Workflow Like a Pro: Class 3- Lightroom Editing in Develop Module | Lissabeth Anglin | Skillshare

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Workflow Like a Pro: Class 3- Lightroom Editing in Develop Module

teacher avatar Lissabeth Anglin, Doing all the things, coffee in hand.

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

4 Lessons (46m)
    • 1. Class Intro

      0:36
    • 2. Getting Familiar with the Develop Module

      6:08
    • 3. Basic Editing

      38:56
    • 4. Editing Assignment

      0:26
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About This Class

This is the 3rd class in the Workflow Like A Pro Series. If you want to start at the beginning, click on one of these:

Workflow Like a Pro Class 1: Adobe Lightroom Quick Start Setup

Workflow Like a Pro Class 2: Importing and Culling

Hi! I'm Lissa Anglin, a professional wedding and portrait photographer who edits hundreds of thousands of images in Lightroom per year. It is my #1 tool and I have learned how to use it for a quick and efficient workflow, resulting in beautiful images and well-organized file systems. 

In this class series, I'll walk you through my entire post-production workflow. We'll cover all of the essentials to using Lightroom- focusing on the elements I use most for a quick start. 

This class is for beginners or people who just want to learn a better Lightroom workflow. In this class, I'll walk you through the Lightroom Develop Module.

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Join me in my next class where we'll learn how to do some advanced editing techniques and export your images.

Meet Your Teacher

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Lissabeth Anglin

Doing all the things, coffee in hand.

Teacher

Hi there! I'm Lissa Anglin, and I've been a professional wedding and portrait photographer for over 10 years. I specialize in clean, classic images which are above all, genuine. Over the years, I've met many people who had "fancy" cameras, but didn't know how to use them! I LOVE teaching people how to make the most out of the camera they have and learn to enjoy photographing their kids and adventures. So, I've landed here on Skillshare to share what I've learned and hopefully inspire a few others to go out and create!

View my work @ www.lissaanglin.com Insta: @lissaanglin & @lissaanglinphoto

Read my blog @ www.partofmeblog.com

The Moms Who Snap Facebook Group- it's an open group- come join us!

