30 Days of Adobe Lightroom Mobile

1. 30 Days of Lightroom Mobile - Introduction: Good day and welcome to 30 days of Lightroom eyeball. I'm excited to bring you this on Skillshare. You can do this in 30 days or you can binge-watch, get all done in awake AND they bought sized video. Now this is one of my premium courses I'm bringing to you here on Skillshare. The video sections because we all learn differently for some of us, video is enough and that's fantastic. You get access to everything here. If you prefer to learn with other people, have a community and be able to speak one-on-one with the course facilitator or an instructor, then this is the link below to do that, but otherwise, everything is here. I'm excited to bring you this. This is where you learn the why, when, and how of all the tools in Lightroom from the capture tools to the editing tools, stop being overwhelmed by the tools. I'm going to break it down and show you which ones work better than which ones and when to use them. Kind of show you how to be most strategic guide to share some workflows. It's my four-step system. Basically it is composition, tones, colours, and selective editing, local editing, localized editing, masking wherever you want to call it with healing. It's all in there. So here, this is what the 30 days are. Number one, gestures, shortcuts and tips, 21 different tips. There are shared cropping geometry exposure with the tones black and white point D Hayes Texture, Noise Reduction. What balance, vibrance and saturation, the difference between the two color, HSL hue saturation, luminance, target color grading black and white, the right way of doing it. Vignetting, the better way of doing it healing and cloning tool talking about the difference between the two. They're masking using sky and subject using linear and radial color and luminance profiles and presets. Talk about the learning and discovery and how they are amazing, really helpful. Review right, and share your photos, how to organize your photos. Then we're gonna get into the camera app. We're gonna talk about auto versus pro mode, HDR, long exposure and portrait mode. We're going to talk about the depth, manual focus, white balance, ISO and shutter speed, and also Lens Correction. Shutter speed is one of my favorites because this is where I get to show you that most people got it wrong, got through all that, and explain all that to you. And I'm also excited to bring you a couple of workflow examples from other photography trend is not just listening to me talk to you about it, OK, so they're further ado, there's the first video below. Let's get straight into it. 2. 20 Secret Tips & Hidden Features In Lightroom Mobile : Good. I welcome back. Tie number one of 30 days Lightroom. My balls that have a one we're going to talk about. Actually, it's actually near 20 sacred tips and hidden features. It's really familiar, familiarization. It's an easy way to sizing it. Familiarization are going to show you some shortcuts just to show cards finish nice navigation themes. I'm going to show you some tips that unless somebody shows, you don't even realize you can do inside there as well. So it's pretty exciting. Now. They will be if you haven't opened Lightroom before, it's going to fill out well-marked. This is local. It just hosing be waterholes, You just drawing all these at me. You got moving around so fast. I've never opened the camera before. That's the case. That's okay. You can come back to this video. I just wanted to put this at the start of the 30-day series just to get you comfortable with where things are and a couple of things to set up before you go exporting photos. Just to jump ahead. By default, it doesn't actually export a full resolution photos, so that's pretty important. So that's what we're going to cover it is that sort of thing. Now, first thing you do when you open up the photo E, or open up the app is that you need to set up an account. It's free. Now I have a screen capture here. This is what it looks like. You, if you have an existing account at Adobe account is really simple. If not, you can use one of your socials or your Google. If you have Dremel, you can use that. And then you can set it up. Now you don't have to subscribe. That's the key thing here that I wanted to explain to you as the tide have to subscribe. I do now because the masking tools, fantastic, That got me over the line. Next thing you do. Now, I'm going to be jumping around here between I found and general speak if you'd like, because Lightroom, one of the things I love about this app is that it is available on Android and iPhone. There are some little differences between the two. Whether it is, you may see what I'm showing you. You might go, Oh, that looks totally different on my phone and that's okay. But I will just show you the principles and just get familiar. And if it's slightly different, and the app will update as well. This is one of the, one of the apps that does regularly updated with new features. So it will look a little bit different. So this is what it looks like on the iPhone in the settings. There was a couple of things in here in the settings and encourages you to set this up at the top. But you can always go back and change this. You can say he location. I just wanted to use location for geotagging when I'm using it. This is the one that I like is far out, so you can select which furrows will synchronize with Lightroom. You don't have to give access to all your photos. I think that's really important. And then he notifications and that sort of thing. Next one is the gallery. This is what it looks like when you first open it up. So down the bottom right corner you've got there to add a photo. And the other one there is the cameras. You can open up the camera. On the left, you've got your different folders on Android, this looks different. You'll have extra awesome Wednesday we'll at Google Photos and Dropbox and all these other areas Online. Onedrive where you can download photos or access files in the Cloud in other locations. What I wanted to show you here is the gallery by default, it turns up with this sauce, but have a look at these pinch and zoom. You can make them bigger. Move them around and go, You know what? I want to have a look at that in closer. But not all the way out already selected. But you can change you can change the size of your thumbnails. I mean, that's one that's not in the instructions anyway, that's not one that Yannick twist on that part. Discovering buyer. It's searching online or just playing around and you can't break it, It's sort of joined. That's the first one. Now the three dots up in the top right corner, you've got three dots there. View Options. And you can show information over life. If I go back up and you'd say there, you've got a histogram, two fingers tap on the on the Federal, you can get rid of it. So you can go toggle through different information here. So here we've got all the metadata. Tab again, histogram, tap again, and remove it. Now, you don't have to turn that on and off through there. You can actually also go down to settings. Settings here, you'll see there's some different things he and one that I want to show you, there's gesture shortcuts. Just a shortcut. There it is. You can actually say there it tells you, hey, just two-finger tap so you don't need to set up in the menu knowledge at any time. When you're, when you're editing a photo, you can just tap two fingers. What else we got here before and after. So you can hold down your finger and say it before and after. Now, I might just quickly add preset there. Now, hopper finger, There's the before, there's the after. Pretty cool. Another thing you can do here is double-tap. And you can zoom in. Then we wouldn't finger just move around and east to pinch and zoom, that sort of thing. But double-tap Xunzi, double-tap again at a zoomed back out again. Just a great way. Quick, simple, easy way of just getting a nasa class, checking it going FDI, average shot do not ever sharpen that or is that looking a bit blotchy? Go back and get it if you're copying it. So let's go to Crop and we will go in here and we'll crop, move that around. And you're not quite, not quite right. You can just reset it back to double tapping on the shaded area on the outside, just double-tap and it goes straight back out again. Double-tap. This ACT just to speed up your workflow a little bit. Next one I wanted to show you is an iOS specific one. Down the bottom, technology reviews and I'll cover these later on when I talk about lung exposure and that sort of thing. So here we go. Low exposure and depth map, which is the portrait mode. All right, so that's, that's how you turn out inside the settings. It's not there by default. Another thing I wanted to show you heat is what's new. This has great way of keeping up-to-date with what's going on inside the app. And this is how I actually discovered masking. I didn't realize that those brand new masking, those is playing around here. Omega, what is this? It's really handy a lot of people and you say that new presets. So if you're subscribed, you get a more presets and continually update those and improve those and give you more options. Next one I want to show you here is I wanted to go into camera now, set now inside the camera, I'll switch it over today because I'm looking at the wrong way. Inside here. You've got the three dots again. So we get three dots. Tap on the three dots. We have settings, the cogwheel, and here we have max scrape brightness. Now I always put to an add-on because I want to see the exposure as it's happening. If you don't have it, it will just got back to the default. But I like to have an offset brought. I didn't capture the virus and then come back to that photo was brought over is really dark photo into competition before we've had actually training the screen brightness. And then when I saw them posting posting it, it's like, oh, that's not what I intended. Always mx squared brought us, but it's up to you. It's up to you. It's a personal preference, luck, luck. A lot of things. A couple of things here I want to show you now is when we tap on different parts of the photo, it will change the exposure. So if I tap on the dock area there, you will see that it's made the rest of the photo bright so that that dark area on the case there will be nicely exposed to block the balance of light and dark. I'll tap on a broad area. You can say there the dark area becomes darker. What you can do once you find an area that you quite happy, don't worry about anything that's happening when you tap a changing the focus. At the moment, I just want to focus or concentrate on the where I'm exposing so far. Expose there. That's a good balance. Top-right corner, personal that padlock and I've now locked that. Now that I've locked that, I can now go back and I can tap wherever I want to set the focus. If I set the focus on the zip, the corner there, I can't now, this is really cool. If I long press that's now locked and I now have a green overlay shortly. This is an iPhone. Android doesn't show these green overlay, but it now has great overlay. I can zoom in and I can long press and zoom out and it stays there. What I wanted to show you here is, again, this is an iPhone, but there's a slight difference with Android, and I'll explain that in a moment. Broke out into the light panel. I want to adjust the whites, which is basically the areas in the image that are pure. What can increase the amount of areas surrounding towns that become pure watt or could decrease itself is less pure white pixels, dots of information in there already. So we don't do that. You see here it's adjusting. But it's been hard to say what it's doing. In sit on the computer. You can do an option with colds. You can do Alt or Command and you can tap on that and then you can see this cool overlay. It's a black mask and you can see what's picking through. Now on, on the Android when you do this, it'll just show a before and an after, whereas on the iPhone, so what I'm doing is I'm swapping them. I'm controlling the slider first. And then wallah, I've still got my finger on. I put my thumb on the actual photo. All right. So it's not too at the same time and running in-person workshops where I've tried to show people this can be confusing. So what do you need to do is to put your finger on this slider slide. Mr. you've still got your finger. They put your thumb on the photo. Then move the slider a kid. So it's not just slide, thumb on its slide, them on slide. You could do the same with the black tea slide, thumb on and sliding in. And you can say that these areas become pure black. While I'm here having a look at the blacks, it's minus 100. If I tap on the line, the slider, if I just go to Tech, he said it's minus 95, minus 90, minus 95. Incrementally by five steps stops. It will adjust automatically. Now if I want to reset it with a circle, is I just double-tap on that? Double-tap back to 0. So cool, so easy. Nothing I want to show you here is the question mark up the top. You can see there the question mark at anytime. You can tap on that. And you can see tutorials, inbuilt tutorials inside the app. Fantastic. So if you're not quite sure what the blacks is doing, just tap on the blacks, showing me and it will go through. Good. You can see exactly what it's doing. Next, say the little panels on the right side. We've got light color effects. Zeta is last ones I mentioned. It's got a dot. Now I just applied a preset. Preset is like a macro. It's a recorded steps. Recorded works like if someone's gone through and gone through this, this, this, this, this, this, and then they've recorded that as a preset. And then when you tap on that price it and you selected it's gone and recorded these. Now you can actually go in there and see exactly what it did. So these preset is automatic. Adjustment is gone and affected the watts and the blacks. Now you know that it's affected those three because it's got a little dot next to him, the little star icon, the little color, the effects squared, they've all got dots. So you can see that this filter has affected those. Yeah, anyway. Now other plot that now I want to go in and I want to use one of the others. So now when I go in and do a little bit of sharpening, shop in it and I'm just gonna do it into crazy. Okay, So you see there that was crazy. There's the before, there's the after. You'll notice that these before is before the preset. So this is before before. I can't really see when it'd be nice. If we could have a look at those adjustments and have it before the previous this instead of that, because I want to see after over plot that preset, I want to see what that sharpening has done. This step, not the very start. So what you need to do is I need to go down to this little clock. If it looks like a clock, we go with a rewind tap on there and we can create a version. So I'm just gonna call this one step one plot that now if I go into sharpening, sharpen, it got crazy. Now I can go and call them, create another version called that step two. Now I can go Step one, zooming. Step two, zooming with happiness. We could see me. Anyway, but you can see that there's the business that was step one. And then they step to say now we can see and you can do this through the workflow. And one of the things I loved that you introduced this earlier, the sheets, these aldoses Azure going, it will automatically create versions. They like save points through your, through your workflow. Really super cool. Next one I want to cover is something that we all need to set up when we first set up this app. That's the export options. Up the top right corner, you can see the little Share icon tap on there. Most of us and I did this for a long time before I realized we just export to camera roll because that's where I share to social media. That's where I have my album setup. Just unfamiliar with it, uncomfortable with it. I like being able to search for photos and it works works from our workflow. So I'll just explain it to camera. One of the problems easy if you're shooting in DNG file format, the role file format. What will happen is it will, it will import and then what if you're on a paid subscription, you can edit rule photos into Lightroom Mobile, which is brilliant. If you're not, it'll, it'll edit page I pay. Now, you might edit a DNG file format and then you go to export to camera roll. And it'll export a JPEG, which is not ideal because you might want to keep that, you want to retain that all that information and continue editing in an lightest ages different app. Now down the bottom here we have Export As a tip on Export As. And by default, it's not set at 100 per cent image quality. You want to go in there instead of 90. You want to make that 100%. If you're playing around with the DNG file format, you can now go into here and you can go, and I want to export it as DNG and D and J. You don't need to adjust a 100% because it already is. It's like it's got all the information retained in it. Makes sense. I hope it does. I think it's really cool. And you can edit so you can create a shared online in the community and I'll cover that later on in his 30 days. Open in so you can open it in another in another app already. That's done. Next one I want to show you he is 0s albums. You got done their albums. So we can tap on the plus and you can create a new album and folder. Now, I just having a play around with these and I'll create an album. It was discovered that if you create a folder and this is using the desktop as well as the mobile. This is basically collections and collections sets. Now album is collection folders, collection sets, so you contain the albums within the folders. Now the folder stance synchronized automatically, detects top. So I'm just playing around with albums at the moment. So all I'm doing this, I just basically create an album and then he can, and then what happens is then it's easier to find on the left side there. So it's a great way of going through and quickly searching. Now the Search Inside here he is fantastic, works really well, especially with people. But yeah, so that's what I want to show you. The last one I want to show you is the discovery. Now cover this at length in later on where we're going to talk about this topic alone. But I wanted to show you really quickly, is you can see that little icon up there, the avatar, I've just got my business logo. And you can go in here and you can create your own profile. You can sit, you're about talking about yourself. You can follow people, people can follow you. And it's like a silica, a photo-sharing social media app, but it's friendly. Certainly. I've had a little bit of a play and I'm really enjoying it. So I just wanted to show you that really quickly. Say, this isn't your settings inside your editor or your camera. This is ego, the first, which is the community. And then you can tap on there and you can set all that up and it's got some really stringent, great community guidelines in a fantastic. So just to recap, what did we cover are covered quite a bit. They didn't like. I showed you how to open up the hey, you can't what the gallery I showed how to access gesture should mix, brought in a tap, black editing tools black the question mark and getting in create a saved on the right side. What's being an export as changing the albums, discover it. That's a lot, isn't it? Let's 20 different tips are hidden techniques there. So that's quite a lot to go through there. And like I said, you might have found this a bit overwhelming. If this is the first time you've seen the atom that you say may just gone, bang, bang, bang, bang, bang. That's totally okay. This 30 days is designed for you to just get more familiar with the tools and then he can come back to this one again. All right, so with that, I think I'll wrap it up there. And thanks for joining me tomorrow. I'm going to talk about cropping and I think that's critical step. First step in editing. And another call to seeing you there. 3. How To Crop Your Photos Lightroom Mobile - Composition: Good, I welcome back die. Number two, we're talking about cropping in these 30 days of removal. Cropping. It's one of the most powerful and important steps in your editing workflows. People places different, different stages. For me, it's like number one in my process because there's no point going and in hating different parts of the photo that will end up being cropped, it doesn't make sense, does it? I think it's a critical step in editing installed Lightroom, my ball, it is a fairly straightforward process. It's the same as your in-built editors. It has changed the aspect ratio. You can zoom in, you can straighten it. So I'm gonna go a lot deeper today in cropping and why your crop. And it's all about rape composing the photo. So yes, you can zoom in. You can do Border Patrol. We go around the edges and go, You know what? I just want to crop that little bit at sets it. I'm going to go into a lot more detail about composition and introduce you to my four-step system and show you some of these that I'm going to show you. That system that I have or has over a 100 different tools and techniques for composition, which is crazy. A long time researching, putting that together. What I'm going to show you is all the ones that relate to copy. If you want to have rule of thirds, then you need to read crop it and bring the photo back inside of that maintenance subject. That main visual anchor is on one of those one of those lines. So here's a photo that are captured in Melbourne. I just saw a group of people and are just interesting people were interesting clothing, interesting mannerisms. And so I've tried to capture some of that. And this was just one of those snapshots. And the reason why I just chose this one as a group because for the purpose of thesis or can break crop these to create different stories which is really cool, pretty simple. Tap on the crop icon there, and then you present with these different options. You've got your flip, which is really cool, that can change some photos. I can just completely changed because we quite often, majority of us, I should say, rate of photo, scanner photo the same way we scan a page of text from left to right. When you walk out the front door of your home, you look down to where you're stepping, your edit or whatever it is. You look down as you stepping and you look up any escaped. So quite often we look from the bottom, lower half and scan across. Now we all have different cultures, different backgrounds. We all might scan things slightly different, but flipping it might make a big difference. Some photos, believe it or not, flip it upside down. Especially if you want to do a pattern interrupt. If you're on social media every now and again, show a black and white photo or every now and again showing up. So **** photo people go, Oh, what's that? That's mark making stupid again, it doesn't matter. At the end of course, you've got your rotate there, you've got your straightened. So that's really cool. That spirit level, it will go and try and automatically straighten up for it, which is pretty handy. And lock and unlock. Unlock basically means that now I have full control. I can put this exactly where I want it. And I can create whatever photo I want just by dragging those corners In this slides up the top there next to the question mark is our aspect ratios. Now we can change it, we can get back to original, we can change it to 169. I've done 69. If you have a look up at the top-left corner, you can change the orientation. So if you want to make this Instagram story or some other social media that a year like the sixth day nine, any native make it vertical portrait orientation. Then it's just the top there. That's totally ages of hot and start applying. Remember this? I remember I'm a cropping, just a little shortcut and we covered this on that first day he got die one yesterday. It took them a couple of shortcuts here, double-tap outside of where we've, we've cropped. So if we cropped there and without like it or you're gonna get back, just double-tap on the grayed-out area. Because back to normal. Pretty cool. Few different options here. We can unlock this, this guy here. I'm going to go to lock that. So I'm gonna full control. Not true taught, but I want to go and I have it too tight around team. Then I want the context of where you use them when you're taking the photo off. Now, if I drag this and I include all of them, that brings into visual tension, doesn't it? Because now he's caught right on the edge. I don't know about you, but I want to know what he's looking at. It's a great way to introduce visual tension, but just playing around with the crop. We've talked about aspect ratio. The other one is zooming in. So we can zoom in and we can zoom in right on these people here. We can see what they're up to now I'm going to bring some of that rock solid wall and I've got a little bit of symmetry, if your luck. Grand doesn't add anything. So then we get three different photo is a photo. Within a photo, There's lots of different options there. Now, my struggle photo composition four-step system. Basically the system is set up in position, the camera where you place the camera and one of that is zooming in. Zooming, because we can do that when we crop the photo, you can zoom in. What you want to do is. Getting nice and close. Now, your distance to the subject will impact on the distortion perspective. So that's why we, why we do that. Number one, setup and position yourself in the camera. Number two is positioned the subject in the frame. Touched on rule of thirds. So that's why you want to place that main subject off-center where you applies to subject in the frame. Every photo, every intention, these different sites. There's no hard and fast rules. Please don't get bogged down with that. Number three is positioning of the contextual elements. And then number four is photo editing tools. I know it's a four-step system, professor composition. But as you've seen here, cropping is a major part of a, It's a really important part of composition because you can go in after the fact and you can change, completely changed the composition. So I think it's really important to put that bidding. Just suffer some examples. These are photos that I've cropped. And I'll explain the composition technique why I've cropped it that way. Now B1, symmetry. This is a vertical symmetry. You have different types of symmetry. You can have vertical, horizontal, and then you get into lots of different mosaic symmetry. There's so many different ones that are going into in the course to have this perfectly symmetry, symmetrical. Basically you wanted to divide it down the middle and you could fold it in half and it looked sign. Next one is asymmetrical balance. In this photo because there were cropped it. I've got the visual weight of the tree, the big tree on the right side of the frame. And then on the left I've got the building blocks in space. Space is important to create visual balance. And this just works. If I crop this in tighter and I dropped in half that tree, then yes, it would isolate that building a little bit more at that changes the intention of the photos. Cropping changes the balance of the photo. Next is Dutch angles. A Dutch angle. This is a really, really cool one in Lightroom. Swap around the bottom there and you can change the strike and you can change the angle. This is basically where we intentionally and deliberately tilt the fighter for the tilt the camera or you do these in editing. Basically, it adds energy, but it can change the visual wife of everything in the photo as well. Because when you tilt it, if you'd like to do it the right way, it could look like everyone's falling out of the photo or objects are falling out of the photo. Objects that are up higher on the horizon have more, all of a sudden have more visual white. That's a really cool. Here's an example, This boy walking along and some looks like he's walking out of the frame is gonna fall out. Others, it looks longer than a full app. We talked about. Demonstrate here also Spice. This one is off-center and this is obviously a composite, and it just had a bit of fun with this one. I've noticed something in this photo. The annoys me a little bit. Noise strong strong term bugs me, I want to go and fix it. And Border Patrol that I talked about earlier, it's going around the edges and looking for things that kind of grab your attention. You can save all along the left side of the frame. They always brought spots that kind of half cut-off. That's why cropping is really cool in handy because I can go in there and I can just bring that edge in and just crop that rule of thirds. You've heard of this, Everyone's heard of rule of thirds. I mean, these grid lines are built into your smartphone. A lot of people use it just to get the horizon straight, which is fantastic. If you get the horizon on one of those horizontal lines, That's where you start bringing the rule of thirds because 1 third of the photo is the foreground. Two-thirds of the photo is the sky that tells and communicates to the person hate this so much more information here in this photo of the sky, the intention, and the story of this photo. The reason why this photographer took this photo is they want me to look at this guy. And if you do it the other way, you have the horizon on the top of the two horizontal lines, then this guy is not as important because it takes up less space in the photo. So you can say how that changes it. And you can see putting the main visual elements like here, it's the eye of the dark on one of those intersecting lines. We've placed that off-center both vertically and horizontally, which is kind of that's the sweet spot. Okay. This is another one. What's this one called? 