The Beginner's Guide to Mastering Lightroom | Bill Ferris | Skillshare

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The Beginner's Guide to Mastering Lightroom

teacher avatar Bill Ferris, Photographer / Video Production Professional

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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

15 Lessons (1h 29m)
    • 1. Introduction

    • 2. Lightroom Overview

    • 3. Image Storage

    • 4. Importing Photos

    • 5. Keywording in Depth

    • 6. Map Module

    • 7. Develop Module: Basic Tools

    • 8. Targeted Brush and Filter Tools

    • 9. Lens Corrections and Detail Area

    • 10. Ratings and Labels

    • 11. Smart Collections

    • 12. Workflow: Importing

    • 13. Workflow: Prep for Processing

    • 14. Workflow: Image Processing

    • 15. Workflow: Publishing and Conclusion

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About This Class



Master the basics of Adobe Photoshop Lightroom in this video series presented by photographer Bill Ferris. By the end of this 15 video, 90-minute course, you’ll be making full use of a variety of Lightroom tools, including importing, keywording, mapping, image processing and publishing.

The Beginner's Guide to Mastering Lightroom is for the new Adobe Photoshop Lightroom user. No prior experience working with Lightroom is required and the class will cover the following topics:

  • Introduction to and Overview of Lightroom
  • Getting Started: Setting up Your Image Archive
  • Basics: Importing, Keywording and Mapping
  • Basics: Image Processing
  • Basics: Rating and Labeling
  • Basics: Smart Collections
  • Workflow: Importing, Processing and Publishing

Videos will typically conclude with an assignment to be completed before watching the next lesson. The class project will be to create a Lightroom catalog, import photos, keyword, map and rate photos, process photos and publish at least one photograph to social media.

Meet Your Teacher

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Bill Ferris

Photographer / Video Production Professional


Photographer and video production professional living in Flagstaff, Arizona in the Southwest US. Specializing in landscape and wildlife photography, I also do portraiture, sports and event photography. I'm a longtime user of Adobe products and, since 2014, have managed my photo archive (89,000+ images) using Lightroom and Lightroom CC.