See full profile

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Transcripts

1. Class Intro: Hey, guys, welcome in this class. We are going to go through my basic editing steps for the develop module of Adobe Light Room. If you are just joining us, you may want to check out the 1st 2 classes in the Siri's where I teach you a little file management, how to set up your light room catalogue and how important. Call your images before you actually get to the develop module of light room in this class , we're going to go over the whole develop module. What I like to use, what I've found, that it's helpful and what's not so helpful. We're going to talk a little bit about presets and all that good stuff, so I'm excited to have you. 2. Getting Familiar with the Develop Module: All right, So in this first little video, we're gonna talk about the develop module and kind of getting familiar with the actual screen so that you understand kind of what's going on, What, All things you're going to be working on when you're in that module. So let's go ahead and click over to the develop module right here live. I'm just gonna go ahead and pull up whatever image you have selected, which for me is the first image. You'll see that it's very similar to the library module in that you still have your bottom thumbnail to scroll through, which is really awesome. And over here on the left, you have the navigator, which is going to show you basically a thumbnail or a preview of your overall image on. Then you have your preset list, which you can scroll down. Obviously, I have quite a few going on one of the best things about this that you're gonna need to know. You can minimize those presets right there if you want. Teoh is the history is also located right here. History is awesome because it's gonna allow you to go back a step at any point you can get back Teoh, when the images imported, which obviously nothing has happened to this energetic. So there's only one, you know, little history marker right there. But once I start editing and messing with this image, if I ever just need to give up hope and start over, I can always give back go back on my history panel here and select on earlier state of that image. So I typically keep my presets open in my history. Open on the snapshots. I don't use much in the collections. I don't use much here. You've got some copy and paste buttons right here. I'm over here on the right hand panel is your history. Um and that's gonna obviously show you the different ranges of colors and tones that are in your current image on. That's going to be important to look at one more editing here in just a moment. A lot of these little icons right here do some pretty amazing things really quickly that this actually, if you can see if you just have her over them leg room will pull up the name. So just just in case you ever get totally lost, it's gonna tell you what it iss, but this is the crop overlay. It's gonna help you crop your image. This is the spot removal tool, the red eye. Correct, ERM the Grady and filter the radio filter. And then the adjustment brush. And we're gonna be going over these these last five in another class. These are kind of more advanced features that are super awesome. You should definitely know about. But for now, we're gonna spend most of our time on these items below. So then you're going to see the basic editing pale right here. Obviously, you can minimize and maximize it right there on you can change your white balance. Here's your white balance right here. Um, the next little panel is going to deal with your exposure. Contrast. Pretty much anything dealing with your overall exposure is going to be right there. You can find to that This has to do with mostly your saturation in the way the color looks . Clarity deals a little bit with sharpness. We'll go over that. This is your tone curve panel. I don't typically use tone curves a whole lot, so we're not gonna be going over that. But you can do a lot of really cool things with it. However, I keep it minimized most of the time. This next age SL color black white panel is really going to control the specific individual colors and how they're affected in your image. So this is a really cool place to get very specific about certain colors. If you have said that in particular you're wanting to do there, a split toning is really cool, and we'll go into that later. It's going to control your overall shade of your highlights and your overall shade of your shadows. So there's a lot of really neat things that you can do right here. Within this panel. Your detail panel is super important, and it's going to show you just how in focus or out of focus, you shot something. But it's pretty much one I am consistently using. This is also where you're gonna control your sharpening for your image, um, noise reduction as well if you've got grain or something like that that you're trying to deal with. Linds Corrections panel is something that I didn't typically use when I first started light room, but now it's one of my favorite things because it's going to go ahead and recognize the lens with which you shot the image and correct if you just maybe distortion or been getting that automatically typically. Come with that, linds. Just basically take care of some editing for you. So that's pretty awesome. Little panel right there. Transform is if you want Teoh, you know, change the scale of your image at all. It's going to be able Teoh, you know, fix a crooked quick and wall or maybe a skewed surface if you shot like I used. I used this transform module a lot with real estate photography. When I'm editing straight straight lines and I need those straight lines on, defects are just different, basically, extras. That light room probably just needed to put in another panel. But this is mostly where you're gonna control your grain of your image and the hazing if you have any particular hazing happening. So now that we've gone over that on, you can see that I've done a few edits to to the image just to show you I'm gonna go back down and look, you can see exactly what I just touched on the editing panels over there. So I'm gonna click import again, and it's gonna return the image right back to the very beginning at the start. Now, before us are editing this image, I want to make sure that I'm Onley viewing the flagged images that picked images. And I can tell that by the fact that my filter says Flag only all these have white flags on them and I can see that there's only 57 showing of 231 photos. So now it's time to start actually editing this image. 