avoid using it so depends on you and that you can mask it out. Uh, when you're old click, then you see a mass going on. All right, so let's go in on to this beautiful oops sorry to this beautiful mountain in northern Norway. And maybe now I want to demonstrate you what happens when a lower this happening. It's always important to add some pre sharpening because Ross are usually super flat and there's little bit blurry because off the lens and so on, so pre sharpening is always fine, but you shouldn't do it with the intend to have a final shop output because therefore, we have other techniques later on in photo shop, and it depends on what you actually want to do. If the image, if you want to post it for the Web for print or just screen TV whatsoever. Yeah, but yeah, In this case, it's pre sharpening, and usually 40 is a nice amount. It depends on the megapixels off your camera. I recommend 48. When you have, like 40 megapixels, really simple, or maybe even. Yeah, depends like 30 year 35 something 40 years and you can use 40 and the more makes a pit megapixels you have, the more I would shop in the image, but it's just my general room or rule of thumb. Like a sad I'm not a sharpening guru, but it works fine for me. We can maybe increase it a bit more to see how it effects the shot. The problem is when we had too much sharpening, the image will get halos and artifacts quickly because we also adding other adjustments, like clarity and local contrast and texture and so on, and then again it will get even more sharpened So that's the reason why I like to keep it on a lower amount from the beginning. On the radius, one pixel is mostly fine. You can increase it if you want or decrease. It depends on you and then the size off the image. I keep it on one. So like I said, I'm it's nothing special. What I'd like to do is I like to boost the details to 50. That's my general rule I like to use because then I get some more micro contrast going on at least a little bit. And what I also like to do is the masking tool used them asking too, because here we have ah, amazing groups. Sorry, we have, ah, amazing reflection. And I don't want to further shop in that Because reflections are usually blurry, water is also blurry. So when I sharpen that it will only get noise. So that's what I want to avoid. So to do that, I will use the sharpening with all click and then I might create a simple mask. And now only the white parts are sharpened and the black powers are not and I be a dragon. As far as I like it. I don't want it like this because then only there's little lines and find details from the mountains get sharpened. I want a little bit more off it. So something the twenties is okay. And then you see there's less noise now going on, and I also still have some nice sharpening in the mountain. And if I lost a little bit, I can always go up if the amount to overcome this effect. But I always like to start out at 40 and see how it goes when I don't apply any masking than I keep it. Usually on 40. If I applied some masking than I can always go up it up with the amount of like and that's it guys, Like I said, Really simple. I don't do any much in here since yeah, the always depends on the output and not on the right. From the beginning on. Of course, it's important that you already have a nice shop file from the start. If you have some blurry camera shake whatsoever, you can fix that with sharpening. It's important to have a nice, good clean shot from the start. Yeah, and I now I also want to show you quickly how to yeah, used to de noise and not deny. Sorry, the noise reduction. Let's brighten our image a little bit, so you see it better. And also yeah, bring in some noise. Some extra noise. We were here. I so I wasn't ice to 2500. It's an Aurora shot in northern Norway. Nothing special, but I like I said, I want to show you how to do that. And it's also super simple. So let's zoom in here. We have to sky. And now, first of all, I want to mask out the sharpening in the sky. But so we don't enhancing the noise even more. I don't want to sharpen the noise and then we can simply add some lieutenants and we shouldn't overdo it. Otherwise, we will get rid off a lot of stars. As you see, so something in 11 lost 10 is fine for me, and we can also for the work of the details if we want. But when we use a low ruminants amount, it doesn't affect it much usually and what I like to do. Sometimes this I want to get rid of color noise. So I a increased the color noise, the colony noise slider here. And that's it. So super simple again. The story is not about the basics and not about sharpening, but I still want to. I wanted to mention it. Now we're done with this. Maybe you picked up one or two tips, and in the next chapters, we would get creative and the good stuff will happen. So, yeah. See you there, guys, by 4. How to create a Panorama: All right, guys, in this chapter, I am going to quickly show you how toe merge a panorama inside the relied room or camera dysfunction got developed quite a lot in the last years ago. We did a really good job with it. In my opinion. In the past, I used to create my panoramas in photo shop only. But that completely changed Yes, since the last for the last two or three years. Because, like I said, I got a really good in light room and Cameroon, and the cool thing is that you can actually do it on a raw image. So that means you merging overall panorama and then you're can make for the raw adjustments like white balance and so on. So really cool. And I recommended mostly for single row panorama us like you see here, um, single row. When you have a panorama, it's one row going through. That's that's awesome. In my opinion, it's the end for this. It's awesome. So when you have a multi row panorama like sky mid ground foreground for really massive scene, then I recommend for the shop or any other Panorama software, and then Photoshopped, mostly manually probably, but I'm not an expert in this topic by any means. I like to do a single row panorama, us and also sometimes some vertical panoramas, and that's it. And that's what I'm going to show you. Like I said, So it's really simple, actually, I didn't make any pre adjustments here because you can, Like I already said, Do any grow adjustments later anyway, since we're working on raw files only. All right, so let's simply, let's simply select them all here by shift clicking than a right click. Add sorry for the merch and then Panorama. Then it takes a second or two. My computer's super slow. So yeah, it might take a second. Now it's actually like it says. It creates the preview. Okay, here we are. And now we have some functions. Uh, first of all, let me on select that we can choose three different ways. Light room blends our panorama. We can either use very girls, cylindrical or perspective. I like to use cylindrical, the most for horizontal panel grammars and spherical in perspective for vertical panel Ramus. But it always depends on the image. The cool thing about cylindrical is that it gives you a little bit more foreground, as you will see in a second. In this case, it doesn't make much off a difference, since there is actually no foreground element. But But if you would have one done, cylindrical is the way to go. And now we can on a crop. If we want. We could also automatically fill inches, which is sometimes actually quite good. But yeah, I like to do it in photo shop better. So in this case, we will leave that and auto settings is something we don't want to use since I want to do it manually. But what we will do is click on boundary rep so it will merge it. It will transform it on on the edges for us. And this mostly makes sense when you have a not a straight horizon line, because then you might see some weird stuff going on. Maybe we will even have something out on the right side here. Assume in, Yeah, there's a little bit off boundaries stuff going on. We can, but we can fix the later in light of Rome or even in photo shop. So that's not That's not a big deal at all. They're versed, Merced, trust me, and that's actually it. Now we will simply click on Merge, and this will take a second because it's Yeah, big file now. And while that's creating, I can tell you that I like to use simple stuff to create my panoramas. I simply have my tripod and a bald head. That's it. I level the tripod and then I make a row from left to right. Check that everything is stable. I make mawr images than needed on the sides because I can always on either side. I go a bit far to the left and a bit far to the right, because I can always crop it down anyway. So just to make sure that I have enough meat to work with and that's it, Like I said, I don't make any multi row pentagram asses so on, which is an awesome craft. But yeah, I'm not. I never really tried it. So it's about single Rose here. Like I said, all right, you it is, and in my opinion, did a really good job. Looks fine. Sometimes it messes up lines like this, but in this case since we had a good overlapping. Everything is good, and like I said already, we now still have a raw file so we can make raw adjustments to it. Now just do some basic stuff like adobe Landscape, and I recommend doing your raw adjustments once that's finished. Not before, only do it before when you have, like, a strong light source somewhere, and you need to darken it down so it doesn't mess up with the other tones in the image Minutes blended, but usually I do my adjustments after image to panorama. But like I always say, it depends on the image. Yeah, let's do some basic stuff here. The good stuff will be later in this course. Let's click on intense correction, and we might be able to get rid of this year down there. Yeah, it looks better now. And now the crop tool. I don't know. We can crop this year if we want personal taste. Something like that looks really cool, and now we can make for the adjustments if you desire. But yeah, it's not the point off this chapter, but you saw short and easy. I like it and now we will also work with a vertical panorama. That's a drone shot. There it is. We have five files. It's also from northern Norway. Um, I started yeah, at the bottom, and then I tilted the lens up, using the joystick off my controller from the teacher. I fend them for pro and use the tripod mode there than it's quite stable. And, yeah, you can easily do that. Vertical panoramas are quite simple, with drones on a tripod. It's a bit more complicated because the closer you are to your foreground, the more off distortions you will get, and then you will. Then you will definitely need a tools like nodal adapters and some other vertical panorama adjustment stuff tools. I'm not good in that. Like a sad it's about photo editing. That's what I like single roll panoramas. That's what I also like. But in this case, like I said, a drone panorama, so we will simply select him. All right, click photo merge and panorama. Now it tells me there might be a HDR I think did some HDR adjustment toe one image here, but the HDR function doesn't work for me here in light room. I don't know why I like to do it in photo shop instead. But that's it doesn't happen a lot anyway, when you have evened out exposures. So I press no here and let it create the normal panorama. There it is. It doesn't look too bad. We can now try out perspective. This looks really bad and spherical, which looks, huh? I like it a bit more than cylindrical mountains are a bit more natural. And now we can either crop it or before doing that, I can actually try the boundary rep. In this case, it gives me some weird distortion here in the distance. So I will back it off a little. Maybe something around 30. Yeah, that looks much better. And now I can still auto crops so I can combine autograph with Bondo re wrap. That's really cool. A knowledge Quick. Much takes a second. Now it's really important that it's not super windy, even you up in the air. Otherwise your drone will get yeah, pushed around, and then you will. The images won't Linus perfectly. Yes, they would. When you're stable in the air Yeah, there it is. Looks actually looks really good. So and now we can again make some basic adjustments If we want maybe talking it a little. That's, um, highlight detail, shadows, clarity and so on. So really cool. We can crop. It's if we desire in this case, maybe a little. Doesn't matter. No. So, yeah, you saw NitroMed does good jobs with vertical and also horizontal panoramas. As long as the single row I have never experienced any issue are at least almost never. So I can highly recommend doing it. Yeah. And in the next chapter, now we're talking. We will talk about HD ours. How to merge them in light room. I usually like to use luminosity masks for this job in photo shop, but the HDR function got really good over the last years as well. And when it's not too complicated than actually light room, yeah, does a good job. The next photo will be a bit more complicated, so yeah, because easiest, I don't want to show you an easy thing. I will show you what it can actually approach with a more complicated files. So that's what we will look at you there. Guys 5. Merging different exposures: alright guys. So he and this chapter we will talk about how to merge Panorama from a panorama. Sorry HD ours in light room and also camera wrong applies the same on. It's like I already mentioned in the last chapter. It got really good in the last years, So I quite like to use it now, even though I prefer luminosity masts still, because I have a lot more control. But when you have a simple blend, you have to make, like, medium dark foreground and a the ah, medium bright sky, then it's fine. This case I have four files, quite a lot dynamic range, so it's not that easy, but I'm sure it will book at least to demonstrate to you how much power it actually got. So let's first select all four. It's important off course in the field to let me show you before it's important in the field to use a stable tripod so you don't have any camera shake and so on. And, uh, yeah, use enough exposures like a when you have a highest seen high dynamics high dynamic range seen like this, make sure that you have enough shadow information a little bit off sky highlights than darker sky. And then you have medium sky. So something like that, I probably wouldn't have needed this one. But just in case you never know. But when you print blend like a super bright foreground and a super dark background, it can look weird. So I recommend um, also creating some exposures between it on. That's it, actually, since Light from also gives you the year the opportunity to use D ghost, which means it gets rid off some camera shake or also moving subjects. It's not perfect, but for some little things, it's quite good. And yet that's what we will do here now. So simply select all four right click and then four emerged in this time HD are. But there you see it, you have to function auto align, which is really cool, and then it takes a second. There it is. That's our HDR. You could click auto settings if you want, but I don't like that, but you're it actually doesn't look too bad, but yeah, I like to do it manually, and now we can use the amount of the ghost. Let's start off a high amount That means it's elects really fine areas where there's some overlapping issue on and yeah, it gets rid of it, but it takes a second as you see or two. It can be useful for Litman A. There's some wind and you have moving tree branches or some waves, maybe border to make that. And there we can click on showed he goes. And you see it's mostly the sky because the clouds were a little bit moving. And, yeah, maybe there was a little bit of camera shake on the horizon line. But it's that's actually it. But Suman It looks quite good so far. Let's see what happens when we don't use any D ghost. You know, it's actually also not bad. So in this case, we don't even need D Coast, in my opinion. But it's good to try it out, and then let's get merch and light room will do its magic force, and the cool thing again is we will also get a raw file. So that's press develop and you see we can also use adobe landscape, which is supercool. The history Graham looks contrast E, but we have now a lot more information since everything is pressed into one file. As you see when we turn this only bumped exposure. You see we don't get much noise in the shadows because it simply uses the tones that got from our bright exposure, which is super cool. This flare is something we don't care in this image, since it's all about HDR. So yes, something