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1. Introduction: Hello and welcome to light room fundamentals. I'm Bill Fares. This is the first in a video Siris in which I'll be presenting on the fundamentals the basics really of using and working in Adobe Photo Shop Light Room. How this Siri's is intended for the new light room user for the beginner. So no previous experience with light room is necessary. Really. What I would ask is that if you do not have light room installed on your computer, please go ahead and do that. So as we move through this video, Siri's and talk about the various topics you're able to play with explore, take advantage of some of the tips, and I'm sharing in these videos with this video. What I'd like to do is introduce myself and then will walk through in a bullet point, fashion the various topics, and I'll be covering in the Siri's my name again. It's Bill Ferris. I'm a photographer living in Flagstaff, Arizona, and here in the Desert Southwest. Unfortunate, blessed, really to have access to and be able to photograph some fantastic landscapes. Also, wildlife birds have done some portraiture work, photograph, the night sky, even done some sports photography. Now I've been using adobe products for many years. It started with Adobe Photoshopped elements. I use that for several years to process. The photographs that I would take have also used full blown Adobe Photo Shop in 2014. I made the migration to Photoshopped Light Room, and so why did I make that move? Toe light room? Three reasons. Really. Number one white room is an all in one tool. So while photo shop and photo shop elements are great applications for processing a photograph, they don't offer any tools that help you with the managing of a photographic library or with sharing those photographs, publishing them online through social media or say, as part of a book project that you might be working on so that all in one aspect of photos shop light room really intrigued. Second light rooms, non destructive, working at elements and in photo shot many of the changes you're making to an image or actually changes to the original file that you were imported into your computer hard drive . But working in light room, the changes you're making are making changes to a catalog file in light room Internet file is telling your computer how to display the image on your computer screen or how to manipulate it for exporting it as a new file to be sent as an attachment, for instance, or how that file should look when sending it to the printer. But you're not making any changes to the original image file that you brought onto your computer hard drive, and it's a real advantage. You're always preserving that original raw data that you made in the field. And third, I just find light room to be intuitive. It's an application that I connect with that I found I worked in and worked with quite easily, easier and more intuitively, I think, then Photoshopped photo shop elements. So for those three reasons I've I've made the move to light room and have continued to work within this application for several years. You know, I'm not by any stretch the world's most expert user of light room, but I'm confident in and comfortable with my knowledge and use of these basic tools that I wanted to share them with other photographers who were just getting started with light room . So as we move forward with the video Siri's. Let's take a look at the bullet point fashion. Some other topics that will be covering our next video will be an overview of light room will walk you through the light room display and the various tools available in light room . We'll also be talking about setting up your image archive, how and where you're storing your images on your computer, importing key wording and mapping, and that will be moving into, uh, some workflow basics such as image processing, importing your files. We're going to more detail on that process. What my workflow is for that smart collection. Just creating smart collections using smart collections. These are powerful tools in light room that I think you'll benefit from and enjoy using. We'll go into more detail on image processing, taking a look at how working with different kinds of photographs might change your workflow landscapes while live portrait's etcetera and finally publishing How do you How do you share your photographs? Whether it's sharing online with friends from social media exporting to create a new image , file those sorts of things on. So this is adobe Photoshopped light room fundamentals, and I want to thank you for joining me for this video. Syriza. I hope you'll enjoy it. I think you will and most importantly, help you benefit from it. And we'll enhance your experience using light room. My name's gold Paris, and I'll see you in the next video. 2. Lightroom Overview: Hello and welcome back to light room fundamentals. I'm Bill Ferris in this video. What I'd like to do is give you the nickel tour of Adobe Photoshopped Light Room, how the application is laid out and displayed on your computer screen on what tools are available to you as you're working in light room to manage your image, archive and process your photos. So let's get started. Let's get into light room so that light room open on my computer thistles. The general layout. You'll see the center section here is showing photographs that have imported into my light room catalogue will talk more about the catalogue in just a moment, but notice appeared to the upper right. We have this horizontal menu listing of modules. Thes modules are the areas within light room that you'll be working to manage your archive to process your photographs in the library module. On the right hand side column, we have displayed various information about a photograph that is selected in the library, including its hissed a gram, some key words that I have tagged to the photograph, a list of key words that I've created over the years, as well as exit data that your camera attached is to an image file when you make that exposure over here on the left side column, we have our Navigator, and this shows a thumbnail of the photograph that you've selected in your library on the catalogue, and this is something worth mentioning. Just a little bit more about the catalog file is the core file in light room as an application, it says Catalogue that contains all the information about the photographs that you've imported into your catalog, your image archive information about how