1 third, two-thirds. So basically we're on one of those intersecting lines, one of those lines. And the main visual element is occupying two-thirds of the frame, as you can see here with the mushroom. I didn't when I took this photo, I wasn't thinking about this because this four-step system, I want you to be in D2. That's the outcome is you become more intuitive with this sort of stuff, not bogged down with theory. Even though the eBook there's like 146 pages. It's not about understanding and learning all of it. It's about being able to go back to it and guide, you know what? That's off-center. I want a bit of space around that. Now if I do this, it'll be 1 third, the third principle or guidelines. This one is centered. So again, it's symmetry. So symmetry is very similar to center. This one is really cool. We've cropping is positive and negative space and active spice a positive spaces though, it's the space that the main subject occupies. Negative space is the space around it. Negative spaces away that you can isolate something. Negative space can create visual white, can also create that juxtaposition, that contrast between the background and the foreground that figure the ground. I'm throwing all these different terminologies at Chanel and I. Active space. This is another one as a cropping, you can see he both these examples dramatically different based on where we cropped it and where we position is. So active space is space, a head of the main subject. So you can see there that the runner, he looks like he's running towards something on the bottom right there. He looks like he's running away from something that creates a different energy to the photo as well. This one here is S-curve, is Zipf curve. Now, depending on where your crop this in position, the entry point of the S-curve can make a big difference because we made a point of fixation point where you pick it up and go, okay, now from here I'll follow it through. Otherwise, you could end up picking it up halfway and you've missed out on the intention of the photographer. This one here is just an example of visual weight and how your R goes to one thing, then the next thing, the next foreground interests while your crop will again position their full grand interests. Now I told you about rating things from left to right, bottom to top. This is a classic example. Now that foreground interests is not a strong one, but it is there and tick that box. This is my favorite. One of my favorites here is ruthless crop. Because these rules, guidelines, principles, if you like, they're all there. But they don't really, I really matter that much because sometimes a ruthless crop, which is basically just going in and during breaking all the rules going in there. And unexpected crop and unexpected getting in there and just changing cropping scenes off half, you can create some visual tension, visual interests, that sort of thing. So that's what, that's all about. That tomorrow I'm gonna cover the geometry panel and I'm gonna go right through all of that. So that's it. I think we'll wrap it up there. Thank you for joining me again tomorrow. As I said, geometry, I look forward to bringing that to talk to you again. Bye. 4. Fix Distortion, Perspective & Lines In Lightroom Mobile: Good day, Welcome back. Today is Dynamics. Three. We're gonna be talking about the geometry tool in Lightroom Mobile. And this is number three of 30 days Lightroom Mobile. And this is still inside the kind of step number one of my four-step photo editing workflow, if you like, where I work on composition, then I'll work on tones which we're going to get into tomorrow. Carla, and then local adjustments. Local adjustments. They already paid subscription Tool SAI with today. This is a paid subscription tool. If you use take full advantage of the free version of Lightroom. For most of us, that is fantastic for if you're not quite sure whether to pay that little bit. And to be honest, I was on the fence for a long, long time. And the race and Wallace was that things like geometry. The tools I'm going to show you, some of them I could do inside snap saved using perspective. That tool is amazing and other one is screw, it is W T. And between those two apps could do most of the things inside here. But there's a couple of tools in geometry which are, which are fantastic. And I can't wait to show you that as we have two different things, we have distortion and perspective distortion side lens distortion, distance, the camera distortion, barrel distortion, pin cushion distortion. They both with the lens that happens is barrel distortion is typically when you have a put a wide angle lens attachment, if you get a cheap one, you know that its impulse buys, you get it the, the, the register. Even if, even if a camera shop you'll get those little lens kits and if you get one of those wide-angle lens, what happens is that you'll find is used to capturing a certain field of view. And when you put a lens attachment on it, all of a sudden that's got all these extra data, all this extra information pixels. And I'll try to squeeze it all onto the same sensor. So when you when you squeezing it on there, that's when you get that distortion and up and up bows outwards. You'll also see that if you use a fisheye lens as well as another nail, the other one is pin cushion, said this is where it goes the other way. So I pose inward. And pin cushion is typically when he put a zoom lens on. Not so much a two times, but once you go beyond the two times, tele converter, something like this, I want you to stop putting something locked on your, on your lens. Then you get that the other distortion and it gets pretty crazy pretty quickly. You can fix that inside. Snap, say Screw it. The others, a distance and subjects. So if you have your wide-angle lens and if you've got a third A1 Pro, you will the iPhone, you will say the ultra-wide. Some Samsung and enjoys have an ultra-wide as well with all the multiple lenses. What that does if you get too close, especially with the face, what happens is the nose center gets bigger and the outside cookies gets smaller and wrapper and we'll fix that. The other A's perspective distortion. You notice luck. He said the beautiful sunset, sunrise. Want to capture it, capture this moment, captured the beautiful colors. Lift up, defined. It's tiny, it looks so small and that's normal at Sam. So that's the other one. Alright, are you ready to have a located saw at the app? Will bring it up. So I have this photo here. This is local church and this is a great example of an ethics is not extreme. I'll show you more extreme one in sotto Tower of London, took another photo of a building and because I was so close, couldn't get further back at end up having that issue. These two parts here. One is we go into optics, going to optics enable lens correction. Now this corrects that. That's our barrel distortion I was talking about. So turn it off. Turn on EKG, you say what's happening is little bulging in the middle, so it's correcting and it's recognized, it knows what the metadata. Notice. This is an iPhone and it'll go in and knowing the typical lens distortion with these typical scene, it'll go to bulge the middle to make it a bit flatter. Working for the top damp. This is not your typical workflow working from the top-down, but I just want to show you here top-down. And I will show you here distortion does the same thing. Exactly the same thing is what that lens correction did. These tools enable lens correction using distortion does the same thing, but it's a bit more aggressive. And instead of just concentrating on the center of the frame, it pulls in and distorts more of the frame when it does it. That could be good. It can be really handy. Here we go. This one's going to be a challenge. The perspective distortion is quite extreme. Not only that, there's not much room in the top, so it's kind of crop. Alright, so we're going to go to perspective. First thing you want to do is the vertical garden we're gonna apply with that. It's cropping, it isn't it as we're losing the top. So it's kind of the reality, we are going to lose some of that. Now what I can do is go here and I can go offset and I can try and bring it back. Say that I can bring it back, it's still there. But then I'm gonna have to go and crop the psoas and I've lost the bottom. So what I suggest is first we gotta aspect. We try and squash it first. Then we go in here and do this process. Why go all the way on. Welcome back just a little bit. We'll see how we did that. By using aspect first and squashing the photo first, that has meant that we've lost less. Makes sense. If I've got the top hearing constraint crop, it'll crop where it needs to do that before. These are often go into the geometry tool again, and you'll see up the top here, and I'm gonna leave constraint crop turned on, I forgot the top here. You've got this option, you've got auto guided, level vertical full now. And what I'm gonna do is just go order first of all and tap the screen first. Get rid of the menu. Hold my finger and I can see the before and the after. Quite a dramatic improvement, which is really cool, really good. Now, what I can do is I'm going to go off initially and I'm going to go level. Now what level does is, it is basically striking the photo, which is really cool. Now it talks about that earlier in cropping and straightening where you can, you've got your crop aspect and you need to swap left and right and it will strike in it. This one he, it will automatically go. I think it needs this. It picks up on visual references in the photo, like I window frame or the roof line of a building and go, this looks looks good. Level, vertical is where it's done heating now it's done the same thing, but instead of prioritizing what should be, strike it looked at those vertical sections here and it's a really good job. There's the before, there's the after. Now it's done all the compression, compressing the photo, distorting the rest of it to make sure that prioritizes those vertical lines, which is, which is really clever. Now full is the same as auto. It's assignments order except it has prioritized instead of prioritizing distortion because auto includes distortion. Full means that it's concentrating on the vertical lines. It's concentrating on the horizontal lines. And it's just doing that and stop worrying about that whole bulging in the middle and that sort of thing. You can see what's happened here is it's all perfect and it's going to move it. I'm going to undo that. Okay? I'm going to turn off Constraint Crop and say whether there's a difference here, full. And you can say that this is why, because you'd say it's added the white bits because it's distorted the photo that much and then it's gone and cropped it. And that's why it's cropped in. It's moved at all. Now, guided. This is fun, this is really fun. What we can do now is we can actually tell it these are the vertical lines I want you to focus on. This is the horizontal lines. Now they might be to you or you can add up to four and a combination of two of H, two vertical to horizontal. Or you could do two vertical, one, whatever you like. I'm going to tap and add, and add. And there's one. And this is going to turn out really, oops. This is going to turn out really funky or no, because it's quite an extreme far-right. There we go. That's too. Now I'm going to go with a horizontal. And I'm just, I'm just going to guess this because it will readjust each time I do it and I can tell you what, that actually looks good. There we go. That's that's not net Done. Now I'm going to have to scale, bring that back so that I can bring it back. And I'm going to have to use some aspect. And it's already maxed at aspect is maxed, maxed out. Is this one of the sudden negative thing. One of the things about Lightroom is that, I mean, that's all looking good, but it's not looking good. I want to squash that even more. But once you make sat at a 100, That's it. Now you can, in some apps like Snapseed, you can save it and then you can re or export the photo. Bring the photo back in again and treated like a brand new photo. And then he can go and you can go minus 100 again with Lightroom. It does what we call non, non, non-destructive editing. So if we save this, bring it back. It saves all these edits inside the photo and we got to open it up and it'll open up with the same edits. But you can see here the buildings looking really good and nice and level. But now it's stretched and I can't bring it back any further. Yeah, anyway, that's, that's the really cool fun options inside the geometry. 5. Adjust Exposure, Highlights, Shadows in Lightroom Mobile: Good day. Welcome back to day number four of 30 days of Lightroom Mobile. Today we're talking about the light panel inside Lightroom Mobile. We're gonna talk about the exposure and all the different tools inside there. We're going to talk about black point, what point highlights, shadows? I'm also going to throw in there and talk about the histogram because the histogram is a great way of visually seeing what's happening to the photo because we can see it. But it's kind of subjective without interpretations. But the histogram is more objective because it shows you where the data is inside the photo. And I'm not gonna, I'm not gonna geek out because I made to be honest, the histogram into Lightroom is very small. It's not very detail, but I think it's really, really helpful. So we're going to get into that one. So this is a photo that we're going to play around with today. This is inside the Louvre Museum in Paris. And what I loved about this photo is all the different horizontal lines and then the converging lines. And I just, I just really, really enjoyed this one. So this hasn't been edited. It's just a JPEG, it's not pro raw because this was taken on a tennis max. This is gonna be a good example for us to play around with. And the reason why this is a good photo is that most of this is actually mid tones. There's actually not much variety there, so I will be able to see just how much we comply with it. What I'm going to go into here is the light panel. It looks like some easy to find. Now if you're holding your phone vertical, you'll have the icon as well as the night, which actually finding myself more and more nowadays doing my edits in vertical, which means the actual photo is smaller because my photos mostly landscape orientation, but I'm really enjoying just doing this slaughters with my thumb. Personal preference. I'll digress. All these tools are all about brightness. Exposure. Brightens, indiscriminately brightens everything. If we've got some really bright areas like these lights up the top there where the center of the lots might be kind of brought in, increasing the exposure will make those even more broad. And that might clip and blow out and just be pure water with no information in their contrast. Contrast is the best way of describing contrast in a sentence is that contrast is the difference between two things. If you increase the contrast, then the difference between those two things, if you're making it even more different, if you are reducing the contrast, you are making those two items, two different colors, color tones, brightness values, you're bringing those closer. Most of the time we talk about contrasts, we talked about tonal range. So you go, Oh yeah, that's a high contrast photo. So that means that there's a lot of highlights, lots of shadows, and I'll show you later, I'll show you a high contrast black and white, and how we can do that. If it's a low contrast in any kind of, everything comes a bit more gray, a bit more of the same. And you could end up with a bit of a milky washed out. It's very popular in total social sharing sites. They're kind of washed out look. But for me personally, my preference, my style is have asymptote contrast, good, vibrant colors, that sort of thing highlights is the broadest part of the virus, which is the light, the brightest parts. So if we increase those, we can increase the ISO, we take place them. We're going to reduce the brightness and actually bring out more details when you reduce the highlights, things like skies. If you reduce the Holocaust cassettes, that's always gonna be the brighter, some of the brightest areas, you can actually bring back day tiles in clouds and that sort of thing. So you can add bit more, more trauma to the photo. It looks really good. Whites and blacks. These are a little bit different. These are the ones that you're not going to stay on your in-built photo editor most of the time. Although the iPhone you now see flexor, which I've been asked, what does this do? Why's how's it different to shadows? Shadows is a section within the photo. I said you've got your highlights, mid tones and shadows. So your brightest areas is darkest areas and your in-betweens. Shadows is that tonal range. So it's the darker areas. Blacks is the area of the photo that is a pure black. Pure black, you can increase or decrease the amount of the photo that is pure black if you want to have really an crush those blacks, this is a term you want to crush those flex you're gonna have really dramatic, have those shadows where you can't see anything in it, say reducing the shadows and affecting everything. You can reduce the blacks and you can test those areas that are really dark. He can Tucker, I just want to pure black and create those elements in the photo. Makes sense. That's the theory. What I want to do first is I want to show you if you double tap with two fingers, we start bringing up information so we can go, okay. This is the information and there's the histogram. As I said, this photo is relatively or mostly all. In the mid tones. And here's the proof is the proof. So we can see here on the left side of the histogram that is the shadows, the darker areas. On the right side is the highlights, the brightest areas. And you can see here, there's no big areas that have dark shadows. There's no big areas that are brought even the sky is not a mid tone. And the way we know the skies and mid-tone is that we also have our colors. We have blue in our histogram and you can see all that blue. They're pretty cool. Pretty cool, isn't it? So what I'm gonna do is I'm gonna go into exposure whenever x first we always have to do is go in here, brightness of my screen. Now that I'm looking at it in its true form. Brightness and I can increase the brightness, decrease it. Sometimes you might want to add a bit more atmosphere. And this is the thing about photo editing. It always has to come back to the intention of the photo and your personal taste. Like Why might that really brought those lights in the art tries rod in the back corner get lost. But if I reduce the whole bright and see how that now comes back. And the highlights, I can increase the highlights and I can make those lights kind of stand out a little bit more. If I tap there and then I'll go before, after, you can see that they're standing out a bit more. That's the intention. The intention might be the highlights. You don't want to actually make those really dark. I don't want to make them a lot on like them doc. And you can see that there's changed it again. Exposure markets bring that back a little bit, contrast or come back to contrast. Contrast is one that I do afterwards because I like to adjust the whites and blacks first. As soon as you can imagine, if you increase the amount of areas that are white, increase the amount of areas that are black. That's contrast, difference between the two things. Photo contrast, that's kind of effect, how I adjust that and it's going to affect vice versa. What's now these when your spirit, it really to the extreme to see what's happening here near a good visual reference. Here's down on the floor. This specular highlight here on Parker. What Look at that. They become pure white. I go the other way. You could come out to be blotchy. If I do the same with the blacks, we go increase. That way. Now, an iOS thing you can do, an iPhone thing you can do is the two thumb methods. So she told me with any figure I typically do is swap Lake my finger there, and then with my other finger, tap this image preview and then swap again. And I can say as I swapped, you've got these black overlay and then these colors come through. You can see here first of all, you get green and then you get blue and red and you get different intensities of white. And you can see what I let go. I'm going to go back here. That is the point where it's starting to click, starting to blow out with his normal day tasks. So that is a good point. Blacks again swipe and go. That way. I've just starting to see the impact and go the other way. This is where it's becoming really dark. You can see dan in here sculptures. That's the point where the shadow is still have details. The blacks, if I go the other way, you can see now, those blacks, I just pure black. I think about there was pretty good. We've done the blacks first. Now I can go back to contrast and go, I'm going to add a little bit more contrast because this is the whole photo. Now that said, contrast really does affect the mid tones more. It does. It, it covers because when you adjust the shadows, it's our shadows and mid tones. When you do the whole lot, it does the highlights and midtones. Mid tones gets thrown around quite a bit when you're doing these different adjustments. It concentrates on the mid tones if that makes sense. So contrast. I think that's pretty good. One thing I skipped over here that I wanted to show you is the histogram can have a look what happens. The bottom very edges of the histogram. So I'm going to double-tap on those two. You can see there the information doesn't go right to the edge of the histogram. Now if I want to have full range 101 is I want data going right to the very widest parts. I want that again routes to the very dark parts because then you have the full dynamic range. So if we look at the highlights or the white's first, have a look what happens to the histogram. See how the histogram all moves across and then it goes crunch right up, it gets the side a bit, the original. It doesn't even reach the edge, the histogram. So I want to move it, move it, move a, move it until it starts to squash up. Okay. So I will just, I just want to make sure that it hits it with the blacks were pretty close already, but let's just extend that range. There we go. This creates more depth to the photo as well. So that was pretty close. What I want to do. So I now want to show you how good auto is. I'm going to undo this. We go back to the original, apply that and I'm going to hit Auto. Look at that. Auto. Pretty close. Did exactly what I did. You can see this is a typical workflow you will see in most photos and it doesn't matter. That's it. Samsung or a fan Samsung to be the internal processing of JPEG file format is actually pretty close to this. But for iPhone and lots of others smartphones, I'm sure the typical workflow is reduced. The blacks, you Chris, the whites increase the shadows, reduce the highlights, increase the exposure a little bit. It's done that exactly here. It does that in nearly every photo. It's a typical workflow. Reduce the blacks in crystal whites, decrease the highlights, increase the exposure a little bit, add a little bit of contrast, just a little bit. And that's a typical workflow for most photos. It's very rare. You'll hear me say that because every photo is slightly different and your photo intention is different. Now if you're a photo intention is that you want to have a dramatic dark photo. We'll then the shadows instead of increasing and getting some more details, edit the shadows. You might want to reduce the shadows and create more depth and mood. And that's what I'll do most of my photos. I actually go against the, against the popular way and I actually love shadows in my photos. It just adds visual interest because people, it's a bit of mystery. People go what's got on there? Like, Oh no, I can't see the details. Later on when I'm getting into the masking, I'll show you how you can do that even more. So those local adjustments, so areas specific adjustments, It's a lot of fun. Something else I wanted to talk briefly here about the highlights and shadows and playing around with contrast is other things that affected your color. Now, different hues, different colors have different brightness values. You can compare. Blue or green. Have a dark brightness value. Yes, you can have a broad blue, you can have a bright green. But then when you look at the color yellow, yellow naturally has a higher brightness value. So if you compare the two, if you increase the brightness of one, It's okay independently. If you increase the brightness of the whole photo that has yellows and greens, the yellows is gonna look blown out and more dramatically increased when we increase both of them. Does that makes sense? So when you're gonna need to, when we want to show you a color grading later on we stopped playing around with color grading. You will see that some of those colors, when you're playing around with them in the mid tones, shadows, highlights where you can actually throw a color cast in just those areas of that tonal range. It starts affecting the brightness value of the whole image. This is where my four-step system of fixed in the composition. Tones, colours like what adjustments sometimes when you do the colors, when you play around with it, you might need to go back and just tweak and fine tune the shadows and contrast and highlights because you've increased the brightness of the greens and you've thrown a green into the highlights or whatever you've done. Yes, so sometimes that can affect it tomorrow, dynamic five, we're gonna talk about tonal curve. Sands a little bit intimidating Lightroom has a very basic tonal curves, so we're going to have a bit of a play with that and I'll show you how that works and how you can affect mid tones, shadows, all that sort of thing. So thank you for joining me. I know I went on a few tangents there, but that's all foods or part of it. And it's tomorrow. I'll send you again for the tunnel curve. 6. How to Use Tonal Curve In Lightroom Mobile: Good day. Welcome back. Today's day five of 30 days of Lightroom Mobile. Today we're gonna talk about the tone curve and curves inside Lightroom. Be honest, I don't use it that much. The reason why I don't use it that much in Lightroom is that we have lots of different choices because there's two things that it does. A few large or micro adjustments of contrast and exposure or brightness from the darkest point right through to the lightest point, which is fantastic. You can boost the mid tones, you can decrease. The other thing you can do is colors. You can do the same thing with colors. Now, with Lightroom, we have a whole colors section, and the whole color section is brilliant. You have individual color channels. You have the target icon, which I'll show you later in another video. It's, it's brilliant. You have so much fun control. So we don't actually, I don't actually use curves all that often. You have contrast control inside the light panel, which can effectively give you an S curve. Now, it's kind of a fixed measurement that it does with the contrast with the curves. You can make it more images specific, which is really helpful. For me personally. I'll use the S curve or the curve into quite a lot inside snap safe because it doesn't have advanced color tools like we do with color grading. Color grading inside Lightroom Mobile. Here we go. So this is a photo straight out of the camera. You can see it's a typical iPhone shot. It's lacking in contrast a bit down, this is an old one. This is what is this one? Doesn't have the information back 2019, I took this photo. It's quite some time ago. Here's a histogram. Now, histogram, as we talked about yesterday, that gives us lots of information and it's not something to be intimidated about. You don't have to understand it fully. What we know, what we can see is the visual representation of where the tones and the brightness of different times. Now this, you can see he old the white, He's all the color channels altogether. And then you've got individual blue, red, green, and you've got yellow there as well. You can say he blew. It's because this is a cool photo. Not, not as an awesome cool is. It's taken in the morning. They said they'd seen shade. You can see that it's in shade with the blue. It says lots of blues and the shadows, curves. Tap on the curves. And you can see here we've got white, which is all of them. And then you've got those individual ones and then you've got the one on the far right, which is just a different way of controlling the history. If we have more smooth, it's not as dramatic and accurate. I say heavy-handed and accurate at the same time because that's what it is, because you can put quite a lot of dots along here. Now, this curve, this effort IS curve what this is. I'm gonna go back, double-tap these to remove them. Pretty good. I'm gonna keep saying AS curve because that's what I use these for us. You can go in there and that is an S. S, but you can see what I've done is I've fixed the highlights and I've reduced the shadows because on the far left side, these little graph we can see that's the shadows. And then on the far right, that's the highlights are the brightest areas. That's an S-curve. And you can see there, hold that down. There's the before. There's the after. Dramatic contrast, isn't it? If I go into the light panel back into there and slide the contrast, it will produce a similar result, but I have more control here that I can go. You know what, It's actually not too many highlights in his I'm not gonna concentrate too much on the highlights. I don't want to do that. I'll just want to concentrate on the shadows. I want some nice deep shadows. The mid tones boosted. I actually want, I want a curve like that. I don't want your typical highlights increased and that sort of thing. I want my highlights to be critique race or my midterms up and just experiment that for me, that looks really good. I liked that. I've got rid of the haziness. I think that looks really nice. So there's before, there's after the contrast. Slider doesn't do that because it just has a fixed amount of contrast in the fixed amount of areas. And it'll adjust those as far as the amount of intensity that you increase or decrease. It's a fixed amount every time. It doesn't matter what the photo is. This one here and kind of personalized this contrast adjustments. So that's looking really nice. And then you have, and this is where I don't play around with these anymore. Oh, I do. When I have a going in steps. But here I don't play around because it's so heavy handed. I can't I can't kind of separated. All right, so we're going to say this strategy, boom, color costs. If you have a heavy color casts, then it can work really well. Greens, actually. There you can see the Instagram and other photos sharing salts have a lot of these that have kind of a style. People have a stall to have a look to their photos and they might just color grade their photos and make them look similar because they share similar subjects. That plot is similar. Color grading. Color grading tool in here is sound so much. I think personally it's so much better. You can fine tune it and you can make it look a lot better. And the color grading, you can still apply that to your and save it as a preset. I do have one more thing here I want to show when you play around with the colors, just going to bring this up. When you do play around with the college and you're playing around with the red, green, and blue. When you increase that led, you can say the diagonal line near when you drag that line upwards, you're increasing those, but when you drag it down, you're actually introducing another color. So if you want to bring in some yellow, you will grab the blue line and you'll drag it down. And the last one over here I want to show you is this one here. It's similar to the one on the far left, but you have more fluid control. You can see that instead of putting the dots there, along there and then you can adjust and it's more gentle curve. Now we talked about yesterday black point briefly, in the black point, I talked about that once you decrease the blacks and he wanted to convert those blacks, crush those blacks. When he gets a minus 100, kind of eat it as far as you can go. But inside curves here, we have the black point is down the bottom left, the white point is at the top. So we can adjust our black point and we can go as far as we want. We can go crazy. We got as far as far as we want. Some of the what point you can drag drag the one-point in and you can bring that in. So that's another benefit of curves is over just the exposure tools, is that you can really crunch. If you're doing a high contrast black and white, then this is green. So we'll go back in here. I will go dun colors, black and white. Now back into curves. And you'd see here I can make a real high contrast. Pretty cool. One thing you can't do with curves is you cannot. Let me just undo that to bring it back to some form of color. That'll do. You can't go into mask and go Select Subject. These picks up the leaf. Not great. What am I do is I'll go in there and select Color Range, Color Range, the leaf, they're refine it and make it more. There, there we go. Now we've made a selection. It's not a great one, but that's okay. I've made a selection here. We cannot go into life. There's no curves. That would be handy because we've closed because it's so heavy handed. You can go in there and you can go, you know what? I'm just gonna do this guy or I'm just going to do the subject. I want to create more separation. I want to isolate that subject from the background a little bit more than he can go in there. And now I'm going to go into curves and ongoing to dramatically add a green color casts or yellow color costume. I can look summary to be different, but we do have here contrast that you can add. Contrast. All good. Fantastic. Discard Changes. We're all good there. I think we'll wrap it up. They're not short sweet one today because like I said, I don't use this tool a lot, but I wanted to show you what it does it explain. Hey, put the dots on there. You can remove the thoughts. Hey, you can work with the histogram agan, just the different colors. Might wrap it up there and I'll talk to you again tomorrow. 