like that, and we can go down with the highlights. In this case again, I would use a great eroded filter, maybe eso some local stuff, but that's something we use later on anyway. But I like it already how it is because it's OK when the sun is a little bit brighter. In my opinion, since the sun is the brightest thing we have here in landscape photography, it's fine when it's bright. It's also five, and there's a little bit of golden Hasten the Valley because that's how it waas, so I don't want to get rid of it. So to keep the mood to maintain it, I like to, uh, keep some of my highlights. Maybe at some more warm for less, whatever. We want some tunes and yeah, that's it. Super cool. We couldn't go down further. And you see, we still have a lot of information there. But we would only darkened mawr parts off the sun, which I don't want, but yeah, really good. Really good. Actually, I like it. Okay, so that's it. Now, with all the basic functions we have now, in the next chapter, we will get a little bit more creative. I will show you how to work on color, Luminant and Hugh and so on. So there you have some that you will see some. Yeah, really nice, uh, possibilities we have inside camera raw Elijah room to broker for away matches. And that's the reason why I love to use the camera awful all the time. And I'm in photo shop already. All right, See you. There s 6. Enhancing Colors - make your images stand out: All right, guys. And this chapter, we're now going to talk about colors. I have five sample images going on here. Where on which I want to demonstrate you my favorite steps I like to use inside camera, raw and lights room to enhance your colors. We will use three hue saturation and also the Luminant. Since to further work with Yeah, those simple shots here, I show you ever show you my favorite ways and what benefits and image and what not. So, yeah, let's get started with the first shot. It's one from Oregon in the United States. KUSA folds if you pronounce it like that, I'm not sure. Um, it was a autumn or fall afternoon. You see that the Leafs are already turning a little bit near the color a little bit more yellow and orange, and I want to further enhance that here in light room. And I also want to work a little bit of the blues here in the water because they look really cool. And that's actually a really simple way to do that. And that's Yeah, what I want to show you. First of all this chapter. Like I said, it's about each your cell, and it's this tap here in light room, you have many possibilities to work with color all the different ones, as you can see here. And if you're not sure which color you have to adjust to get a certain a certain effect in your image, you can simply use this tool here and click on the part you want to adjust, and then it even tells you which color. It mostly effects when you click on it. Then you can up the color or you can Yeah, I mean, change the color wherever you actually in inhuman situation and so on, so up and down. Very simple. It helps a lot, especially at the beginning, when you click on it again. Then it's removed. Now that looks weird, so we will double click and remove it. All right. First of all, it's important toe, Remember? Or keep in mind that certain that there are specific colors which look better when you have them in one image and other stoned. I'm talking about complementary colors here, and in this case, or in general they are scion to read. They're complementary colors and green to magenta and also yellow to blue. When you have a combination off those yellow and blue and one image that usually looks quite pleasing. I really like CNN and red personally, and magenta and green can also look really good. And that's always just a rule off some, of course, since it depends on the scene itself. But for example, when you have a pink foreground and a red sky, the usually looks weird and also, if you have, like green and red and so on. But usually you don't have pure green and pure red. There's always some mixture between it. And then, yeah, this rule again. This, yeah, just a rule of thumb. But it's a good starting point, and in this case here, I want to get the greens look a little bit more yellow. So you have this fall feeling gets, Yeah, it's a little bit enhanced, and at the same time I want to, ah, shift the blues more to a bit more blue. So we have a nice color contrast going on, and to do that is actually super simple. First of all, I want to even out the green tones said a little bit more yellow. I will assume in here to this plant here, and, uh, then we can add yellow twit a highly recommend that you don't overdo it. Otherwise it will look unnatural really quickly. And also like a nuclear explosion. In this case, something like that is fine. Green is a really strong color Samos blue so they can look messed up and oversaturated quite but fast. So, yeah, keep keep that in mind. But it looks good here. In my opinion, No, everything's a little bit more yellow at the same time I can at green to the end host if I want by, uh, pushing it into the opposite direction. In this case, I don't want to touch the yellows because they're already good. How they are the Greensboro duh subject. I wanted to adjust and now consuming and take a look at the blues here so we can add more scion if you want or a little bit more purple. So it's more even the big bluer when you have scion tones going on here and you add but purple. Then you shifted a little bit more towards blue again and when you add even more, say end than you see. It gets a little bit more greenish. I like to add scion, but in this case I want to shift it at least a little bit too towards purple to even it out . That looks nice. I can also touched the purples if I want. Let's see what they do. Not much in this area, but I saw that they do something here. Maybe there's a little bit of a magenta cast in the water, so I can also shift them a little bit more towards say N to remove the effect. All right now, we can also go to saturation in case you want to enhance the yellows. They're quite saturated already, so I like to keep them how they are. The greens are also fine. Maybe I can add a little bit of green, but not much, since they are a strong color color like a said already. But I saw from before I saw that there's I'm a magenta purple cast in the water. I don't want that, so let's see if it's real. Still, There were is there as you can see here on on the decide on the right side here that it's highlighting the purples. So let's reduce the saturation to propose so we don't have this weird effect can also come from the, um, polarize a slight color cast. For example. I don't want to work with blues. They're fine how they are. I don't want to add more situation. Definitely not. But I also don't want to increase decrease it. So that's good how it is. But what I do want to do is I want to go to ruminants, and I want to add some punch to the yellows so it looks a bit more that sunlight is hitting it, which it actually did kinda. But I want to enhance it even a bit more, and at the same time it's important to know. Sorry. Before I started, I should have mentioned that ruminants adjusts the brightness in the different colors. You can either darken them or Brighton them. Be careful when you brighten them, they get a little bit, get a little bit less saturated, and when you darkened them, they're good, a little bit more saturated, so you might want to add a bit off extra saturation after you made an adjustment in here. So here Let's take a look at the moss. We can brighten it a bit further, not too much and maybe dark. And the greens to get a nice contrast to the yellows. It looks fine. And some in here. Yeah, it looks also fine. And I also want to brighten. The blues and blues are mostly happening here in the water. So they also get a little bit more punch. Something like that. You see here that looks quite nice. All right. Now I might want to add a bit here, saturation to re yellows because they lost it after frightening something like that, I mean, in our turn is on off. You see before and after. I mean, it's too strong. And the ruminants then I can always go down here and maybe add a little bit off extra orange tree yellows. Yeah, that looks fun. Now let's jump to the next image. It's from the Dolomites. This mountain is called Mount Permal. It's really popular, 11 of my favorites. And it was actually a cloudless sunset which was ashamed but assumed in with my 72 300. Kenan and I wanted to crop out the boring part off the sky, so I only have the nice color transition left from the earth shadow. It was really super close to sunset. Only a few the light spots were left here on the mountains. And you see it casted a wonderful red light on them. And at the same time, the shadows have a nice blue cast and I want to further enhance this color contrast by adding some science to the blues in making the Reds even a little bit more red. So I have those complementary colors working together. It already looks super nice, but yeah, I want to show you what some little extra detail. And to do that we will start out a few Hugh again. I always thought of Hue and then usually lieutenants and at the d n saturation, because this mostly you're saturation like to fix what maybe got over edited by using human human. It's okay. So in this case, I want to add a little bit more read like a said he I would add yellow, and that looks not good. So a little bit off red, not too much. And also a little bit of CNN, not too much something like that looks less. Let's see what the oranges are doing. They had also not too bad. Let's shift him also a little bit more towards red. And now let's see what we can do with ruminants. I think I don't want to darken the red snow. They look fine, how they are also the oranges and so on. But I might want to bright in the blues a little bit to get it. At least a smidge mawr contrast here in the shadow area. Something like that and saturation. Let's see. It's actually no, it's fine how it is. MME. Turned his on off. You see, we have some nice groups. Some nice Sigh Inish cast your now in the shadows, which fits nicely to do. Red's always personal taste, of course, and a little bit more red in the mountains. So quickness the shoulders from the U. S. Oregon coast and abandoned beach. I was super lucky with the wave action. As you can see, it's one shot I put pasted in the Siegel, but it was also flying around. They're just took it for separate in a separate image, but the red waves are they lined up perfectly. That's the reason why this image is called wave layers. I'm so creative. Well, here we also want to add some Hugh 1st 1st of all, I want to see if I can add a little bit more reddish tone to the yellows here. So they fit better to the blues. I mean, to the science. Yeah, a little bit. Here, you can see it, See, but nice. I don't like a green cast in yellow, so I always try to add some oranges and threats and so on to overcome it. And we can also add a little bit off Scion to the waves, not too much. Otherwise, you see, it will look super crazy, but a little bit something like this. And now we can also add lieutenants. In this case, I want to increase the dominance in the waves. So I will crank up the blues to get this nice separation between the waves. And I might want to go down off the yellows a little bit spills if and with the oranges. So I also have some darkening here in the wave reflection and situation. Mir, it's looks fine. Mostly, maybe the decreased blues a little bit, but not too much, All right. And yet those are just global color adjustments now, But you see there already make a big difference. If you are in your normal photo editing work floor, you could also maybe lower down the exposure smidge And when you then crank up the blues a bit mawr, you see it? It's even more interest to the waves. So yeah, super cool. In the last chapter, you will see how it added a photo raw from start to finish in light room and there will apply all the techniques I am demonstrating, you hear in those chapters. Okay, next one is from the Dolomites again. You see that The golden light. He makes all the difference in my opinion that the sun was still not too high up in the sky and it broke through some clouds in the left side, somewhere here and the value this shining in its golden cast and also the little hill up here, which, at some extra interest, in my opinion, and here again, I have the possibility to add some nice color contrast between the blue and the yellow. So what I want to do is I want to shift the greens a little bit more towards yellow. You see that they used the word little a lot because it's all about the fine details. No extreme adjustments with colors. You always need to be careful, make little steps. And if you're unsure, simply take a sort. A short break. Go grab a coffee or whatsoever. And when you come back, you will have fresh eyes. The got used to something else in the meantime, and then it's easier for you to detect any mistakes, what you made before. So that's a little to pew from my sight. And yeah, like I said, I want to shift the greens a little bit more towards yellow. So, too, did. I will simply grab this letter here, and it's doing its job quite good. And I also want to shift the yellows a little bit more toe orange, no green, and that's checked the blues up here. I think I want to add more CNN, but not too much as I don't want it to be too purple, only a little bit. Yeah, that looks good. And I don't want to touch Tauron. Just here in this case, it looks, it looks fine and now we can go to dominance. And would I want to do first is I want to add some brightness to the yellows, but not too much. Otherwise we will blow out this guy here, but quite a bit. So it at some nice punch here to the bright parts. And I also want to raise up the greens. And at the same time I want to darken the blues a bit. It doesn't look natural, but that I don't care about that because I like dark blue skies, especially in the mountains. That's always a nice point of interest, especially when you have a blank sky. And now we can also, if you want, you can add some extra situation to the sky and maybe decrease it in the greens a bit. So it's not too punchy groups something like that and then return. It's on off. You see, that makes a nice little difference. Cool. And the last shot again from the Dolomites. This case, the treaty Murthy Laredo famous writes in and also called in German. And it was a summer morning and yeah, again, I usually start with the yellows. When I have a yellow subject in my frame, I like to adjust the yellows and then the blues since them all mostly, yeah, I mostly just blues and yellows. They easy to adjust. I don't like to work with red, um, agenda too much, at least in those section in this section here. And, uh, it mostly looks fake, but yellows and blues and sometimes greens can be added quite a bit. In my opinion, it edited. Sorry. All right. So first of all, let's shift the yellows A little more toe orange sold amount of here gets mawr even and even in the color. And I want to shift the greens a bit more to yellow A swell So it's a nice contrast to blue And do I want to touch blue? No, I don't want it Has blue this time Maybe one point in science So it's not too much. Enter cast e and in ruminants I want to dark in the yellow So I have mawr color going on here in the mountain. Yes, something like that. And I want to raise the blues so the water gets brighter in the front and disguise not too dark. And after I did that, I can also add some saturation because usually when I bright and blues, they lose saturation. So I want to bring something back. And also I want to add some saturation to the mountain. A darkened the yellows in the mountain. But I still want him to be a little bit more saturated. So yeah, maybe also orange. Okay, that looks fine for me. So to sum it up, guys, I always like to work with the hue first, usually yellow, blue and sometimes green. That the most effective in my opinion, Off course. Only when you have those colors in your frame. Otherwise, I rarely touched the hue Onda. Uh, what then? I like to work ruminants to adjust the brightness values off my colors. And saturation is the last step to fix things which I might have messed up in The hue are eliminates part when something got to saturated. Yeah, that's it, guys, keep in mind the complementary colors blue to yellow, cyan to read and green to magenta. And when you combined them in your shot, you will usually get a pleasing viewing experience. Okay, so that's it now with the HSE l panel In the next chapter, we're going to talk about split toning, so see you there. 