you want images to appear when displayed on a screen or shared or published. And so the way the catalogue works is within the catalogue. You've got folders including various drives internal and external associated with your computer, and those folders air where your images actually live and we'll go into that in more detail in a future. Video collections, including smart collections. This is something I mentioned that will be going into in detail. Smart collections are a powerful tool in light room on. Finally, we will not talk about publishing services. This is a tool that you can use, for instance, to share photos to social media. So this is the library module. The develop module is where you actually do your image processing. And so here's the photograph that we had selected in the library module. When we go on to develop Onley, that photograph is displayed over on the right side. We're seeing the various tools and on, uh, indications of how I've manipulated the photograph hissed a gram again As we scroll down vertically, we're seeing tools for adjusting things like brightness and contrast detail sharpening noise reduction and cetera. And we'll go through those as we continue in this video series on the mapping module is another module will be talking about in some detail. Thedc AMAs I use don't have built in G. P s. So the image files don't have latitude and longitude built into them as part of the exit. That's something I do manually in light room. That's pretty simple to do something you might want to do just is a record of where you've been when making and doing photography. So these are the three modules that will be spending most of our time in in this light room fundamentals video. Siri's. There are other modules. The books slideshow, Print, Web I. I honestly don't spend much time in those modules myself, and also they're more advanced in their operation, and so were at least more specific, very targeted into kinds of uses of light room that, well, for a basics video, Siri's and given my workflow. It's not a topic I'm going to go into in much detail, but we spending a lot of time in the library and the develop module, also some time in that mapping module. Now for the next video, when I will ask you to do. Since we'll be talking about setting up your image archive, where you're storing and how you're storing your images on your computer, what I would ask you to do is tow. Have some recent photographs handy that you've got on your computer so you can compare how you're currently storing your images with how I will suggest that you begin storing and archiving your images where they live on your computer. Well, my name is both Ferris, and I want to thank you for joining me for this video Siris on light room fundamentals, and I'll see you in the next video 3. Image Storage: Hello and welcome back to light room. Fundamental signed Bill Ferris in this video, we're going to build a foundation for working in light room, and that foundation is going to be where on the computer, restoring our photographs or image library and how that's organized to make it easy for light room to get access to those images. And as we go through, this will talk about my thought process into why I chose to organize the photos in my way and how I think that helps light room to access those images reliably and easily and how it helps me to to stay organized. So let's start out by going into Windows Explorer on the computer that I used to store my images. So we're in Windows Explorer and you can see we've got the drive center in the computer or connected to the computer listed on this screen. Here's my internal. See Dr It's about it terabytes worth of storage, which is not a lot, and in part that's because I use a laptop computer at home to do all my image management and processing. I chose to use a laptop because I like the portability of that if I want to travel with it or bring it into work or use it at home, I just disconnected and carry it with me. It's much easier to do that with a laptop than with a desktop PC. One of the limitations of that choices, however, the size on the internal drive. Now, internal drives are always getting larger, but that one terabyte capacity is quite a limiting factor for my library. I have, AH, number of external drives connected to the laptop, including one called Jumbo on one called Fort Knox. And so what we're going to do is get into Fort Knox and take a closer look at that. So in Fort Knox, a number of directories, including one called My Pictures. So my pictures is the director in which all my photographs are stored, and this is a four terabyte external hard drive, and I've got more than three terabytes of data, most of which being images stored on that drive. And so, as you can see, that's far beyond the capacity of the computers internal drive. One of things I wanted for my own benefit was just to be able to store all my images in one location, and that helps me to stay organized on that, hunting around between the internal drive and multiple external drives to find my library. It's all in one place, and I also think that helps to assist light room and staying connected with that library as well, so that if I'm making any changes or modifications, I don't have to wonder. OK, do I do it on this driver that Dr No, it's all in one place within my pictures. There's a subdirectory called Image Archive, and you'll notice that the way Image archive is located is there's a folder for every year during which at least one photograph taken that's in my library is stored and so begins in 1962. I did not make that foot craft, by the way, but it goes all the way up through the current year, and if we take a look at the first folder in that current year, we can see these are the actual photographs that I imported onto the computer external hard drive that Fort Knox drive. And here's the naming convention that I use, and then I'll recommend that you use so create a folder for the year in which all your photographs are being made. And then on the date that you take photographs, you're gonna create a folder for those photographs deep, beginning with the name of the year and then the month and in the date. And then a few key words to help refresh your memory on what the subject is of those photographs. So we walked through how the image storage is organized on my computer in the external drives that I use. Let's go into light room and see how light room sees that same collection of images. Okay, so here we are in the