7. What Does The Dehaze Tool Do Inside Lightroom Mobile?: Good day and welcome back. Today we're going to talk about the Dehaze tool. We're going to talk about what it is, what it does, what you can avoid, because it's a brilliant tool, does come with some issues if you overuse it. And I'll show you how to basically replicate it if you need to. Because similar to yesterday, we talked about contrast and contrast. And then yesterday we talked about tunnel curves. We talked all about contrast. Last two dice. They kind of fixed, especially contrasting saw the light panel. It's a fixed demand of adjustments and you can just increase that fixed formula approach if your luck increase, it will take Chris, it total curve was great because then you could go and be a little more selective. You could increase contrast in just the shadows, the mid tones or the highlights. This one Dehaze again, this is a 1s, one slot, does, does everything. And effectively what it does is it works on the black point, vibrance and saturation. It does three things. It's kind of the collective understanding of what it does. It's been a bit of black magic. It's a bit like Texture tool. It's just magic, it just works. So what is highest, the highest A's basically highs haziness is an atmospheric conditions, so it is particles in the air. Typically we landscape where you've got an MAT range in the background or you got something in distance with a lot, kind of reflects off the particles in the. Other things that can work really well for this Dehaze tool is folk and gla, glare off the glass of water. Now, the polarizing filter still Bates it hands down. But if you haven't used that, then it's a highest tool is really good for bringing out some of those details. Because basically what all of those things that I've talked about, the highest, Let's constraint on highest ate. It washes out the color and reduces the data. So that's what the highest does is it brings back the color, brings back the data. You can imagine just by that definition, you can imagine that if the photo and it works globally, it works in the whole photo. The photo has things like skin tones in there. You're bringing back and adding saturating color. It's going to, it's going to look pretty funky and orange and skin tones. It's also going to dramatically. At shift colors. Blues is one blues it does. The polarizing filter does the sign in the middle. Gallon dark blues. With that said, I think it's best to show you what I'm talking about here. So I've got to have this fight I loaded up into light room already and you'll be familiar with this. It's one applied with yesterday. I'm gonna show you some other examples. So this is the original farther into effects panel there. And you'll say the highs. You can say that the grain, the grain is server, etc. And you go the other way. You can say that it is reducing colors, it's reducing details, sharpness. You got the other way. You can say, it's getting pretty funky. Remember, I talked about the histogram, the histogram up here, so you can actually see the color shift happening at the same time. So it's not just the white area of the histogram. You can see all those individual colors moving as well, saying the whole photo dark and there it's all darkening. And if you look very bottom left corner and you say with the white part of the histogram, you can see the black point. I told you that this is just the black point is hitting it and then it's gonna go up. So that's not right, but a little bit of day highs. Let's just tap on and to get rid of the menu, a little bit of a haze can work absolute wonders. Now let's do a comparison and let's go into contrast. Contrast does the same thing, but it hasn't affected the colors as much as the height, which is looking at one file right here. So we're gonna look at a few factors to say how to fix different, different products. Because you can see there's a lot of colors in this photo. There's a lot of mid tones. You can tell this load mid tones because we looked at the histogram. Histogram, it's all bunched up in the middle and it's kind of a bell, curve bell shapes. That's quite an old mid tones. This virus are fantastic because D. Hayes works mostly in the mid tones. When you look at the highlights or the shadows, it doesn't really bring out details and adds color, but the mid tones and this fire has a lot of mid tones and that's why it's dramatically effecting this one. Let's contrast. The other is black point. So we're going to reduce the black point. That's not a really good job, hasn't it? For after black point, a little bit of contrast. Now let's go over and we'll add a little bit of vibrance, will say they started adding this yellow is just killing it. But we can see saturated the whole photo desaturated. I'm going to talk about this later in this 30-day series. You can say saturate the whole photo and then it takes saturate and then we can add the vibrance. Vibrance brings back mid times as McCullers, the more muted colors brings size back before. And our after. One I'll bring up, I did actually create a collage of all of them, so it's a bit easier to see them all together. There we go. The top left, that's the original. This one here, let's say our original. This one here is the Dehaze, say that the color shift, this one here is just contrast. This one here is manual controls. Now the benefit of manual controls, as much as I love the highest and I'm going to, I think it's brilliant, I use it nearly every workflow. The benefit of going through is now in making it far as specific. So we've looked at the husband gonna add a lot, but oh gosh, it's really killing those colors. Understanding. And this is what I'm trying to do is 30 days easy to show you these different tools and go, it cannot replicate that same look. I know a plexus on our shadow is does MIT time. Hopefully you're starting to grasp this and understand so that when you look at this guy, oh, that tool is not working, you know why it's not working? What I'm gonna do is subverted out into here and I got the highs and lows, highs. It you can say that it's dramatically affecting my skin tight is kind of orange and be GKE, the background is getting muddy. It's highlighting imperfections in the lens with this guy. Jpeg compression, Chromatic Aberration, all that sort of thing gets really emphasized and stands out when we stop playing around with the dehaze, just do a little bit, but it's still affecting the skin tones. So what you do is you go into masking tools. I'm going to reset that masking. I'm going to select Subject. This is so cool. Now I go invert that selection. So now I've selected everything other than the person in the full grant. Now we can go in here and let's dehaze that. Now you can see that it's still doing the sky, isn't it? But what we can do, we can now. Fair enough. I'll take that. But I can subtract the sky. Now this is becoming a masking tutorial. That's not the intention, but I'm just showing you how I'm using the Z height more and more because before I would guide, you know what, it's going to affect this and this, this. Whereas nail I can say a cow just wanted to limit it to just this area. Now, I can go into something like texture. I can bring it into texture. Colors, I can desaturate the mountains. Yeah, It's just brilliant. Brilliant. This is a nice one to play with. This. This is original straight out of the camera. It's a JPEG. That's nothing. Huge details in there, but I just want to show you how this works with underwater. Cuts out the glare. Really good effects. This is piffy example of one that does the color wheel, the color to the extreme. And I've heard several, bring that back. And then what I'll do, I'll just digress for a moment. I'm going to go into here and I'm going to go Target. I'm going to pick up and I'm going to reduce the saturation. Pick up a purple area to reducing the purple. That's not as dramatic. That's good. That's pretty cool. Before there's our after, so we are cutting through that glyph. What am I do is I might do again, this is what I love. I can go in here and I'll just do a radial and I'm just going to constraint on just this area. And then I can come in here and I can get a bit more crazy, crazy, crazy. Clarity. Is that before these are often Haeckel's that we want another one. I'll do another one. Be fun here, I have a look at the histogram, say how there's not a lot of color picking. So this is fairly flat. You say the background. I'm going to go dehaze, see what it does. Look at that you can tell I took this photo from the bus as we went past because that's the highest is brought out The reflection of the frame behind me here, the window frame behind me. That's pretty funky. But if I lock what it's doing to the rest of it, remember, I can actually do a selection and do a sky selection, which we'll just select all this guy and then I can invert it. So I will select everything other than this guy. So I can apply this the highest at everything in the foreground. So let's just ignore that scar for them for now. Pretend that we did that. Clarity. Now I'll go down actually, I'll just bring that back a bit before it becomes an issue. Just a little bit. Just, again, just ignore that. So blacks, which is the blacks bit of contrast, is that before or after? You can see what I'm trying to demonstrate that you can see there that a combination of the dehaze with black contrast, vibrance and saturation. A combination of the four far outperforms. Just the Dehaze. Dehaze is still an amazing, awesome tool for just a quick one slaughter. See what the potential is in the photo even. And then once you've done that, then Danielle laughing, so we'll wrap it up there. Thanks for joining me and I'll talk to again tomorrow. 8. Using Texture, Sharpening Or Clarity In Lightroom Mobile: Good day and welcome back to day number seven of these 30 days of Lightroom Mobile. Today we're going to talk about the difference between clarity, sharpening and texture tools. H of them are brilliant through a fantastic job. Some of them lend themselves better to different photos, different genres. To increase that sharpness definition. Today we're going to concentrate on just within Lightroom, just these tools. First one is clarity. Clarity is similar to contrast. Contrast, as you might remember from what we've talked about, is basically where you have dark and light pixels tones within the photo. When you increase the tax, decrease the lats, you increase that difference between the two. If you decrease the contrast, you're making those to look similar set of becoming a black and white becomes a grinder. Gray. Makes sense. That's what contrast is a contrast. When you apply that in your photo, it just increases the contrast in the whole photo like indiscriminately. It doesn't matter what the tone is in the frame. Clarity, on the other hand, works on just the mid tones. Which is where it gets a bit more exciting because the mid tones, which is the different the area between the brightest parts and the dock is pots is that you're increasing that contrast in the bits that matter most with it. That gives you the depth, gives you that clarity. Makes your photos pop. Every photo can really benefit from that. And you can go a negative value as well. So you can actually make the mid tones. You can smooth them out a bit. That works really well for high contrast photos. You playing around with Hong Kong, high-contrast black and white. If you do it the way I'm gonna show you in a couple of days here we press the black and white button inside Lightroom instead of reducing the saturation, locate the colors there. And clarity is one that works really well in black and white photos as well. Alright, so what I'm going to show you now is just an example of it. I just want to talk about just really briefly that, that perception of sharpness. Now you can say here, the black one gray because there's not as much contrast. The lettering, I'm gonna it looks sharp, which is, which is great. But then when you look at the black on white, because there's so much more contrast that takes these exactly the same. It doesn't matter whether it's black or gray or black and white. That is exactly the same texts, but because of that higher contrast, let's increase that perception of sharpness. All right, So I just wanted to touch on that first because in this photo here, you can see that yes, the times of being changed, the background hasn't been blurred anymore. We've got some color contrast. But if we have a look in the center here, you can see there because of that sharp watch against that black, because there's higher contrast has increased that perception of sharpness. You can see in a more practical sense that shopping is really coming through. This is St. Paul's Cathedral in London. This was this cool little rooftop place to the head to take the, an elevated it to get up to and get this viewpoint which, which I absolutely loved. I went back there quite a few times to get a photo that I was happy with. All right, So according here and already edit this a little bit. There's the before, there's the after. What I wanted to show you here is clarity. I'm going to zoom in where they're awesome details. He now this photo, as you can see from the histogram, I do have a lot of details in the mid tone ti, not too much in the ducts or the broad. I want them all to just really quickly. I'll just go into here and the blacks bring those blacks a little bit. Because remember when we have a lot of black and white with extending that, That's dynamic range, that tonal range, because I'm working with tons. I want to have the full nine today, so that's why I'm doing this now. What you can say that, that already has might increase that perception of sharpness. Now, blacks and whites, I'm not even playing around with sharpening tools yet, but you can see that already on shopping this photo. Clarity. Now, I'm just going to take it to the extreme. Pretty grungy, pretty yucky. Don't want to accept that. I'm gonna kick to get out of there. Alright, double-tap. Let's go back. I'm going to zoom in and just do a little bit. You can say that it is starting to affect the, it doesn't affect the colors, which is fantastic, but it's getting into everywhere in that tonal range. So this is a photo that would benefit from just a little bit. So what I'll do is I'll double-tap on this circle. And if I do a single tap on the lawn, I'm gonna add it by 15. Okay. So that's pretty good. I'm happy with that. I can do. Remember in die number one, I told you about how we can long press. It'll go back to the original, original I forgot here and create a version. I'm going to do now. Credit version. Now I'll create my new. Before. Then we're gonna do this editing playing around with the different types I can go and compare the two. It makes sense. It back into here. A little bit of clarity. The highest talked about it yesterday. A little bit there. That's looking good. All right. Next one I want to talk about is shopping. Now sharpening, sharpens pixels, indiscriminately sharpens the whole photo, which is not bad thing. But I'll show you how we can shop and just the areas that we want. Now if we look up here, I'll go into the sky. And I'm gonna go to the extreme again. You can see the shopping the pixels in the sky. A little bit of, little bit of grain and noise and artifacts and all that. It's not a big deal, really isn't a lot of effort. I switched heavy on F5 for us to leave those moments in years to come. We are also we might be posting them on social media. So a little bit of extra sharpening in disguise and that sort of thing. When we look back to the photos, they'll great founders, we don't look back and go, Oh, look at all that grind, look at all those imperfections. We're not, we looked at the storyteller. Don't get too hung up on it, but where we can change it and improve it, That's what we're trying to do here. Sharpening. Like I said, every single pixel sharpens everything, which is good, especially if you've got to print your photos. This is a great tool to use because we can use, It's like Output Sharpening. You can go in there and an overshot it because naturally when you print your photos, it does lose a little bit of Theta. And it'll go soft. Sharpening. I'm going to bring that back. And you can see he's say where it starts to go, read the slider. Really good indicator that the red zone is the bedside. So don't go too far to the red. I typically like to go about halfway. That 70 radius, radius is when we look at these edges, I'm looking at these edges. Just going to undo that. Now, look at the edges. Can you say that high-low, that's around the edges? I have a sharpen it negative say the highlights around the edges. This is because our phones already processed sharpening, because it's a JPEG. It's already applied their own proprietary way of editing the photo to present you with the final JPEG photo unless you're shooting raw DNG file format. This is going to happen in a lot of your photo, especially with these strong lines and contrast, can even happen with trees, not necessarily just limited to architecture that's highlighted. That's caused by the sharpening going, you know what, that edge of the building, and I'm gonna make that daka, daka. And then on the other side of the dark pixel, I'm gonna make that brought up. And you can see there the line that's, That's the cool thing now, the radius. So the phone has already applied sharpening, and it's a plot of radius that many pixels either side. You can see there, that's the radius, the highlight, that's the radius that they've applied. If I go in he now and I apply a radius, you'll see if I increase the radius, I'm increasing that highlight how I know we don't want to have a highlight. I'm just using this as an example to show you when I apply my inside a man of shopping. This is the highlighted cell phone can't reduce. So you can see that's the radius half-hour away from the edge that I want to apply that. You can say that on your little screen. I'm going to bring that back. And I want to bring it back to default. One. Let's just leave it at that. I want you to understand what it does. They tiles. Now it's a tiles. This is way it looks for those contrast those edges, those differences between dark and light. The detail will go from looking for large lines to find lines. So 0 is the larger lines. And then up to 100 is defined as data, as you can see here in the sky. This is pretty funky, isn't it? Say they're on scar because this guy, there's really not much difference between light and dark. And this got there is some existing name because of going extremely the sharpening. So let me just bring that back. Okay. That's 70. Now details, it looks for all those and it goes okay. Now it's just going to shop in just those large areas. So you can see that it's not applying that sharpening, Sorry, much in the sky. Which is really handy to balance, isn't it? It's just shopping those details. And if I go this way, you can see it's now applying that sharpening everywhere, even when there is a slightest little difference between pixels in the sky that we've actually introduced with the sharpening. It's now going in there and sharpening old eyes. I liked the default value, but because we're really, if this is a photo where you really, really want to get as much data out of it as you can, then you might want to increase their shopping quite a lot. But you might say that I wanted to really bring back the details here. But I don't want to affect sky and things like that. You can reduce the details. Now if it's a really super blurry photo radius, we want, once we increase that to two, That's pretty extracting. It's increasing those areas that he wants to bring into focus. If I got back, this is looking. Extremely sharp. Now, the highest resolution, remember this is taken on a tennis. So we can say that I'm going to bring that back 70 odd default, bring the effect of default. Because I want to show you one more tool inside heat, and that is masking. Masking on the iOS. Iphone works differently to the Android. On Android when you apply this little system, I'm going to show you. It will show you a before and after. Now it shows you a before and after inside this tool what it's doing. Another before and after the back to the original photo and after, it'll show you what shopping is being applied here. Yeah. Okay. So let me just show you here's her masking with my thumb. This way often it works for me with my thumb. I'm going to move the slider. Leave my finger there while it's there. Put my other thumb on the screen. And you can say a black and white mask, much as zooming out a little bit here. Masking, put my finger on Bang. Look at this. This is really couldn't believe what has been not discovered. This, this was amazing. I can select way what I want all the shopping to simply apply. I don't want anybody in the sky. I want to apply all of it. All in the cathedral. You're not hold and apply it just to those main larger dataset, not the final details in the building. I want it to be the large details. How cool is that? Now I've said Android, you can say before and after, say probably better to zoom in. And then when you put your thumb, second thumb on it, it'll give you a before and after so that you can compare visually just what it's doing. Basking on. Typically, don't like to throw numbers at you. But this is kind of a bit of a workflow for me. Iconic go for these details on nearly every photo is around 70 to 90 sharpening radius and details are laid on those default. But if I have a super blurry photo, they don't come in and I'll play around with the radius amount. And then they tiles. That's where I'll start to use those two because I can increase that area that I want to sharpen and around the edges and targeted into the larger details instead of the finer details. Good. And I actually have a preset that I've set up for blurry photos. I'll just go bang and it's like that TV show, CSI, if you're a member, CSR, really hit the enhanced button and it'll just go like That's what this does when you apply Rama's radius and data for a super blurry photo, you can, this is pretty cool, pretty cool stuff to bring that back. Let's set one sharpening. So what I'll do is I'll reset days because I wanted you to see what the next one does, which is texture. So we've talked about clarity sharpening. This one has texture. This one is also, also, this one was released back in 20152015. And the Adobe team, when they designed this, they were actually trying to create a skin smoothing tool. And then I just discovered that he felt stumbled upon this other way that you can use the tool selecting high-end Rey touches. We're using these high-pass sharpening and all of these pretty funky things inside Photoshop to try and smooth skin. Whilst perfections, while still retaining the data as is the poor of the skin, because otherwise you would just end up really smooth. And 5k looking, sir, designed is to smooth the skin but keep the details. When I did that, I realized that, hey, if we do this the opposite way, we can increase the tiles in a fun way that doesn't affect color. Saturation. It doesn't affect color luminance, which is super cool because a lot of contrast and even the sharpening tool, it can affect color cast in the photo. What I want to show you here is texture. Hey, so I'm gonna go in here, just go crazy 100% and have a look at this. It's applaud all that sharpening. But it hasn't even touched the sky. Which is really cool. It's magic. It's magic. I wish I could explain it, but it's kind of a combination of clarity, sharpening and noise reduction because it's in theory during increasing clarity and shocking should introduce some imperfections. Gi pay compression, looking, watching us and and just overall, Yacc. But it seems to apply some noise reduction as well. And we have a look at noise reduction. It doesn't actually apply it separately. It does it all within the one slider, which is super cool. I use texture all the time because when it comes to streamline workflow, when it comes to shopping, I've already applied, I've already corrected color of, already worked with the tones. And I don't want to become backwards and forwards with my workflow. I mean, you're naturally still do. But when it gets to that shopping, prefer tools where I can selectively shopping exactly where I want. And now with masking, it's even better. With masking. I'll just touch on that really quickly broke out into masking. And I'll go in here and select sky. I'm telling this guy because you can actually see it a bit better. What's happening? If I go into shopping? You can say that I cannot really apply the sharpness. I can't play around with the data radius or masking. It's just one thing. I can just add, sharpness. I'm not a real big fan of that. But with the mask, I can go into texture and I can add texture. You say here we can go a 100 plus. We can also go 100 minus. Have a look at that. Scott, the before and the after. I've selected this guy, got nice texture and I've smoothed, got rid of if I've got in there and shopping at all, there's already existing sharpening. The JPEG has already applied going there and reduce that. And it works really well as noise reduction as well. And I'm gonna cover that tomorrow, noise reduction. So I'll show you this tool again. Let's super cool. I love it and just be mindful when you apply around with a lot of these sharpening tools that overall, if you increase the sharpness overrule, you can increase the brightness. So you may need to go back and reduce the products a little bit. That's because some colors have a higher brightness value than others. So when he stopped playing around with sharpness, then it's tones, but it does, sometimes it does affect. That's before, that's after. It's pretty cool, super sharp. I'm really, really pleased with that. Let's spread. So tomorrow we're gonna talk about noise reduction and how we can do that. Super advanced features inside Lightroom height. And they're pretty cool. So I'll see you there. Bye bye. 9. Advanced Noise Reduction: Good day. Welcome back to dynamic of the study days of Adobe Lightroom. Today we're talking about noise reduction. This, it really is a tool that we need to do too often now if with the modern smartphones, which is, which is brilliant. But I love playing with my old photos that are on my camera off from a couple of years ago. The reason why it's our modern smartphones do so well that really need to worry about it is because of the algorithms, the software that image signal processing basically they blend multiple photos and noise is random in-between each photo. So when you're frame average way there's a pixel of noise. Then if it's not in all of the frames, then it's averaged out and it's gone. That's pretty amazing. But that said, I want to show you what it does because you might be shooting raw. And if you shoot in raw, and it depends on top of rule. I'll show you a photo here. Exactly what I mean. Here. It's very different photos to first to catch it on Apple. First one is a JPEG, then a pro rule, which is a proprietary kind of role. It is a DNG file format that work with Adobe credit their own, as my understanding, and then Lightroom or raw DNG, these were all shot in auto mode. And you can see the difference, the noise and file size. Big difference in file size. But you can say with the comparisons that rule files quite often if you shoot through Lightroom or the same in the other camera replacement apps out there that should rule for you. Then you might need to go in and do some noise reduction when you go into Lightroom. If you have a JPEG and you bring JPEG into Lightroom, it doesn't apply any noise reduction because they kind of know the visit JPEG, your camera, your phone has already applied. All its processing is already worked on the Colors, tones sharpening, and noise reduction is already applied. Noise reduction, which is really exciting and that makes it so convenient for us. But a lot room also knows that if you bring in a RAW photo, it will go and apply noise reduction. And with some default settings, one thing to be mindful of is when you bring in Apple Pro rule, it recognizes it as a DE and DJ. Apple have already processed noise reduction and then you bring into Lightroom. It'll go, hey, this is a role we need to apply the default. It gets kind of a double treatments. So it's just something to be mindful of because you may lose some details there. The reason I brought this in as an extreme example is said that you can see, you can see what it's doing. So we go into the triangle, which is day tiles, which as you can see here, I haven't processed any of this and you can tell if you remember, die number one are shuttled a shortcut and navigation. As soon as the garden applies to change something, you will see next to that symbol there is adopt. When there is no dot, you can say that these are the default settings. Now this photo is a dangerous. So it has applied these defaults to bring up a photo that is a deepfake. He began to hear this one hasn't been sharpened. You can see there, there's no sharpening, there is no noise reduction. It hasn't uploaded anything that noise reduction. There's two different types. It's got the noise reduction or color noise reduction. Noise is signal noise. It's gain noise, it's electronic. It's something that happens when you boost and that's what ISO is. You're boosting. A main set amount is 5100, whatever the camera is, your smartphone ease and it amplifies itself. That amplifies signal creates this noise. And that's what makes it random because every photo responds differently. The other noise is Illinois. At Illinois, and you'll recognize it. And again, it is over the top, but that's okay. The one the one on the left, that's what your recognizes normal noise. It's kind of it has salt and pepper kind of look to it. Solenoids, extreme doesn't really look like that, but just, just a skew an extreme example there of what it looks like. Two different types of Illinois is also known as Chrome and noise. And other noise that we're talking about is also known as luminance noise. We slide that, we just slide that. And what happens is it basically blurs all the fine details and tries to grab all those bits of noise and just go and smooth them out. Now what happens is it smooths the whole image, which is what you don't want. That's why we have these other slides underneath the day tile and contrast day tile. What that does is that it brings back some of the details. Now it brings back the day tiles in all the pills. Like if we can imagine yesterday I talked about sharpening and compared sharpening and texture, that sort of thing. Sharpening effects every pixel. Well, that's what this detail does. It works differently so that detail is not sound as this data. This data inside noise reduction. This is the shopping. It's basically it affects every pixel. When we go into contrast, what that does is that tries to bring back the edges that we've lost in that smoothing action of noise reduction when we play around with contrast in here. Let me bring back the definition around the edges. In my experience playing around. I prefer to actually go back into the light panel in here and play around with contrast there because it's global and I have more, more control. I quite like that instead of, instead of using the feature inside, inside, Here's what I'll do here. I'll zoom right in. And I'm gonna go to the extreme here. Now, the United States, when I slide it, I slide it must stop. You can see the before and after. Another way on an Android of saying the before and after is the two thumbs system. With my thumb, slide it, leave my thumbnail, my other thumb, put that on the screen and it turns into a black and white photo. This is iPhone only. If you do this on an Android and it's just as before, let go, and it doesn't after, before and after. But on the iPhone we had these black and white, which makes it easier to see without color. We can see definition. You can see here, say they were, I'm smoothing, smoothing, Smoothing, let go. And if I want to bring back some details, and I'm gonna just kinda go to the extreme here. You can see that it brought back some day tiles. Extremely contrast. It'll near the edges, not so much lines. When people think of edges, we think of lines. These are not lines that I'm talking about. These are groupings of dark and light tones together. They created an edge, if you're lucky, they're not lines such as edges. We've applied maximum noise reduction, but then we brought back maximum, so we bring it back well as imperfection. So I'm gonna reduce that and get all about what is the default 50s or 25. So I'm gonna go up by 50, double it, bring these back, which is going to double-tap, bring your eyes back to the defaults. There's a lot of this still a lot there. So I am going to increase that a bit more. That's looking smooth. And you're always zooming to have a look and make sure you zoom back out again. It's really important to zoom back out because you want to see how it's impacting on the rest of the photo. Next one here is color noise. I could say some solenoids there. And we're going to reduce that a bit. We're bringing back detail and color. So color noise, it's picking up on, on color and it's against smoothing. The colors are blending the colors together. Date how brings back the color? Because if you do too much color, noise reduction, it will make it look a bit more desaturated and I can look blotchy. Not fantastic. Smoothness is where you have that modelling Noise networks. You've got big chunks of noise. That is one for photo restoration. Old, old ferrites looks really bad at all, severely underexposed. And you brought it all USA's big squares and blend lots of color in it. Then you do this smoothness and it will target those areas data Oswald is more than the foreigner day task. Now, quick tip with color noise. If you've taken a photo where it is a macro photo or it is all about the intention is all about the sharpness and you want the most sharpness, this sharpness in color. I've talked about this with perception of sharpness yesterday. The edges of the contrast, color contrast exists. It's real, It's not just tones, the chromatic contrast, two colors next to each other. The difference between those two cases increase the perception of sharpness. So if we go and reduce some of the details in that color, we lose that perception of sharpness. So I'll actually go in there and reduce that and make that 0. Now you can see this photo because this is such an extreme bad photo. What am I get? 0, boom, you can see in the shadows, see all that color cast. That default setting. Actually got rid of it all. So you can see it's quite, it's quite strong, it's quite big adjustment. Now some photos, this is an extreme want to, like I said, it's not time or deliberately set this up so that have noise. Have looked at your flower photos. Daytime perfect lighting conditions amount not be there. So you can move that back to 0. Now if you've taken a JPEG, again, JPEG photo, your camera, your smartphone, it's already applied at, so you don't need to worry about this and this is all set to 0. So this is if you're shooting in raw or program on the iPhone. Another way of reducing the noise is to just go and decrease the shadows and make the shadow is dark and say you can hide the noise. So when you start playing around with noise reduction, it's a global edit and affects everything. If you can just see evidence of it in your Zoom meeting, then you might just want to go, you know what, I'm just going to hide it a little bit and the shadows, I'm going to make those darker or I will change the blacks. Kinds of blacks is another great way of hiding noise without doing all this sort of thing. Another quick tip is to go into your effects panel and texture. You can smooth your textures, Textures, smoothing texture, going negative with the texture will also work as a noise reduction. We talked about that yesterday. It's kind of a combination of clarity blacks and noise reduction. So that can work really well as well. Thanks very much for joining me and I'll talk to you tomorrow. Bye bye. 10. White Balance Adjusts Color Casts: Welcome back to day number nine of the 30 days Adobe Lightroom. Today we're gonna be talking about what balance from the perspective of editing. Later in this series, I'm going to talk about what balancing the camera capture mode and had to get it right in camera. If your luck. Now today we're going to talk about how to fix