3. Basic Editing: Okay, so now we're ready to actually start editing are images, and the first thing I want to talk to you about is presets. Light room uses presets on, and it really makes life a whole lot easier. There are a ton of great presets out there. I use a couple in particular that are really, really like from the two different companies, which I'll show you here in a moment on that presets are pretty great because they can change the whole look of your image. We're just a portion of it. And so there's tons of their free ones out there. They're ones that you could pay for, but the ones that I prefer to use our master labs has some Greg ones and then VSE, a visual supply company. Some people calling disco both have some great presets I've enjoyed using and that have a film like quality. They've both been a lot of research and on just a different types of film looks and how to emulate those in digital photography. So those are the ones that I've been using most often these days, and so those are the ones that probably gonna use today while at it. But one thing I do want to mention is that a preset on, you know, in order, Teoh presets are going to change justice, photography styles and trends change. And in order to keep your style consistent over time and you're gonna want to use your preset kind of is your base layer, I I wouldn't depend too heavily on anyone preset because again, you know, if you shoot longer than a year, it's going to change. And so you want to make sure that your actual preset it's just the base layer, and then you find Tune edit on top of those those base layers. So that's essentially how I work, what we do. But that is the first thing that I'm gonna down. I've been liking mass and laps, actually, and so does Biscuit, like they have a different camera profile, since different cameras or different brands have a little bit of a different color tones and things like that. So I've been using these Nikon massive labs presets recently, but you can see they have some that adjust lots and lots of different aspects of your image on some that only do one or two aspects, and it's kind of cool because as you scroll over them, Lightman's gonna give you a preview in the Navigator about on the top left. What will happen when you go ahead and click on that? So I saved you a little bit of time and effort there. But like, for instance, is 35 millimeter grain on? If I scroll down to this, you can see the grain right here said it's Europe. But if I click this, it's gonna just a just my brain didn't do anything to the image except for the grain sis entities, presets or just for one little aspect of your image. And some of them are for over all aspects of your image and so controls. They didn't do that. But I like I've been liking this Fuji preset right here. So I'm gonna go ahead and click on that, and that's the first thing I'll do is click on that preset or whatever preset I decided to use on. And then I'm gonna scroll all the way down over on this right side down to my detail panel on you can see it gives you a nice preview right here of your actual detail in the photo ads is on. The first thing I do is bump up my sharpening about 100 and obviously that created some kind of graininess right here. So to counterbalance that, I'm gonna bump up my masking to about 20 and my Lou minutes down here to about 20 and that just kind of helps smooth it over a little bit. I don't love grain in my images, and so I don't mind a little bit, but that's about the amount that I like to handle. So I go ahead and edit my sharpening right off the bat. Another thing that automatically do is good. I'm here, lends corrections and lends Corrections is going to just adjust some of the default traits that your lens applies to your image So you can see over here that I shot this at 70 millimeters with my 22 70 wins, and that particular lens does have a little distortion in it and a little bit of in getting so Once I click this, it's going to adjust that you could see, just does some of the work for me and takes away that darker been yet have been yet is the darkness of the lightness around the outside of your image. And the distortion is just how how your Lindsay warps your image. So those are the 1st 3 things that touch when I get started editing and already it's just a better image on If you ever want to see a before and after of your image, you can just go down here to this y y and they will show you where you started and where you're at. Click that to go all the way back. But at this point, when I want to work on now is my exposure a little bit when I'm editing humans, I like Teoh edit for this midterm range on so you can see the highlight for her right now is just on the tip of her nose. The shadow would be right here into her eye. And so this cheek right here is generally always a good a good place to look at the mid tone of, um of the image and get a good mid tone of her skin tone. So I'm gonna go ahead and bump up my exposure just a little bit because I like to pretty much push this area to where it's almost over, exposed just to give my images that feel that I like. So I like that right about there. Obviously, once I click on that again, doom out. That has made my image overall