library module of light room again that catalogue. So the catalog is the that's the core file in light room. As an application, it contains all the information about the images that's in your light room catalogue, including where they're located except information. Associate it with them, processing changes that you've made that you've associated with those files. Now, within the catalogue, light room sees folders and folders are areas on your computer where images are stored, where it's looking for, and finding those images, including your internal drive and your external drive my Fort Knox drive and in my Fort Knox drive it sees at directory called Pictures. And within that directory it sees those folders that I named according to the year in which the photographs were made and going into 2017. It sees that collection of folders of photographs I've already made this year and selecting the folder for that photo shoot I did on New Year's Day of 2017 Theun. Here's light room, loading all the thumbnail images for the photographs imported into my catalog from that date, and so light room mirrors the structure that you have on your computer for how you store your images. So I think this helps send light room to B'more effective and reliable finding images, because I'm able to keep them all in one place. It helps me Teoh work within those images because it's organized in a way that makes sense for me by date and adding a few key words to help refresh my memory. So in the next video lesson, what we're going to do is import photos into your light room catalogue, and when I ask you to do is to take photos from a shoot that you've recently done and put those photographs on your computer's hard drive. Whether it's an internal hard drive or an external drive, make sure you've got that directory that's called my pictures and a sub directory. They're called Image Archive and within that image archive, create a folder with the year in which the photograph was made, and then within that folder folder with the naming convention of the date on which the photograph was beginning with the year, the month in the day and then a couple of key words that refresh your memory on what your subject waas. So if you would do that for me. So in the next video, as we walked through the import process, you'll be able to follow along and participate in that. Well, my name's Bill Ferris, and I want to thank you again for joining me for light fundamentals, and I'll see you next time 4. Importing Photos: Hello and welcome back to light room fundamentals. I'm Bill Ferris. In this video, we're going to walk through the process of importing photographs to your light room catalogue light rooms open on my laptop. So let's get in there and get started. Have created a special catalog for this project. It's called the teaching Catalogue. No photos have been imported, so I'm starting from scratch, just like you in the library module light rooms, giving me a prompt click. The important button to begin. And so what I'm going to do is click the important button. Just his light room is asking. No, it doesn't know where my photographs live. So the next step is it's gonna ask me to select a source on my C drive, got a folder called the Teaching Catalogue, and in there are sample images. So the sample images are all selected in this folder. And if I want, I can uncheck them all and just go through an individually check those that I would want to import, or I can check them all and individually, de select those that I would not like to import that I'm gonna check all of these will bring them all into my catalogue. Going over to the right side of this screening will notice that build smart previews is selected and we definitely want to do that Will leave this box checked and we'll do the minimal previews. These are the thumbnail images that light room will associate with the actual photographs. You can change this if you want to. The future date will also leave selected. Do not import suspected duplicates. We're not going to add them to any collection. One thing I do like to do on importing is I like to add copyright information, and so I have already created presets. Cooperate 2017 is the one I'm going to add. Now go in and take a look at this. The information that I'd suggest that you include what it would be. The camera info, the XF information that's associated with the image was attached by the camera when you made the photograph as well as this cooperate info, for instance, something like copyright and then the year the word cooperate and then the year you might call it copyrighted and then the rights usage terms. You may have specific terms that you like to attach to each image than your information, your name, how to contact to you, etcetera. That's all information you would probably want to associate with each file. And so we're gonna go ahead and select this for me now for keywords. As you can see, the sample photographs are a variety of subjects. They were taken at various times and locations, etcetera. One important thing to keep in mind is that any keyword that you add will be attached to every file that you're importing. You can't individually assign different keywords to different photos on import. Every keyword you type in here will be attached with every photo. So if just for teaching purposes, let's assume these air all photographs that were taken of the same general subject at the same location. And so I'm going to say it was taken it Grand Canyon, these air landscape photos that I made. So we're going to say these were taken in Arizona. I like to have the location of my photographs attached. We're gonna say they were taking a grand canyon and that they were taken it A and overlook called Desert View. I also like to assign a key word that identifies the genre photograph. Is it a landscape? A portrait? Sports? Wildlife, nature? These are all going to be assumed to be landscapes. And let's say there's a winter, Uh, excuse me. A season during which these were taken. And if there's something visible that would identify the photograph is having been taken during that season like snow Or maybe something saying Winter. You, dad, that is a key word. I don't do a ton of key wording. I just do enough to make it searchable and to satisfy my own interest in attaching certain keywords. So, keywords or set, we've got the photographs selected. I'm going to go ahead and click the import button light rooms, not gonna move these photographs anywhere. It's just looking