7. The Power of the Split Toning Tool: All right, guys know let's talk a little bit more about color, but this time about split toning. That's a topic where you can get super creative with, and you probably saw a lot off overdone images on the Internet and social media. The top the term overdone is you're always really personal taste. So for some people it's awesome. And for others, it looks super crazy. So it Yeah, it always depends on which person is looking at your images. But like I said, you can get quite creative with it. And when you do it in a incremental way, it had some extra pop and, yeah, interest to your image. I especially like it for creating color contrast. So Malek, blue blue ish Sigh n Shadows and Reddish Yellow highlights for that. It works extremely well, in my opinion, and I picked three sample images here so we can for the work with it. So that's good. Thought it. The 1st 1 is from the Dolomites. It's one off my favorite shots in my entire portfolio. Even it was a blue evening. I mean, blanks, guys, almost no clouds. Besides that, those little ones here, I still really like it. It was super freezing cold, but still it was so worth it. I like the reflection from the mountains here in the snow and of course, especially he under in the creek. Yeah, really cool. And what I want to do here is I don't want to work with h s L. I want to work with split toning and here you have to options. You can either work with highlights and shadows, and then you can balance it out. So there's a mixture between both. You can shifted a little bit more towards the highlights, or you can shifted a little bit more towards the docks. And like I said, I like to create a color contrast. So what I want to do is I want to add some more blue to the, uh, sky toe, make it appear a little bit more scion a little bit and then add a living off red or yellow to the mountains. In this case, I already have a really strong color contrast, but it's a good image to demonstrate you guys. What a good technique this can be doesn't have to be. There's a lot of images where it doesn't fit at all, but some it can make the extra kick. Like I said before. All right, so first, let's start with the shadows. First of all, we have to pick a hue. So some color range we want to add in this case, I want to be in the bluish area. Somebody here and then I can pick the amount how strong it should be like superfluous. Your see, when you put it toe 100% saturation there, you can actually see the best which color you just selected. But yeah, you see, it looks doesn't good. So we will back it off again. And then I like to start off around in the tens. Maybe that's mostly enough. Between 10 and 20 is usually the amount what is? Pick 15 right in the middle. And then let's add some oranges and also saturation. So it shows up, and now we can balance it out again so we can shift it a bit more towards the shadows. Or we can shifted towards the highlights in this case, something in the Middle East. Fine, because I have both colors. Sometimes you you only want to add blue to the shadows, and sometimes you only want to add a red or yellow to the sky. So then it's easier to balance it out. In this case, we have to be a little bit more careful. But you see it gets this nice effect, which is the ads. It's quite autistic, and a lot of people use it. So depends on your taste if you want to do it as well. But I actually quite like it. It started off. You see, it looks quite nice. No, it's a cool effect. If it's too strong, we can always go down off the situation off each adjustment, and we can also shifted a bit more to highlights. Maybe so. It's more warmth than blue. Yep, the looks nice. It's a nice extra kick, in my opinion, my personal taste. It could be that when I stand up, grab a coffee, come back and then I look at it. I'm like, What did I do by then? I simply make somewhat weeks, but it looks fine. In my opinion. The next image is also perfect example. It's from the Dolomites again. One of my favorites, uh, was a amazing evening. Some nice golden light on this side and the bluish shadows on the other side. When you get romantic light like this where the sun is poking through a gap off thick clouds it happens a lot that you have a strong color contrast between blue and yellow. And that's something which I quite like a lot. So yeah, we will foot a broker if it in the split toning section here. So first off all again I want to work the blues in the shadows I had some Oh, yeah, that looks really good. Do you see? Let me add some saturation. Tow it Something like that. It's a more purple already know it's still blue. So something like 10 maybe 10 looks fine And then I want to add some yellow to the highlights Had some saturation of to be really careful because there are already quite saturated And then we can balance it out If you wanted more to the shadows Somewhat more blue or more warmth This case maybe again something he around in the middle. I returned to start it off. Yeah, I can't really small, but I like it a lot. We can shift may be a bit more towards warmth, so, yeah, that looks nice. You see, that's really cool. May saturate the shadows a bit more. Yeah. Super cool effect. It made stronger what was already there. So that's always a good usage. Often adjustment, in my opinion, when you apply when you further and emphasize something which was already in your frame. Yeah, pretty cool in a bit more through. Yeah, I couldn't food that I could tweak it all the time. Now, Yeah, it looks It looks nice. I like it cool. And then the last one, this time A night image Because in night shots, it can happen that you still have a strong color caste Sometimes Maybe you overdid it. The bid with the white balance. So you added too much blue. Or maybe there's a little red reddish magenta tint in the shadows, then, yeah, you can also use the split toning to overcome this effect. And that's what we will do. So, first of all, we will again pick a bluish color mostly makes sense here. And then we will add some saturation to it and we can balance it out certain area. You re small adjustment. You in this case. And now we can also add some yellow to the highlights. Sort of. McVeigh gets a bit more emphasized. Yeah, something like that. And you see, you have created the nice yellow shine here on the stars and cut a great off the color cast here in the foreground. Really incremental. But it makes a difference in my opinion. And s you saw I mostly worked with yellows and blues. There are a nice color contrast. And it usually works really fine for me when I have a image with a flaming sunset or sunrise than it might be. Okay to add some your red as well. But usually you already did that in the age of cell slider. So I mostly used to split toning to add some extra kick which was missing before, Like, in this short, I quite like it a lot and also like it here. So that's what I like to do in the split. Toning. Okay, guys, that's it. With this chapter in the next one, I think we're going to talk about what are we actually going to talk about? I think the tone curve is the next topic. Yeah, also quite powerful. See you there, guys. 8. How to use the Tone Curve: All right, guys, welcome to the last chapter where it's about global adjustments. In the next coming ones, we're going to dive deeply in depth into my favorite tools. I like to use in light room to get local adjustments done like the graduated filter radio filter and so on. Well, of course, the color adjustment is also kind of local adjustment since you're targeting specific color channels. But yeah, like I already mentioned and talking off the about those tools which don't we office. You like Brush Andre de Influenza one. But before that, we will talk about the total curve here. It's also a really good adjustment, like actually everything in light room, and I will show you two examples how to use it and some things to keep in mind. And so it's Yeah, without foot or dude, Let's get started here with one shot from Iceland in stocks This again. And it was a blue our shot and I loved the contrast the white snow with the black sand overnight when there was some fresh snow and strong winds. It created those nice lines and so many textures. So cool, Real and yep, I want to further adjust it with the total cuff. Tonkov. I have two options to use it. Actually, three. I can work with color. That's what I will do in the next image. The different color channels. I can work on the whole total value, and I can use again the whole totally but sliders to support me, which is actually quite handy. When you go to the slider, you see which part off the tonal curve will be adjusted, and you can also drag it by using this. Just this this little assistant here, if you want. In this case, I want to bring out the details. He in the foreground without losing too much information in the sky. And usually that's tough with one global adjustment. That's the reason why I like to use some additional local adjustments to support it. But it's not the topic here in this chapter. I would probably quickly just show you, uh, example, all right, so he in this case, I want to. First of all, I want to darken the highlights and then bring up the lights to affect the snow here. It's always important when you bring up lights the dark and highlights because otherwise they will blow out quickly if you I almost never bring up highlights because that means losing information fast. But I like to use lights to add some extra punch, and then I want to darken the Dark's. But at the same time, I want to bring up shadows to get the same effect. Like here in the highlights. I don't want to lose information in the shadows, but I want to make them a bit darker. So that's where this combination comes into play. And now you see, we have a slight curve here, going on, protecting some off the highlights and some of the shadows, which looks quite quite good, actually. And now we could overcome this bright part here. If a simple radio filter your dragons here, of course, inverted percent feathering that would like to use, and then we will darken down the high lets you so we don't lose too much of them here. That's a good use of the radio footer, but more about that in the next topics and the next chapter. Sorry. Okay, so that's one way. But we can, of course also do it differently. We can use this curve here and what I also like to do most a lot of times is I bring down the mid tones and I raise up the blacks to overcome that. It's too doctor, and then I add some highlights. That looks weird. That looks really good. I made a mistake, uh, so dark and down, drag up and here, drag, but more to the left. So the reason why gets more contrast in this way is when I let's say I want to use the dark point somewhere here and the bright points number here that basically shrinking sound the history, Graham. So that means the history ends here and it ends here. So all the tones left from to the left from the Black Point here are lost and same the tones which are right to the bright point here I lost. So because this is now our history, um, that's the reason why I look so super contrast. So it's always important that when you add contrast this way that you do it really incremental. And that's the reason when I darkened mid tones, I want to up the shadows toe so I don't lose the information there and then at when I want to add some punch, I only use it in that really little. And software, something like that. Off course. It's no way to blue. So usually I would now go here and add some extra white balance, some extra warmth to overcome this effect. But yet it's not about that here, but it's a good way to use the cantonal cough I like toe dark and mid tones and bring shadow information back and at the same time at some highlight her life contrast. So I get a dark but still contrast the effect pretty cool. And in the next shot here, I want to do similar things, but also with color. First of all, I want to darken the waves here a bit so we can go down with you. It's a off the docks that looks good to get some contrast. Now, if you're unsure what tones the waves are, you can use the support tool here again. And you see, we are there, actually, but darker somewhere here. Not all of them, of course, But something for this reason, why darkened them here and now You see that this rock here becomes quite black toe overcome . This simply raised the shadows, and now we will. Also, we will tone down the highlights and bring up the lights to get a nice contrast effect. You see quite nice. So again, my rule. When I dark in the dark's I lift the shadows so that darkest tones won't be attacked. Let's say like this. And when I lower the highlights, I bring up the lights. So I maintained contrast. And now we can also do some color adjustments. Like I said, so we can use the different channels here, for example, red. And now I have many options. I can add red tow mid tones, and it works like this year when you drag it down your ads. I n since that's the complementary color. And when you drag it up, yeah, you read, read. In this case, when you want to remove red in the sky, you simply turn it down. But I don't want that in this case. Me removed that point here doesn't want toe remove. Come on. But I guess it's funny watching me. There it is, all right. I want to add red and I want to add. So I am through shadows that looks nice, have been more red and maybe a bit more say ends to get a stronger color. Caste. Yeah, looks quickness. And now we can also go to maybe to the Blues. And we can turn up the blues, bring up the blues in the shadows and turned them down in the highlights again. Again. A nice call. Trust. It might be too strong. Now when I leave, it's always like this with colors. Take a break, look at it again and then you will see what you actually did this case, Maybe I added too much for idea something like that. So really cool. So to sum it up, I like to use curves to add some extra little contrast, especially combined with other adjustments. Of course. Then there is the big power about it and also to add color to certain parts and maybe even to get rid of a color cast. Because when you want to remove the red like I said, you simply have to turn it down pretty simple. Okay, so that's it with if with this chapter guys and in the next one, we're finally going to talk about the yeah. Best ways to add local contrast. Local color, local interest whatsoever to your image. And that's with the grated filter radio, food, brush, tool and so on. And we will get started if degraded graduated filter, So see you there. 