much, much brighter. And now, really, I'm not concerned about losing any detail here on this road. It's not that special, and I want people to be looking at her. So one more thing I'm gonna do is add a little bit of contrast. You can see that my preset has added quite a bit of contrast right here, but I'm gonna add a little bit more by pulling down my blacks just a little bit. And when I'm looking at when I pull on this black Slatter is actually I'm looking at my history. Your history green, right up here in the top right hand corner is really just a visual map of your image. It's gonna map out the tones in the the tonal range of your image. It's not necessarily a depiction of, like the left side of your history, miss, not the left side of your photo. It's more reading the different tones. So, like the left side of your history, Graham right here is referring to the darkest darks in the blacks. You can see what happens when I scroll over will say blacks and shadows. And so that's what it's reading right there. And then when you go to the mid range, it's gonna kind of graph at the mid range tones like her skin, and then on this right side, it's gonna do your highlights in your whites. And obviously I have quite a few highlights, and quite a few whites in this image said, that's where there's a lot more information, a lot more things going on here. So when I pulled that black slider, I'm looking for this. Information are here to start reaching the very edge, which means that I have a true black and true true, been a contrast for that image. If I pull it all the way out, you can see that comes out as well. So I'm gonna bring it in just a touch just to make me happy. And then as I look at this and it's a little blue for my liking, so I'm gonna go ahead and adjust the temperature a little bit more just to make it a little bit warmer. Not overly warm just on the yellow side, because there's a lot of green happening. I'm gonna also adjust the red slider just a little bit. So there we go. That is pretty much what I want for that image right there. So now I'm ready to sink my images. And this is one of the best things about light. Room is being able, Teoh, let what room do most of the editing work for you. So I'm gonna start with my image that I've just edited, and I'm gonna go ahead and shift and click all the rest of the images on my thumb Now Tool are down there so you can see that this one is a little bit lighter. That that's how I know which image on copying from on. And then I'm gonna go ahead and click seek right here. So then it's gonna basically ask me which aspects of the editing I just did that I want to sink to the new images on. I would go ahead and recommend uncheck ing Local adjustments transform spot removal and crop on those things are absolutely things that I used frequently. But I've learned that if you sink all of them, then you're gonna spend a lot of time undoing them because they're usually image specific things, um, to sink. So I go ahead and uncheck those but all the rest of the stuff I want to keep because I definitely adjusted white balance exposure, the luminous and melons corrections, all of that have adjusted. So let's go and synchronize that. And as I do that you can see that the images were starting to change. Now toe un, select all of those. I'm gonna hit command D to de select. And here's our next image. Now that looks pretty good. And it's a little bit right for my liking. I'm gonna adjust the exposure down Just a touch. So it's not super bad, and then I'm not. Her face is getting a little bit more shadowed. I'm gonna come over here and bump up The shadow is just a touch. There we go. That's a little bit. And looking at my history game, all of my blacks are gone, so I need to bump those down a little bit more there. Okay, so I'm really big on shooting in camera. The crop that you want. If you spend a lot of time cropping in light room, you'll never get on to other things in life. So I go ahead and try to shoot exactly the way I like it cropped. But that doesn't always happen, especially when you're shooting little kids. So let's go and crop this image on this This chain link fences kind of bothering me. So let's get it out of here. This right here, little boxes, your crop tool. And you can select if you have, like, a certain size that you're wanting to crop to, like an eight by 10 where five by seven, you can select that here on my camera shoots in a four by six format normally, so I'm just gonna keep it as original on. One thing you do want to make sure is that this lock is actually clicked down and not unclipped. If you leave it un click or locked, it's gonna allow you to change it to any shape or size. You would like it and won't keep that same original aspect ratio. So go ahead and click that down. If you want to keep it in that four by six format, and you're gonna just slide it toe where you like it and double check? No, nothing I didn't talk about was angle. You can adjust the angle right here by sliding this, but in this one, I don't need to adjust the angle. Some just hit zero and push close. It's a little hot under feed off there. Okay, Happy about that? So there's that image on again. It's a little bright. This might be a good candidate for black and white. Later set. Let's go ahead and new Bond. So pretty happy with that one. This one looks pretty bright. Eso it's going bump that exposure down just a bit. Some losing some information on the right side over here. I just want someone to tell their. But now that I've got that down, you can see there's quite a blue cast right here on her face on in the shadows. So let's go ahead and add a little bit of warmth to it. Just a counterbalance that There we go. That looks better on. I'm gonna go ahead, pull down those blacks just for a little bit more contrast. And then this is getting quite dark now in her face, which is what I'm really most concerned about. So