in that folder that you identify and linking to those photographs saying , Okay, I'm gonna Adam, a link that tells my catalog file. This is where the look and these are the photographs to find toe and these photographs to your catalog. So now we have a catalog in light room, all photographs, 16 the photographs that were just being important that we're just imported. We're going to folders on the C drive. We've got this folder called Sample Images. You can see it showing us a progress bar. It's building smart previews for all these images. Over on the right side, you can see it's a sign Keywords that I assigned and down here is a master list of keywords and further down we see the exit information that light room associate ID with all of these files. Now, for the next lesson will talk more about key wording. So what I'd like you to do is before that video go ahead and import some more photographs into your library. Get a good start here, and when you're ready, move on to the next video. We'll talk more about key wording. Uh, the value of key warning and how toe do that. Well, anyway, thank you for watching. I'm Bill Faris and I'll see you in the next light room Fundamentals video 5. Keywording in Depth: hello and welcome back to light room fundamentals. I bill fares in this video. I'd like to talk with you in a bit more detail about the importance of key wording. So I have my teaching catalogue open on light room. Let's go in there and begin the discussion. You might recall from a previous video that these are 16 photographs that I imported into my light room catalogue and calling it my teaching catalogue. At the time, we, to illustrate the concept of key wording, made the assumption that all the photographs were landscape photos that had been made at Grand Canyon National Park in Arizona at the desert. Few overlooked when, in fact, none of them were made at Desert View. Overlook. And so the first thing I'm going to do to illustrate how you can work with key wording is correcting an erroneous keyword were in the library module, all photographs. What's going to the Sample Images folder where all these 16 images live on my computer's hard drive, So we're going to select all the photographs. One way I could do that is by scrolling down and doing a shift click on the last image or I can click on one image control? A. They're a couple of different ways. You can select all images within a folder. So all the images air selected one of them. This one right here was actually made a Grand Canyon. So I'm going to control click on it to remove it from the collection. We're gonna highlight all these keywords. Backspace. Boom! We've removed the erroneous keywords from the other 15 photographs, but this photograph was made a Grand Canyon, which is in Arizona. It was not made at desert View. It was made at Cape Royal, and it was not made. Was snow present in the photograph or during winter? However, it is a landscape photograph, and it was made of bro tans thrown, which is this large, flat top Mazen it so prominently featured. So this photograph now is accurately keyword it. Let's keyword a few others things. First photograph is of a bald eagle. And as you might recall, I like to identify the genre of the photography with my keywords. So this is a bird photograph. It's not the only bird photograph, so I'm gonna control click on this one over here. Type in bird So both these have no have that bird key word association with, um, this 1st 1 is of a bald legal. This one is of comma space. That's how we delineate between separate keywords in the key wording. Window comma space, A red tailed hawk. This is a portrait. Let's pretend the client's name is John Smith of a wildlife photograph here, not the only one. This is also wildlife photograph of two different animals. His first animal is a coyote on by misspelled coyotes. I'm just gonna back space over that apostrophe and correct that this is a pronghorn, and we have another landscape photograph right here. This was made in Grand Teton National Park. On This is a sports photograph of football featuring Northern Arizona University and Eastern Washington University. Boom. So we've done enough key wording. Let's see how that helps us in managing. Our library were in the library module over the top. You'll notice he's forwards text attributes, metadata and none. Their library filters thes air filters that allow you to search through your library to find a collection or individual photographs in the library. I'm gonna click on metadata, so keywords, or part of the metadata that is assigned to photograph other mated metadata includes the except information that's assigned by the camera when the exposure is made. So you can see in these four columns date camera lens, these air defaults, thistles, all information assigned by the camera. And you can see that the 16 photographs for made in five different years by two different cameras using four different lenses that a fault category in this fourth column is label. But as you noticed, when we get near to any one of the headers with our mouths thes double arrows appear, click on that header and you get a drop down menu, the same menu for any one of those columns. And now we can select keyword or any of the other filters that we can use to search in our photographs. And so let's look for all the bird photographs. There are two. Let's look for all the We just want the bald eagle photograph. There it is. Or perhaps we just want the Red Tail Hawk photograph here. That one is. We want all the wildlife photographs here, these two so you can see that by creatively applying keywords and then using the filter tool in light room, you can effectively quickly find anyone or any collection of photographs in your light room library. And this is the real power. I think of key wording, and the way to learn how to best apply keywords and make use of them, frankly, is to just go through that process. So before watching the next video in this series, what I'm gonna ask you to do is apply keywords to your photographs in your catalog and think of the key words that you would want to apply as being in a small number of general categories people, places and things as subjects of your photographs or as locations where your photographs were taken. Descriptors nature seasons. Thes sorts of qualities that can help make a photograph easier to find down the road when you might be looking for something particular, whether it's for you or potentially for a client. Well, thank