9. Tipps on how to use the Graduated Filter: All right, guys, here in this chapter, we're going now to talk about the great. You did filter one of the first local adjustment tools. I want to demonstrate you here. I will show you how I like to use it personally. Why? It's really powerful. And when it makes the most sense, in my opinion, so I have four example. Images, as you can see here. Rebel demonstrating different techniques. And yeah, that's just get started. This is the first image I want to show you. It's from Germany, in eastern Germany. On it was a beautiful son of Isis. You can see. And here in this image, I want to show you some basics off the graduated filter. You can find it up here in your light room and camera rods. Actually, somewhere up there in the setting sections off. Yeah, easy to find. Um, here it is. And it gives you the same opportunities you have when making general adjustments like exposure, contrast and so on. But it also has some additional little functions, which I think are quite nice. And that's mostly working locally. Um, in my opinion, it makes the most sense when you have a clear horizon line. Otherwise you might have problems. You might get into problems with artefacts on overlapping subjects. For example, he elect this tree. This one tree is not a big problem, in my opinion. But when you have, like many trees or mountain or something or building, then you might ran into problems by using a normal graduated filter. In such a case, I recommend using a radio filter or the brush tool, which were all combine it with a range mask. She never heard about that. That's also something I will talk about in the coming chapters in depth. So, yeah, stay tuned for that. Um, but here I will show you scenarios where it makes sense, in my opinion, to use the radio filter on to get started here, we simply click on this icon like a sad and then we can dragon whatever we want. Let's say we want to drag it to you on, and I recommend dragging its way out off the frame first, something like this, and then dragged the soft part up. This helps a lot to make sure that you only have the soft part off the mask editing your image instead off everything here. This is also quite soft already. And this is the hardest part. Hard, softer, super soft. And yeah, I like to work this way because then I have a smooth transition zone in my image and it a overcome a heart b ah, effect on horizon lines and other stuff which might be in the way. So that's what I like to do. And, um, yeah, like I said, it's it's quite quite easy to toe place it. And when you click here than your C Yeah, Now I'm really using only the soft part of it. Yes, you see, And when I drag it over here, I have everything and yeah, here we have two soft part. That's what I like to do, all right. And now we can simply make some adjustments. For example, we can brighten if we want at some contrast and maybe clarity on your little and that's it . These are adjustments I like to do locally. I don't like to apply clarity overall only when I have, like a super fori image, maybe a little bit. But usually I like to apply it only locally, as you saw in my previous chapters. I didn't touch this slider actually at all. And I can always read drag it if I want so supercool And if I'm not sure where the adjustment is happening year, simply take this box here and then you will see it all right. And, yeah, I can also use another one, maybe click on you and, you know, I don't know, Let's add some more exposure and maybe some saturation And then we convert with the sky, also talking it a little again. So only the soft part again you see on we can also rotate it if we want. We're now touching a little bit off the tree. That's the problem that you have something sticking out in the horizon line. But this run trees not a big problem. And usually I would use the probably the radio filter toe overcome this effect or the range mask. But it's something we will talk in depth in the next chapters. But this is not a big problem, since we're only having the super feathered part here. So all good in my in my opinion, maybe some extra warmth and yeah, so on. So you get the idea. The power is to use that the key is to use multiple grade unit filters because there are, of course, always difference in areas in which you want to play. Apply different adjustments. Let's say you want toe, maybe add some warmth and saturation to the sky, but at the same time, you want to cool down foreground to get a nice color contrast. You can do that with the creditor photo, but that's important to use separate ones. Otherwise you will apply everything to the whole image. And then you don't have the advantage of working locally anymore. Yeah, and like I said, you have all the functions sharpness, noise I don't use. I use sharpness, a little bit of noise, but not much in this moray on difference. I don't use that at all, at least not for landscape photography and landscape photographer. So I have no use for that, and I also use the colors here, and that's something we will talk about now in No, not on this image. This will beat a color sample image, but first let's talk about this one. Hey, I want to show you her again. We have a clear horizon line and he I want to show you how to add drama to your sky. And it's actually quite simple, but worth noting in my opinion. And when you have a really super clear horizon lines like this, then it also can make sense that you used the harder part off the filter, since you want to apply the effect up there anyway. So we contracted a bit further down Turkish smooth transition here at the water. And if we don't like the transition, we can always readjusted. But first, let's start with this year all of the sky selected, which is nice. Now we will talk in it. I like to dark and things and then add whites again, toe ad, some extra punch and also some D. Hayes. This way you're making sure that you're adding some extra drama. It's really cool. And what I see now is I like the transition. He on the horizon line, and I also like how it looks up there. But I don't like how it looks there. So there's another cool way to overcome editing effects in certain areas. With the greater good filter, you could either create a new graduated filter and make a counter adjustment like boosting exposure and editor over there. But it look would look not as satisfying as if you used the brush tool. And that's what we're going here to do here now, because there's a erase function, which is quite nice. And when we press old, you see you get a a minus, and that's what we're going for here. We want to remove the effect over there. Feather is 100 floors 100. It's fine so far, and then we can use it to remove the affected certain parts something like that. And now it looks way better. In my opinion, if you want to repaint, we can do that by painting again. But in this case, yes, something like that, that looks way better. And now we combined it with a the brush tool, which is which is really nice here, in my opinion that you have to control to do that. And yes, you can see here. Now we're having this nice affect you pretty cool, all right. We can also add a groups a nut ingredient, for example, and trade appear to brighten the foreground a little bit and add some clarity to Bruce this nice chunk of ice here if you want. This way we made sure that we added some drama. We found you without affecting too much off the waves. And this guy, you really cool. So here, like I said, you can add drama to a sky, which is already quite dark, and you can paint it out in certain areas. If you don't like it there, the next image. I want to show you how to work off color, how you can add extra color. But first, let me grab my coffee. All right, thanks. That's important. So yeah, Like I said, I want to add drama. It's from Iceland. Beautiful got off us my one of my favorite waterfalls up there, and we can see that we have some nice pinkish light going on in the sky. And I want to further emphasize that and the radio and other radio. Sorry, Greater. That filter is a powerful tool to do that. So we simply picked this filter again. Double click here to remove it. The effect. And first of all, maybe we can talk and disguise to add a little bit off drama that's traded out way off the frame. So we have the soft part here, this case, something like that. So the overlapping that looks good. Some think that and then we can add extra color. If you want. We could either bump up warmth and tent, but in this case I don't want that. I want to add extra color, and then we simply click on this effect tab here, select the color. And now, of course, I highly recommend the color, which is already is prominent in the image of advice. When we add green, it looks super crazy. Of course we don't want that. So we will add some sort off pinkish magenta tone reddish, maybe, and see how that looks all right. And when we drag you see, when I drag it down, it applies the effect and as we have a super soft feathering and also not a high saturation , if see, it would be much stronger If I added to a consideration. It effects it only in a soft way, and it's always important. Your start with degraded filter or somewhere, and then you check if you like it and you can always drank it down any further if you if it was two weeks before in this case, it books nicely, in my opinion. And when it's again too strong in certain areas, let's say it's too strong. There. We can again used to brush tour and I'll click and remove it. Something like that, this case may be look, that much only groups. Ah, only in the upper corner. You know, something like that. It looks like it's always trial and error, and if I look a little bit clumsy, it's not that I don't know what I'm doing. It's because I usually work with camera raw and it's the same engine, like I said. But it looks a little bit differently and in camera raw, I can assume differently here, have to use my mouse wheel and in in light room, I have to use my mouse religion camera. I have to do it by all clicking and moving to the left and to the right, so that's a little bit different. But in this case yep, I like what it does. I added some nice extra color and what I can like I said, also do is I can go down off the book but exposure bid more and also bumped a saturation. If we want something like that, super cool and we can do the same with the next image here it is also from Iceland, and again we have a clear horizon line. So it's easy to work with the graduated filter, and I can do the same again now. Like I said, I want to drag it down here to add a bit more drama. You see, we have a smooth transition zone. Maybe it's too strong up there's or move it out a little bit, something like that. And then let's add some color, which is already there. Something like that looks fine to me. Yeah, and as this extra nice dramatic effect, you can always drag it out if we want. And then down a bit further, took it. It even softer transition. Yes, you see here really nice. Looks good every time his on off. Then you see the difference. If it's too strong, we can, of course, go down with the saturation. It's always important to try it out and then re redo things. Maybe back off of the exposure a bit, something like that typical alright, guys. So that's a thes are some nice ways to use the graduated filter. You come back that you can combine it with a brush tool to remove it in certain parts, and you can also use multiple filters to make your multiple adjustments and also to add color. So on all quite powerful tool And, in my opinion, like a said, it makes the most sense when you have clear horizon lines. Okay, guys, and in the next chapter, we're going to talk about my favorite filter. That's the radio filter, so 10. Working locally - The Radial Filter: All right, guys p and this chapter. We're now going to talk about the radio filter and how I personally love to use it, I have to say, because it's one of my favorite adjustments in the entire adobe universe. I like to use it in light room. I like to use it in camera raw, and I will select to use it in photo shop, and I used the camera off it. So in my opinion, it's a super effective and easy to use tool. And when you Yeah, when you apply it the right way, you will be able to make changes to your images fast. And nobody would actually see that you only used a radio filter for that. And that's the reason why I decided to show you, for example, images to demonstrate you my favorite usage off this filter. And what a difference a difference it can make on your own landscape for us. So without food, or do, let's start with the 1st 1 here. Uh, it's in Canada on a release was freezing super cold morning. It was like minus 30 degrees Celsius, so called, but, um, at the same time, really amazing. I love the landscape over there in the Canadian Rockies. Wonderful, Yeah. Area dismount. Tennis balls. This mountain was one of the most beautiful ones I've ever seen in small Schiffrin. And the first light hitting it on the top. Yeah, it was perfect, in my opinion. And it I had no clouds, which is a shame, but I somehow still like it. This blue color cast here in my image fits nicely to the cold. Yeah, that was fear and the feeling ahead when I was there. So I like it. Hold is and it's the reason why picked it as a sample image to show you some basic steps I like to do. If the radio filter and how you can use it. And in the other three images, I will show you some more specific techniques I like to use. All right, so that's consulted here, First developed section and then we click on the radio filter. And of course you have to say my husband possibilities you have with the greater filter. That's the cool thing. Everything is the same. So you don't have to learn new things all the time. Just the usage off the different filters. And, like always, every single image is unique. Sometimes you don't even need to use the radio for the sometimes the great you did filters better sometimes to brush Tool is better, which we will talk about in the next chapter. So it always depends on the combination off all. It's mostly the best choice. So that's the reason why you learn everything here and later on in the last chapter we were , Yeah, I will show you step by step, how to edit an image from start to finish a light room. So I'm sure it will have you to understand better how they work together. Okay, so let's get started here. If the radio filter, like I said first awful some simple thing elected do is same with the graveyard filter groups. Same with the great unit filter. I like to apply it Onley toe a small part of my image. That means the biggest parties outside off the frame and only a soft part years inside. Working this way, I make sure that I don't have any hard it just going on, so that helps me. And, as you see even that dragon in here than I have a lot more, and sometimes it's even know. Sometimes it's even feathering out. Two parts were actually wants. The adjustment, of course, could drag it bigger. But then I just even mawr, which is not ideal when you only want to target certain areas. So that's the reason why I like to drag it out instead of applying it completely there. So now you see, you have a really nice and soft part off it, and that's the reason why. That's because I have feathering on on 100. That helps and invert means that I'm only adjusting the part inside the circle. If I would yeah, remove that, then I'm adjusting everything outside of it, which is also useful sometimes, but not here. I will show you another example later on, all right. And, yeah, it's actually simple, like you already solved. Drag it out and then use it to adjust certain parts. In this case, I want to brighten the ice over here, and that's actually it. And I recommend, of course, using multiple radio filters as you. Every single one needs its own adjustments because, yeah, it resets all the time, and I used canned. Use this filter now here and then I drag it there. That's impossible. So, yeah, I need multiple ones. So I simply click on you here and let's say I want to brighten the trees over there. Then I can simply drag it here and maybe go up. If the shadows that's Mitch. So the trees are a bit more Britain, also powerful. As you see Here's only a small part. It can further adjusted if I want so really cool. And I can also do the same with the snow. If I if I intend to, I can grab another one here and just only the snow also really fine, feathered and easy to use. Some could also remove the saturation a bit if it's too blue. That's also a good way to partially de saturates parts of your image, talking about saturation. It's, of course, also go to add saturation in this case, as you probably already recognized. There's a little reflection going on here in the ice, which I really like from the mountain up there, and I want to further enhance dead. To do that, I can again grab a radial full too. Targets here this area, and then I can either bump up the saturation, which in this case doesn't work properly because I'm also bumping up the saturation from the blues. I only want to add red or orange so I can again click on this color checker here, same like we did in the last image, and then simply add some orange and that's it. And no, we haven't enhanced reflection. If it's too strong, we can, of course, always readjusted by making it smaller. Maybe that's up to us, but a really good and what we can also do is we can add another Grady. Oh, sorry. Another radio filter and maybe bump up the shadows a bit here and the ice. So it's a bit more. Yeah, that's more brightness going on. And also add some whites and clarity. So it's really good for that. I like I like to use it for everything. I like to use it to add saturation or de saturate certain things. I also like to use it to add local contrast, local clarity whatsoever or Brighton and dark in certain parts, so you can do a lot of this with disc filter like I already said. It's it's super powerful. One more thing. Maybe I can also, if I want to, I can warm up the sky a little bit. So this part of here is small. Yeah, enhanced. It's also something I could do, for example, and when I click on this mask, you see there's only a soft feathering going on. It can even read, drag it if I want. So I'm only touching the sky up there. A good alternative to the great beautiful