I'm gonna take the shadows, which is her face is in and bumped that out. Yes, and that helps a whole lot. Keep those legs coming down, and I want to make sure this is not too warm. Looks pretty good. I don't want it to be two totally different than the one I did earlier. Um, so I'm pretty happy with that. So it's good. Move on. No, because, um, actually area. So because this image is very, very similar to the rest of these images that I could see that are coming out because there's flowers behind her. I'm gonna start this at it now with all all of the new ones. So let's sink from this particular edit something a shift click hit sink and then hit them inter buttons on my keyboard and it's gonna sink those Yeah, that looks good. So this is a little over exposed. You can see here that have a lot of overexposed and not a lot of blacks happening at all. So I'm gonna go and bump that down. Just a touch. We go just like that. Pretty happy about that. Same here. There we go. Because I like famine. It de select. Um, let's sink again because I made a few adjustments. This one I like It's a little too bright, actually. I'm gonna purposely under expenses just a bit. Here we go. Like her in the shadow there. My climate girl. Now I am losing. It's getting a little bit warm and I'm losing a little bit of a de select this Click on it . I'm losing a little bit of that color that I wanted. So what I'm gonna do is scroll down here to this H sl color in black and white panel and then go ahead and adjust the individual colors. So, for instance, you can see that my green is pretty de saturated. That's probably from that preset that I selected earlier. Someone you're going to pump that up a little bit? Yeah, And then read would be all those poppies back there. I have to be careful that because red is also gonna pick up in her lips. And if I overdo it, it will be too much. You could do that That's a little too intense. The area that makes me happy. Perfect insistence that change those things. I'm gonna keep sinking all the way down. All right, so this one is a little too dark now, since most of this is this images just in her face and in the shadows, we're gonna purposely just ever expose that background so I could focus on pretty much just her eyelashes. Then I'm gonna pull those blacks down. Awesome. Same thing here. Let's pull that exposure. Just a touch. I don't want to lose the detail right here, because that's that's the best part of photo. So we're gonna leave that just like that you want? Okay, so this image, obviously it's still back. Like, I love that little halo of life that you get when you shoot backlit. It's made her face really, really dark. So it's good up our exposure there we got that makes me happier. So now I'm gonna pull my blacks down again. Good. And then I'm gonna bump up my shot. I was just a little bit awesome. And I still like that white balance so you can see down here that these air coming up are very similar. So let's de select, um, and use this one is our new reference point. And I'm just gonna sink the whole next row because I can. Awesome. I like that. And I am not going to change a thing about it. Let's move on saying there really like that also. Good, Yeah, we're good there. You know, this is gonna be a tough because she's got WIPO's and her hair is all over exposed, and then her face is in shadow Thing is gonna be a little bit more difficult what I'm gonna do, because I probably need to do some advanced editing techniques which all work on in the next class on. I'm just gonna go ahead and make this. Her face is bright as I can without losing detail in her hair or any more detail in here. So it's going to pull the highlights down a little bit that add some detail back her hair right there. You can see which is nice, and then I'm going Teoh, bump out the blacks. Just a touch. Just kind of make it a little bit more even overall. And that's how we're gonna leave that one for now and a sequential ones because they're all gonna be very similar and lighting. So that helps a little bit. There's still pretty contrast. E not in the way I like, but that's OK. All right. So this one on I like it. It's getting a little warm. I feel like I'm looking at kind of toes and her skin, so I'm gonna pull the the temperature down, just barely. And then it's also getting a little bit darker than I prefers. I'm gonna bump out those blacks just a little bit. Here we go. All right, So here is where I change lenses and you can see when you change lenses, you're also gonna probably have toe change your editing club it just depending on how different your lenses. So I shot this one with my 14 to 24 so I could get more of the environment. So that means I'm gonna have to make a few more adjustments. So obviously this is over expensive. It's gonna bring it down a little, and then I'm gonna go and pull those blacks all the way over to my liking. If I pulled him all the way over that would just be too, too dark. So I'm gonna go somewhere in the middle right there. And as far as color balance goes, it's on the cooler side. Let's bump it a little bit yellow here, so it's a little bit more dream like and maybe add in a little red and I'm going to go ahead and purposely ever century. This was just a bit so let's go down here. I could mess with just the saturation level right here, but I'm kind of picky about which colors I want saturated which one's head don't. So I'm gonna go ahead and bring my yellows up a little bit, and then I do want more of the red and the blue sky is going to be a huge asset to this image. We wanted to be there so you can see right there. That's making a big difference. Sometimes talk was this guy as well. So there we go. So it makes it a little bit more dream like, and I'm gonna go ahead, pull the blacks and just to make it a little bit more dramatic, and then I'm gonna bump up the exposure. Just attach one more time. There we go. So