or hands or correct, introduce color casts using white balance. That the tools into Lightroom pretty straightforward. There's a couple of sliders, drop-down and an Eyedropper. It's not too many not too many things there to be overwhelmed with. But I just want to explain what white balance is, what causes it, and what those tools do. Why do photos have a color costs? What is some of them look just wrong that that look like what our eyes see. And that is because a color cast is the light source, essentially an environment. And it could be that it could be diffuse light through clouds, changing things in shade. And that can introduce a blue color cast early mornings, afternoons, you can have an orange hue. Light has an orange time to it, indoor lights. So if different types of lights, so our brains basically get tricked because we know what a plate or a white piece of paper looks like. Brian knows that that's why. But our cameras don't just looks at data, it just looks at the information in front of it, processes it gives you the image. And so it will overcompensate because well, classic example is the older fires, not so much the new ones because they recognize a sunset and sunrise. But the older ones will go, well, there's too much orange and I'll overcompensate and it'll add blue to the color of the overall photo to try and minimize and bring back it doesn't D saturate the orange, it adds blue, if that makes sense. So different sources have different temperatures and then they measured in Kelvin warm light, ten hundred and forty five hundred sunrise, sunset. We've touched on natural light or neutral light. He's about 5 thousand midday, then we have cool light, which is the bluish tinge and in shade that's 5,500 to 10 thousand already. Numbers doesn't really mean anything, didn't really need to know about it. That's all fine. This is inside the color panel, icon, color temperature. I've got temp tint above that. We've got custom with a little down because I've already had a little play with this. And then we've got the Eyedropper. Okay, So temperature, basically this is where we move it from a blue tinge to a warm tinge. Color costs, if you like. So we can make it a little late afternoon. It might look a bit more evening. He'd say there it gets pretty aggressive pretty quickly. I'll do the increments, just tap on the slider. Even five steps is to quite a lot. Double-tap on the center to move back to 0, tint green magenta. This is to correct those indoor lights that are really playing heavy equity or farther. Then vibrance, I'm just going to bring that back a bit satisfied. It doesn't look so vibrant and intense. Customer would tap on that. You've got shot or order. Let's go with auto. It's not bad. There's a before there's thereafter. Did a pretty good job. Quite often it does a great job. Okay. Next one, he is the eyedropper. Near the eyedropper, tap on that. What we're looking for here is a neutral point, neutral color. We're not looking for white, especially a cloud. It'll come up and say, cannot set the white balance here, we need a darker, neutral because it's pure white. It needs a gray or a brown, Something like that. I need something that a black. Even it needs something that has good combination of the RGB values. Red, green, blue, gray is perfect examples I could be. Here we have a great building. What's fantastic about this? When we move our finger ran, say the little circle rent, it gives us a color. So we can say that it's great, but that guy has got a bit of blue in it. So let's come up to this one. That one's a lot of gray. That one's pretty good. Then we can say that instantly temperature and tint, It's my adjustments, network personal taste and bring it back to our intention. We might go That's pretty close, but this was an afternoon shot, so we might want to add a little bit more warmer tones, but a quick tip before you go sliding all that, you actually have to go and tap on the tick to accept that eyedropper. Otherwise you go and touch it. It'll just undo that. I need to accept that. And now we can go in here and we can change that. Look for grazers are always the best 11 thing you can do if you're struggling to find a gray area. What you could do is you can go into, let's go here and we'll go to whites. Whites, and reduce our whites. Because in the clouds, clouds, you can see there we've brought in some gray in the clouds. This font, it looks better when they, when they brought bright and white because this is a bright and colorful photos I've been enhanced the whites there to kind of because it looks funny having great clouds, colored buildings, vibrant Building. So what you could do that is you can go there and now you can go to your Eyedropper, move it across. And now we have a great as dark enough that it's now going to pick that up as a gray. It's not going to go hang on. This is too wide, it's not gonna work. Bring it down a bit, so began to tick. Once you've done that, then we can go back into here and we can bring these whites back to where we had it. Cool, bit of an advanced tip there, that one's pretty, pretty handy. Other neutral areas I talked about grays are the areas that you can use, is the whites. Because you can say you can use the whites of people's eyes. You can use teeth is really good and get gray roads, that sort of thing. Let me bring up another couple of examples here. So let's go into here and we'll go auto there. Before, after. You can see there, it's made it a little bit cooler and it's edit a bit of a green tinge to it and you can see it. I'm not sure if you can say it, but I can say it and I'm really not very foreign tuned for this sort of thing, for seeing colors. Like I can talk to other photographers and look at the magenta in there and there's little block here, I could say the green coming in, especially in the ground. In the papers. They bring that back a bit where I think it looks better, nice. Yeah, that's pretty good. Vibrance. Let's just undo that for a moment. And then we do the vibrance. This will really bring the colors out in the mid tones, the vibrance. I'm going to talk about that tomorrow. But if you're not sure about what's happening with the colors, just increase the vibrance and saturation. And then you can really see those colors coming through it. And you can see now that that's not looking to bring up another one. This one here I'm going to bring up is a bad one. Also captured a great moment. But your histogram, but you can say they hit the lights indoor was inside. So let's go to order. Let's have a little bit more of a play around. There's only so much you can do with some photos. But like I said, it's a perception thing and we know what white looks like in two days time. We're going to show you this tool, but I'm gonna show you now really quickly. If we go into here and we tap on target, we're going to go to saturation. And they were their finger. We can tap on somewhere and then we could slide down and it'll reduce the saturation. Let's tap on this white plight and let's reduce the saturation of that. And then it's picking up that color channel and it's reducing the saturation of that color channel. And tap on there again, done. And then let's have a look before and after it's quite significant, isn't it? It's not perfect. But you can see there when we start playing around with individual color channels. And then we can add a color grading in a couple of days time. You can really bring this out and it's pretty, pretty amazing what you can do shooting through glasses and other reason why you might have a green tint and you've have spectacles. You might have bought the more expensive lenses that have the green tint so that you can read and you don't have them any issues at night. Sometimes buildings have that green tint in there as well. Fantastic. Thanks for joining me tomorrow we're going to talk about the difference between Vibrance and Saturation and what each of them do and how I go about balancing the two. And I will have uniformly that one. 11. When To Use Vibrance Or Saturation: Welcome back to Dinah pertain of 30 days of its I'd be Lightroom today I'm talking about vibrance and saturation. We're going to talk about each of them, what Hs and do. And more importantly, the difference between the two. Because I know I've, I've experienced this myself that slide the vibrance or saturation since do the same thing. Firstly, what is saturation? Saturation is the strength, the magnitude help strong. The colors are vibrant, vivid. Die. If you get a mention a flower, and you've got brought purple flower, and then in the background you've got some broad green leaves. Beyond that. You then have your additive field way or paddock where, you know, you've got some yellows and browns and that sort of thing. Those purple and green are gonna be vibrant just because of the color. They've got to be punchy. They're gonna be in your face. Whereas the yellows and brands, because they're not as intense, they're not going to be different colors have different saturation, different brightness values. That's what it said. It was credit talked about this yesterday. Tomorrow we're gonna go into a lot more detail with that one, vibrance. Is it the vibrance tool? What it will do is it will pick up, this is where it's really cool. What it does. It'll pick up those less vibrant colors. Those colors in the scene lock the yellows and the brands and the background. It'll guide, you know what, we're gonna try and make those ones, bringing those ones up, then it will target the more vibrant and intense colors. At first it will bring these others up and then eventually it will bring them all up. That's where a lot of people get confused because they'll use the slaughter and not going all the way to the maximum as we do to see what it does. Really sure it didn't get back. Because with vibrance, if you go all the way to maximum is it is going to eventually affect old colors. So that's why it's really cool to it a little bit. Now I've got to have a photo here that I want to share with you. This was a photo captured on the weight gained with two of my kids. My wife just catches the snapshot. One of the things with vibrance is that it does that it brings up the less saturated colors, but it preserves also skin tones really well, because I'm a perfectionist, you know, I am. I'm going to just bring the scene. I'm going to make this a bit more, a bit more of an intimate shot. Or you can say it's out of focus. You can just gonna move on, work on the colors flunked out into the color petal of E2 saturation here. And I increase the saturation. You can say there have gone up 30%. Look at, look at my skin tones. Look like that. That's fairly intense. I mean, everybody, my shirt looks good. The colors of the school, a bit of greens popping in the background. Very orange. So I had to go take that one back. Let's go with vibrance now, Louis Barbara, I got to the same value, 30 and my skin tones have been retained. It say the difference? Depends on the photo. See when their skin tones bank or no straightaway. Barbara, don't even touch saturation yet. You can, but just not yet. I'll show you how. That's really cool. There's the before, there's the after. It's subtle, It's not crazy. Let's go crazy. Now. You can say that as I said, it will eventually just o colors, it'll just make more, more vibrant and that's no good. We don't want that. We want to go far. I've probably got to be more. 40 is the maximum with this photo, and each photo is different. Now that I've done that, now, I can go and add some saturation and then, you know what, I need to pull that back a little bit fond that tweak that and find that balance. So that's looking, looking much better, isn't it? Next I'll go into here and I'll add just a little bit of clarity. Clarity, if you remember, attacks the mid tones, not the bright area is not dark areas, just works the tones in it. There's the before. It looks a bit flat and washed out and bang. We've given it some color, some depth. That's looking really, really great. Okay, so this is another photo that has some really punchy, vibrant, bright colors we can see here and I'm presuming my fingers. I love it. I love the action, the moment in time that the colors of what the story and the intention was all about. They got to the original. The original that has captured the camera. This smartphone has captured some really vibrant colors there. Let's go to saturation, and you can see very quickly skin tones again become more orange, unnatural. You can see there are a few different reference points there that's not looking so good. Vibrance have looked at this. Have a look at this. I love it. It's so good. Now what I'm looking at is I'm looking at the shop fronts in the background at the top of this screen there. I'm looking at those yesterday. I mean, everything else is becoming more and more intense, but have a look at the colors that are coming back. And what we can do. These all can reduce the saturation. The whole thing. Some reducing the saturation of the whole photo, boosting the saturation in the lower areas. And now I'm creating a bit more of a balanced to say he'd now outbreaks as vibrant and in your face. But we've got some color coming back into the rest of the same. I liked that way. Barbara and on it's own little bit of desaturation, that is my typical workflow. And playing around with these, sometimes you get negative vibrance. Saturation. Other times you'll go plus vibrance negative saturation. It depends on the photo, depends on lots existing in the photo. It's great where this is also great for landscapes is the greens in the background. You can change the intensity of some of those grains because vibrant colors attract your eye. Going back to my stronger photo composition four-step system, having a point of fixation way, then you've got their attention and that can be something that's vibrant, saturated. And then the hierarchy of where the egg moves. So many different techniques and tools ever 100 that I've got in that, in that course. That then helps you go Okay, this area. And now we can do the masking selective, so you can go in there and you can do that as well. Another way here, Let's have a look. We have saturation, but we don't have vibrant. Say that. That's a real shame. It's a real shame. You can see there. So you can increase, decrease the saturation, but we don't have vibrant, so just be mindful of that if you're doing local adjustments. So what I do is I this is why my four-step system for systems that are my four-step system for photo editing is that the local adjustments have done afterwards. So I would do the masking and that's something lighter in the, in the process. Tomorrow we're gonna go deep dive into color. We're going to do color makes the target tool and color grading. There's a lot to cover. And I'll see you there away. 12. Advanced Colour Mix, HSL & Grading: In today's day number 11, we're gonna be talking about color mix here, HSL, which is hue saturation, luminance, and color grading. We're going to touch on that. We're not gonna go too deep on color grading. The objective for this 30 days is to help you become more familiar with, with Lightroom Mobile. And the outcome of this is that you will be able to use these tools confidently and get the results that you want. And basically what I'm trying to do is introduce what other tools, how to use them, when to use them, what not to use it, when not to use them. There's some tools for certain things are better than others. And today as an example, what balance we talked about white balance and setting the white balance. And sometimes you can struggle with that. The white balance is not quite right. Getting into the HSL and the target tools that I can't wait to show you the target tool. More often than not do actually do a better job. Let's get into this. Now it seems extreme that it's blue. Believe me, this was straight out of my camera. The tennis, this was at the time because it was a combination of the US quite often tricks our cameras, but it was in the shade as well, so it really caught blue and the in auto white balance on the camera didn't do a fantastic job, but it's super simple and quick to fix. Now, we talked about white balance already, so I can go in there and just go auto white balance bank. It's not a great job. Got rid of the blue. But we can see here, have a look. Now, if you recall, to correct too much blue, it adds more warm tones. That adds more orange and reds, that sort of thing. And you could see it, you could say it in the post. He can say, that's good. They're very warm tones. There's the before, there's the after. So I didn't do a great job. So you would be balancing that in going into what? Bring it back. Now the trays have got more natural looking colors, but I still have the blue. This is where I love this tool. I'm going to go into the top-right corner there and I've got the color, we'll have a look color mix. And you can see there next to the between color mix and done. You got a little target icon. I can tap on that. Now. I've got options. He hue, saturation and luminance. Saturation is one-on-one apply with heat because I want to reduce the blue on a disaccharide, the blue and just the blue. So if I put my finger on this now, can have a look. It actually detects which values, which color channels. This is e1. And then you can swap between Dan, Dan, dan, you might completely white. Or we can bring some of those times back in, make it look a bit more natural. How good is that before? After? It's awesome? And then click on T. I've done, get back to a color balance, white balance, and we can go, you know what? I'm going to bring that back temperature back even more because I'm comfortable and confident that that is a really nice white that I have there. That's super cool, isn't it? When I first discovered that always blown away that tie. Because quite often and I mentioned this yesterday quite often. I struggled to say the colors that other people see, the subtle colors. It's what whenever apply RAM we call the color grading are always looks a bit over the top and it's creative for tomorrow. Because I struggled to see the subtle, subtle these in it. And that might be why I'm more of an educator than a photographer because that's the can't do teach. I guess I want to bring up another photo here that we can have a bit of a play around with. Here we go. This was St. Paul's Cathedral. I'll share this one with you earlier in these 30 days. This was from a rooftop. I just loved the composition of this one. I went back he so many times to try and get a nice shot. Here we go. So this one I've already edited, we had to go back into the color wheel. Color mix. Now we can play around with each of these channels now with target tool, brilliant. Actually use that more often than in any other tool inside the color. Because I don't have to guess. I can just go and change those. Hue. What is hue? Hue is the color shift back into, I'm gonna go into color grading for a moment. There's a color wheel account gonna come back to this, don't worry. This is the color wheel. If I move this right to the edge, these are the colors. This is 360 degrees of colors. And it starts over here in the red, and it goes all the way around. These are called hues colors. The color hues. We need to get a color value. Color value 142 degrees. That means that I'm way over here. Alright, so that's the color wheel, that's color hues is the shift between colors. And moving around that color wheel, saturation. We've covered that already. Saturation is the intensity, the magnitude, the amount of strength. Of that color, luminance. I love it. I love this tool inside here because now if we have a scene that has waterfalls are perfect example waterfalls, it's the grains and not as lush because there's not enough sunlight coming in. If you have sunlight coming in, it might then blow out the water and you've been there and you've seen that these colors are really vibrant, but on the day of the year there, they're not vibrant or just not much green niche. It's all fall originals. Little Brian has not much green. What you can do is you can select the green channel and you can saturate those greens and you can broaden those grains. It works and absolute trick. Next step, the more advanced, the most scary looking color grading. I understand when you look at it and go, Wow, there's three wheels there. And as soon as I touch it, it goes funky really quickly. Get it. I understand. But we've got to break this down and simplify it for you. You have this used to be called split toning and in October 2020, replace the split toning, which basically just each shadows and highlights. And you could do a combination of colors. What you can do now is you can go into shadows, mid tones, and highlights. Now, I've used this photo here because there's actually not huge variation. This is mostly mid tones, shadows. I'm going to go and give it some blue, maybe not that intense. I will bring them back. If at anytime you're applying a random ago, I just want to give up. Just double-tap on the center, not on the dot, double tapping on the dots, not going to do it. They noticed he really loved this feature is that when you move this around, say the little reverse, I drop out and all that, That's cool. See how that gives you the color tells you what you're doing. So I'm going to, I want to give owner give it a shadow is a bit of a blue because this is an overcast die. I don't want to go that crazy. I'm gonna come back and that's tending to purple. I'm going to go about it there. That looks nice. Now have a look here at saturation. I can still it with my finger, try to get it precisely in that line. I can go in here. You might be at better off just going, you know what, I want to bring in there. And then you can come back with the saturation and bring it back to where you live. It depends on your workflow, what's comfortable with that probably works better for me. Garage to the edge and then reduce the saturation luminance here. Shadows, I want to bring the shadows down. The brightness of those blues want to bring it down. Blending and balance. I'll come back to that. If you tied, say this hue and saturation little thing there and when you open it up, all you say is this because depending on what you're holding your phone vertical or horizontal and what looks slightly different. You can see here the little arrow tap on the arrow and that will drop down because quite often that's hidden. You'll also see three dots here. And you can reset the shadows, reset everything if it's tending into a bit of a dog's breakfast. Not quite sure what he got error. I get here, then you can just go on race it. All right, let's, let's go over to the mid tones and then the mid tones. I wanted to have a bit of red to the mid time. So a bit more of a pink, pink code pink. And they saturate that. That's looking nice. Okay, now when I go over to my swap across some highlights and I'm a halide. Want to have my whole lot, so I want to have an orange and I bring it might get a lot more orange and then D saturate about there. Alright, now, say that I hold the screen. There's no before and after. What Obama, Hey, we can do is we can get it done. Then we can do at before and after. Now that's pretty aggressive. But I'm going to change this and make it a little bit more balanced and blend it. Recognize those terms I'm using. Faculty. Now I go to blending and balance. The reason why I'm going to blending and balance last is because this is a global. Speaking of global, I had one more slide, he'll deny. Here we go. How lot globulin, you can add a bit of a global to everything, little bit of green to everything. Now, go back across. On now have blending and balance. Blending is blending colors would mixing all our colleges. 50, it's a false sitting there is really nice because 50, it has a blends in nicely smooth out the transition between the colors, but h color that we've adjusted still have it has enough. What the Adobe call independence in their room. That right, a fantastic blog when they release these back in October 2020. And smoothness of that makes near-far go all the way to 100%. It's a mix of everything. The colors. So I did green, orange, and blue. So it's blending green, orange and blue and blending them altogether and applying them the strength where I put it, but it's a blind as a blending. All the colors near-far go this way and blend. Now I have complete independence and separation. Can't quite see it. But if I've got balance, have a look at this icon that balance between this is, this is a global thing. Remember, so now I'm balancing guy, You know what? I want to prioritize the color grading did I did in the shadows because I really want to get those shadows or do you know what I really want those highlights? And that looks better for me because the shadows, I want a strong blue in the shadows, but I don't want it to be what your eye goes to. I wanted these small, I want this look. This is the look, I want balance all and bring it back to there and aren't quite happy with that already. Before or after. Color is amazing. I really encourage you to really study and get into color the color theory. I had a great article on my website about color theory, talking about the mood, the ambiance, and how color can affect your viewer. Sometimes colic and even effective. Physiologically, we can react to color because grid, energetic yellow is happy. It's, it's incredible. And once you get into it and really study it and really play around with it, it's a lot of fun and you can photos like this one. We can create a totally different file, right? So we've gone from an aesthetically pleasing blue kind of photo to now this is very different and you can say, it's amazing. Even though I've only played with color. You can see the difference in details and clarity as well. It's quite extraordinary, isn't it? Hopefully that has given you a bit more confidence to play around with it and know that you can't mock it up. That's one of the things we love about Lightroom, isn't it is non-destructive. You can go back and play around with it. Tomorrow. We're gonna talk about black and white. Now. You do black and white, the Rottweiler that I'll show you the right way of doing it, the wrong way. Most of us have been doing it all this time. I'll show you the right way that only Lightroom can let you do. And we'll play around a little bit more than calibrating and HSL and all that sort of thing. And show you the difference between the two inside a black and white photo, which is pretty exciting. So thank you for joining me and I'll look forward to touch him on that one with you tomorrow. Bye. 13. Best Black & White Conversion: Good day. Welcome back to day number 11 of the 30 days of Adobe Lightroom. Today, we're going to talk about black and white photos into Lightroom, we can talk about briefly what makes a good black and white when you're trying to choose a photo. I've talked about a couple of techniques to convert it to a black and white. There's three different ways in Lightroom. One of them is a bad way. I'll show you by. And it's the way that most of us do it on our inbuilt editor. That is basically we just go into the photo, go to the editor and we go into saturation. You can increase the intensity, the magnitude, and go the other way. And you can desaturate and you can reduce, reduce, mute the colors In the colors, remove the colors so you can get rid of all colors. So that turns it into a black and white. I'll show you why that's not a great way of doing it. So we can see the histogram. You can see where the colors are too. You can see there's drains in the highlights. There's hardly any greens in the shadows. In the shadows, there's little bit of blue. That's the blue color cast you can see in the trade lining said topic tree line, you can see repeated blue there. First way that I mentioned is to go to this where inside the color panel, Color panel saturation and reduce it. Boom. It's a black and white photo. It's okay. It's good. It's good because then you can go into different things that you're familiar with on your phone. You expose your contrast, that sort of thing. So you can have a bit of a play around with it. The other way is simply the black and white button at the top. Thing that turns into a black and white name will be thinking and totally get it. Looking at this guy, Mike, it looks the same. What do you want about? What do I show you? Is I've created this little image where I've overlapped the histogram of both of them. They can say to the eye, looking at the photos, you go yep. It's pretty similar. The one on the far left is the desaturated where I've used their first method, the center photo in this collage he collection is where our tap the BMW, a black and white button, one on the right. You can see I've overlapped the two histograms. You can see that if I just simply D saturate that histogram the bottom one of those two that are on top of each other, bottom one is the T saturation. So negative minus 100 saturation. You can see that it's actually brought back the highlights and it's reduced the highlights and it's actually affected the tonal range of the photo. Some photos, it's more different than others. So this is one and another one. This one is almost identical. The reason why this really stands out so much is because the difference is in the highlights. Why is this important? Well, it's important because when we go in there and start playing around with the tones, which is the best part of a black and white photo. The information is there to play around with all the original stuff. Number two is when you go into desaturation, you'll removing all the color, not just converting into a black and white, you're actually stripping all that information out of there. When I desaturate. I've done that. Now I go into the colors. I'm going to choose blue because I know there's a lot of blue. And I'm going to try and change the luminance and the brightness of the blue, not doing anything. It's not saturating. The reason why it's not working is because using that saturation going to minus 100 ways stripping all that information why I said it's not working. But if I go to the N W, Now we're going to colors the blue. I believe this. I can play around with it. I can increase or decrease the luminance going into the target tool. And I can grab the trace there and I can make the trees darker. You can say there it's affecting all the greens in there. Actually, I've grabbed it. It's not quite all green, is it? It's got a bit of blue or blue that is totally different colors. Their biggest see that? I can play around with the colors. I'm going to tap on that. Done. Even though the white balance, white balance works. Make it more cooler and it might affect all the blues. I'm going to reduce the blues and bringing more oranges and that sort of thing. I know it sounds a bit, we'd bit of an oxymoron, Not only making it a black and white and then you play around with the colors. That's because it's separate colors. We talked about this yesterday. Separate color channels can affect individuals, certain localized areas of the photo, and it works in absolute truth. Next method that I want to show you is one that I've picked up on the Russell Preston Brown the Russell Brown show. He's He's an employee number two at Adobe. If you haven't subscribed to his channel, it's fantastic. I don't have a look 0s on Instagram regularly. And he brought this one to my attention in history video is that you can go into profiles. Profiles, and I've got a black and white. And if you're not sure whether your photo has potential for a black and white, this is a brilliant way to go into the profiles. It's like a filter effectively. We've talked about some photos lend themselves really well to a black and white. And that can be photos that have existing textures, lines, shadows, different tonal range. Other reasons why black and white can be fantastic as it can hide imperfections. So if you're editing a photo and it's become pizza low-resolution. Playing around with HDR, all the swelling is starting to look a bit grungy and if we blotchy and just not looking fantastic, but it really, you can't go and replicate this moment that you've captured a black and white conversion can be really good. These methods of Russell's where you go and just got bank by bank trial, these different profiles will go, Hey, look at that, That's swipe. And lastly is recovering and not just recovering bad edits or edit editing workflow that's turned a bit yucky. Federal recoveries photos from years gone by where you can't come back and you've tried sharpening it using the sharpening techniques are used earlier about increasing the radius. And a previous video, black and white might be the way you might be able to reduce the contrast and make it a black and white. My complete more of a moody, aesthetically pleasing kind of soft photo. Black and white just gives you get out of jail free card. But it's a way that you can just changed the whole look of the photo and just make it look, look amazing. This is a great way of doing it is to go into profiles, black and white. And you just tap on it. You can say little previews there. Well that one looks funky. Look at some of these and go, Wow, that looks amazing. And I think that one there is probably the best one. And then you got this loaded down the bottom here. I'm going to slot it to there. Okay? And then once you're done there, now, and this is the same as the black and w button. It's retitled the colors. We can go in there and change all the colors. We can also go in there and change at the time. And so my typical process, go into the profiles, select one that is a really good starting point. Then I'll go into here and I go, okay, Looking at my histogram, my black and whites, I've crushed some of those black, so I'm going to bring those blacks to bet their white point. I want to bring the whites all the way to the end of the histogram to about there. Now it's not just about looking at the graph, it's about looking at the photo as well. And guy, that's coming out too bright, That's not what I wanted. I want to reduce the exposure because I've done black and whites highlights. More often than not, I always bring the highlights back, but you can see what's happening in the histogram. There might be a bit of a balancing act. That's blue now that's just not working, is it? Bring the whites back to the shadows. And I'm looking at the histogram as well, but I'm looking at the overall image because I want some definition in those trees. I think the trees look really good with that. Becoming a distraction. That's looking pretty nice. What's a much stamp bit more of a play there. Yep, That's great. Love it. Then I'll go into clarity. Be too much. Really bringing out the details there and a bit of structure you can see there. That sound that's true is becoming really crispy. And that's okay. I like that. That's, there is no right and wrong. That's what I love about photo editing already before. And these are after. So that's myoclonic quick little workflow that I worked with, black and white. You spend a lot more time than doing some of the Selections and Masking and getting into those local areas. And that for me is where it really gets into the fun part of photo editing already. Let me have a quick look at my notes. Just to, just to recap, we've covered the saturation. Saturation minus 100. We covered just black and white button inside the color panel. Then we covered the profiles. You can see the Bool every day. So thanks for joining me and I'll see you again tomorrow. 