you so much for watching this video. I'm Bill Paris, and I'll see you next time on light room. Fundamentalists 6. Map Module: hello and welcome back to light room fundamentals. I'm Bill Ferris, and I'd like to take a couple of minutes to talk with you about the map module in light room. It's a useful tool for those of us who use cameras that don't have a built in GPS. Now, if your camera does, then this module may not be of as much use to you because your camera should record as part of the exit information on your photographs, the latitude and longitude of where they were made. However, for the rest of us who don't have that functionality, well, the mat module can allow us to very accurately placed our photographs where they were taken . And so let's get in the light room, see how that works. Have light room open on my laptop. I'm in the library module were in my sample images folder. You might recall these with 16 photographs I imported in a previous lesson, and let's go down here to a photograph of This is the interior of the dome of the Wisconsin State Capitol in Madison, Wisconsin. So we're gonna add this to its location using the Met module in light room. We go over to the mat module will click on that. The last time I was in here, I was placing a photograph on Lower Lake Mary, which is just south east of Flagstaff, Arizona. Nowhere near Madison, Wisconsin. So let's go there will go up to the search window. Madison, Wisconsin. Entered. Should take the map module. Just a moment to center a silver Madison. Now I happen to know because I lived there previously that the capital of the state of Wisconsin, it's located on this isthmus between Lake Mendota and Lake Monona. We're going to zoom in to make it easier to see in detail. Here is the zoom bark and click on the plus sign. Or it could even just click somewhere on the bar. Boom! We're closer to being where we want to be, so I'm gonna just drag until I get to an overhead view of the Wisconsin State Capitol. This is where the photograph was made. Click on the photograph Dragon boom, right here. So now we've placed the photograph where it was taken. Go over to the right hand column window and add some other information. Sub location. Call this the capital in Madison, Wisconsin, from the U. S. A. In the US and there we have it. We have added this photograph to the mat module, given it GPS coordinates of latitude and longitude. And so when we click on that photograph, you can see over here in the information about it in the GPS area, we're seeing that latitude and longitude coordinates for click on the arrow. It will take us automatically through the mat module and display where that photograph was taken and to go back with, simply click on library and we're back in that module. The mat module is a useful tool I find, and I think you will to before moving on to the next video. Want to give it a try with some of your photographs? Thanks again for watching. I'm Bill Fares. I'll see you next time in light room fundamentals. 7. Develop Module: Basic Tools: hello and welcome back to light room fundamentals. I built Ferris in this video. What I'd like to do is walk through some of the basic image processing tools that are available to us in light room. And so to do that, let's get into the application. I have light room open on my laptop, and we're working in the library module with E 16 photographs that I imported from a previous video. Let's select this image is the one that will work within the develop module, and to get into the develop module will simply click on that word develop. You'll notice that we're seeing just the image we're working with now and not the thumbnails of all the photographs in that folder in the develop module. We're gonna start and focus our attention here on the left hand side. This is where we have our editing tools available to us. Something we might want to do is to make this image appear larger on the screen and so we can see it in a bit more detail. So let's press shift tab on our keyboard that will closed down or move off to the side. All the top and bottom and vertical left and right tabs and columns that we have to work within light room with some of our tools. We do need to see those basic editing tools, so go over here to this carrot. Click on it on the right and sore back to seeing the develop module. That left hand column. Let's get into the basics area. That's where those basic tools reside. The basic area has three sections, the first of which is a color treatment section, and this is where we can manipulate white balance. For instance, we can click on this eyedropper. Find something in the photograph that's white, click on it, and the white balance changes. To match that element. We can also manually click and drag along this color temperature bar. Notice how we get very cool all the way to the left, much warmer all the way to the right. So select a color temperature that we think we might kind of like. And let's go with that. You might also want to add some tent. Do we want to add a little more green, or do we want a warm it up? Just discussion. Here we go in the tone area. We're working with tools that allow us so just things like the image brightness highlights shadows, whitened black levels. And let's talk. Start with that image brightness or that exposure slider. We can darken the image, which I'm not liking or weaken brighten it, which I kind of like right there. Now the contrast slider is a tool you might want to use. I don't work with this too much. What I find is that by adjusting shadow levels, also working with the white levels, black levels and clarity, I'm able to achieve the level of contrast that I typically one. So I rarely work with contrast at all that specific slider highlights. It's not down that flower just a bit on top of the stock. When we adjusted the brightness with that exposure slider, I think it made that a little overly bright. The shadows are looking pretty good, but just to show you where we can go, whether we can make them really dark or really bright. And if we want to reset a particular slider to zero, all we do is double click on the name, and that slider goes back to its neutral setting white levels. See what happens if we increase the white levels a bit. Helps that flower pop just to Scotia the blacks. If we bring those down, my creatures toe hit more contrast in this image, we will go down in the presence. We're gonna work with saturation of the colors and so forth. And I like to start with