too. Sometimes, especially in situations like this, where I have everything poking out into the horizon like the huge mountain in the trees, the radio food is often the way to go. All right, so and when we check it here now what we actually did, You see some small little steps, but it helped me to further improve the image. I could even adjust this little wave here a bit more if I want. Let's say I want to add some whites so it stands out a bit more. Oops, it's also possible there's so many ways to use it, and that's the reason I will show you some more simple images. The next one is from Northern Ireland in the dark, which is really famous place. And here I want to show you how to add some haste and also that it creates step because in this case we have a bright light spot at the end of our tunnel here. The road is going towards it. So it's combined with a nice leaving line. And when we have the surroundings a bit darker and the middle point brighter, it creates a lot of depth since the Iess looking automatically to the brightest spot in this case, the one here and then we further enhance that it's yeah, heading up. You've more dimension. Keep that. So to do that, we will grab a radio filter simply like that. Here it is, and then we a bump up the exposure a little bit, maybe also the temperatures we had before. And also add some hase. No, we won't be haste. We'll add some ice and make it a bit smaller if we want. It's a little difference. We can also go down with the highlights up. It's so the trees are not losing any detail there, so it's about the haste around it really cool Turners on, or if you see it makes a nice little difference, in my opinion. But it's also something like to do. I like to add a central, bright spot with the radio filter talking about bright spot this image. Here's another perfect example. But before we could started, let me grab my coffee real quick. All right? There was important. Um, yeah, In this case here, we have a central, warm light in it's Emerald Lake in Canada. Also the Canadian Rockies freezing cold evening on. I want to further enhance that. I want to you add having yet. So the viewer concentrates more to the hut here, and I also want to enhance it a bit. So it stands out a little bit more in the blue environment, and the radio filter is perfect for this fistful. We will dragging around something like this because I want to add a vignette. So that means now that I will not inverted anymore, I will uncheck that And when I at brightness almost sorry when I remove brightness, Manet make a darker you see that only the edges are getting darkened, not the central part. When I click on this, I can hear you see it better, and in this case it could make sense to remove a bit of the feathering. So it really only touches the other side of the image. Something like that. And now you see that the trees air getting dark in this world. And to overcome this effect, we can simply raise the shadows a little bit and the blacks so this is not becoming too dark here, and that's a technique you can also apply to the created filter. I forgot to mention that before, and you apply a greater it filter and you drag it down here and let's say you want toe. Oops, not that strong. You want to darken the sky. You can at the same time, bump up the shadows and the blacks to overcome that. The trees are losing any detail. So that's something I like to do with the radioed filter. And also, if the radio photo all right, so that looks good to me. Maybe we live in contrast. Not much, but it's fine. And now I want to add a another radio filter, and this time I want to add warmth and also a little bit of exposure and haste to the middle party. So the hut is shining a bit more here in the dark environment, some form flicker said, And maybe yes, a more exposure and haste. And when you lower the whites A. Smith, you make sure that this lamp here this this highlight is not, uh, burning out when you watch it. The history room up there, Yeah, it looks good to me. Now let's say we don't want to bright in the snow here too much. We can do the same, like with the graveyard filter. We cannot pick a brush and simply press Ault to have our erased through. And now we can. He raised it here in the snow. Easy is that that would be click on the mask. You see, it's happening here and there, but not in the snow. And when we turned it on often you see what a difference this makes in regards to the mood . I mean, it's too dark down here. Now we can use a another radio filter and maybe bring some brightness specs so we still have some nice foreground interest going on. We can also remove some situations in stock inning tones also saturates them a little bit. So blues, the strong color that something has said and the color section already. It can happen that it gets too saturated fast, so it's a good way. It's a good met. It's a good thought to use the radio photo. Also tour. Remove some situation in certain parts. We've got to saturated. Yeah, the looks nice. So a vignette is also a good tip for the radio full and the last one here. Ah, here I want to add I want to show you again how to add color to a specific part of the image. And then I will add texture to the I to the ice and also to the water, for it's also a great way to use the radio filter. So first of all, let me drag here something like that. Maybe a bit smaller. I will. I will use to 1st 1 for the reflection itself. There will use a bit weaker, a weaker color. Let me grab on some greenish tone. Something like that. The sort. No way enhanced the reflection rituals already there. And now let's pick a new one. No, I want to add some color to the part where there's no color yet or not much color. So again, let's pick a green tone. And no, we have our color up there as well. I could have done it to the whole pond, but then this part would have gotten too saturated, so elected like to do it separately. If it's too strong, we can, of course, also go down for your passage here, critical, and now I want to add some texture to the ice in the foreground. So again, a new radio filter maybe brighten it a little bit, and now we could simply a texture. We can also a clarity if we want textures a little bit weaker. Clarity just small off the mid tone contrasts and textures basically enhancing what's already there. But it's a good way to make it a bit crisper. Nice. You see soft and feathered. If it's too strong up here, you can always go down a bit and only focus on this bottom part if you want. All right, and now one more thing to the waterfall again, we will selectively Brighton. We only really have, like point three exposure. To simply add some more detail here to the waterfall. And if we don't want it down here, we can again use the brush old click and erase it. Don't do simple as that, and maybe also had some texture to it. All right, so here again, you saw you can add texture locally. You can also add color locally and bright in certain parts with the radio filter. And that's easily done quick. And also when you make sure that you use 100% of feathering and when you drag it out off the frame, then you also make sure that you don't get any reared. Artifacts are edging going on. So all in all, a really powerful technique. Okay? And now we're done here with this chapter In the next one, we will talk about the brush tool. Also. Really good. See you there. 11. Be a Painter - Use the Adjustment Brush: All right, guys, welcome to this chapter where we will talk about the importance off the brush tool and how you can use it in your own and they workflow to achieve amazing results working locally. If you either want to add some extra color interest, right, brightness, texture whatsoever. This tool is really powerful. And that's the reason why I dedicated five sample images to it. I was very different ways, so I like to use it on how you can use it. So let's get started. The 1st 1 here. This is a simple shot from the 14 Islands. It was a really stormy morning, but luckily there was a gap in the clouds behind me at which created a crazy light atmosphere, mood, whatever he want to call it in the sky. I loved it a lot. Like I also like the composition with the water flowing and the greens here. And you hurt me talking about complementary colors a lot in the construction and here we have it. Now, um, greens and magenta works really nice for me and this is the reason why I want to further enhance the greens here. And I also want to work out a little bit the water stream so it looks more even more prominent and the brush tool is a good way to the red. Since we can simply paint along the stream, for example, it's a really good we will take on this year, and we have some basics. Teoh Pay attention to fistful decides. Yeah, we can adjust it here or weaken. Use our mouse, The scroll real to do it. Easiest that I like to keep the feathering at 100 most of the time. Only when I work on fine edges. Then I sometimes go down with the feathering. But when I paint some very in the middle of the landscape, I like to their the federal on 100 and the flow you have the flow. I keep it something between 50 and 100. So it actually I don't need too many strokes until something happens. So that's the reason why I keep it somewhere here in the middle and density 100. Yes, because I want that it effects everything. Exit full, full, full force. Full opacity And the auto mask function is something really nice. Where photo shop and light room got powerful over the last years. It helps me to guide my painting so I don't bleed out into other areas. But of course it's not. It's not perfect, but it works really good. And not for every single scene, of course, but I will show you some examples where it works. Quite nice. Not this image, though, but the next ones. Uh, yeah, I will show you. All right, so enough about the basics. Um, in this case, like one more thing. So when you make a adjustment, let's say you paint something here. And then you realized that that's what there was too much. Then you can simply old click, and you again have to adjust the size. And then when you simply paint over the area where you made the adjustment before you raise it, that's really cool. All right, so now let's get started here. I want to further brightened the creek that the water stream here and also add some definition to it. So we will, at some whites and also clarity. I like toe use clarity a lot, really a lot, but only locally, not to the whole image, as you probably saw in the other chapters already. Okay, we can crank the by. It's a bit further up if you want. Go down off the blacks to get some contrast and also clarity. And when we see that it's too strong in certain areas, maybe like here in this part and weaken simply old click and remove it there. It's easy is that you see, it was a nice, simple adjustment. Nothing fancy to it and the creek, I mean, the water flow here's already standing out a little bit more. That's what the brushwood is really good for, for sure. And what's important to know is when you want. Now I want to make another adjustment. I want to enhance the greens. Then I need a new brush because when I paint on it now, here again, then I'm also applying the adjustments from before. When I'm now adding saturation, I'm also saturating this part here. I don't want that. So I need a new brush. Let me remove that here. Always using you brush when you want to make a fresh adjustment to another area. Well, the whites was too bad, actually, because I wanted to brighten the greens here that's OK. But like I said, I also want to add saturation. We can show them ask here. I also wanted want to add saturation to boost the greens without touching the water here. And I also want to add some green tint to it toe. Make it stand out even more issue, See? And now we enhancing it nicely. Pretty cool. Those plans stone there and we can do the same here to this part. If we want something like that really cool. And of course, we could also paint color with this brush, which I will show you on another example image later on. It's super easy. We can simply create a new one. Select a color which is in our frame. In this case, I want some magenta color, something like that, but quite soft. And then weaken, for example, enhance this reflection here if we want and can go down with the capacity. If it was too strong. Yeah, too strong, but it's quite cool. There's a lot we can do with the brush. And this already changed the look off the image a lot. In my opinion, it further enhanced it. I like it. Okay, So now let's move on to the next image. It's from a Leyland's force in. I think it's not even called it the Alliance forces. It's a day off. US groups are there for us. Um, in I sent in the north of Iceland. I climbed down to the water rich to see this nice or not nice amazing view in front of me, quite sketchy. So if you do the same, take care. But it was referred, in my opinion. And what I really like about this image are the waves here in front of me. I like how they have a circle at the same time, they're kind of framing the waterfall. Here's a groups framing the waterfall here. That's really cool, and I want to further enhance that. So first of all, I would grab a new brush. I also have to say, Do you saturate the color here? And they never paint some small brightness. Well, use here into my raves and maybe also add some clarity and blacks removed. The blacks I turned on the black stirred some contrast. That's really cool, and I also want to use this image t to demonstrate you guys the power off the off the auto mask function. It's really good. Like I already said in the intro, Um, it helps us to guide our brush stroke and this case, let's say I want to target only the dark tones here. Light room will help us to yeah, not paint out into the brighter parts. It would happen sometime, but that's not a problem, since we can simply erased the effect again in certain areas. So that's that's not a big deal at all. And all right, so and in this case, since we have a hot Etch going on here, um, I also want to use a less feathered rush. So I have more control off where I'm pent painting, all right, and now I can simply use the overlay function or anything new you brush. I almost made the mistake. I can use the overlay function, and then it will show me better where I'm painting and now watch the magic happen. And like a said, of course it will go help able happened that repaint out off the edge but weak like now. But we can fix that with the race tool, but you see how powerful that ISS and it even paints around the water. Quite nice. That's so cool. Let's make this a little bit bigger, and it will probably slow down your computer a little bit depends on its age because there's a lot of processing power behind it. I have older computer, so don't you bear with me. And it's also the reason why I prefer camera raw over lied room, since I don't need the catalogue function, Um, because it takes a little bit less resource is. But like already mentioned, the engine is totally the same. You see how that works out. It's a charm I love. I love it. And now I can fix some edges. First of all, let me repaint here a little bit also up here in the corner and maybe here in the water because it only want to talk about the rocks. No. So here always takes a while. You see, my PC is way too old for this Crazy. It's a little bit more feathering for the water here. Yeah, something like that. Um, it's not about the water. It won't be so perfect that it's not targeting the water at all. But it's good for hard edges like this year. Yes, you see, and no. You see what it actually does. It helps us to bright in the area. And like I said already um, not it in another chapter. I like to increase exposure to brighten my shadows because then it Britain's everything, not just the darkest tones. And sometimes sometimes I combine it with, yeah, shadows and maybe also some blacks and whites to add some extra pop to it. And that's what Yeah, the brush tool. What are a great local adjustments here and able me to do? Okay. And I couldn't do the same with the water now if I want. So let's pick on your brush and a little bit more feathered brush. And let's simply pains here over the water again to make a selection. Only here. Yeah, at the bottom part. And since the water has a lot of different tones in it, it can happen that we have to use multiple breast or brush strokes, so weaken yet a target every single tone inside you. But as you can see, it works out nicely, Really good. And now I can t raise it here again. When