that makes me really happy there. And I think a shot? Yeah. Oh, no. Switch lenses there. So these were the only ones with that particular limb. So I'm gonna sink right there. Yes. There we go. Okay. Good. I even like this one better. But let's and well, it up. Just a touch so I can see her just a little bit better. They're cool. So now we're back to the original lens, and I really like this color tone. I'm not going to change anything about that. I'm pretty happy about that color. So just go ahead and use. This is our reference and state for all the next whole row. This next one is a floral shot. I like it, but it's too cool. So let's go and add some warm. Put that yellow right there. Starting Teoh to yellow. So it's bulletin to make sure Grades are really nice and green. I like it like that. Okay, so one of the things I like to use on landscape or macro shots anything with details is the clarity tool. And I do use their own people. But I have to be careful because clarity will make your wrinkles in your blemishes staying out a little bit more. So that's not preferred for me said. But I do like to bump it up. It kind of just adds a little bit of extra contracts for floral shops and things like that on. So put that in there a bit. Apps about 50 call that good once we wanted the next one. Okay, so we're back to live, and it looks like she is pretty darn green because she's got green all around her. There's a pretty major green tint going on on the side of her face, so let's go ahead and fix that. The way we're gonna counter it is to add a bunch of bread right here. We're gonna start to look better. But as I add that you can see now that she's starting to get some blue tint, some of those areas said, then we're gonna counter balance that with the yellow. That's pretty warm. Overall, those back to Salata Um, but I'm pretty happy with that. Like that, except for the fact that it's very dark, she's obviously in the shadow again, so it's going to pump that out. There we go. It's making me happy. And then I'm gonna go ahead and a little more contrast about pulling my blacks down. Just a touch. Now, that makes me happy. But I bet you I change this to black and white lighter because I just like the contrast. I like the definition right here. And I think this will be a good black and white photo, but that's good for color. For now, I like this one, but so cute. So it's a tad dark on her cheeks. I'm gonna bump of that exposure a little and warm it up, just attached. And I think that's all I'm really gonna do. No, I like I'm gonna pull the blacks down just a little bit. Yeah, okay. I'm gonna hit de Select and sink it right here because I could see that this next one is very similar. And I'm hitting the command button and then clicking because these are live or not. I have a few more floral shots coming up. I can see. So I want to go to think all the ones that live I can. So I'm just gonna individually command click the next one's for and think those knowing that they're probably very similar. It's cute. Really like that too. Okay, so the next image is a floral shot afghan. So I'm gonna go back to the one I did originally and then sink. It's using my command. Click again to these right here. Whoa. And that really kind of a crazy. So I'm going Teoh, change my exposure down. Pull it back down where it needs to be. There we go. That's a little too dark. My blacks kind of peeking right there. Somebody pull those out, Just a touch, and then message my color bounds a little bit changing it back to cooler because I want that blue sky pick out a little bit. There we go. That's more accurate. And, you know, this is just up to you. Your preference. I'm gonna pump up the vibrance of those reds are really, really red. Okay, so now looks good. Sink these Since I did a new at it on the floor Olin's Yeah, I like that. Okay, The next one is a live, and it's obviously a little bit dark. Um, somebody good. I'm just gonna go. But my exposure to where I like her cheek again. Look right here. There we go. The blacks are in a little bit, and this is a little bit green. I'm gonna add a touch of yellow in there just to correct that white balance. Here we go. I like this one. It's a little under exposed for what I usually do. But I kind of like that because I could see the light coming through the light on all those crazy hairs. So I'm gonna leave it. And here's another where faces a little too dark. So I'm gonna bump up my exposure again. Ugo, I'm just gonna leave it just like that. Looks good. And pull those highlights down. See that recovers anything on her head? Yes, it did. Great. It's a little bit more those pigtails. Okay, I'm just gonna think those for the next two since I know those air coming up. No, like that. And that was too bright. So I'm gonna bump my exposure down, and then it's getting kind of red. So let's add in a little bit more green, right? And some yellow. Well, it's not quite as contrast is I would like it to be here we go a little bit more pop in there. Okay, Another floor on this has gotten a little too yellow, so let's pull it down just a bit. There we go. I'm gonna go ahead and sing the next, because it was probably pretty close by. Yeah, my exposure orbit, and we're done with that. Okay, now, here we moved to a difference, Like location of the park. And it's obviously a cooler shaded your spot because her temperature has gotten a lot balloon or so I'm gonna go ahead. I'm just gonna sink these settings here just to see what happens. And OK, so that helped a little bit my blacks or too dark. So I'm gonna bump those out a little bit and then go ahead and adjust my wife bounce to make it a little bit warmer. No one had too much yellow, but it certainly helps to warm it up a bit and add a little red in there, too. Here, you know, blacks down. Now, one thing that's bothering me about this images I can see I have some lens distortion going on. And by that