14. Add a Vignette - Alternative Method: Good day. Welcome back to day number 13 of the 30 days of Lightroom Mobile. Today we are talking about vignette. We're going to talk about the what is it, when do you use it, and how do you do it? So basically, what is a vignette? A vignette is the darkening of the edges around your frame, around your photo. The reason why it works is that a covered this in the early stages of my stronger photo composition four-step system. I talk about visual literacy. I talked about what attracts the eye, the point of fixation where your eye goes to and then where it goes after that, that hierarchy of other visual elements that you move to. And if you've got something in the edges that has brought vivid sharp, then your icon, I can go ping and head off in the wrong direction. But when the age is a dock and keeps you in the photo, if that makes sense, it doesn't keep doesn't allow you to get distracted. You stay in the middle and you can contains your attention, which is brilliant. Then on, then if it's soft and it's at a focus or just not sharp, and the colors are muted around the edges that come out. Even more stronger impact in the fire. I mean the effects panel. And you can see we've already talked about Texture Clarity, Dehaze, narrative vignette, vignette. That's white rot is what? Lift is dock it straightaway that I mean, how cool is that? Black. A black background for a status makes your colors just pop and more punchy and vibrant. If I go back, reset, double-tap, and then I'm going to go all the way. Now this is not where I'm going to leave it, but I want to go all the way because I want to show you these other slide is in here and then come back and bring it back. Because if you go just literally and I think that's a nice vignette there. And then you can apply with the other slaughters. It's actually hard to understand or to recognize and see on a little screen. It's difficult to see what's happening. I'm gonna go all the way. Then I'm going to go midpoint. I'm going to play around with that. First of all, feather. Feather. I'm going to go all the way to 0. That looks pretty funky, doesn't it? That's pretty funky. That we've gone and move that fed all the way to live. But now I can see my midpoint so I can see where the vignette is. I'm gonna go all the way to their highlights. The highlights is really interesting. This is one that you don't see. Nonane, non percent of photo editors, these highlights are basically what this means is you can darken all the h's. The way. There's some specular highlights or some nice bokeh or something locked that you've actually liked, that burst of brightness and color in the background. If we just do the vignette, we could lose that. It could be part of the storytelling, part of the narrative. And the intention of the photo is loved. That background highlights. So we can bring the highlights back. I'm going to go all the way there. That's good. Now I'm going to go back to feather, and I'm going to feather it. And then it'll come back to vignette and I'll bring that back. That's my process. My process is vignette all the way to the negative, feather, all the way to the negative. So those two, I'll just repeat back vignette. Although I negative feather all the way negative, play around with my midpoint. Don't have to touch that again. Play around with my roundness. Don't have to touch that again. My highlights set that back to my feather. Think back to my vignette. A little bit Good Dan, Dan, Dan, dan jumping around a little bit and then back to feather and vignette. Pretty cool. It's so easy to use. One of the things you'll notice if I go back to there is that, that flower is my main subject. That's my hero. That's, that's my point of fixation. That's where I want people to really notice. But I can't move the center of that circle or fraternity to rectangle or whatever. I can't move it. It's always in the center. I love this tool, but I have a better tool for you. And that is the selective tool. It's the radial, It's a paid subscription. Let's go into selections. I'm going to select radial gradient. Just like my flavor. Now, look at this. I can move it around. Now most people, what they'll do is they'll use this tool to go and brought in areas. But what I want to do is invert this. I run the left above the rubbish bin, Invert. Now go up into my last panel. We've covered all this already, haven't we? Exposure, I'm going to bring down the exposure of everything. Drop-down. Have good SAT. Now what I want to do this, the edits that I'm doing is not in the flowers. So just remember the edits of doing error in the outside of the flower. So I can use highlights and looked at this. I can increase my highlights exactly the same as you can in vignette. You might remember, I mentioned to mute the colors. Last one here, applied around with these federal a little bit. And here I want the highlights or the vignette to focus around the building here. So let's go with vignette. You can see here, if I do that, that say they are missing half the building. Okay. That's not that's not ideal for vignette Again, no good. Then lock it. Doesn't like it. And I'm gonna do a combination here. So I'm going to do one here. I'm going to go into texture. I'm going to smooth that write-off. Happy with that. Let's do another one. And they'll go into radial. And let's select the building here. Happy with that selection. Invert some selecting all of it. Now I'm going to go into here, and you can see here I'm playing around with white. If there's existing blue, which I haven't edited out of it is 60 existing blue. That's going to make it a dark blue. I'm a bit more obvious, but anyway, I'm concentrating on just the vignette around that building. I think we'll wrap it up there. Thanks for joining me tomorrow. We're going to talk about cloning and healing. We get to talk about that, talk about the differences between the two inside Lightroom. So with that, thanks again and I'll talk to you tomorrow. Bye. 15. Compare Healing & Cloning: Welcome back to die number 14 of the 30 days of Lightroom Mobile. Today we are talking about healing and cloning tool inside Lightroom for some photos when we play around, it can be actually a little bit confusing when you use the tools and because you can't really see what the difference is. And what we're going to talk about is what each of them does, what they do differently. We can talk about why, why you use it well, that tools there and show you a couple of little sacred tips and techniques and little quick navigations around there and just to speed up your workflow as well. When do I do? Why do I use these tools? It's kind of one of those tools that it takes you to the next level in your photos. I really does because you can reduce clutter in your background. So you can remove objects that are in there that it is kind of distracting and pulling your attention away as the viewer to the fixation and the other focal points within the photo that you want your viewer to look around. If there's a broad spot in the corner. Because remember die number two with the cropping and we can crop out those bright spots or vivid kind of sharp areas in the edges. If you can't crop it, you want to keep that composition that you've got. You can use this tool healing and climbing, cooling it, this tool because it's really the same thing. It's just a switch between two things that it's doing. You can actually just go in there and remove it so it's cleaning up the background, cleaning up blemishes on people's faces. Now this is not I paid tool, which is pretty cool that you can get access to these. It's not paid. It's really, really cool. This example here I've got some textures of colors. So I thought this would be really good one. So go into the band-aid, which is tap, just tap some way. We can see what we're doing. He is the circle on the left, that's called the sample area. So a sampling from that era with copying it, but basically copying from there, MR. going to replace the source area are going to replace this area at the top. Zoom in a little bit so we can see what we're doing here. You can see what it's doing. And you can switch between the band-aid and declining tool. And then underneath that we have the size. Then we have filler, which once you're there, you just swap up and down. So you can see there were feathering and we're doing just the center of the circle heavy adjustment and then it is feathering out, pattering out and softening towards the edges. There you can see we've got a 0, it's just a bank to copy. And then underneath that we have opacity, which will reduce the transparency, which I love. I love opacity in any of these brush tools or any of these effects. Because it gives you an opportunity to really blended in and be subtle about it. This is the cloning tool. So a cloning is an exact copy. The one above it is the Band-Aid. Now the band died. It does the same thing, but it blends the colors and textures of the surrounding areas. I trust them. I could look a bit more natural. This is where if somebody has something on their face and you just want to remove that, the healing is fantastic because it retains the textures underneath. And I'll show you what I mean. There are two fingers. You can just pinch and zoom and move around you if you touch, you can't move around, you just go and do the adjustment. If with two fingers, you can pinch and zoom and weak drag your two fingers, you can drag around the photo wall. This is active. Now if I bring this down into here, now you can see this is the band that you can say. All it's really doing is it's copying the textures into that yellow area. When you have a play around with a photo with his true colors to textures like this have applied with it. It's really amazing. This is copying just the textures. Go to the client. Boom, it's copying everything. I liked. The band-aid. Don't quite like that. It's copying like that. So I'm going to reduce Capacity. And it's just a way of bringing in textures from one part of a fido to another. They probably thinking, that's cool, I can say. Why would you do that? When would you do that? I'm just going to take on that. First. You have to press the tick every time you're done. If you know what I need to do more further on your workplace, needs to do some more of that because that looked really good. I want to do more down the band die. It'll select the circle of the areas. But if you double-tap somewhere on the screen, it'll get bang and I'll bring up the source as well. So then you can strike that and do some refining. Just a quick little tip day. We're going to go over to the trees now because say how we got that building there? We might not want that building. Let's do this. Let's go into and diversed capacity, increase the opacity. Let's go all the way. A 100%. That's pretty cool. Once you press the tick, when you do a client or a helix, press the tick, ie accepted. When you get back in there again, you can actually apply and another healing over top of it. So if you want to blending textures from one area of the photo, suffer example that that federal just saw there. The trays blending the textures of the trace from one area. And then you go, You know what, that looks like a copy. It's obvious what you can do gene and select another part of the tree. Then you can blend it again so that it's different textures. So it doesn't look like a direct copy because that is one of the telltale signs that you've used clouding and healing is guys know what that looks exactly the same. That bit of grass has got the same bits poking out of it there as it is there that looks at natural. So you can go and you can source it, sample it from one area of pop it in there, and then you can save on other areas and pop it over top. But you have to press the tick in-between because we try in the same time. It'll just keep moving the different sample areas or tick in-between and you can double up. We covered a fantastic already. I think hopefully that explains it. I think it's one of those things that you are better off sampling and yourself for testing itself. Because depending on the content, what's your intention will change which you use. Thanks for joining me and I'll see you tomorrow. 16. Sky & Subject Selection Masking: I add, Welcome back to diet number 15 of the 30 days of Lightroom Mobile. We're halfway already, which is great and six IT. Today we're gonna talk about an exciting, awesome, amazing tool, selections, masking, whatever you want to call it a What's selections. And that's called masking. And it's brilliant edits circle this tool alone. I was on the fence for quite some time, whether to subscribe to Adobe Lightroom. The reason for me personally is that I'm not that interested in synchronizing lightroom on my computer with my phone. And that made that I'm not that interested in the storage because I use iCloud or use OneDrive google photos of a so many different areas where I'm storing things, backing things up. The extra storage didn't really appeal to me. It didn't didn't get me out of the line. This tool, the Selections and Masking. It is crazy good. And I'm gonna split this up over three days and said I was going to talk about just the sky and hence and subject selection tomorrow we're going to talk about linear and radial selection. Then we're going to talk about color and luminance range. Here's a photo actually captured this inside the Lightroom Ball app, long exposure photo. This is one that I want to show you how you select the sky. So basically up the top there, we have the icon there. And then plus here all your options, subjects, Sky, Brush, Linear, Radial color, orange, luminance depths range. Depth range does not appear because this was not captured as a depth capture. The app. Also, in addition to that, you need to have it's saving as a high TIC file format and then depth range will come up. Digress, let's go to sky. Selected this guy. Standard amazing job. I mean, one of the things that's good about this and huge advancement from what we previously had was previously you could do the linear. Basically. You just select a range from the top and blends until eventually loses all opacity. And also worked around things. It looks around buildings, works around trees. And it's amazing. You can say here on the right side, look at that. It has gone through the trees, which is amazing you can see because there's nothing worse than when you're ahead of the sky. You play around with it. You make the colors more vibrant and all this sort of thing. And then you can see gaps. You can see that it's actually selected it through the glass, which is pretty cool. It's mist down here, the speed here it's missed, which is unfortunate. But here it's got the balconies. And then over this side, some reflections. Reflections. They're going to pick up the reflections as well. It's got the name Jquery, maybe in the original original amount of a more reflective. That's why, but that's the same color tag. That's what it's doing. Is it picking up the top part of the far-right? This is just by guessing on Adobe engineer, just guessing. It's picking up that top range. That then is looking at similar tones, colors in that range. But it's not looking for it down the bottom of the frame. It's not making any mistakes down the bottom. It's all off the top and it's just working at how far do we go there? Because they hadn't here. You can see in-between these two gluings, it's going down and then it's gone or should we keep going? I don't know. So it's not perfect. But it's good. If you making subtle adjustments, it doesn't really matter either. Are in here. Now we have access to all our light color effects. Data's all that. Most of them, not all of them, they're not all there, but light that old, a brilliant here where I'm missing. What are we missing here with me seeing fabrics? Here we have clarity, texture, the highest three of my favorite tools I still, he say you get access to these. In here. Sharpness and noise by six slot is not the advanced ones that we covered earlier. So you don't get to control the radius and the day tiles and the amount around H's the e-shop. And so it still works really well. But it's a little bit of a limited range on the three dots. Up at the top there. You can change the color, you can change it to a green sky scenario. You could see what's there if you take notified of flour and complimentary to the green colors in the background. Crane leaves, green foliage. You use the green overlaid mask. I've electric. What's gonna happen is you see a green flower on top of green foliage. That's not gonna work. So he can go in, you can change it to red, you can change it to blue, whatever works. On top of that, you can change the background. You can do color on black and white and have a look. Now that is full contrasts. You can say exactly, this is amazing. You can say exactly where these mask, and you can see here when we move up here and BigQuery, that's not great. Tomorrow I'm going to count into a bit more detail. You can add to the mask and subtract to the mask. You can refine it that way, but there is no eraser to do the fine tuning. Let's go into Select Subject. That wasn't bad. Like that wasn't too bad because it's not clear subject heat. And that's where this will struggle a bit. This one. Let's have a subject. We can see that it's selected part of the flower as well. You say it's selected over there as well. So tomorrow I'll show you how you could easily just subtract that. But it's subject to debate, which was, did a great job. Exposure, Let's just go crazy and shy away. The reason why it works so well around those edges and refine those edges. And I look, look at that. That is just unreal. The reason easiest because these heads, such a juxtaposition, real contrasts with the sharpness and the blur in the background. Get rid of that one. Let's have a look. What else we got here. Let's go with let's go with Sky. Say how guys see how it works around the trees. Did a reasonable job, reasonable job there. Hackers like that domain for me, I was just completely, completely blown away when I discovered these environment. We're gonna talk about radial and linear gradient. And I look forward to sharing that and exploring that, add and subtract to that next level. Alignment. Saving. 17. How To Use Linear & Radial Masking: Good day. Welcome back to die number 16 of 30 days of Adobe Lightroom Mobile. It's very exciting. Yesterday I showed you the masking tool inside the app where you can go in there and you can select the sky, you can select the subject. Today I am going to show you a couple more. I'm going to show you radial and linear. But more importantly, I'm gonna show you how to combine the two, which is where this app just goes. Next level, soccer in here, plus I'm going to do Select Subject. And you remember yesterday into kind of struggled, struggled looking at it, put a data, It's got red. So we can say, okay, it's, it's, it's got most of it. It's missed a little bit on the front and it's on the sides there. What we can do a radial. I'm gonna go here. And you could stretch it, you might get blown. You can change the angle. And basically I've selected all of it. Yes, I've selected around it. But what I'm gonna show you, if you remember when a few videos ago I showed you a vignette, always smack bang in the centre. With this tool, I can invert my selection. So now I've selected everything around it. Now the feathering, I can't adjust the feathering, which is a little bit of a little bit of a negative part. If it's not quite right, we wanted to it so we can drag these dots, zoom back out again. Now if you've gotten my brightness, I could put a bit of a spotlight on this little fella. By doing that. The other way is I can use that selection. I'm not going to broaden them up, but then it probably won't look very natural because it's like unless I have a light ray coming in or something that makes it look like that. But this way, it is more subtle. It's the same with saturation. I can go in here and D saturate. Some of these background to the extreme, can bring it back a bit up, just desaturated. I can go into here texture, knocking, soften it too much as well, isn't it? We can say, look, I've just bank. It's also business prior to sky selection and subject selection and color and luminance range radial and linear. This is what we've had for, for so long. This is how it works. You just drag your finger. Okay. Why this works is because with skies, if you go outside, you'll notice that up at the top is whereas most saturated colors, because it's the white lot, reflects, reflects through moisture. On those scientists. I'm an observationalist. Basically you'll see the colors more vibrant. And then as they go down towards the horizon, they kind of fight a bit and this is more natural looking. But one of the problems we've always had is that these buildings where these things intersect with the horizon, they then get affected the same way, which is not ideal, is it? This is where a lot of people are getting in selecting Scott and I got cool. I can play with this guy. Looking really, looking really unnatural and funky unit slope doesn't look quite right. But what you could do is we can combine them now. We have done the bottom heat, add or subtract. Pretty cool. So I'm going to subtract from this. I'm going to subtract a linear gradient. So what I've got my selection, so now I know where I want to edit is this guy. Now I'm going into what part of the sky I wanted to edit. So now being this around and they regarded so now you can see that I now have this linear selected with this guy. Does not affect the buildings. Apart from the original scar where the original sky selection leading to the buildings a little bit. But now I have a look at this log. I can put in linear right through there. Now I can go in here and I can go exposure. And that is pretty good, isn't it? That's amazing. Now that we can combine them, It's just takes it to the next level, doesn't it? Tomorrow, I'm going to show you how you can combine a color or a luminous. And I look forward to doing so. Thanks for joining. I'll see you there. 18. Using Color & Luminance Masking: Welcome back to diagnose with 17 of 30 days of Lightroom Mobile. Today we're going to talk about color and Luminance Mask. This is one that I use quite a lot, and I always use it in conjunction with something else. I've talked about the last two days. I've talked about masking. I'll use this mask, the color and luminance mask to select within a selection, what you're doing is you are then getting, this is the area, this is the sky. Now, what should go in there and select this part of the sky? And then that's where I use color and luminance to select an area. We did a bigger area that I first select. What I'll do is account into selections, select the sky. Let's have a look at this. I'll change the overlay so we can say it'd be better. Look at that. It has gone in there. Let's let the discard really well. But that selection has, has kind of merged into the law here. So what we can do is subtract from the mask. And we could subtract the subject. Bank haircuts that this guy does a great job. It's sometimes when these things intersecting that skyline can have a similar tone, similar luminance, low contrast. It can struggle. But we can also go in and he now we can subtract from this selection. And we can go in here and illuminance range. So now we can go in here and we can refine this. And remember the bits that are in green at the bits that we're keeping that we're trying to be editing. So I'm not going to go in here and now you know what, that was really overcast day. Don't want the gray. I'll want to I want to broaden that is uptight. Tripods all go into the areas that weren't great. I don't want to make those gray and create a more uniform flat. It's creativity. It doesn't matter. There's no right and wrong. Yeah, in the bottom here we have the slaughter, this slide. First of all, you can, you can tap with this target icon. You can tap what you want. You have a square which can be really good. So you can go in there and select a larger range. So not just bank that pixel, that broadness, that luminance on debt bit thrust, touched. I wanted you to mask all that. You've got to square the whole range to be included or excluded. Then the bottom here, you have this slider. Now this four different VT. You got the pins a the side. Then we have the range in the middle and you can drag these and you can tighten up that range and then move it to the product parts of the photo, the dark parts coming in here and do the darker parts. And then you can refine it with these little handles it a bit at the back here. Let's really selecting all of it. So let's go and experiment and we'll bring it back. Let's go to about there. And then we apply it. Now we can go into brightness. We can change the exposure and we can change that. We can go into the saturation is at before, there's our after. So you can see that we're actually starting to select the brightness within this guy. Let's go in here and we will add the sky. Now, this is a bit problematic. This father, and the reason is, is this guy doesn't go beyond that. Like it's not going to go. Or this scopic or height. This is a reflection of the scar, the bottom of the frame. We need to select that as well. It doesn't work like that, so that did not work. So what I'm going to do here is I'm going to select the subject. This should work reasonably well. Then we're going to invert that. Now that inverted the subject worked really well. But what I want to do is the shadow is here of the, the pia in the water. So I hold that down and you can see that I don't want to I don't want to play around with those. I just want the nice doll. Grays, grayish blue. I don't want to adjust the shadows here. We can go in here and subtract. We're gonna subtract color, luminance, illuminance. Now we're gonna go in here and put my finger, drag my finger and touch on the shadow. You can say that now that has subtracted that the dark areas we didn't that selection now you can say he looks great. Now we have all the grayish areas in the background we don't have to appear, will explain it in select Skype. You can see down the bottom left corner he would kind of missed some stuff. This is where we can use a slaughter here and we can refine it. I mean, how cool is that? You can drag that and then refining. See the bottom left corner with silicon Mau Mau, Mau, Mau Mau. Now we are getting some areas around the boat. You can see some of the boat. It's some of the pier and the background there. Let's just select that first and then we'll go in here and we'll subtract, am I going to subtract a brush? We're just going to we're just going to refine this and just going to brush here, which is going to go in there and select some of that. Take neon, it's going to my brightness. And this is where I can go in there and have a bit of applied around. So I want to reduce the contrast because I want to make it a bit more foggy, it a bit more moody. So I'll reduce that. Highlights. Want to bring that right down. Not too crazy path that exposure might bring the exposure backup because it's not a dark and moody. It's just a moody or maybe a bit more. It good. And maybe the blacks bring the blacks down a bit. Too much, brings you out a bit more color. I don't want too much color there, so that's pretty good. I'm happy with that. Before and after It's subtle. Next step is now I wanted to play around with it with the PO. I want to make the p just kind of pop a little bit more and just jump off the screen. I'd be more crunched going, he knew mask. And I'm going to select color range. I'm going to select the pia, the color of the pea, because the whites on the p really need to bring those out. I just want to bring out the textures and the colors in the PIE. So I'm going to zoom in a bit when you zoom in. Zoom in on the dot because it'll funky, just zoom in on the rest. And then we have this refined so we can go in here and refining, okay, too much. It's trying to bring in higher range of colors. It's bringing in color from adjacent hues on the color wheel. Try not to get too complicated. Sorry about that. Let's just refine this and that's looking good. It's losing too much of the piece. I'm going to get a day. But then I'm going to subtract. And I'm just going to use a kind of use luminance because the brightness values, the luminance of the pia and the shadow of the P a very seamless, this is where I'm going to have to use a brush and just go in here and just use the brush and just go wipe, wipe. And what a nice and simple and easy. Now ago into that one, That's what I want. Clarity. Add some clarity. That crazy textures, add some texture, zoom in a bit, make sure that it's crunchy and crispy, so I won't leave that. There we go. I'm happy with that. That's really popping now that's the before, that's the after. So just to recap, the luminance and color masking. In my workflow, I find that we're expected to help refine a mask. So when you select the mask, whether it's Scott, subject, color orange, whatever it is, even, even, even if you go in there and you do a gradient of a sky and it might be something in the sky, it's not quite working. You see the first one there with the Lighthouse. I subtracted the subject and it slipped the lighthouse. Sometimes that doesn't work. So you might want to do the sky, looked at the intersecting areas and going on the horizon is a dark building or doc mountain range. I'm just going to remove and subtract the luminance range, which is the darker range of those mountains. And then you'll get a much better refined selection of the sky. Makes sense. Pretty cool. I love it. I think it's a real massive improvement in Lightroom. And I hope you enjoy that. Tomorrow I will see you again. Bye bye. 19. Quick Editing Using Presets & Profile: Welcome back to die number 1830, days of Lightroom Mobile. Today we are going to be talking about presets and profiles. Inside Lightroom. The fantastic, they're amazing. And we're gonna talk about the difference between the two. The strengths and weaknesses. Reasons why you would you choose one over the other, and how I incorporate it into my workflow. And when you use h presets, they're fantastic. I do four things. One, they speed up your workflow. So if you find yourself doing the same edits sent using this slide is the same way. You can save that as a preset and then you can apply it as a preset. It's a recorded, it'll just go bang and reply those recorded slide. It says applause, that snapshot of what he edited on one photo. The next one is seconds save your time. The other thing you can do is again, help you. When you use someone else's preset. You can go in there. You can go into the sliders and got that look really cool. But what did this person who created these preset? What did they do? You can go in and you can see the adjustments, which is really cool. It's educational because you can go in there and go. I would never have thought to do that. Everyone tells me shadows, boost the shadows, increase the shadows. But this preset actually did the other way and it came out much more dramatic and moody. So that's a reason why you would do that. The other is creating a style. So it's creating a bit of a stylist if you take photos of flowers the same time every day, similar lighting, similar lens, similar composition. Then you're editing. You go in there and put your own preset in there. Then you can create a bit of a stall that's really press it. So what are profiles now? Sub