saturation here. Let's bring up the saturation, make those colors pop a little bit and see what happens if we add some vibrance to that. That adds just a little bit of an edge. I think I think of it is really a contrast tool, and then vibrance can selectively make certain color aspects pop. And this is something that I think we can live with. So here we have in the basics area of our develop module made some adjustments to the photograph. And if we want to take a look at the before and after, we can do them by using the back slash button on our keyboard, someone attacked back slash. This is the photograph, as it originally appears, these air the changes we've made, and it's important to note a reminder here. Light room again is nondestructive. These changes are being stored in the light room catalogue. They're not being made to the actual original image file on your computer. Xdrive. That file remains untouched. These changes air stored in the catalogue so that when light room displays the image on a screen, if you share it to social media, exported as an image file, sending to a printer for printing this is how will appear. But that original file is untouched, undamaged. So before we go to on to the next video, what I'd ask you to do is work with two or three of your own photographs. Working with these basic tools, make some changes, get a feel for what you like, what you don't like, have fun with that I'm dull Ferris, and I'll see you in the next light room Fundamentals video 8. Targeted Brush and Filter Tools: hello and welcome back to light room fundamentals. I'm Bill Harris and in this video will continue exploring the basic image processing tools available to us in light room. And to do that to get started, let's go ahead and get into the application. So you might remember that this is a photograph we worked with in the previous video, where we use the basic editing tools and pressing tools in this area, too. Just a photograph from this to this, right above the basics area. We have these targeted processing tools, brushes and filters that allow us to manipulate just portions of an image and, in some cases, in a very targeted way. So let's take a look at these what they do and play with a few of them working away from left to right. We have our crop overlay tool, spot removal, red eye reduction, graduated filter tool, radio filter tool adjustment brush, and these can be activated by clicking on the icons or by tapping the correct correspondent key on your keyboard. For instance, with the crop overlay tool. If we tap our we get the crop overlay, which you can see frames and lays a grid over the full size image. Now we're in the original aspect of the image, and that aspect is locked so that as we make changes or crop, the image will preserve the original aspect of the original photograph. I want to get rid of this little detail here on the right hand side, so I'm gonna drag this in when I have the flour roughly centered. Don't want crop the top of the flower, though, so we'll do something like this. Get the enter button and we've got a crop that we like. If we want to reset that, if we don't like the crop that we've done, we can either manipulated mawr or we can just hit the reset button. In order to do that, let's try different tool, for instance, the adjustment brush. Just click on that icon now theatre just mint brush. We a common adjustment that I make is in the exposure of the brightness of a portion of the image. And again, we can adjust that by sliding this slider left or right to decrease or increase brightness . Or you can click in the numerical display and enter a specific value. I think I'm gonna want to brighten a portion of the image by half a stop. So I've entered 0.5. Let's go ahead and brighten the flour a bit. Now you can see the tool we have is a circular tool with an outer and an inner ring. So what did those mean? Well, down here, we have tools for controlling the size of this brush, and the size slider can make it bigger. We're smaller. You can also use if you have ah, wheel on your mouse. You can use that to adjust the size of the brush. And then feathering is the outer ring, the outer areas where that gradual transition from the affect, your brushes having to the original brightness of the image will be preserved. And so I like to use a feather about 70 points. I think that creates a row gradual natural appearance to the adjustment. If you want to see the total area that we were impacting with that adjustment, brush will go down. Here is show selected mask overly and click on that. We've got this red highlight now showing where we bright in the image and I only want to brighten the flower but not the greenery behind the flower. So I'm going to go over here and click on Erase. And now this brush tool is going to erase the application that we made. And because it's highlighted that color, that makes it pretty easy to see where we've removed the application of that bright ning. And so will de select this, and this is how the adjustment finally appears. Let's do something with our radio filter tool. If you want to do a vignette, this is one way you can achieve a vignette, and you have this plus sign cursor on a click and drag down and across a little bit. We're making an oval shaped pattern, dragging this down kind of centering it on the image. And with the show selected mask overlay again activated the red areas showing where this is being applied. We don't want to brighten the image we wanted dark in the image, and to better see that I'm going to deactivate show selected mask overlay, and I'm gonna grab this slighter and start darkening the image, and I kind of like that. So we're bringing our attention more onto the flower and then one of things you might want to do if you're very detail oriented is look at your photograph at 1 to 1 scale to look for blemishes or things that you'd like to fix using the spot removal tool So we'll click on that. So, uh, when the tool is active anywhere you click on the screen on the photograph, that adjustment will be applied. But while a tool like this is acted, what we can do is tap on the space bar on your keyboard and hold. Now you can click on the image and zoom in to this one toe one view and we can see there's a little bit of lint here. I'm gonna click on this. We're in a hell mode so that application libraries gonna find a portion of the image that matches this area and quality and use that to hell or replace the content does a really intelligent, clean manner. I'm gonna tap and hold the space bargain so I can drag to another portion of the image will click here. We'll click here, click here and fix those blemishes, and we'll click again on the photograph and zoom out to our one full view we're fitting the image on the screen. So before moving on to the next video, use some of your photographs to play with these targeted adjustment tools to see their effect and get a feel for what you like. And again remember, don't worry about any of these adjustments affecting the original files. Let Room is completely nondestructive. These changes are being stored in the catalogue so that when you're looking the image on the screen or publishing it in some manner, that's when they'll be applied. Well, my name's Bill Ferris. Thank you for watching. We'll see you next time in light room fundamentals. 