I mean, you see how these two boards right? here, the wider at the top, and then they get skinnier. Is they go down? That's because I was slightly above her when I shot this. So in order to fix that, I'm just gonna go down here, Teoh the transform panel in a just my vertical slider right here. And you can see it's kind of fixing it has a handy lying so that you can see when it's pretty straight. So there, there it is. It's getting pretty during straight, and I really like it. But of course, now that I fix that, this have some white space, so I'm gonna need to crop it. I'm just gonna click on my crop tool lips. Sure, that's what. There we go much better. All right. So now that we have settings for that little scene, I'm going to shift and think it all right there. It's really born in. Since I did touch that transform module. If I want, I need to make sure this is unchecked or else I'm going to make those adjustments to all of these images which they don't need. So that's why I keep it on checked. That's cute. Okay, it's a little dark on her face. I'm gonna bump it up just slightly, and then this crookedness is bothering me. That might not bother you, but it bothers me. Hit that guy. Correct that here we get good. Slightly dark for me now. Okay. For instance, this image this read that it was a car or something in the background is driving me crazy because it takes away from her. So I'm going to you actually go in and pull down the saturation. But it's also pulling out the saturation in her lips, if you could see that, and that's not desirable. So I'm gonna have to edit that with one of these tools up here on here in just a little bit . Minutes classes. If you want to learn how toe take out little things like that. Stay tuned. Okay, this looks pretty good. It's a little bit bright, so I'm gonna go in. But my exposure down Just a touch. What's bothering me most about this photo, though, is how crooked the lines are. That's driving me bonkers. So we're gonna go ahead into the crop tool, make sure that it's clips down and just rotate it. I can see there's a little bit of distortion happening here where the upper sides of these would things are wider apart than they are down here. So I'm gonna fix that in the transform tool. So that looks pretty good to straighten him up for now, something double click back and then I'm gonna come all the way down here. Message my vertical transform tool. Now, the reason that it's doing this is because of the top of wounds I was using. It looks like I was shooting at 50 millimeters right here, but because I was a little bit taller than she was, it put just that angle on her on those types of things just tend to bother me. So I'm just gonna pull that down a little bit more stagnant, and I think it just kind of helps the image. You can actually focus on her instead of what's going on around her. And now when I did that, obviously it took out some of I need to crop it in again, because now I have a little bit of white space, so I'm just actually gonna move this over a little bit, double click it more good there. Okay, Let's move on to the next one again with the red car. But everything else looks good here, so I'm gonna leave it, move home like goodness, what a ham. Okay, so this is a tiny bit bright, but that's really going to be the tent, like the total quality of this image anyway, because it's just a light, bright photo. I am gonna pull my black suit just a bit to get a little bit more definition in her eyes. And you can see this is a really good example of color casting and how you have to deal with it all the time on this side of her face. It's got a blue cast from the blue paint on this. Would you could see it just kind of happening right in here and then on this? I've got a ton of greenery happening so you can see right along this edge. There's just a green cast, a swell on, and it's fine because overall, her skin tone looks right. That's correct. But this is something that you have to pay attention to what you're shooting and when you're editing as well. So I'm happy with that. Let's go ahead and sing it to the next photo because it's very, very similar. Perfect. I think she was grabbing for my lends at this point, but I really like this one. I do want to lighten up her face, just attack. So I'm gonna pull up that exposure. I'm not too worried about her hand because just part of the foreground. I'm looking for her face. Okay. Okay. Now, like this image, I like the sun coming through her her skirt there. But it is a tad warm for my taste. So I'm gonna pull the temperature back just a little bit at a little bit more blue and because it's backlit. So I get just a touch more. Do you tell? I'm gonna bump that exposure down just a little bit, okay? I'm gonna go and think those edits to the next to because they're very similar. That looks good. That's a Tad Bryce. Let's pull that exposure down one more time, okay? And then here is another floral. So I know I just edited one similar. So I'm gonna go back to the one that I want to sink the edits from like this, and I'm gonna click on it and then command and click on the one I wanted to sink. Teoh, push sync in. There we go. Let's start in that Just a touch. I feel like I'm losing some Do tell him that flower right there. Pretty. Okay, so this one looks pretty good. It's a little warm for me again. So I'm gonna make it a little bit cooler and just add a little bit more lightness to her. I'm gonna bump up exposure, just touches well, and then let's go ahead and pull the blacks down too. So that's just gonna add a little bit of contrast on The next image is very, very similar. So we can just think it It was good right there. Okay, this one is the one that I overexposed. And this is the beauty of shooting and raw you guys, because hopefully I will be able to pull back some of this information here. You can see this is where overexposed. It's the brightest point in