profiles, they kind of like filters. If you are familiar with Instagram, where before you post your photo, you can go in there and you put a filter on it. Exactly the sign. It's one that photographer or someone has put together, designed it, saying that they might, I wouldn't bother making them. If you're interested in how they created met click tasklist Karski, he has a fantastic YouTube video where he talks about the process of how he does it in Photoshop or another one called 3D blocks to create a.com is where he died. And when he shows you that it's like, wow, wow, the two technical wherever my head. And that's how they do it. To install profiles you need, as my understanding, you need Photoshop putting into Photoshop greener the folders and it'll synchronize across the Lightroom and synchronize across to Lightroom Mobile. I tell you what, if you subscribe, upgrade your Adobe account, you get lots more profiles. And when I when I subscribed, it was a real bonus. I didn't realize it was like, wow, wow. Look at all these profiles. Where did they originate from? They came out in April 2018. And basically they're there to replicate film stock. Originally. They'd be kind of expanded and become the new future of presets and new way of doing things. But originally, they came out to replicate. They'll film days where you could choose a different film. This film, this brand creates a more contrast in the colors. This one has more saturation. So it does that. In your cameras, they have camera modes. So nikon has picture control. Sony has creative styles. Canon has pictures stalls, they camera profiles. When you upload a pro rule that you catch it on your iPhone, it's a real happy surprise. You go in there and you go, well, it's actually come up with its own. For your phone will recognize that what you've used and it'll apply it because every photo, every rule photo has to have a profile, a camera profile attached to it. Makes sense. Makes more sense if I shy. So I'll bring up my, my photo here. If I go into profiles and you'll see at the top there it says Apple Pro raw 100. You've got all these others. You can go in there and you can change the strength, the appearance of that or the strength of it, the magnitude wherever, where do you want to use? You can change all that. All right, now let's go into camera settings and go to Import. You will see here in the bottom row default, you can change it and you can change it. An actual preset, not a profile, but you can change it to a preset, which is, which is pretty cool. If you've created your own, you can go in and create your own preset. Fantastic. I'm gonna show you price it now. Let's go back into it by photos. Okay, so this is a photo that I did I just captured and I realize I'm covering half of it. So first of all, I'm going to flip it. There we go. Now you can see the flower that helps, doesn't it? Alright, sorry, presets. Let's go into that icon there and you'll see here it's come up with some users of the system, some free ones that I've downloaded and played around with. To be honest, presets is not something that are used a lot. I use profiles a lot at the end, presets out that used too much because A font called Thomas scroll through and go 90 and then antenna. It's quicker for me. And you most likely to just go in there and he's got a book. Yep, cool, Sweet. Let's move on to the next thing. Because presets predominantly used for your light panel and adjusting shadows, highlights or that sort of thing. Texture, sharpness, vignette. You could use all that profiles is more color grading and more current. Because when you watch that video, I've met close Karski and he goes in there, shows you inside there. It's all colors or color grading. It's all blend modes and luminance of different color channels. It's quite technical, but it's all culture-based. So that's, that's why I use it at the end. You can see he, let's go, let's go create even have a look. Took was oh, let's not. None of these are working. That's no good. Let's get portrait. This portrait is not necessarily just linked to people. You can use portrait for anything. Let's go, let's just go with that one. What you can see if you remember in video number one, white back then, on the right side here we've got all the different panels where there's a dot. It shows us hi, going in and have a look because you can see that it's increased the whites increase the blacks. It has actually putting some dehaze and it's adjusted the color. Cool, fantastic. Now I'm gonna go in here and just have it, just move some things are really crazy. And I'm gonna show you how we can create our own preset. That's all good. Tap on Presets. And then up in the top corner you'll see the three dots. A tap on the three dots. How goods that we can create a preset or you can manage preset. So you can go in there and you can delete presets, you can go and rename them. We're gonna create a preset here, and we'll just call this flower quite original, their flower. You can save it under group. So this is user presets, which of my own presets? And haven't looked at this. You can go in there and you can select things like masking. So if you, if you apply, if you created a bit of using radial and got real creative in credit sun flare and that sort of thing. You can go in here now and you can select antique on mastering guy. Yep. Include that masking, include that in there. Normally recommend that because where you put a sunflower or masking, localized selective editing in one photo. When you use that phrase it for another photo, it's gonna be totally different. So that's why by default that's left off, but you can put that in. You can put that in there. And then you press Tick and you're old, you're old done presets. When you purchase presets, a great place to start is actually Adobe itself. Adobe.com website is way too long for me to read out. It's a great place to go and get some free trial ones from different photographers. Like I said, profiles, you can install on the phone preset, you can basically, you will receive photos, you will receive some PNG file format photos. And then you can go in there and you went you open up that photo. All those different recorded sliding will all be there. Well, I slide is all those adjustments. They all there already with that file that you upload or you add to your phone. Then you can go in there and do the same thing. Create a crescent you with your receiving his actual photos with the preset already applied. And then on your phone you have to create a preset. Presets. There are ones that limit the limit to a certain panel. And you'll say this inside Lightroom itself. Let's have a look. I forgot back here and I'll go to defaults. Here we go, guys. So you can say he green curve, they just apply the preset to that panel if you large. So they are the presets that I prefer. Got to download. Some, have some like that way. It is limited to that one area because if you go in there and you start playing around with it and you've got the look, you won't meet your tones. You've sharpened it, you've done all those things and then Egon put a preset on it and it's like, Oh God, I would take all that and it doesn't because he can do multiple presets. And it'll just override the sliders that you've already done. So you're kind of wasting your time. And that's where, that's where a lot of people get frustrated, such as just be mindful of that. Saving preset could be easier in the browser. So you can look at your photos in your browser. I haven't mentioned this yet because this is purely Adobe mobile. But you'll see he lightroom.adobe.com. You can log in and you can have a look at your photos. And when you're in here, you say this photo here. It's applaud the profile because this was a pro roar. It's applaud that profile, profile immediately. And then you've got your presets here. You've got all your selections, all your different, all your user ones. So if you create one on your phone, it'll synchronize the here and then you can go across the plus and you can save your own. Now you'll notice here in tools, if you do do the localized selections and you create one on your phone, it will save all of them. Sky selection. Subject radial luminance, it does the whole lot. Whereas here, if you create a preset on your on your computer, you just limited to those two sides. Not not a great way, sir. I tried this when I downloaded some a thoroughgoing. He didn't actually move everything across, which is not ideal, is it? I've talked about the process of using presets at the start, using profiles at the end, there is one exception, and that is black and white profiles because black and white profiles phenomenal via fantastic profiles and black and white. And have a look at this. You've got all these different profiles. It's just have a temper round. Okay. Yep, yep. Yep. I thought this would actually work quite well as a black and white because there's lots of textures. But because of the color range, it's not ideal. Have a look at this slide. Let's go in there. And then let's go into the colors. Target. I'm gonna change the luminance and look at that. How cool is that? And we talked about this previously when we were experimenting and playing around with color channels. And I talked about black and white. And the best way to convert to a black and white. One was the saturate, which is what we do on all the inbuilt editors. And the other is to use the black and white inside the color panel. This does the same. So profiles when you select the black and white profile, underlying colors is still, it's still there. So we can go in here like I just did then. You can adjust the luminance saturation. You can even change the hue position on the color wheel of those colors that you just selected. So I've gone in there and dark and that background because I knew that that background was green. That works really well. And then I can go in and I can change the highlights. I can reduce the highlights. Can go in here and now I can add some more texture, dehaze. Which way works for this, the photo clarity and have goods that it's amazing. So the black and white profiles are a great one. Stop your black and white photo if you think this is gonna look good as a black and white, because those profiles are fantastic and you don't want to, you don't want to convert to a black and white Goya sliders and all that sort of thing and then put a profile on top of it. You can. But I think you're missing a big opportunity. I think we've covered it all. Look a little bit technical. Hopefully that wasn't too technical and you, and you stayed with me. The key takeaways here are presets are fantastic for just applying immediate adjustments to all the sliders. It even has color grading all That's one thing depending on how it was created and recorded. It's a great time-saver. You can identify what works, you can learn what they used. You can develop your install, but creating your own preset profiles, apart from black and white, the rest of them are used at the end. Just for a little bit of tweaking, just to add that seasoning, a little bit of salt to your, to your your cooking that you're doing, cooking your photos. They'll have a cookie. Cookie photos. Fantastic, with that sidebar and I'll see you again tomorrow. Bye. 20. Tutorials & Community In Lightroom Discovery: Welcome back to die number 19 of 30 days of Lightroom Mobile. Today we're talking about the discovery and learn option within this app. Amazing. The loan option you have, the Adobe team have uploaded some tutorials that said other people in the community, you and I, if we're on a paid subscription, we can actually share our edits and create phase as well as brilliant. What I love about it is that you could go through the different categories and you can see that looks amazing. How did I do that? Step-by-step process? Follow along. You have u equal to this sliders and then in-between when they change panels, a lot of them will actually come up with a loop the board and say, Hey, this is why we're doing this and I explain it, which is fantastic. On the other side where you've got the discovery, we can share photos that we've edited. And if we want to, we can actually share it as a preset, all those edits, all those sliders, and talked about this yesterday, when you make all your adjustments as slaughters color grading, you can also add on the mobile, you can also add your masking is selection's not ideal because it's going to appeal to older photos. But also if you add a little bit of profile that we talked about as well, then you can share that and other people can download that and make use of it. So scrape you can follow people, people could pull it. You can save. It's that he can look back at them later. It's just fantastic. Help out, help APA jumping and show you what I'm talking about. We've got the app open here and I'm just in my gallery. And up the top here, you can see the Learn. Here it is. So good. You can go browse, you can browse and go, you know, what, what do I really struggled with or what I want to be inspired with? Just need some help. Let's go. Let's go with color grading. Because that's one that would be complicated away to a lot of detail explaining the tools, but it would be good to actually go in here. It has somebody has uploaded in their workflow. Alright, so we've got through here, just have a quick look. I liked the look of that one from Tyler. Bring this one up. You'll say at the top there it's got these profiles so we can tap on the profile and learn a little bit about taller. He's from common dial USA and you see others that he shared. The following three who inspires him or educates, informs him. You can see how many people have viewed this writing because at the end of the tutorial, you can give it a writing whether it was small, you are sad Pfizer, which is pretty cool, and that's got a bit of a description. We will start tutorial. And this is what it looks like. I'm not gonna go through all of them, but I just want to show you a couple of steps. Here we go. Little snapshot tells you what we're doing. Continue and you have to follow these. And you can see here I have a slotted down the bottom and the slaughter. When I move, when I get to the very end where it actually, since this is where the slider too, you can feel a little bit of haptic feedback in there, which is really, really cool. Color grading, fantastic. We're getting straight into it. Slowed that across. I can feel it. I can't see where I'm like, Let me go across feel I can't see under my fingers so I'm kind of just feeling around until I can fill that up or bump. It. Got it. Luminance, little bit negative of that color tone. So you can see what's going on there. So you can see each step you can go through, which is fantastic and just get out of that little tick at the bottom. Skip the feedback because I didn't finish it. All right. Let's have another quick look at another one. This one is the towel, so I just want to have a look at this one because this has really produced a lot of contrast and day tiling a. So let's have a look. Mountain. This one is star lost at the beginning level, six-minute long. I didn't know what percent of people loved it. Fantastic. Start the tutorial and then you can get back. It's trying to do it. They take it, say that this is brilliant, I love it. I think it's testing. It's one of the best ones that therefore, like I said, in-app education, you get to all this on your phone or you can do this on your, on your computer as well. On the Adobe account, putting it all on your phone where you gonna be using your edits when you're taking photos. Just makes it amazing. First thing he does. So this is more a traditional workflow and answer. We're going to edit the whole photo and is 19 steps this I'm not gonna go through 19 steps. There. Will now show you what it looks like inside discoveries about the topic. You now have the little world icon here. This is way you go to be inspired and this is where you go to discover other photographers, discover other workflows. Just, just take out. You can actually have a look and you can see the metadata of the cameras that I use. So this is not just my ball, this is all cameras in here. You can discover other people, you follow them, you can have a look at photos that they've shared. Like I said, if you have your own paid subscription, you can set up your own profile. And this is what it looks like when you go in through the discovery of the top deck, this is where you can put in your profile. Now I haven't completed it yet. I need to go in. Shiism is put together in about you can see here I'm already starting to follow some people. And you can say how many edits Epcot and you can go in there and your locker photo and I'll show you how to do that. You will say, alright, sorry, let's go. Let's go. Close-ups. Close-ups. Which one do we want to play with? As each thing? I was in here probably 15 minutes ago, and there's already half a dozen added since then. So this is chronological order. Let's go with this one. This one is from Brett Cooper for it to load up because it doesn't a little slideshow, it does a little step-by-step. You can see the progress bar and you can see if the original photo and then as you can see, as he's making these adjustments and he gets tap on Edit. And here we go. You can see exactly all the steps. And as you scroll the little preview, we will change. So you can see exposure contrast highlights. You can move alone. And then you get to the bottom. You can cite this as a preset. Let's just do that. Save the process presets. You can see that that's created if it's the first time or it's added to a folder inside your presets, important from discovery. They can go in here, you can hot this, you can look at this. You can see the little eye icon. You can see what camera. It's fantastic. You can share this with someone else. So if you discover something, go, hi, This is really cool. I've got a knight who's running two close-up macro flower photography, who wanted to learn how to edit this way so you can share it. It's so good. It's brilliant. It's not like your traditional photo-sharing social app. You can't comment and express your gratitude and appreciation for their work and talk to them and get some feedback. But you can just write weizza going to be inspired to be educated. And really, if you, if you find yourself in a bit of a creative slump, give his struggling, then this is a great way to just get in there. I've got the Florida indict photo creativity challenge, which executes your app with project worker shooting something in your backyard nine different ways. That's getting out. And I bet if you prefer to just do it, you've got five minutes and you just want some, instead of scrolling through social networks, I would encourage you to jump in here and have a look in here. And it's so much more fun and they actually learned as Thanks for joining me. I'll see you again tomorrow. 21. Sort, Review & Rate Photos: Welcome back to the die number 20 of the 30 days of Lightroom Mobile. Today is the last day of the mobile editing component of this 30 days. Tomorrow, I'm gonna show you what the camera looks like. And then from then on we are going to break down different parts of it. We're going to talk about ISO shutter, manual focus or the cool stuff that you have, full manual control or the cameras. So that's what we're gonna get into today. It's all about the sharing or insulting, reviewing your photos and management of your photos on your phone. But it will also show you how you can do it on your computer. Yes. I know this is 30 days of Lightroom Mobile. But if you subscribe to the account, Adobe candidates describe it, synchronizes your account any actually without having to download Lightroom and Photoshop, all that sort of thing. Inside your browser, you can login to Adobe, and it is lightroom.adobe.com. You can login. And this is what it looks like when you get inside. There we go. That's what it looks like. You can see there. You can see your photos and you have access to your learn discovery or your albums, which I'm going to cover as well. You can review, flag all your photos, which is really exciting. So that's what we're going to get into. Now. What I'll do is I'll share my phone screen. Go down to, let's do albums first. You see down the bottom here on the left side, you can press the plus state and you can create a new album or a folder. Folder is great if you've got multiple albums within a topic plug for me, I've set one up here, composition, and then within that, I've added some sub-folders. So composition examples. And then I have one here, passion fruit composition where I've looked at all the different compositional techniques within this one photo, somebody got back. I'll go to base. Another thing I love within here is the top-right quantity, but the three little dots have a look at this 2's best photo. So if you take for me, we're not going to trace the buzzer and the backyard. I'll take 55 hours minimum. Hard to work out what the best ones or you can put them all into a folder. And then you can let the app based on contrast, sharpness, faeces, whatever it will work out what the best photos are. And then have a look at this. It's come up with ten results. On the right there. You can go at high values, so you can go, you know what? I really want the current with the gravel or concurred that way, I can't just give me more options in it. Selected out of all those, him and he was there there was fifty six fifty nine sixty nine different photos. It's given me the top ons and you'd say not a bad selection. That's not a big headed. I put that there. Why did they give me that one? That one is terrible. That was a good one and I have ranked it yet, so I'm gonna get that one, 5-star. Now on that with your stars. Back, step. Bring up a photo that he could say here. That across the bottom you've got a film strip so you can swap across. You can swap with the fingers, swap across like this. And you can also with two thumbs. And when you can tap your screen Tampa, you might prefer to do give it a ranking there. If you don't want to go to ranking, you can just tap on that fall began to get rid of it. You can flag it saying flag as a capa, like a flag that has a reject. The other way. If you're a screen swapping rows with two thumbs, you can go in here with your two thumbs and you can swap on the right side of the screen. You can swap up, down, reject. That's a capa. And then a left side is great. You could swap up or down and then swipe across. Again. This one is a capa. What that needs a bit more editing. You will develop your own him for for reviewing writing. From a five-star is one that I've edited and I'm really happy with. Three is one that has potential that I need to go and edit. One is come back to it or for is one that I've edited that just needs to be more. First of all, I'll go through and flag them, guy, you're not reject, reject, reject. Whatsapp got all the regex. I can just delete them all in one guy. Makes it nice and easy to do that. Now, that was kind of a random at y that we got there. But if you go to all photos and we'd just carrying here, select the photo. Now. Top-left it. This is what you're familiar with is the edit panel. Panel. This is the one we've kept using. So if we go to the drop-down, right, and review, that's where you can see that kind of went in there random at why? Initially. So that's the other way. In here. You can see the info, so you can see the metadata and you can swipe left and right. But that's the one where in review, you can share your photos and organized. You've got lots of different options here. If you're inside an album, you can add. If you insert your old photos or this edit, whatever it is, however you got here, you can edit these photos to an album. I got back back to the main home screen that we're familiar with. You've got the little funnel off the topic, and this is where you can go and all those re-check photos. It can go in there and tap on regex. And now we can go, okay, there's all my rejects. Now I'm going to select all these and then I can just delete them in one go and then it'll delete them all. Black hole. Thanks for joining me and I'll talk to you, gets marked. 22. Camera Navigation & Familiarisation: Good day. Welcome back to diagnose at 21 of these 30 days of Lightroom Mobile. Today it is the first day of the rest of the series where we're going to talk about the camera app inside Lightroom mobile app. Today I'm going to show you what that looks like, how to get into it. We're going to get it through the navigation. Become familiar with all the different tools. And there's a couple of words in a, we're gonna cover some of that terminology. So we're just gonna go right back to the basics here. Just set this up. Don't judge me for my setup of what I've set up a half, set it up here. It's not about composition, it's not just the camera familiarization. Let's start at the top-left. So the top-left corner, we have the selfie camera. With the selfie camera? I don't know. I have never used the selfie camera using Lauren. I just don't see the need. To be honest. I use the built-in camera app probably 95% of the time. The unintentional go in here and use these camera replacement epi is because it has full manual control and we're gonna go into a bit more detail about that tomorrow and explain why I use promote and when I use it. But I didn't really use auto mode in here that often. Things like reversing it and his selfie came from when we go to that trouble. I'm just going to use the 19th camera just to be honest with you and tell you how it is for me, a case that selfie camera. Now with the selfie camera, you can't get access to. I'll just pop over here for a moment. If you have auto professional, HDR, long exposure in depth captures, DEP capture is portrait mode and live focus. That kind of blurred, artificially blurring the background. Selfie might do that. Next, we have done he JPEG and we can switch between JPEG and PNG file format. Dng file format is a raw file format. What that does, we've talked about this already. What that does is the DNG RAW, it will cut out the processing that automatically happens in HIP. It doesn't matter which brands you have, whether it's an Olympus, Sony, Nikon, nikon, Canon, Samsung, Huawei, Nokia. Doesn't matter what you have every camera that records a JPEG file format, we'll apply some processing to it. And we talked about this the other day with profiles and has a profile and it has a way of processing the photos occurs through systematic, automatic process and then instantly it displays. I look to that photo and it can shopping the photo. Crisis saturation. It can boost a little bit, Barbara, it has a unique look. Every camera shooting the same scene for a JPEG will come out looking slightly different. That's it. Rolls will come out slightly different as well, but different technology, but more so with the JPEG PNG way, you want to capture as much data apology can. And the full dynamic range from light to dark. The real benefit they East that you have a lot more data to do your editing and things like JPEG, we will compress that information so it'll take full pixels and a mock trunk compress it into one pixel and a blend. That's that information whereas they roar will retain all that. That's why a rule is a larger file sizes as well. I'm going to leave it as a JPEG for now. Next we have the flesh. I never use a flush left, just I never really have success. I would rather use an off-camera phone, torch or a little light chart, or you, Lindsey have so many different options. We've lots that you can change the color and the temperature, brightness and the temperature of the launch. Next we have the X, the X button basically closest to the camera. So you go back to your camera. Reset. Reset is if you start playing around with all these options here and you start to market America, You know what? I just want to go back to full automatic. That's what that does. So the next one underneath I just touched on that's manual focus. And we're dedicating a day to manual focus because really cool. It's basically you just have your sliders and you can change the depth. You'll focal range, you can change that. And I want the front of this in-focus behind it. In fact, you can do that slightly different with an Android. You don't get that green overlay with all these sliders, but all the way to the bottom. And it tends to order, which is really handy, white balance to cover that separately. And then we have our ISO, shutter speed, exposure compensation. A lot of smartphones now. And it's brilliant. Guy will have exposure compensation that you can lock. You can set it up so that every one of your photos can preserve those that settings that you've said in every photo you take from then on, we will be deliberately underexposed. And I'll show you why surely why that he's really handy. So we'll just erase it for everything. Turns back to Auto up the top right. Then we have filters. It can select a different filter. Lovesfilter. I mentioned you can, you can shoot a black and white. You can shoot in lots of different modes there. The lock, exposure lock. Let's just get rid of those filters. Especially look, that's really handy. I'll show you why. Tap on different parts of the photo and it will change based on the brightness of those areas. It will change the overall exposure. Tap on the dock area. It'll boost and brought in the whole photo. So that dark area, you can see all the details that are just today. Template a broad area like the clouds. What that'll do is it will darken the rest of the Friday because the camera has a limited dynamic range. That's way HDR, high dynamic range capture mode works really well. We'll talk about that another day. You can see he tapped the changing it. So what you can do is you can go, you know what, I like that now I'm going to look at it. And now that you've looked at him, we can then go and separately tap way. We want these to focus. Pretty cool. We'll leave that the one underneath that. If you have multiple lenses on your phone, you can switch between them. Ultra-wide, wide telephoto, macro view or an Android with Android, the capture. And then down here we touched on these. Automatic, removes all those manual controls, ISO shutter, white balance, focus. But you still have a lot. You still have access to all these ones over here. At the top-left, the three dots, settings, Mac screen brightness. We've talked about that. I'd say much point in setting up the exposure when you screen these half brightness, half full brightness and going, Oh, that looks nice. Nicely exposed is nice and bright. Go back. Edit the photo. Oh, wow, that was really severely underexposed. Overexposed. So I'll like to have that nice and consistent underneath there. Highlight clipping now attached on he. Why you would while you would deliberately underexpose the photo. So if you take a photo of landscape, disclose really brought, you don't have one of those graduated neutral density filters where it will go and dock and shoot through glass. This doc and at the top to kind of reduce the brightness of the sky and then blend it through. Then came the HDR mode. You haven't used that. Sometimes you will have some bright spots and I'll recreate that here. These torch, either the same, it's really brought spots there. Now, I got to show highlight clipping. Have a look what's happening here. They say that we have these zipper crossing. Basically it's because that is a supervised area, so I'll tap on there because that's super bright. And then the rest of this Friday has now balanced that broad area and the broad side of the screen has become dot. So let's hop on the dock area. These zebra things will come back again. The next one underneath there is all your different grids. We can turn onto the rule of thirds. But one that I really like here is this one here, which is the Spirit Level. I can move this around and get it perfectly level. Near that yellow line tells us, it tells us that the level underneath there, we have a timer so we can count down and set it up, set up the Tama aspect ratio so you can switch between all these different aspect ratios. I went on editing all my photos. I like to have it as a 689 so that I can display it on the screen, but I don't shoot in 69, I should infiltrate. The reason for that is that I want to capture as much information as I can because I could shoot in 69 aspect ratio. And then when I get home, you know what rule of thirds I wish I had of going back further or catch it and forth. Very subtle. I could actually crop this and make that horizon go onto one of those horizontal lines and actually create a rule of 30 my composition, capturing the full three Kettering as much detail as you can, issue more options to recompose the photo. That's it. That's the navigation. We'll leave it there tomorrow, going to go into comparing not only the results of auto versus full manual, but I'll show you in going into some of those more details on each of those things, and I look forward to bringing that to you then. Bye. 23. Lightroom Camera Vs Native Camera: Good day. Welcome back. Today's dying of a 22 of add 30 days of Lightroom Mobile. Today, I'm gonna be talking about the native app versus the Lightroom mobile app. We're going to explore also, why are these people say I want a full manual control in their phone because it's one thing to want it and desire. And we did for so long. And then when we went on our members and authors discovered manual control in camera placement app. So I was like, Oh, fantastic. Now