lead room is ready on you, remove it here in this area. There it is. And when I turned the overlay off, you see, I'm brightening older water here, and I can also add some clarity if I want. And if it got too strong, that's not a problem. I can also lower down the highlights. So here, everything won't be too bright. All right. You got the idea, guys, the auto mask function is really powerful, but it takes some processing powers you saw all right. And you scenario here it's a shot from the Dolomites. And here I also want to use the auto function and not the other functions or the auto mask function, but a little bit less detailed, less local. But I still want to make sure that I'm only targeting the roots, or at least some parts off the routes, because I want to further enhance the texture in them. And to do that I will add some whites and some clarity and also yah some texture. A medium feather should be enough, and then we will simply paint on them. That's also really good way to use the brush tool resize it a bit. Target this part here, too. Yeah, Arenas. Okay. And now I can go up with the explosion, but more if I want. And then you see him bringing out the details in the roots even more. That looks nice. When I look at the the overlay here, you see, it's targeting only specific tones. That's that's really cool, only the roots. And if I overdid it in a certain area, I can, of course, always raise it where I don't want it to happen. For example, here, well there, But all clicking perfect. Let's turn it on and off they see a difference. Nice to add some local texture and local contrast and this sample image. We are going to paint some color again because, in my opinion, it makes a lot of sense to add some extra color to emphasize a scene even more, but only when you already have a color in there. So let's say you have a goal image with almost no color, that it doesn't make sense to add a lot off red to it. Of course, I'm talking about a scene like this where have some nice golden fork in the Valley from the sunrise, then it makes a lot of sense to further emphasize that. And you can, of course, also simply crank up the saturation to do that. But you know, there was way too strong, of course, but you can crank up the saturation now, the for He looks actually quite nice, in my opinion, but the sky looks awful, so working globally doesn't make sense all the time. That's the reason why we're That's the reason why I'm diving into those local adjustments here so much because, yeah, they make the difference in my opinion. And that's the reason why I will use another one here. Now we will use on 100 feathering again, and I want to like a said paint color here. And to do that we can. First of all, I want to uncheck here the other mosque function because yeah, A. It can overlap with some areas. That's fine. And now I can pick her color, which is already dear, some orange toned, for example. And now let's simply paint and that's it. It's so easy, guys, and when it's too strong, then we can, of course, go down with your passage e something like that. And now it's nice and enhanced, and at the same time we can also crank up the whites to make it more contrast. E and maybe even add some haste. So it's even more for B. And if it's too strong in a saturation now, we can lower them here as well. So so many possibilities with this brush tool, it's amazing. And this right here is my last example for the brush tool here. Want to show you some local sharpening? And also how to add a bright spot, too? Yeah, increase a point of interest in this type of case. I like how the light is shining through the dramatic clouds hitting the rich here. And then when I have a scenario like this, I really like to add some extra bright spot. Yeah, because the human eye, as I mentioned in the chapter off the radio, filled already. The human eye automatically looks at the brightest spot first, and when it's a nice, interesting yeah, seen, the better It is, in my opinion, and it's tough to fake that in least in light room, so I like to only apply to yeah, light situations where it's actually happened, and in this case I don't want to add any color. But I want to add some exposure quite a lot. And also some. He's so it shines through and also some temperature and some points and yeah, that's it. And it can make another one if I want to. There it is. It's so simple, see? And it's fine when it's shining through. I mean, I mean, it's brightening up some party off the rocks because that mimics kind of a blasting light, which yeah, lasting through. But when it's too strong, of course, we can always use the race through by pressing Ault or option on. And when we add a second brush, we could make it even stronger. And But it is only to a small apart something like that. Yeah, really nice. And we can now, of course, also add some highlights here to the front, so it looks like the lightest hitting their even more if we want to. Something like that even know, know the haste. But whites, some whites here and maybe de saturated if it's too strong, that looks nice. And now one more brush for some simple local sharpening. I showed you how to add texture already. But of course we can also use a sharpness slider here. And also we can add some. You can remove noise if we want. In this case, we don't need to. But it's also possible to d noise certain areas when there a little bit off noise, mostly in water or something. It's simple, just minus noise and then paint over the area. And same it is with the sharpness. In this case, I want to sharpen the flowers here a little bit more to make them stand out. And also here and there. Not too much. If you overdo it. It will look bad when you assume in something like that and maybe some extra whites. So day. Yeah, stand out a little bit more. Yeah, quite simple guys, isn't it? And now let's check the before and after some nice little difference. Some extra light here in the front and also up in the sky. A nice way to yeah, guide the viewer's eye. Alright, guys. So now that's it. With the brush tool I showed you now the graveyard filled radio filter and also the brush tool my three year local adjustments. You have really strong, in my opinion. And there's one option you can apply toe all three of them, which makes them even more powerful. And you have Photoshopped gotta. Really? Yeah, camera or photo shop and light room got really good with it over the last years. And that's a topic I want to cover in the last chapter before we start editing a photo from start to finish and it's called Deranged Range mask function, So see you in the next chapter grass. 12. How to use the advanced tool - Range Masks: All right, guys. Welcome to the second last chapter off my light room masterclass. Ah, here we go. Here we go. Here I will show you the most powerful feature inside lead room and camera raw, in my opinion. And that's the range masking tool. There are many possibilities how you can use this feature and I'm going to show you many examples based on the seven images I picked here. So let's get started. First of all, I want to start with the basics. We will work on this image here. It's from the east off Germany. It was a nice autumn Sun rays. It's the same morning than the one. Then in the one image we I used as a example to show you the graduated filter on. Yeah, here's another composition and I took it a little bit earlier, but it doesn't matter. No, I want to use it as an example. Like I said, to use the range mask tool and you combat combined this feature with either off the three local adjustments you have or you can make in light room or camera. So greatly red filter, radio filter and the brush tool, and I like to use all three. It always depends on the image. And in this case here, I will simply start with the graduated filter. It's the easiest option. In my opinion. Here we have almost clear horizon lines. So yeah, it this the winner here. So just actually to see something, I will simply drag it over there with some extra exposure. And yeah, here you see the overlapping. That's fine. This case I like to have this heart part here without the feathering because, yeah, the range mask will take care off the rest. And now we apply this local adjustment, which it doesn't look too bad. But let's say we only want to target the rocks or we only want to target the trees. And we don't simply want to Brighton them so that we also want to add clarity, whites and so on. And then it will be tough to use the brush tool and painted in, or the radio filter to diet, and it's it's It's almost not not impossible, but it will take way too long. And that's where the range mask come into play. You have this option down here. Let me removed exposure first, you have the option down here, and you can use either the color or ruminants. So that means you can create a selection based on certain colors or the ruminants often image. I like to use both. I don't say this is better than the other. They both have their Yeah, on, uh, perfect usage. In my opinion, it really depends on the image itself, and I also like to combine them. In this case, let's say I want to brighten the rocks. Then I would use ruminants and let's say I want to bright in the trees. Then I would use color because the trees have Simula brightness well used in other parts here off the rocks, for example. So when I brighten them, it can happen that also brightened parts off the rocks, which I don't want to touch, actually. But when I use color, I only target the trees, which have to similar color. So that's the reason by both masking functions are good as they are and why you should know both. So, first of all, let's start with lieutenants, and it's a simple interface, as you can see here. Here you have the range slider that basically is a history am only a lot more compressed. Um, the left side are the dark tones, and the right side are the bright owns, and everything here in the middle are the mid tones, and you can use to sliders to shrink it down. That means now we're targeting everything. But when you drag the sliders a bit more to the middle were only targeting the area between the slightest nothing out off the slightest. So that's important to keep in mind. And we can also use this eyedropper here to get a good starting point. And then we can further adjust our range slider here, and we can also work with the smoothness. That means if we want to target only that specific tones we selected, which can sometimes look a little weird because there's a really narrow selection or weaken , smooth it out so it's bleeding into other areas. I mostly, and at least in regards to luminous, like to keep it around 50 s. The default is already, and they will show you why in a second. Okay, So, like I said, first it started the eyedropper, and I want to target some dark tone here. Something like this. And then you see Ah Huh? It's selected something on the range on the ruminants range here. And when I hover over another area I can re select If I want something like this, like this it depends. No, I'm actually assembling even more. And now you see, I have everything again. I don't want that. So I recommend making one simple, because otherwise you're making simple, simple, simple. And then you're it basically adds up all the tonal values, your selecting, and at one point you have everything selected again. So it doesn't make sense. So in this case, like I said, select one. In this case, something like this can also reset it when something was missed up. So drag here and now go to range mask again. Ruminants pick this year and yeah, now we're selecting the part again. And when we take this box than you actually see what selected But I don't like to use this box too much. I, Rana like to use the overlay function here, but it depends. But now you see, one of fine selection actually creates here selecting the rocks and the trees without touching the background here, but ofcourse also works together with the Grady instance. We didn't drag a too far out, but that's the power off this combination. You can just the position off the Grady Int and also sample different tonal values at the same time. So when we take a look at this year, you could, of course, also include mawr dark tones. So that means now less are not selected as you see, and you can exclude more bright owns. If you want further adjusted, and this movements like a several narrow, it don't really harshly. I mean, like only the specific tones, or it will bleed out into other tones. But something around 50 is usually a good starting point, maybe sometimes a little bit less. It depends on the image. And now let's make an adjustment. And I have to say we have to be really careful with it, because if you overdo it, since we have a really narrow selection and when you add too much of an adjustment word, yeah destroys the tones. Since it doesn't grab like the whole party off the rock, only a specific part. Have any, then make it too bright. It will look, um, yeah, unnatural as we only bright in the specific area here when that becomes too bright groups. When that becomes too bright and looks like another tone here in the Rock, then you have this muddy effect going on. There's no tonal difference anymore. So that's the reason why it's important to make sure, Dad, we don't know what do things. So don't increase the exposure too much. Only a little. And you could, of course, also simply grow up with shadows. But like I already said, this powerful tool enables you to work with exposure, whites and clarity at the same time in the really local way. And when we now further it when we now adjust the Grady and we can also control where actually happens. Yes, you see here now the top is less selected. Now the top is more selective. That's really good, and we can also play a little bit of the smoothness You see you and be target only the darkest tones. It looks not good. This movements is too harsh, and when we bleed it out, it's fine, actually, but I wanted more narrow it down, so something around 50 Decker said, is usually fine, all right, and now I want to create another selection. But now, based on colors, I can either use the Grady int again. Or maybe also, ah, radio filter doesn't matter something like that. And now I can demonstrate you something even better, in my opinion or not. Better to demonstrate you better. Let's first make a exposure adjustment, and now you see it's targeting everything here inside the radio filter. That's the point off it. But when we now click on the range mask and on color, I have the same options again. Have a color picker. This time I can use it five times. Two simple, different colors. Let's say one. When I now click on this tree, it will only adjust the colors off those trees so you will see that all the rocks will become darker again. You see Really cool. And now, when a shift click Aiken simple. More colors in the trees that sales to want to simple this a little bit more, and now you see a probably yeah, simple, a grayish tone as well. So I don't want that. So when I remove, I want to remove it as simply all click and the negative scissor here and I can remove it again. So my first selection was actually fine. And now you see that I'm targeting only the trees. It's really cool to separate them from the rest here and now. I can also add some whites if I want and clarity and maybe saturation warmth whatsoever without touching the rocks. Really cool, as you see here. And let's say I want to target only the specific tones which I selected without bleeding out into other areas. I could always go down if the amount is you see or I can go up and then it yeah, targets more colors close to the ones we sampled. In this case. Let's narrow it a little bit down, but not too much. Otherwise, it'll look weird again. Something like that. Really cool. So you can have made many things with it. You can target local tones, local colors. You can a local color local contrast whatsoever of this range masking feature. You can combine it with a brush, brushes, radio filters greater and filters. Yeah, so much and yeah, of course I will show you some more examples in the next images here. So here I want to target the waves and the rocks separately because I want to right in the waves and at some warmth to the rocks. And the best way to do that, in my opinion, is a range mask. In this case, we will use a greedy int again and we will brighten. No, you see, we're brightening everything. I don't want that. So let's click on a range mask, pick ruminants, select raves. And now we're