the photo, and it's lost some information, but I can actually pull my exposure down a touch and look at that. It is back. So that's wonderful on. And obviously it's a little bit warm, so I'm gonna pull this over just where I feel happy about it. And then it's a little bit red. Here we go. That looks pretty good for me. Ongoing. It's a little dark. Still total. It's a pretty contrast image anyway. But I'm gonna pull us black sound because this image has that red flower in contrast to the green. I am going to go ahead, saturate my red. So I'm gonna go down to this hs l pale and pump up those rights. Just a touch more and you can see what's happening as I move it. I don't want to over saturate it too much, but it is pretty top of color there and let's go in. But the greens just a little bit just to give it just a little more color. Awesome. Okay, so you can see that my environment changes here. We moved over to shady area and it's very cool and obviously a little dark shot this one a little bit too dark. But let's go ahead and just take our settings from the last shady area, which was this one right over here. This is pretty much in the shade in a very cool tone as well. So let's see what happens when we think these settings with this right here. Go ahead. Just click all four of those because they're the last four in the set and that looks pretty good. Um, I'm gonna hit de commanded you to do select it and then hit the individual image. I want to read it again, and obviously this is a little dark, so it's going to pull up the exposure to where it should be. That looks pretty good still in the green side, however, on. And that's just because simply, there's a ton of green around her and she's wearing a green dress, so I'm gonna add in a little bit of bread. Just make sure I can correct her skin tone. That's always what I'm most concerned about this, making sure that that skin tone is accurate despite what colors they may be wearing. No, that's pretty good. And I'm gonna add, Obviously, there's not a lot of black or dark tones going on, so I'm gonna add a little bit in there, and then I always seem to bump up my exposure. Just a touch more after I do that. But one of the things I want to show you guys that I haven't shown you yet split Tony. And this is a pretty cool thing that you could do. A lot of people, they do this in every photo I don't cause it just takes more time. But if you scroll down here this split turning panel, you'll see it has the highlights in a shadow section. And one of the coolest things about this is that you can actually control the tones of your highlights in your shadows here. So, for instance, let's say I wanted maybe my shadows to get a little bit cooler here. They're pretty warm. I feel like right now so I can click on this little box here on, and I'm gonna take my eyedropper tool just to select, which till when I want it. Teoh, start casting on just my shadows. So it's going toe literally. Add this tiny bit of blue tone, Teoh The shadow portion of this image already like that a little bit better. I feel like it's a little bit more accurate, even though it is cooler. So let's take this over here just as an example, if you if you like and prefer really warm image, I know a lot of people do. Here's a really cool way to be able to manipulate that you get somewhere in this zone, which, actually I think I prefer that instead of the cooler for this. So let's stay over here. I'm gonna kind of moving around until I feel happy and you can see right here was the neutral that we started with. And here's the tone a selected you can also saturated. Here it gets a little too intense. Obviously, at some point you can control the saturation and then just click the X to finish it out. And then if you wanted to. I really don't mess with highlights that much, but you can also add a different color highlight while you're highlights. Take on that tone so like you'll see it more here in this image in her skirt, her bow in the background, the lighter portions of the image. So I'm going Teoh and you can see it. It's already left me a marker of where my shadow tone is in case. I just wanted to double up on that or do something a little bit different, but I am going to keep that at zero because I prefer the other. There we go. So there we go. So that one is done, and I've got my split turning on. I'm gonna go ahead and sink this to these last three images. Here we go. Cute. Make my blacks a little bit blacker. I really like that one. And this one is a little too bright. So pull that exposure down just a bit and cool it off. Just a set to start to get a little bit too yellow for me. Okay, Cool. So now, at this step, now that I've reached the end of my set, I'm going to go back to the library mode. One of the reasons I like to do that is because I want to be able to view the minute grid just to make sure I've been consistent. I feel like that's one of the best with self. Your professional is how consistent or your images are you putting out the same look and the same consistent quality product each time. And so this looks pretty darn good. It's cooler, cooler, and then we get a tab bit warmer toward the end. But overall, I'm really, really happy with this. So if you will join us for the next class, we're going to talk about black and white conversions, creating some of your own editing presets and also exporting and exporting preset. So thanks for joining us for this episode. 4. Editing Assignment: Hey, thanks for joining us for this editing portion of the class. And for your assignment, I would love it if you would show us some before and after. So go ahead and post before photo and then an after photo after you applied your presets and made adjustments and edited it. I'd love to give feedback on that. And just here what you enjoyed best what you struggled with and be able to help you out with that as well. So go ahead and share. Thanks.