I think I'll do this, do that. But then it comes back to what is it that you actually want out of it? Do you want it to produce better results? Or do you want manual controls would be more creative because we don't have aperture control, we just have shutter and ISO so we can squeeze more in theory, squeeze more out of it and we'll do some experiments. He just literally experiment is nothing fancy. But for me, it's about the results and creativity for me comes from composition and storytelling. I think that Beats technology Haynes down. I'm going to demonstrate two things. One is a static object, which is just my little awful Itala here. Put together a couple of shots and a little one-minute video that I've compiled yesterday, I add in the garden, try seem synthase just to compare the two. Moving across to a lot room here, we've got the different modes, so we have automatic and tap on the screen to focus, set the exposure or that sort of thing. Take the photo. And then we go over to professional mode and pro mode. Here we have access to manual focus, ISO shutter white balance, assessing, exposure compensation. Now, I'm going to have in the next few days break these down a little bit more and get more into those more into HDL. And for the iOS, the depth mapping and long exposure. So I'm going to break all those down a little bit more as we go, but I just want to compare here we go, pro mode. And we took an automatic say here. That was the looking at our little details once 35400135400 did exactly the same whether I shot in order in auto mode or whether there are short order in promotes. We can see that on there. And then that one there. I just wanted to demonstrate they're basically that if you're in pro mode and you shoot with automatic settings inside PRO Mode is absolutely identical to shooting Hadamard. Let me just try and tell this fine. Hey, I'm horizontal, shoot horizontal. You fool. Bit, hash coma camera full. Alright, next thing I want to do is I want to shoot in JPEG and also in D and J and compare them to DNG is a raw file. So in theory, it will be different because JPEG has putting different compressions, different processing, that sort of things will shoot huge. I pick first and everything's in order just to keep it synchronized. Then I'll move across to D and G. There we go. Same again. The first one is a JPEG. The second one is the rule. Now the rule, and we can see the histogram has moved across the mid tones or the midtones are brought up. Because when the JPEG is processed, it, it's gone, hey, this is all too bright, even though he shot everything older, the JPEG has processes. This image quality-wise hasn't applied noise reduction. Then the JPEG bank, massive differences in it. I will send that. It's my camera off. And then I'll take a photo with pro rule and it will be able to compare the two. There we go. And I have selected this, this is Pro and Pro Max and tap the capture does not histograms here because I've just looking in the photos app. So what I'm looking at here is this is the Lightroom version JPEG. And then we're looking at price. I don't know about you, but that is a massive improvement. Go back. It's just the details on looking at, there's so much more details in the Pro Max. Personally, I did not expect this of this blown me away. Pro is a DNG sets of rule, but at process, everything just luggage I paid to produce. This is a large file, it's a massive false, it is a lot bigger, so we have to consider that as well. I wanted to show you this little video and then talk you through it as a shot. This was captured in my backyard chasing some base. So first of all, I am using the Lightroom Mobile, showed it in JPEG. First thing I'll do is shut, set it to a faster shutter space because they've lost on us and fast. I had to select ultra wide lens because with the wide lens or couldn't get close enough to get into the space. And you can see that was the shot that I captured. A couple more photos and it's hitting miss. Like I took 50 photos here. Compare iPhone Pro raw, didn't have to sit in and everything was just getting nice and close. It was switch between the white and the ultra-wide tack shop. Got in there nice and close. And I was blown away. I couldn't believe it. The difference was quite remarkable. Then lastly, I took some DNG file formats with the Lightroom and then see which one you think is which. The difference is quite minimal. It's like I said, it just blew me away. I couldn't believe it. The one on the left is actually the Lightroom and the one on the right is the native camera. Now, it's hard to compare like we just did here with this little, this little Eiffel Tower attached to compare apples with apples when you're out shooting bees because same camera, same modes. This is why we take 50 photos because you just got to keep going because not every photo is going to turn out tech shop like baselines, you have heating miss, you're going to have some loop, a sharp, some that just ignore white balance is thrown off. But the thing that really works is having a fast shutter speed in full manual. What I love about penalty to talk about this in a couple of days, what I love is that you can set the shutter speed and it will automatically adjust the ISO depending on if you're shooting into a dark part of the bush, turned around and all of a sudden need for backlighting. It changes everything. Same with the native app if you use it in order, changes at all, so you don't have to worry about that so much. Focus more on composition. For me. I guess the takeaway for me was that I the convenience was the big one. Now I know when I when I was using the tennis tennis Max phone because it's a few years old Lightroom dominated it, absolutely smashed it and there was no comparison. But now I'm finding is just, this is just anecdotally just from what I've experimented. The convenience of not having to worry about switching lenses because Lightroom, you can only get so close with white before we then have to switch out of the water wipe. And then when you switch over to ultra-wide at resets the manual focus. So you've got to go in there and, and refocus it again and re adjusted other settings like ISO shutter, switch lanes, it's Thursday, which is really good, but I just found it really cumbersome, having to switch between the two and keep changing it. I love thee. On the iPhone, the manual focus, and it has the green overlay so I can do that rocking motion between the base and I couldn't work at and anticipate getting there and go, okay, it's gonna come out of that flower and it's going to turn around and face me when it does. I know it's gonna be in focus, which is fantastic. That's one really big positive with the Lightroom app. To get that tack sharp, it's probably more consistent with that. That said, with the auto mode using Pro was getting some pretty consistent fires as well. What manual control of your camera to produce a better result. But if Convenience wise, he's still producing maybe not as many. Great photo spread. I don't know for me, I just cited all the distraction. And this is coming from somebody who's fair 25 years working in very technical field photography way. I Stef this squeeze as much detail as accrued out of every single photo, make it an accurate representation of what's in front of you too. Now I'm advocating just go Aldo and just go with the flow and concentrate more on composition and that sort of thing. I would never flavour would be saying that sort of thing. But that's up to you. It's a personal choice that we're not talking to the camera clubs from now on I'm gonna be saying, hey, what were they looking for an environment, someone says manual control. I'm going to challenge them and I'm going to say, Why is he weren't full manual control? If it's about producing better results, go out there and do an experiment like RDD won't be completely blown away by the comparison. And if it's that you want to be more creative, then again, have a play around with it. I've found manually controlling eyes shut up. I found the difference is quite minimal. When you put all this together with this last 21 days where I talk about editing. When you start editing the photo, again, when you should indeed Junior have some noise. Use that noise reduction. And using those tools we've talked about vibrancy, clarity or that sort of thing. As you can see in this comparison, you can get two totally different photos pretty close to each other. Apple Pro raw profile, you can actually reduce that and bring it back and reduce some of that saturation that's going in there, sir. Thanks for joining me and I'll see you again tomorrow. Bye bye. 24. Discover HDR Capture Mode: Good eye and welcome back to day number 23 of the 30 days of Lightroom Mobile. Today we're talking about HDR mode inside your camera, inside Lightroom, Mobile. As we've talked about, how auto mode, pro mode, where you can go and eat, can change things. You have other options. Hdr is another one came out in March 2017. Basically, HDR, high dynamic range. All cameras, even modern mirrorless. A lot of those now have software in there that can do what we're doing with their files. But of course, sometimes this was an area that phones just dominated because you've got that processing, the image signal processing. The more modern your findings and the premium, the better that is an ability to be able to capture Ms. what Lightroom does is it captures three DNG RAW photos. Socolow scans the Seine and chooses the exposures for the highlights, the broad areas which is typically the sky. It exposes for the shadows. And then one in-between, which probably the ideal blend of the two. Or if you tap on this green and side, this is where I want you to expose for the final result. It'll take one for that and then it'll blend the best of all of them. It actually Texas three photos at aligns them so there's no movement In-between them. So you can do these handheld emerges them first day ghosting, which is where it looks for any movement and then goes and tries to remove the movement that makes sense. And tone mappings or tone mapping is where it will look at all the dynamic range, all the pixels and go, oh, that one's funky and it tries to create a more natural looking farther. Hdr first became popular. It was the grungy, over toned look to it. You have HDI or bad rap for quite some time. But now HDR in our phones, a lot of our phones, you can actually turn it off. It just does it automatically through frame averaging and produces that high dynamic range, which makes it look the same, look more. What are ISAs, which is pretty cool. This is what it looks like when we turn it on our HDR mode. In Lightroom, we still have options there to switch between lenses. We can tap to focus, exposure, exposure lock, manual focus, white balance, and you see their exposure compensation. Now that was really good because it, yes, it's capturing a high range, but you can actually use the exposure compensation. Say, I want my end result to be underexposed or parietal and be overexposed. So you can actually still determine what the end result will look like. This is an example here of what ghosting looks like. Now, this is actually an app that I paid $8 for. And you can see there my son Kai and pass in the square root because he has moved in-between frames. It's kind of just half captured in one. Next, I want to show you a visual representation. This is not actually the photos There's capturing, but I'll just put this together to show you the three different images. You'll see the exposed normal photo, a bright photo and a dark photo. And they monetize is the three photos. Blends them altogether to create a final product. Doing my own playing around with the iPhone, I was really surprised I compared the GIF to pro, expecting the pro R4 to capture a higher dynamic range because it's doing more frame averaging and using raw photos. Really surprised to find that here. If we zoom in, you still got the data and the HCI IF and good dynamic range there. And when you're looking at HDR Results, I look in the sky because that is where they do most of the work didn't actually do that match in the shadows like you expect HDR outcome and boost the shadows. It doesn't seem to do that as much prior. Same thing, same amount of details. And then the sky is the same exposure which was, which was really interesting. I wasn't expecting that. Have a look at HDR MOE, compare it with your phone. You might go, you know what? Hdr into Lightroom performs better than mine. Or you might look at your, your phone and go, you know what? The default camera does an amazing job, which it does on the iPhone Pro. It doesn't amazing job. I didn't really say the Nate for me personally is go into here and I'll show you that here I have another example. So this is the HDR. Hdr. So you can actually set it up inside Lightroom that it will save the normal photo so you can see they're normally that's what it looks like. And then the convergence of the three photos, That's what it looks like. So it's a pretty, pretty cool results, pretty amazing. One of the main reasons why we do HDI is to reduce this guy because typically scars will clip that. We've blown out all the highlights, the bright areas the camera will go. As a person in this scene, this photographer really good chance they want this person to be nicely exposed and then it will prioritize that. And then you end up with a plan out sky. Now this was a filter that are put on. And it doesn't align very good. I mean, it's really disappointing because it has a graduated lens and this is what it looks like. This in front of you here. I put in front of the light, move that around. You can see that at the top is darkened. And then it has a lawn that's further than softly transitions to clear. So you would position this over the lens and you would learn that with the sky and it should work really well. But unfortunately, this clamp does not work very well. One that I have found that works really well, that I've just picked up. This one here. It's a pro physiology. So PROMs, zed, zed, i o in. It's fantastic. And you have this little bit on the end here. When it connects to the phone, connects nice and square. Whereas this one, because it's lucky, like a wedge, it goes on and it doesn't doesn't line up nice and flat on, it ends up lock that and that's what gives us, unfortunately that result, no matter what I do. So I'm really looking forward to picking up. I've just got to stop filter on it. And I can't wait to get a neutral density filter on there. And having a bit more of a player around. We don't always have outlines attachments with us living Miho, we're taking him from two photos. And I just wanted to show you here. I won't go through and do all the editing with you. We've already done editing. You can see here the photo on the left, that is not an HDR because you can say they're disguised really light. Now, we have covered the light panel, this one down here, the light panel. And we've talked about highlights, shadows, basically, by reducing the highlights and increasing the shadows you are creating I high dynamic range. And you can see there in the result that is a high HDL look. It's natural, it's not grungy. It, it looks really nice. So that is what we have done now, the one on the middle there, this one here, you can see there. I've taken it to the next level and I've gone into the color panel. Now I've selected the blue because it's a blue sky. Then I have reduced the luminance creates that darker sky. So similar to what you will see with a polarizer, which was really cool. Another option that might work depending on the photo is going into masking and this is a PIE tool. You can go in there and do the linear gradient. And with the linear gradient you can drag from the top to the bottom. And I've talked about, I've showed you how you can then intersect it and you can take out beats in the horizon, all that. So they really cool, fun stuff. The linear gradient is great because you can go and dock and the top of this guy then have a transition to clear this just a few options there that if you don't use HDR mode or you're happy with the default camera. And the result, because 95% of my photos I do it by default camera, I'm showing you a lot room does because sometimes it does a better job. Remember to use Lightroom or I end that with just the farther you go. You know what? I wish that Scar was darker. I wish I could boost the shadows. Well, already showed you how to do that. And a couple of other tools there as well with the luminance, different colors, and also the linear gradient. So brilliant, I think we'll wrap it up there. Thank you for joining me and I'll see you again tomorrow. Bye. 25. How to Control Manual Focus: Good day. Welcome back to tighten up at 25 of 30 days of law. Remember this one here, manual focus on the IFR is really good when I sat on the iPhone. Because what I love is the focus peaking where you have the green overlay showing you what's in focus. And I'll show you why. I'll show you a quick little video. You can see here chasing phasor Randy, my backyard. And when you have the green overlay, you can see exactly what's in focus there. So as I'm in the exam rocking back and forth and not adjusting the manual focus. But the green overlay shows me exactly where that they ease. Pretty cool, isn't it? It makes it so much easier because then you have especially when there's so much clutter and so much going on. You're looking at a tiny little screen and that's how, that's how I get tech shop far as an entity editing, obviously, the editing is where you really take your sharpness to the next level. Here we go. This is what it looks like. So now I mean pro mode. If I just double-tap or hit the Reset at the top, it goes back to normal. So I've set this up. Now, when we remember that number one, introduce you to a few shortcuts. Tap the screen, will focus it, lock it, brighten it up a bit of luck the exposure. Now I can tap where I want to focus. Pinch zoom. Could focus on the back here, focus on that. And then the tail goes out of focus. Tap on there again. Now another thing you can do is I can long press and look what happens when a long press. The green overlay comes out and displays, bringing them to be closer than Louis further away. Long Chris. And you can see the difference when alone, prostate, boom, that becomes so much more in focus. That's one way of doing it. To undo that, we just double-tap on this great elsewhere. It took me I just worked at AT and that's why I love really getting there and look for little shortcuts and things like that. They either won't find on YouTube. Things that I've found myself becoming a little bit stuck. I looked at the annual. I say that I can get it is to reset the whole thing. If I have I have done that. You see what happened. They want to erase it. I reset my exposure to which is not good. So I wanted to get that exposure back. Lock that in. Now the other way, tap on the focus and you can see here a slider, really good slot, although i bottom tends you to order go up. 0 is the closest focal length lens. So the closest focal distance should say. And as we go up to a 100 within that further and further and further away. So we can get right back to where the edge of that notebook is. Then it comes in closer until it gets there and it actually moves to the front day. Now, really good one to note is that the close you are to 0, the closer you are to the lens, the more narrow the depth of field is. Modflow not throwing jargon out there this whole series. But depth of field is basically what is in blue. So you have out of color in Blur and then add a blur again. And that's what most cameras work that way. And having a narrow depth of field, the real benefit of that is that you get real background blur, unlike yesterday with portrait mode, where it's artificial. Algorithms, very smart, very clever. This is real background blur, so the optics creates this. And that depth of field is what does a lot of people that I think you can do that with a smartphone, but this is how you do it again, nice and close, and choosing the right lens works as well. Now, you will notice that if I long press, it does auto exposure, autofocus lock, and then I can swap up sameness sense before we've talked about, okay, I can zoom in and go, You know what, That's not quite sharp. That's exactly where I want it to be. And then we can zoom back out again. Lot of Android's, when you zoom in, lock the focus, zoom back at it, touching, touching the screen, intellectually deactivate it with the Wi-Fi, need to double-tap What's hap elsewhere to unlock it. The biggest that's unlocked. Pretty happy with that. Every tap on the back there and it will change focus to there. Another thing with here is that with you, I found that I really like is that if we're getting really close here, lock that change bars. If I tap on the three times lens magnifies. Now, you've no doubt already to realize with multi lens cameras, the ultra-wide getting wrote on top of it, the wide you can getting 78 centimeters. The telephoto two times 2.53 times that minimum focal distance is why off again, it's weighing the distance. So if you're using Lightroom Mobile and you applying rare with manual focus and you want to, you're getting closer to that be any changed the lens to the what, all of a sudden, you can't get in a close enough and you need to switch back to a Y with the author. Not sure what you're using and how yours works, but just having a bit of an experiment with the author. And if you're really close to that bait and switch to a three times, it doesn't change that minimum. It just recognizing, oh **** out of that lens, this isn't going to work and it will just magnify, it zooms in. And that's where we get this sort of result. So this is the scenario where I would use the offer, but as you saw, they're chasing the base around the backyard with the green overlay on an iPhone. Android doesn't. Obviously. That's when I would start using using the Lightroom Mobile. So hopefully that explains when I would use lot roadmap ball went over, just go to the iPhone. Thank you again and I'll see you tomorrow. Bye bye. 26. Adjust White Balance At Capture: Welcome back to 30 days of Lightroom my ball. Today we're talking about getting what balanced rot at captured. Why is that important? Well, you've probably experienced like I have, where you've gone into a cafe or restaurant, some sort of a new indoor applies, mostly indoor place where they've got really funky lighting and it's causing you all sorts of issues. And you end up with a photo that looks IX and politely the wrong color. Last week we talked about how to correct that using Lightroom, using white balancing, use the color tool is heaps tools. They can be aggressive, you can be subtle. The thing is, if your photo is completely wrong, then that's the information you've got to work with. To give you an example. Let me just bring this camera over here. Have a look at this. This is the camera that I'm using now. This is warm time. And then there's the blue tone. I have mine here around 4500 Kelvin because as we talked about in the previous, imagining Colbert and then I have tint so I can change from a green tinge to a purple magenta tinge and bring that back a little bit. That gets rid of the economy. If you've got radish complexion, it can help just kind of reduce those reds a little bit. So it's not just adding colors, it's the other way. It reduces some over here, I've got this, the cameras I'm using. I've got a ten x over here and then over to the side here I'm using a what are you? You are an ICT and I found it. As I've always said, I'm a mobile purist everyday 0 my ball finds that I'm using, as well as this one. Here we go. This is what Lightroom looks like. So that's what it looks like when you have those color adjustments in the power, we have just set up this really random bowl of fruit. Please don't judge my specular highlights in my shadows. It's not about that, it's about the color I already. This is what it looks like when you are in heat, what balanced by default, it's an older white balance which is brilliant. And we also have some presets. And this will correct different types of colors that you have here. And how cool is that on the left side, as we tap it, it says Tungsten fluorescent, which is if I turn my studio lights off and I have my overhead light on, that will create a bit of an issue. Clarity using the presets. Clarity is really the only one sided die, the only one that would come up with, and that is an overcast day. And I'm shooting under a tree or I'm doing a macro under a trade of a cost, there's a blue tinge and it's a noticeable blue tinge antidote if it's noticeable because I tell you what, the auto white balance on our smartphones. It's just incredible what? Let's go back to here. This bowl of fruit. Last one. Here is we sit your own, and this is where you take it to the next level. So you set your own, similar to what I mentioned last week with the white balance, you need to find a neutral color in the scene and it has to be in the same, in the same lighting conditions. So it has to you have to put something in there that is where the subject is. Now. The experience I've had with this sort of thing has been workshops with cafes, restaurants, hotels where they're taking photos of food, the restaurant. And when you're out there on location to those areas, you can you don't want to have a gray card. You don't want to make it it difficult for people because a gray card, technical, it's iodine percent gray and it works really well. But you can also use just a white piece of I4 reflex copy pi bar. It's only an eight because it's not a pure white, but it's a neutral, It's neutral white. So what we do is we put that in a, another that's in there. Now I'll go in here and I will get to that. I'll lock that with the tick. Remove that. That's our end product. That's quite good because that ball is not actually a pure. What? If I erase it that have a look for the lookout for them, a little bit of a blue tinge to it already. You can see it more here. You can see them all there. Now, this will also adjust brightness a little bit because different colors have different brightness values. This is why this is important to do before you do your exposures. Because if you add a bit of an orange to the tint, or blue to the tint, or a bit of green, they all have different brightness values. Now again, don't judge the shadows diffuse in there. It doesn't matter. There we go. We've changed the colors because I haven't a bit of a warm globe in here. I'm going to do I'm gonna pop that on their white balance. I'm going to put use my eyedropper and it mostly want to fill up that scene. There we go. Remove it. Pretty good, pretty good. If you want to introduce color, which you might want to do, you might work in a, in a bar where you have some really cool lights and you're shooting your photos in the day, you want to replicate those lights. Well, there's an RGBA lot. Hear from you lazy the VL 49. This thing is, this thing is brilliant. It's so good. You can change from a cool What to a warm light. And you can also change through the entire RGB colors so you can get some really funky colors happening types. So we can see here we can change these colors quite dramatically. You can see I'm scrolling through the colors of their Rothbard of blue. Things is really handy if you're having white balance issues. This is brilliant because as I said, you can change it from RGB values. You can change from a warm light right there and I'm gonna hold my finger down. It will change the temperatures of the raw button. And you'll watch, watch these light as it goes through. And look at that. Haeckel's that. And then when you put that on here, you can just change everything. That's probably any Lindsay product is affordable quality. And css, to summarize, go through the different presets. If you're having color issues, go through the presets. If you don't want to muck around with all these sort of thing, you taking photos of clothing, fashion, people, natural lighting, outside is always the best but sometimes overcast days location where you've got them, you can get a bit of a blue tinge or that sort of thing. All right. We'll wrap it up there. Thanks for joining me. I'll see you again tomorrow. 27. Manual Control Of ISO & Shutter Sec: Welcome back to tighten up at 27 of 30 days of Adobe Lightroom. Today we're going to talk about ISO and shutter speed. Now this is really exciting because 90% of people, probably 50% of professional photographers, get this wrong with ISO, what it is. Most people think it's an acronym for the International Standards Organization. It is not. Let me read it to I'll bring this up on the screen. This is on my, on my blog. This is direct out of their website because International Organization for Standardization would have different acronyms in different languages, iOS in English, in French for organized Haitian international denormalization, our founders decided to give it a short for ISO. Iso is derived from the Greek, meaning equal, wherever country, wherever language, we're always ISO. That's pretty cool. That means equal. That's not an acronym. In case that's the first one. And it's standardization, it's equal where this came from. Is back in film. Photography dies. He's typing up the camera, put your role of filming, load it up, close the lead, and then take your photos. Now, different films had different sensitivity to light and it can imagine putting up a bit of perspective or pipe. Thin paper, thick paper up to lot thin lets more light through thick blocks at AP because it's different brains. Fuji Kodak, lots of different brands. They're all different. So they needed to have a standardization so that people could write them and be able to know. Okay, I want to take low-light photography on a 1600s film. If I want normal stuff, I'll go 400 film. It's a standardization with cameras. Modern cameras, when we move across the digital photography cameras, whether they're a smartphone, SLR, mirrorless, whatever you're using has a fixed control and has a fixed demand sites like 30 to 50. When you increase, that IS actually amplifying the signal. Now, what do I mean by signal? Let me, let me write Dima blogging. As we take a photo, light enters the lens in every pixel measures the intensity of light by counting the number of photons reaching the pixel. Now cameras, some cameras have a dual pixel, one for focusing and one for capturing light. The charge of the photons changes the voltage in each pixel. The voltage values are recorded by the camera. The raw data sits in jail. Raw stuff will say Jesus would fall top at the raw data in the collection, records voltage values from all those pixels. Okay? Alright, so when we amplify that signal, so it turning up our eyesight with my amplifying, the signal went amplifying that process. So should we call gain not, not increasing sensitivity. We are increasing the gain. Makes sense. We think you still with me. Alright? So that's what that is. When you, when you have, your camera might have lowest sensitivity of number 32. But let's just go with 100. Just to keep it simple. When you, when you adjust your ISO to 200, you're doubling that gain. And that's when noise comes from, because this is all electronics and similar to operating a radio and switching between radios and you'll get that white noise. That's similar concept day. Alright. That's ISO. Shutter speed is a little bit different. Shutter speed on all cameras and even, even the new Nicol and this came out and that no longer has a physical shut up, but a physical shadow used to be. It would open the curtain, LED light come in, hit the sensor, and then you shut it and let me open for a long time. Let's lots of lighting and look pool of light and a brightens everything. But if you open a shot it really fast. That's a little bit of lighting, and that's the capture speech as well. So if you're taking a photo, your fascia, a slow blurred photo, then you'll have it open longer. And it's really exciting. It's really exciting on the smartphones and has what we call a rolling shutter. So instead of just capturing the whole thing in one go, it reads those photons is from top left and scrolls down, starts again. And on the outlet room, depending on what phone you have. This one, he is 13 Pro Max. It has physical opening of 1 second. So depending on what found you're using with Lightroom, that might alter. If I use the 19th camera, I can get up to ten seconds. All algorithms, algorithms is processing this actually nothing physically opening up and staying open for ten seconds. Makes sense. That's the exciting world that we live in now it's smartphone photography is that the algorithms just give us a much more capability. And we've gone beyond the physical limitations of what's happening inside the hardware. I can't get by. I think it's really cool. Alright, let's have a look. So here we are inside Lightroom. Tap on any of these soft just basically rates at rates it, this are we starting from, starting from 0 here. Okay, Let's go to ISO and you can adjust it. Let's put it on the lowest 40. Now you'll see they were not. Did that automatically the shutter speed underneath it, seconds SEC, came up with a value. Now it's looking at this thing I okay, because my dad, I saw the lowest demand. You want the best quality. You want vivid details, nice color renditions. If I increase that ISO, making a higher and higher, higher, then the amplification of the gain will introduce that digital noise that speckled stuff, that real funky looking things in it. So I want to try and keep it as low as possible. When I do keep it as low as possible, you'll see that the seconds has gone 130th of a second. Now there is a fractions of a second. So if you break up 1 second and you break it up into 30 pieces, that fast enough. 