only targeting the waves. It's so simple. You see here were targeting the brighter tones and leaving out the darker tones returns on off. You see, we're not touching the rocks at all. Pretty cool. And yeah, when it's too strong, of course we can simply go down with the exposure a little bit. And now let's use another Grady int. And this time I want to warm up the rocks and add some extra clarity and maybe shadow recovery. So drag it up there and you see, I don't like it on the waves, but I like it on the rocks. So this time again, pick a luminous range mask, color picker and select only the rocks, and now you see were selected the dark tones, not the waves. As you can see you really nice. The next image is another good example from the Dolomites, and it's a time blend blue, our foreground shot and nights nets Guy showed later on. Um, when you have a similar color tone going on in the entire image, I don't recommend using the color picker tool I recommend as the color range. I recommend using the ruminants range, because when I select something blew, it will select almost everything. Since everything has a blue tint, the color range slider makes the most sense when you have specific colors standing out, which makes it easy to select, then I really love to use the color range. In this case, I want to brighten the water a little bit more, and I will simply start out of a brush, raised the exposure and maybe also declare with Yipit. And then let's paint here. That's paint here, groups. Let's paint, you know, with the creek. Now we're finally doing it, and it will also painted with Iraq's just for demonstration purposes, and you see that also, it doesn't look too bad, but I only want to talk to target colors here. Not the color Sarita tones in the water. So to do that again, we will pick a range mask, select ruminants our picker. And now we're selecting only this part here. And know what? See what the magic does? That's what it does, Only the water. It's so cool. Yes, you see you and sometimes makes a lot of sense when you only painted when you first paint sloppy across the area, and then you further refine it with the range mask. That's what helped a lot to you. Really cool. And we could have could do the same here with the mountains if we want to. Let's say we pick a new brush and then real painting over the mountains something like this . But we only want to target the bright parts off the mountains. So what we can do now again? Pick a range mask, ruminants the picker, and we only select this party off the mountains. And there you see and we can further trusted if you want. Let's say we want to target only the brightest parts of the mountains, Then we will exclude. In this case, we excluding a little bit more mittens, something like that. We can also work with this move for us until we like it really cool in the next image again . Similar example. Um here for, for instance, I wouldn't use the color picker tool in the sky, since they have all similar colors. And when you only want to target the brightest tones, don't use the color slider. Since Yeah, this year is also similar color than this year. That's even when it's picked this example, even their colors in it. I would rather use the dominance. For example, let's pick ingredient and let's say that this guy is fine, in my opinion. But let's say we want to darken it a little bit more. Something like that. We can no further adjusted with the Luminant since and select only this part as you see, and when it only minutes old so targeted this area, it's fine. Simply change our Grady into you, but you see how easy it is to use so cool and now the same with the foreground. Let's use a great radio filter this time. Doesn't really matter. We will bright in the foreground, but we actually only want to target the ice. So again, range mask, ruminants. And now let's target only the ice. So easy, guys. And let's say it's a little bit too bright here. I don't want that this gets targeted this well. We can simply remove it by train. The brightest parts a bit more to the middle. And now everything to the right here from the sliders excluded. Yes, you see when we return his arm off. And the nice thing is, since this surface here has similar tones that then the one from the ice it got also a little bit adjusted, which looks cool. But we left the Dr Stone's in peace pretty nice. I mean, it's too strong. We can, of course, always go down with the exposure and maybe add some texture to it and some warmth. Perfect. So, like I said, even when you have prominent colors in there, it could sometimes or often times also makes sense to only use their elements range slider , another image. That's something I showed you. All right. It's one image I showed you already in Ah, the color example. The color section. And here we again want to work with colors but differently this time when you have a blank blue sky. It I personally like to Darknet, especially when you are in the mountains, because that simply looks more dramatic in my opinion. And there are many ways to do that. The most obvious ways to go to ruminants and you go down with the blue ruminants. The problem is, describe. Sky actually looks quite nice, but you're also darkening the snow since it has blue tones in it. We don't want that. It looks stupid, different thing. Let's say we want to bright in the snow. We can go up with the dominance in blue, but we also brightening the sky. We don't want that. So what can we do? We can use the brush, for example, and dark and the exposure and maybe add some saturation. And now we're going to paint. Sorry, Now we're going to paint across the sky, and also we will overlap a little bit to the mountains. That's fine. Something like that, who's really dramatic. But you see that we you overdid it a bit here in the trees and the mountains, but it's fine. You can probably guess what will happen now we will go to the range mask picked the color since we have a obvious separation between blue and gold orange and now we will sample a color. And there you have it. We can also sample another one by shift clicking if we want. But yet it's totally fine here in this case. Maybe this one here as well. Okay, you're not a one. You see, it's only five, so it will readjust the position of it. And now we have a fine selection. And when we, uh uh, click on the I'm asking box here first, let me remove the picker. You see that? It's overlapping a little bit in the trees. That's okay, but we can further reduce the amount. So it's actually not touching the trees and not touching the mountains here. And we have to see if we like what's going on in this case. Maybe it was a bit too much something like that. And we can, of course, always used, erased through by pressing Ault from our block brush and remove it a little bit here in the trees. Really cool. And now we darkened our sky. It's a bit too much. I wouldn't darken it that much, but it's for demonstration purposes. No, we darkened our sky, and at the same time we left the snow in the foreground, right as this really cool. Next example, Similar won this case. We I want to enhance the brightness in the water. It's bright, so I could simply select it. Yeah, but it could also select something here and there in the sky. I don't want that, so I will use only blue tones. First, let's pick a greater to filter. For example, add some brightness to the water, maybe reduced the highlights a bit, so it's not too bright. And now we will again use a range mask this time, color again and simple. A color off the water. That's it. We can add some additional ones if we desire. But you see were only targeting the water really cool. And when we dragged us up a bit further than you will see, we will only target similar tones. And we can, of course, also narrow it down a little bit more. And now we can add some extra clarity if we like Situation D. Separate It's too blue, Whatever we want to do. Really nice. You perfect. So you see, guys, it's really cool to add like a overall adjustment and then narrow it down with the color picker or with the luminous range. Great way to work. The last image, Another one. Here we have some obvious separation between the flowers and, yeah, Leafs and I further want to enhance the flowers. So I again will use a radiant dragon over there. No, you see, we're brightening everything. I don't want that. So we will use the color again, since they have similar tones. I don't want to use lieutenants. I want to use color because it makes sense, since the flowers are standing out a lot and naugle simple the flows. And in this case, I want to do it multiple times because they have some different colors in them. Something like that. Recon Nero. We can also narrow it down. Now, we're also selecting a little bit off the Leafs, but we can narrow it down like almost only to the flowers if we want to. And yeah, we can know. Brighten them if you bought and add some clarity. All right, I think there's something one is didn't selected how I like it. That's the good thing about this tool that we can redo things. Which one is it? Is this this one? No, I don't like it everywhere, huh? There was one which didn't do the job, so let's redo it. But it's That's fine. Let's simple. Yeah, that's where we we better something like that that does the job. Yeah, way better. No, it's a good thing. Like a side of you can redo things. And now we're really only touching the flowers. Perfect. Let's turn this on and off. There you see the difference Really nice. And we could simply readjust our Grady int if you want to touch more flowers up there as well. All right. And the strong thing is, we can We don't only have to read with brightness. We can also add some warmth. So they're standing out of it more. Maybe more clarity. Why? It's whatsoever. That's the awesome part about this too. Okay, so that's it. Now, if the range mask guys, I hope you saw how powerful it is and what you can actually achieve of it. There's so much you can do. And I love to combine it with adjustments on my images. I don't use them all the time. But when I want to make precise selections, there are the way to go in light room or camera raw, in my opinion. Okay, so that's it. Now, with all the explanation chapters, I hope it helped you. And you hopefully also learn something new. I'm sure that you knew the basics already. And some stuff. But Torres, always nice to watch, to learn someone one or two things. And mostly enough to you already changed their own workflow, in my opinion. So I hope you grab something for your own. And in the last chapter now I will show you how to bring together all the pieces and added one photo from start to finish. Okay, It's not a panorama and no HDR because, yeah, I don't have many. So don't wander, but all the other steps will be covered. So see video 13. Editing from start to finish: All right, guys. Welcome to the final chapter off my in depth light room. Masterclass hungry? Congratulations. If you made it so far, I covered a lot of topics and talked a lot. I know, but it takes some time to explain things, and it's not always easy. Bear with me. Um, but I hope you learn something new. And even if you are already an experienced user, maybe there were one or two tips you picked up for yourself. And yeah, it's always what I find out for myself. Swell when I by other people. So Torrey als I mostly do it to actually see how they do stuff. Look over the shoulder, you know, and maybe grab one or two tips and yeah, that's it. And at the beginning, when I started with photo anything and actually helped me quite a lot toe watch other people ended their shots and brought me to a whole new level. And yeah, like I said, I hope it helps you to Onda. Ah, as I promised a couple times in the previous chapters, we are now going to edit one image completely from start to finish. I will let you now look over my shoulder and you will see how I use light room or camera raw. Two. Yeah, and it's a raw file, as you probably probably already noticed. I'm not in light room anymore. That's not the reason why I don't like the head room. It's it's simply because my computer is too weak. If I would edit a image an image from start to finish with all those local adjustments, it would crash while I record the video. And I don't want that, and it will probably even slow down in camera raw. But yeah, camera is a little bit more forgiving, for the resource is off my computer. So that's the reason. But it's all the same. Engine is the same, only the interface. Is it a bit different? So, yeah, bear with me adjustment steps. Everything is identical. I'm sure you will. Yeah. Get it. Um, yeah. Like I said, I will edit from start to finish. Using many techniques I covered before, Not every single step is applicable for every image. That's the whole point about for reading every single pictures unique, and so it requires different steps and they have to be applied differently. But that's the awesome thing about photography and art in general. Everybody does it different and every single images different. I'm repeating myself. Yeah, but it's good to have all those techniques in the to box because then you know what you can use in certain situations so really powerful. And I hope I heard you if this guy's all right. So enough talking, we will simply get started here. If the editing Since I explained every single technique in detail already in the previous chapters, I will know I won't explain them anymore. But I will, of course, se and mention why I use this and that. But this is like life. Anything. Now you can see me, how I do things, what mistakes I make, how I go back and forth. That's how editing goes. And yeah, that's why I'm recording it. And it's always nice and you learn a lot in my opinion. All right, so here's the image I just saw that it's still corrupt, actually, which is kind of weird, because I actually reset it to settings. But yet it's still cropped, as you can see. Ah, yeah, I made a crop here. Um, let me re crop. That right? All the rest is Yeah. Reset it. Fine. Sorry. All right. So here's the sample image from God. A force in the north of Iceland. One of my favorite places on Earth is easy to get their easy to photograph, and you can get many different compositions. So what else do you want? As a landscape photographer? I really like it. And yeah, as you can probably guess. Those people liked it as well. And I was standing here at the bottom, off the folds. And so, yeah, I don't like how there's they're not good in the photos. So of course I would get rid of them. And it's the reason why I applied the crop before, which I will do also here. But first of all, let me get some basic adjustments done. First, let's check the horizon. If everything is fine, can go to the transform tool year and then I see that it changes the little bit. Sometimes it does weird things. Even you shouldn't trust them it all the time. But you No, it looks looks good to me. So I will pick that and then I will fix the chromatic aberrations. It's always one of the first steps you should do. And I can also check the profiles corrections to get rid of any distortion. In this case, I don't need it because it would slow down my computer, and if I don't need it, I don't apply it. And as I mentioned in previous chapters, I like been getting so I don't want to remove it. Okay, now, yeah, let's apply the crop tool. I want to get rid off those photographers up there and also a little bit off the sky and don't wander, and that's a really bright I don't be surprised when it's a really bright file bright file I exposed to the right. That means I made sure that don't does any hard information. And at the same time, I kept all the details here in the shadows as good as possible. And even though even though it says that it's peaking up there, that's only because off the magenta tones and I added in SRT be mostly because I only output for the weapon anyway, or and if I would edit in Adobe RGB Europe before you are to be, there will be also fine. I would see way more colors, but when it then transform or convert the image to SRT be, I would lose a lot off detail in the colors. So I like to edit from the beginning on and s are to be so I can see what's going on out. Any conversion issues later on? I did that differently in the past, but yeah, that's how I work now. And it's the reason why it's clipping here because it can't handle a magenta and red colors too well. But that doesn't matter. I will get. I will take care of that, okay? And the rest looks fine to me. So, like I said, it's