9. Lens Corrections and Detail Area: Welcome back to light room. Fundamental Zain built Ferris for the last couple of videos we've been working in Light rooms develop module to explore some of the basic image processing tools. We're going to continue that theme but going to to new areas of the develop module to see what tools are available there. So let's get into the application and begin that conversation. So this is the photograph that we've been working with the last few videos, and we've made adjustments. Using basic tools appear as well as more targeted brushes and filters in this area with every photograph that I process. There were two other areas that I always go into an apply adjustments, and the 1st 1 we're going to visit is called lens Corrections. All right, so in the Lens Corrections Tool area, we have to that we can enable one's called remove chromatic aberration. The other is called Enable Profile Corrections. Let's zoom into a one toe one view on the flower, and you can see that we've got some blue fringing along the edge of the pedals. In fact, if we go into a 2 to 1 view, it becomes really obvious. It's not attractive at all, but we can get rid of that very easily. You see, a lens based optical system, by its very nature, will always introduce at least some degree of chromatic aberration as well as aberrations of lens distortion in its presentation of the scene that's captured in the photograph. Because your camera stores in the exit information attached with each photograph the lens that was used to make the photograph and because every lens has known characteristics with respect to the introduction of chromatic aberration that it has light room can apply an algorithm to remove chromatic aberration based on the lens that was used to make the photograph. And all we have to do is check Vicks this box and the chromatic aberration goes away. It's just gone, and in fact, if we go back out to the full view of the photograph, we see there are no ill effects that are associated with applying this chromatic aberration removal tool. This is something that I apply to every photograph that I work with in light room. The second tool in this lens corrections areas that I apply is called enable profile corrections. So let's see what happens to the photograph ISS. We enable profile corrections. We see the changes very subtle on what it's done is it's flattened the field a little bit. If this photograph had been made with a wide angle lens at the white, and I think you would have seen a much more dramatic change to the appearance of the photograph on again because in my mind at least, there are no negative effects of applying this tool. I apply this along with the remove chromatic aberration tool in the lens correction area. I apply both of these with every photograph that I process The other area would like to get into. His called detail and detail is where we can adjust sharpening and also do some noise reduction. Something I've learned over the years is that a lot of noise reduction can actually be addressed and how we handle sharpening. So let's talk about that. We're going to zoom in again to the 2 to 1 view on the flower, and you'll notice that there's some subtle peddling or graininess in the background beyond the flower where the focus plane is and it's nothing, it's that's all that a objectionable in this photograph, but in some photographs, that can be an issue that you want to address. You want to clean up, so how can we do that? So there is detail in the pedal that we'd like to bring out by applying some sharpening. But we want to apply that sharpening in a way that doesn't enhance the graininess or the pebbly nous of that background portion of the image. And here's how we can do that, therefore, tools in the sharpening area. One of them is called masking Watch. What happens if we hold the all key on the keyboard down while we adjust masking with masking at zero, the image becomes white, them in sharpening. Any degree of sharpening we apply will be applied to the entire image. As we increase the masking sharpening for that portion of the image becomes black, it becomes darker, and this is telling us that those areas of the image will not have sharpening applied to them. In fact, if we go back out to the Oneto, one of you give us a little more than photograph to see and again we'll hold it. Hold down the all key and that masking toolbar. You can see that with a setting of about 40 the background is almost completely dark. We won't be sharpening that out of focus portion of the image, and that's something that we want. So we're going to leave, are masking set at 40. And what I found in my experience is that a combination of masking and sharpening that combined equals 100. January generally produces a very pleasing image, and so, with a masking of 40 I'm gonna set sharpening at 60 and you can see we're bringing out some decent detail in that flower. I'm also going to adjust the radius from 1.2 just 0.7 and hit Enter. That makes a very subtle change, but it's it's one that I like. And so these air adjustments that we make in the sharpening area of detail that not only brings out the detail that we want but also minimizes the degree to which sharpening is applied so that it minimizes the obviousness of noise or graininess or that kind of pebbly look to the background of a photograph. So these are some tools, both in one's corrections, in detail that I invite you to experiment with before moving on to the next video. Try them on a couple of your photographs. See what you think. I'm Bill Ferris. Thank you for watching. And I will see you next time. Unlike room fundamentals.