too bright on purpose, so you will see what I will do with it in a couple minutes. First of all, let me like a set crop those photographers out. So we'll go to the crop tool. And when I click on this, gonna see the 32 3 to 2 Krupp. That's the original ratio. And I want to contain that, so I will simply use it now. So I get rid of those photographers. I talked to one of them this two of them This evening was actually were quite nice, but I has to want to get rid of them here in this image, something like this is fine. I want to keep those nice details. He in the foreground. But I also want to maintain the sky. So some air something here like this is fine for me and also don't want to get rid of this awesome reflection here in the melting ice. So have want to keep that as well. That's press enter. And that looks fine. Perfect. And now we can use to spot removal tool to find any distractions. We want to get rid off. Usually when I could go on visualize spots, then you see what I'm talking about. They're mostly sense of dust, and I don't want sends a dust in my image so we can get rid of it, sighs feathering something in the middle. And then let's remove it. And this one here as well there's another one, I think, all right. And I also want to get rid of this 30 part here. I don't like it. I want that it's pure white. So also use groups. I don't need that here to me. No, this one Here, let me paint over it here. I know it doesn't look good. Let me redo it, Emma. Almost. Yeah, that looks better. Sometimes you need multiple brush Stokes to get it done, But notebooks All right, now we fix some stuff. It's important to let first, in my opinion, because then you can have a clear head and focus on getting all right. So now what do we want to do? I actually like First of all, I always like, especially in dark scene. In bright scenes like this, I like to dark and my images and then to make them or your moody And then I add whites toe add some contrast. And if it gets too strong than I overcome this effect with many local adjustments, that's our generally work. And that's the reason why I like the brush to a radio tool and graduated filter so much because, yeah, local adjustments are key. That's what I will do here is well so. But first of all, let me switch to a noble landscape to get a better contrast situation. And also the colors are a bit nicer and no, let's talk in the image, and that might seem strong to you. But it's not because I will overcome this effect in many parts now, first of all, frightening the whites. 00 cranking up the whites, you see. It's too strong now in the highlights. So I will overcome this effect with a radio filter by simply reducing the highlights in the area where it's too strong. Something like that issue. See, now it's fine again, and this can be a little bit stronger. Doesn't really matter, because I can use multiple adjustments and at some whites back to areas where I want them to be in like that. All right, nice first step. In my opinion, we can crank up the rights even a little bit more if we want, since I took care of them now, as you see here, we still have those nice, shiny light coming through. And I off course want to further enhance that later on. Also here as well. We can also go down off the highlights to overcome this effect that they're clipping. I don't want that, Andi No, I can brighten it a bit more if I want, and I can also go done of exposure. But more if I want to add some more overall contrast. All right, So now I want to overcome my dark tones to be too dark. I want to get make sure that this won't happen. So what I will do is I will crank up the shadows up it. And also the blacks and I will book locally against this. A swell. Okay, Something like that is a good starting point, in my opinion. And now we can also know where the temperature to get a more nice and blue, our ish dusky feel. And I also want to raise up the magenta as so Yeah, we enhance this nice sunset feeling here. Looks quite good, in my opinion. Yeah, really good. And now I want to further dark in the sky, and I will first of all, do that with a graduated filter. I will simply drag it here again if the soft part mostly in the frame. Here. This is the soft part. And when I click on the mask here, you see a It's touching a little bit off the foreground on the mid ground. But that's okay. I will overcome this effect by raising the shadows and the blacks a little bit. All right, so let's know what the exposure. Like I said, something like that. Maybe a bit more, you know, that looks good. And now let's go up with the shadows and the blacks thought this you won't be too dark, but I want to darken the sky obits to get to squeeze out a little bit more colors and details. That's what I want to do. And I might even want to add some extra color by using this color picker again. Let's pick something which is already prominent in the frame. Something like, Yes, it looks quite nice. Actually, it's press OK and trade down a bit more. Yeah, that looks good. I want to further emphasize the color in the sky. Maybe even maybe some reddish tone would be better not to pinkish. Yeah, I might like this one better for a little bit less saturation to further enhance the color there. Oops, sorry. Okay, looks nice to me. And now we will use a radial filter because they can get a little bit more localized. I will at No, I don't need the color he anymore. But come on. But I will add some more. I will decreased exposure but more here in this part, because there it seems a little bit too bright compared to the rest of the sky. Something like that that looks good. And now I will use not already ever use many radio filters because I love this tool and it helps me a lot to work locally. So when I want to brighten this part here again because it got too dark, I can simply do that with the radio filter. Crank up the shadows of bids. He was most the soft part. And then this will work out nicely and it's the same over here. Get some details back here in the ice. Make sure that don't overlap of this guy too much. Something like that, and I will do the same here at the bottom part. So I have Mawr foreground detail that looks good. You see, I'm a little bit counter acting what I did globally, but it's fine because it still stays in areas where I want it. And that's the good thing about working locally that you can counter act things and that you can add new things. No. I also want to add some brightness to the waterfall back Tony Clarity there but brightness . And I will do that. Even Mawr in the future steps. Not the far future, though. All right, because I want this to stand out. It's one off the main points of interest. I don't want it to be to darken too dark. All right. Looks actually quite nice already. But I wanted a more dramatic so I will further darken it and further crank up the whites. Something like that. And now I will use the brush tool first of all to darken the sky a bit more and then to partially add in some color and contrast here in the snow and the water. All right, so let's go to the adjustment brush. And I really used the automatic function because I don't want to touch the foreground too much so I can remove the feathering a bit, lower the exposure, and then we will try our best more rate. It looks quite nice. Let's be too dark now. But I can over us bring it back a little bit, okay? And when I click on this mask here than you see what's actually happening. It's a There's a bit of overlapping here in the waterfall. I don't want that. So let me raise it by Alz clicking and then repainting and also here. So Kevin is touching a little bit of snow because I can we do that nicely with a radio for their If I decide if I want. Okay, that looks really good, I assume in Yeah, Looks all quite nice. Can't complain. Really good. There's some hail going going on here a little bit. I can yeah, overcome this by using a radio full to, for example, and lowering the highlights and then dragged here. Steroids. There it is. Okay. Like I said already, I thought it I think it's a little bit too dark. What happened in the sky? So I will bring it back a smidge, and I will also add some more whites to it to get some extra drama. That's good. And now I want to use the brush again. A fresh one? No, not the spot removal to brush. And I want to right in some areas I don't need auto mask can really use a re soft feather. And then I want to brighten the border fall and also the snow, the wonderful here and the ice there. And as you can see, I have some overlapping going on with sky, so I will repaint it. So here and there and also don't want tea in the border. All right. Looks good, too strong. So I will go down. If you passed Yipit, it's Internet. That looks good and we could also erase. It may be a little bit here. It's too strong here. Okay, it's It's always important to assume in bid if we have any heroin going on. But there looks old, were re nice so far. So now we can use another brush. And now we will only crank up the whites and the clarity because I don't want to brighten everything. I only want to brighten the bright highlights. And to do that we will crank up the whites and, like I said, also bit off the clarity. So for their emphasize the nice reflection here in the foreground, all right, and its use not a brush, and do it again. He on the reflection but maybe back off of clarity and the whites a little bit. Okay, That looks good to me. Can't complain. And when will now do is I want to add some more color to the reflection here in the river because you know, when something's already given to me, I want to further enhance it. So another adjustment brush. And now we will simply add some magenta through this area here, maybe to the whole river, too. Emphasised this nice reflection from the sky. And if it overlaps, you have to snow. And we don't want that. We can simply raise it again. Of course. All right. Uh, yeah, I would know. Pick a radio filter. Russia radio food Love most. It doesn't matter, and I will again Brighton ice here at least a little bit. Go down after whites a bid. So it's not too too strong. All right, so now let's talk in the whole image again. But really soft. And to do that, I will use a great year, Grady and Filter. I was simply drag it across the whole image. And now I have only the soft part of it. And no, I will lower the explosion. This will happen on the more Yeah, controlled basis now, not on the whole image, the same amount, something like that. And now let's use not a radio filter, because I want to work with the stone here. I don't want that blacks are too dark, so able. Trusted a little bit here. Since we have a soft Feder, it's mostly a touching, mostly touching the stone here. That's what I want. All right, Perfect. You see, it's getting really dark and moody already the only a few more steps needed, in my opinion. First of all, I want to add another Grady it filter and add some whites to the sky here, so it pops a little bit more something like that. Nice. And now let's I worked with colors. So let me go to the A Gisela and let's see what we can do there. I definitely want to get rid of some purples. I want to add, some say, And to them, I really don't want to touch the blues. Now. They're fine for me. Maybe some more orange to the yellows. That's also good, but I also don't want to touch the Reds. They're good. Maybe only a little bit of yellow But yeah, it's it. I don't want to touch them. Situation looks okay. Maybe a little bit off less purple and lumens. Maybe I want to brighten the blues. A Smith. So get more contrast there. And also Yeah, well, so the purples A little bit too much. Yet it's fine. It doesn't eat too much. But what we can do is we can go to dig radiant into the tone curve. Sorry and lower the mittens. So it's more. Yeah, there's more drama going on and no image. I like that. And when we raced Black Point, we make sure that, yeah, it's not too dark there. We can also do that if the Retz weaken and some reds to the highlights gets stronger there . All right. It's a bit too bright here for me. It at this party, off the snow. So we will probably go down if the 100 seal at me reduce. We just sit a little bit. Okay. There's still looks good to me. Quite nice. Now let's for the dark in it. And now we will add a range mask with a great year. That filter I want to brighten the snow a little bit again. So here exposure. Let's drag it up here and now It's used a range mask to dominance first. And let's check what it does. Yeah, perfect. Really good. If I don't want that, it bleeds into the sky. Econ, of course. Always read, drag, dig radiant. So I overcome any issues there. Mostly looking at the snow here. Really cool. I like that. I also want to target to snow here a little bit. But this time I will use airbrush. And then I will again paint the snow. Something like that. Now we will use the range mask again. The ruminants. That's try luminess first. It could also happen that we need color and let's simple it No made only color looks good to me. You can brighten in the bid further. Not too much, though. And now we will erase it a little bit here with our brush again from the sky part. So I was sloppy with the painting and it's actually now it's a bit too much. I don't want it here, for example Ah, I'm not satisfied. Let me repaint. And now you see that already takes ages until a grandiose no, the range mask wasn't the right the right thing that's used to color mask. Let's assemble. Discolor here and notice. Yeah, yeah, like I say it sometime. It's the rage mask, and sometimes it's the color mask that worked nicely. Yeah, really good. Okay, but it's too strong. I don't want us to. Snow is like glowing like crazy. Something like that, And it's picking you mask and you brush story and let's remove some brightness. He into snow. It's a bit unnaturally bright. Doesn't make sense that it's too bright there. Okay, I think we're almost done. What I will now do is use another Grady int. Or maybe, you know, we can also use a radio filter and add some brightness back here to this part to the right part. So it's not too muddied over there, something like that that looks good to me. Okay, and the last step now will be the split, toning part. They I want to add some more color to this guy. Mm. Let's pick some reddish tones and add situation. Not too much, though, and some bluish tones for the shadows. And now we can balance it out. If you built something like that. And then there's too much saturation going on here. We can always use the radio filter and reduce it locally. Maybe also here. But I want that it's saturated because that man makes its a strong look. In my opinion, it fits the scene. Okay, I think we're done. It's maybe reduce. The magenta is a little bit, so it's not overdone completely. And, yeah, I'm fine how it is. It's go down with the exposure Smith more and crank up the whites, so it's a bit more contrast. E. And we can even lower the old contrast to overcome any clipping issues. But, yeah, guys, I like it how it is. You see, there are different ways to use techniques. It doesn't have to be always the same. Um, sometimes I like to use range mass all the time. Sometimes they don't use them a lot. Sometimes only Houston to fix certain areas. We can maybe also even touch this party off the sky. If we're already talking about it, let's see what happens. Let me talk in that a little bit, maybe too bright before I end this tutorial and now we were click on the color range because that's a distinct color. In my opinion, click on it and dare this, you see? Yeah, perfectly. Or it maybe not that much your personal saturation. A little bit of mawr. But now we fixed only this part here. Okay, So, like I said, that's it, guys, you saw how to edit a photo in light room slash camera raw from start to finish. You can do a lot inside there, as you saw here. In this tutorial, the key is to work locally and also globally. I like to look, work globally and then overcome certain parts. Re added certain parts locally. That's how I work. And that's how I like to create moody images like this one here, and I hope you enjoyed it. There were a lot of chapters covered. Hope you picked up like one of two tips that you don't always need for the shop. I love photo shop, but for certain image images, it's not really necessary all the time. And that's what all this master class was about. So if you have any questions, feel free to contact me. I'm always there to help and stay healthy. Stay safe, guys. See you soon and enjoy editing. Bye bye