30 paces. 130th is like that's it. Now. That's actually at sands really fast, but that is actually really slight 150th of a second. Okay, so if I'm looking at this photo here, bang of my debt, as low as I can, get the best quality photo I can. And then shutter speed 130th. Now if I was to hand-held this and take the photo, you could end up with some simpler, in their opinion scenario, you would have an arthropod and then you don't have to worry 150th of a second. Now if I'm outside and I'm starting to struggle, I can increase that a little bit, go up to a 100. And you'll see that when I get up to 125th of a sacred or wherever a hundredths of a second, then everything freezes. It's people walking past, all that sort of thing. You want to have an issue anymore. But I digress. Let's just stick to that for now. Leave. But it's just reset, put everything back to order. That is the reason why you have that set to the lowest amount. When we do that, automatically adjust, we're going to make that the minimum 40. And you'll say there the seconds automatically adjust the shutter speed. It gives it a value, measures it gives it a value because it's trying to make these nicely balanced. Lot and Doc. Now if I put something dark in front of the camera, you'll say they're slow down the shutter and it's changing. The shutter is trying to almost get a full second of staying open. Because now it wants to try and bring the brightness of the stock object backup, something that's lost in the statically pleasing, moving out of the way it'll go and readjusted everything. Give it a second. It's coming. It's coming. All right. Foot put something dark in the background. You'll see it automatically just from a practical point of view, you thinking, what would you want to do that? Well, let's switch this around and all my ISO border. And then the seconds I'll play around with if you're chasing bees around the backyard like I do. You want to have a nice fast shutter space that you've freeze that actions. For me the best shot is when I can get them in-between flowers flying and you're gonna get their legs dangling. It looks super cool. You want to fast shutter. So when you do that, you want to increase the shutter speed and you want to have it nice and phosphate one thousandths of a second or something like that. When it does that, you'll say that the ISO, it has adjusted that. And when you chasing a random bush, we got a broad area, dark area, broad area, dark area. I don't want to muck around with all those numbers. I know we're balancing all that. It does it for me, which is really super cool. So you can see here these passion fruit flower photo on the left is all auto photo number two of adjusted so that the shutter priority and studied nice, too fast shutter speed day. Photo number three, I adjusted, manually adjusted everything to achieve the same measurement on the same exposure. So you'll see the adjusted the seconds that shutter speed. But to adjust one, you need to adjust the other. You might be thinking, fantastic. I want to have the ISO sit at 40. Nice and low, good-quality shutter speed. I want to have that about 170 thousand sharp and fast. I'll just do that. But the problem is that you'll end up with a result of an exposure or a brightness that's either too bright or too dark. And to bring it back to something that you can actually see the photo and make it look nice. Again, that is where you need to go into your, your controls. Adjust one of them to bring it back so that say the broader or doc, you have to adjust one of those in the shutter for the ISO. 28. Using a Lens Attachment With Lightroom: Good day and welcome back to day number 28 of these 30 days of Adobe Lightroom Mobile. Today we're gonna talk about lens attachments now and it's something you don't normally associate with Lightroom, mobile editing or camera. But it's fantastic. And the reason why I use Lightroom with the lenses is because I can force the camera to select the lines and stick on that. I find in particular that have that LIDAR sensor. That sensor. It's brilliant for what Lightroom does. It will go and it will detect whether it's something you've moved too close or you've moved further back. And it will tell the camera, hey, you can switch to the wide lens now, or you can switch to, you've got to close. We didn't get 78 centimeters. Never gonna have to switch to that ultra-wide. And this ladder will then go broke and it will change. And you'll see it, you'll see it and I'll show you a changes between lenses. It's great if you don't have a lens attachment because it means you can get in closer. And then when you're in really close and you hit that three times, the leader will say, Hey, don't switch lenses, just magnification. And it's awesome. Turn that off. I found a really sneaky white, which I'm really excited about because for so long I thought I can't use these lenses anymore. But what I discovered was on the front of the camera. You can actually see the lighter. This case, the streaming case, has the actual hole cut out for it, which in theory is really good. Then when you discover that, hey, this actually switches it lenses and causes all sorts of grief. We actually want to cover that up. So what do I cover that up with my where I put a bit of type on there and cover that out. All of a sudden that gets rid of that control. And now we can actually go through and select lenses and it won't try and override us. Which is really good when you've got a lens on front deck for some of these lenses and just talk about them really briefly. This is a 48 times. This one here. It has a ring on the front, does require a tripod. This bazooka is a 21 times. It needs to be on a tripod. But the result is that you will have chromatic aberration. And I'll show you that, that you need to go in and edit out and get rid of. It also has vignette and softening around the edges really, therefore, when you really, really need to get in superclass Soviet tank feathers of birds. And the 14 times it's not enough. The 21 times we'll get to the further. But you just have to realize that you're going to have to cropping past that vignette, cropping past that blur. And then you're going to definitely have to go in there and shop and an editor. And you can get some photos that you just can't get on the phone by itself would just blow your why what you can't do that It's a lot of work, cinematic range this wide, I will put on the wide lens and that gives you an ultra wide field. The, you're probably asking, what would, what would you do that Marco and I've got an ultra wide. The aperture on the ultra-wide doesn't let in as much light as this one. This one has a bigger aperture, bigger hole at the back, so it will actually let in more light. So if you're doing low-light Astro photography, something like that, then you would use the wide lens on the wide lens and that'll give you the ultra-wide with a bigger aperture. This is near the portrait lens. And the portrait lens, what would you do with this one? Well, the portrait lens, which is a two times, you put that on the telephoto. And it's amazing. You can actually get four times or now actually with this one, it will be six times optical zoom. The quality coming out of this one is phenomenal. Lastly, a couple of macro lenses. Now I have a just a fixed macro lens, which gives you a very, very shallow depth of field. So you're getting their new capture just the sliver of the beam. Running a random jumping into your flowers. You'll get the eye and maybe a little bit of the hair on the back and then the rest of it will be just, just transitioned to being soft and out of focus. Very creative, a lot of fun. If you want something that with a bit more control, then you have this cinematic macro lens which has a focus ring, which is incredible, I mean, unheard of. And they worked amazing. You can get in if you put this on your wide lens on your phone, not sure ultra-wide because you'll end up with just a black fight over the tiny little circle in the middle of it you can see through. So it's no good. This has to go on the wide lens. Then you can change the focus ring so you can actually get rod on top millimeters away, just like the inbuilt ultra-wide, getting millimeters away. And you can move back a little bit. So it actually gives you a lot of flexibility. So you can change, as you move further back, you can change the focus so that your debts, the field can be similar to the little tiny one who taught me that little sliver in here. Or you can change your focus. Focus distances, you move back and then your depth of field increases so you can get that whole be in focus. I'm going to use the Lightroom app. I'll pop it onto wide if you're not sure which lens, which. One of the things that's great about the Lightroom app is that you can see here so we can switch between the lenses. I've gone to watch. And now I know when I stick my finger in front of the lenses night, it's not it. That's the one. I know which one is the right lines demanded need to put this on. Just screws on. Like I said, you could focus further away. Are you bringing in, if you want to say where you're actually focusing, remember, on the iPhone, you've got these green overlay. So let's change this to up to a 100. And then we can see as we are changing this focus ring, have a look at that, that goes there. I can getting closer. Bringing that focus ring right there. Fantastic. Now I'm going to turn, I'm just going to erase it and get rid of that. And you can see there, that's where we are getting closer. Getting closer. So I'll bring their focus to a minimum previous one to a minimum. Let's see just how close I can get this little coffee bean. Here we go. That's pretty cool and that is all pure optical. No magnification. He says all optical. Let's take that photo. And that's what it looks like. Pretty cool, very close. I love it. You can do so much with this lens because you can get inside flowers, you can get a really close or you can change the focus distance on the iPhone using manual focus. And then you can change the focus distance on this. And you can get up to about ten centimeters away. Then what I love about these lanes is that then you get these beautiful bokeh. If you've got a background that you don't want people to see in the photo. It will just turn it into a big blur and have a look at that blur so you can see there the green, what's in focus. And then have a look. The background blurred that background is. It's brilliant. Now, I'll show you the iPhone. Se, how little the LIDAR detection is gone. Hang on. Hang on. You. I'm not close enough and forget closer than that. I'm touching it now it's still won't. See. This is why. This is why the choosing the lens on the actual Lightroom app, forcing the lens makes all the difference because that just didn't work. Now if you haven't seen this lettering pro in work, let me show you zoom-in. What I'm gonna do is zoom in. We go lock my focus. Now we'll do this three times. That's incredible details, isn't it? You can say why. I've been thinking a lot. I love macro, but Zoom and their ability to get in and easy in sign. So if you're doing macro just for the point of getting really extreme close-ups. This is the way to go if you want to do macro where you can have really beautiful, soft, real uptick, blurred background. This is the lens that often using with Lightroom and tap, the results are pretty amazing. Now I did say that I was going to show you and share with you the chromatic aberration. Here's an example. This pelican just can't get it, just, it just won't do it. Now, I did everything right. I changed the ISO God and that sort of thing. But you can see there it just didn't work. Throw on the lens. And this is what you get is the 14 times lens that are used here. Just coming here and going to edit. You can see here amazing. But we do have, you'll see at the top there, along the top there we do have the chromatic aberration, fringing, whatever you want to call it. That's the with Lightroom. We can go into optics, then remove chromatic aberration. Didn't get rid of all of it, but have a look before, after it did do it a little bit. What we can do weekend, we can go in and I will go out of that one. Masking. Going to add a mask, to add a brush. I'm going to brush over this area where there's chromatic aberration is happening. I think that's a little bit there. Then I'll go into color and I will desaturate. See how we've got rid of all that blue, but they saturate. The benefit is that this is all the pelicans or black and white. So it doesn't matter that I'm reducing it because it's either going to reduce the saturation to either black or white. There we've been able to Electric etc.. And it's just going into those areas where I've mastered. That is a quick tip. Had to have this on a really sturdy tripod that it didn't move because it's slide is brief and it will throw it all out of whack. So this was a very still afternoon when I took this photo already. Next one. Next example of fringing is this one here. You can see here people on the bridge on the left can't see them. Because you notice like he wanted to take a photo of a beautiful sunset. Pick up your phone and go, oh my gosh, it's tiny. This is sort of lens attachment that gets that zoom will flatten and the photo and compress the background, bringing the background closer to what you can see. Here. We have more chromatic aberration. Chromatic aberration can be quite severe with these lenses because it's all about the optics. So again, we can go in here and we can actually do a color range. And we can go, you know what, double-tap, not quite there, go in here and go that blue, whereas the blue there it is. Because you can see the outside, you see the blue. We can refine and go, You know what, we want to make it just that area. Apply. Same thing going in and just reduce the collar and get rid of that blue in the sky on the other side. So anybody who would go and subtract from the mask, subtract all that if we wanted to, but have a look, We've got rid of all that blue. You can do it. You can't edit is workable, but just takes, takes a little bit of work, a little bit of patients and enter and desire to have fun. It's fun. It lends attachments of fun because they expand your, your capability that gives you more versatility. You could do so much more. The phones or our amazing. Now with all these different lenses built-in, ultra-wide, wide telephoto, telephoto nails three times the same sound, ultra credible x2, that is the future I think the most will be following and getting more and more Zoom. So yeah, there we go. To wrap that up. What I do personally, most of them are macro photos I just use, use the built-in camera app. It just use the native camera. Because I loved pro rule, what it does. If I wanted to get beautiful Bucher. And I've got that scenario would have got flowers and I can see sun coming through in spots in the background is like where is my macro lens? I need it. Go grab it and use Lightroom to achieve them. So I'll see you tomorrow. 29. Live Filters Inside Lightroom Mobile: Good eye and welcome back to day number 29 of these 30 days of Lightroom Mobile to die, we're talking about live filters. Should through Filters, camera effects, whatever you wanna call it, different names. But basically it's a lot of filter by these works is similar to presets. We talked about presets the other day, which is basically a preset is a snapshot of different sliders that have been operating in the edit module of Lightroom eyeball. That's what this is. You are taking your photo and it's a live preview of what that snapshot of sliders is gonna look like. And you can say here, That's the icon at the top of the top. Tap on that and then scrolling through any could see immediately, you get that immediate feedback as to what this is going to look like. It does flash on the left side while it's cold. I wish it would be nice if you could actually see it like once you've selected a densed idea and said, hi, this is flat black and white. This is not high contrast, this is not wherever would be nice if we could actually say that. This is the bird bath, little bit of a reflection, little bit of murky, yucky brown water. It's been sitting there stagnant for a little bit. You can change these in the presets. There we go. You can have a look. So this will look like as a black and white. And I think Black and White works really well. I mean the brand, the tendons in the water. Yes, it does add to the story which you have to consider and adds to the story. It's real as real life. It's what, what's actual there, it's factual. But you want to be creative then. How about we just do it as a black and white and you can get rid of the brand. Now, wherever I really want to show you, this is the exciting bit is you might be thinking, fantastic Mike, I'll love that. I love being able to see it. But is this a permanent thing and it's not. And that's what's so exciting about this, is that basically you just go into your photo inside the edit module. You say here, inside edit. And then you can just go down two versions and you can go to the original. There we go. Current edits. So that's as it captured, or you can get an original stuff you should as a black and white, it's still a color. Everything is still this. This is one of the things that's just amazing about Lightroom is that nothing is permanent. Now, just like preset, you can see on the right-hand side he said a lot panel has got a dot in there and I can say exactly what it did. Let's kind of curves. You can see here the curves look at that S-curve and then look down here at the black point, the bottom, we've covered this previously to have the bottom left corner of the black point. Say, instead of black point being there, they've lifted it up to give it that low contrast kind of matte looking finish as S-curves. So if brought in the highlights, reduced the shadows. You can see the before and after that effect. Before all the effects of all adjustments to lift up, tap on it. And we can say everything else. There's lifts, so there's really not much there, it's just high contrast is all that was done to that one. Let's go. This one is a black and white. Now what I want to have a look at, if we've got a colors and black and white, you can see there. It's black and white is what they've gone through four, they haven't gone forward saturation minus a 100%. Simply in this preset tapped on black and white. That's a real key feature there. I wanted to touch on curves to look again a stronger S-curve and the black is brought up if you like, black and your life really crunchy, crunch the blacks like I do to create shadows. But these presets done it that way to educational, informative, to why unkindly know what, instead of doing the way I always do it, what does this preset live? Filter do? The very basic presets. But that's why I want, you just want to say in real-time live what's going on before you press the shutter. And I think it's really insightful for me for quite some time. To be completely honest. I struggled with the concept. Seeing the light. Photographers talk about chasing the light and seeing the light. I didn't quite get it, but well, I understood the concept. Basically, you're looking for beautiful light. You're looking for the way light hits, reflects, falls off and shapes different objects, creates that three-dimensional credits that depth. I get the concepts, but for so long I struggled to actually see it because we're looking at color. There's so many distractions, but, but using the light filter and you can do the same with a lot of smartphones. With the inbuilt camera is you can go into the live presets and you can actually choose a black and white. Now, one on the offline is called silver tone. It's brilliant, it's my favorite. I love the wire, processes, the black and white, but it removes all the color. And that allows you to focus and observe and identify the areas where you can say that light just gradually fall off something or really high contrast. Black and white where you got the real deep shadows. Middle of the day is perfect time because you get a rural big shadows, deep, complete separation and juxtaposition of shadow and bright areas. And then they start looking for shapes and the anticipation of people walking out of shadows into the light. And you can see them lit up with the shadows and the background. Super cool light filters. That's the Y2. For me. It kind of expedient it and that learning and that experience of chasing the lights. Thank you very much. Then number 30, going to be a recap of everything going to go through from day one, raw throat of day 29, and Gouraud through them all. It's going to be basically, if you're not interested in looking at all of them, he just wanted a quick succinct. Everything all in one go tomorrow is going to be the day because it will cover everything briefly. Go through it and Awesome. Thanks for joining me and I'll see you then. Bye bye. 30. Workflow Example - Selective Color: Can I welcome back. I just wanted to show you a really quick way or two ways of doing selective color where you make everything black and white grayscale, and then you just break some college re-appear in pop. So the first way is to go into the color panel. So let's go into they're going to each individual channel here and reduce the saturation, getting rid of all the college in every panel. And you'll see someday that don't have anything and that's okay. But we'll still go in there and merges them all. Then we select the color that we want to bring back. So bring back the red and have a look at that. And we can actually really make it pop and saturate. Pretty cool, isn't it? And we won't bring back some of the other pizza, the trough will, and we can do that and we can bring back sunblock the green, and we can bring it back so that it's a little bit of color there. But we making the ALA colors really pop and punch. That's one way. That's my favorite way. The other way is the color range selection. So let's go to selections and we'll go here to color. We're going to select an area. So let's go down to the red. There we go. And you can say we have to refine it to bring those reds day invert. So we've got apply first, then we invert it. Now we've got a color saturation and we can reduce the saturation of everything except the red. Not as good, but it is another way and an optional way of doing it. 31. Workflow Example - Passionfruit: Welcome back. Today we're going to go through the four-step photo editing system. And I'm going to go from this photo here, that photo there. The colors just jumped so much more vibrant. And it's a wildfire. As you know, four-step system is first of all, compositions, we look after cropping, perspective or that sort of thing. Number two is where we get into tones, exposures, sharpness. Number three is the colors, color grading, white balance. Number four is the icing on the cake, which is the local adjustments. Guys, we're back to our original here. First thing I do is I go into the lens correction, tap on both of those tiny subtle, but do it. Next we're going to crop. Now, you know, I love a 69 photo, but I'm gonna make this a one-by-one because I can get in three elements, heat ray flowers, the one on the right there's the flower bud. Juxtaposition and I've got depth with that. Forgot out-of-focus, blurred flower hitting the background. So I'm quite liking that crop. The next account, step number two, which is order, and then I'll get into the light panel and look after the tones, exposure, contrast and leave this alone highlights, I'm going to reduce those highlights enough that the leaves don't start to go funky. Say the leaves on the flower heads, how it's tied to change color. I think about there is nice shadows. It's not going to affect the flowers, just going to affect the background. So I'm gonna go all the way back there. What, what am I sure that I don't lose details in the whites, the blacks. Let's have a look at the photo itself. I think about there. It looks good effects. Now we're going to get into the sharpening. Now this is global adjustments, so I'm going to blur a little bit the background and everything because the main flower, I'm gonna go in there and, and really bring out the details there. Clarity. Let's have a look what it does to the colors of the flower I think about there, it looks nice. The highest attempt think that's going to look good. No, that's right. The highs vignette all outdo a different vignette using the radial lighter on next, I'll go into step number three, which is the colors, white balance. I think that looks nice. Let's go order. Yeah, and I don't like that. Let's go back to that shot temperature and tint. Let's have a look. Going to add a little bit the saturation, it's kind of that first, have a look at the grains. Whenever they are already saturated colors in it, greens and yellows are the very typical that I've just become too much really quickly. Vibrance, as you know, will adjust the vibrance of the more muted colors. So it'll bring up the titles there. So I think that is looking really nice. Now already we're ITO are local laws adjustments. So the first one is going to be a radial gradient and I'm going to select a random flower. I'm not expand that selection a little bit. Reduce the feathering. It's a bit more localized on the fly with a let's go into the light panel. Reduce the highlights. Highlights, bring those right back. That's looking good and contrast just to really make it pop and crunch. That's looking nice. Speaking of copper and punch, Let's go into texture. Go crazy and overboard with the texture and clarity, little bit of clarity. And that's looking a little bit over the top, but that's okay because when we zoom back out, That's exactly what we want, isn't that we want it to jump off this green a little bit. Tick, happy with that. Next I'm going to do the vignette. I'm going to do another radial and I'm going to swap across, change the shape, turn it around, expanded, spend. There we go. Lock panel and exposure. I wanted oops, I've got the inverted. There we go. Invert. I want the outside of that mask. There we go, exposure. Let's go crazy with that. And then texture. I also want to blur that background so I could say the top left corner with that leaf, you can see that you've got the leaves. Let's blow that out because it's not part of the story. We want to get rid of that. Next. I want to go in there and just get rid of those things like the leaf that during the Border Patrol, I'm going to go into there brush. And I'm just going to brush, brush these areas. Ten, negative exposure. There we go. And now say that it's gonna take two swaps. Get rid of those bits, get rid of that bit. And if you go over, so you go over the leaf, we just go in there and a rise out and we can just erase that and bring it back. Here we go. Is that before and there's after. I think that looks amazing. Thanks for joining me and I'll talk to you again soon. Bye. 32. Workflow Example - Black & White - Dragan Effect: Good, I am welcome back. In this video, I'm going to show you the dragon effects, kind of an editing, the grungy black and white, cool it install and effect using Lightroom Mobile. The app. I didn't have a video, another video that are used, snip seat, which is really cool. I checked that one, add the link above. And this time I'm gonna show you how to do remote ball just to show you the difference between the two apps to credit, very similar kind of look. I'll show you that before photo here in the after. Here's the before and the after. You can see the dramatic difference in the artistic kind of look, don't go for a room is the, one of the many apps that I show on this YouTube channel. This is the one we were playing with today. And I've got this really cool other little lower thirds that as I'm going, I'm gonna show you these and the tools that I'm using. So without further ado, let's get into it and I'll open this up into Lightroom. So this photo, the first thing I want to do is those local selective adjustments. So now this is only on the paid subscription model that you could access to these. It's why I've got the other video there on snap safe, which is fantastic. But this one he paid subscription, it's pretty cheap. Just do it through the app. It's easy to do. First thing I'll do is I got to the tab icon. What I wanted to hear, what I'm doing is I want to try and see how what lift one side of his face is a bit dark. I want to try and level that and try and reduce those highlights on this side as well. We'll go into the gradient and I'm going to first of all add a gradient. I'll drag it over to here. And that's pretty good. Guys. My lot panel, bring the exposure down, bring the highlights down, and you can see that some that's doing it, just being mindful balancing between exposure and and holidays knows they had that real halo effect there. I realized I went too far around the hairline, so I'm bringing that back so that I've dealt that off. So that's the first thing I want to do. Next thing we wanna do is another gradient on the background. So we'll do another gradient and ran the wrong way. They swing that around. About this time I want to broaden this side of his face on broadening that up a bit because it's kind of lost a little bit of saturation as well. So I'm going to go into the color, add a little bit of saturation there. It's really lucky about the selective tools in so a lot of room eyeballs, you can do a few of them. You can say there that yes, it's gone in and it's affecting that background, the one that I darken down, lightning it and kind of messing it up. I'm going to mask that out and just It's my finger finger paint. And just choose ij areas that are masking out. Press the tick, that's pretty good. Next I want to do is have a look. Now, because of why this is captured in the way that I've just broadened and doctrine and mucked it randomly. Say the odds are off now, so once darker than the other. So as soon as I turn this into a convert this into a black and white, that's going to look really odd. So I'm gonna go in there and do another selective and I'm just going to do the radial this time. And go in there and just draw that off a bit. There we go. Contrast and a bit of contrast That's looking a bit better. Maybe a little bit too much. There we go. That's looking better now. All right, cool. We'll move on. That's excellent. The next thing I wanted to do is the Effects panel. So let's say a cool is that the law fits down. They're both pointing that way, pointing that way. Get there. So texture is what I want to apply with. So let's go into that affects panel texture. I wanted to reduce the texture. Now, now this chance counterintuitive guy who runs, you want details. But textures, so good texture will go in there and smooth off some of those, the font or points that because what I really want to encourage people to look at is the real deep kind of farm frown and details there. So that's what I want to do. Next. I want to go in and do clarity owner increase the clarity. I want to increase the haze. Yes, it's looking pretty grungy now, but we're actually creating a kind of a HDR look at that real grungy look. So hold my finger on the **** finger. You can say the before. The after. Yeah, that's pretty cool. I'm pretty happy with that. The next thing I will move on to now is the color panel. See if I've got a little thing here that we got color panel I want to want to do and he is then turned into a black and white. So you can say that the NW up the top there, black and white, zooming out a bit. Is that before and our after forgetting, I've got these new system here. I've got a dam below there that before. So you can see it as I'm doing it, which is really cool. All right, so I've done that. It's really not much else I want to play around with here other than just converting it. So the next thing I wanted to do is go into, back into that effects panel. And what I'm gonna do in here. Is add a vignette. I'm going to add a real dark vignette. Regardless whether are adding a real dark vignette or not, I actually go all the way negative 100 so I can actually see it. So apply rule with the other bits. I can say that this is what I can actually see exactly what I'm doing. What I'm gonna do is midpoint, reduced that feather, feather, it got that way. Round this, round that lock that and now go back to the vignette. And that's pretty good. Now you can see there, I'm gonna show you something. Yeah, that's if you weren't afraid, plan, this is the way to do it. You say that that's quite good. But one of the things that's kind of what it's done is because he's kind of slightly off center. The vignette is in the center, which means they're on the rod side of air frame there. It's a little bit broader. I want to actually want to get rid of that vignette, get rid of that double-tap near it, and it goes back to 0. And I wanted to get back to local. Will do a radial like that. Keep getting bring them on notifications panel. It's not a ham helpful. Let's try that again. There we go. Okay, that's pretty good. Now what I wanted to invert it. So now I've inverted it back to the light panel and I'll go in there and just reduce. And I can just move that around. Haeckel's that. So now my vignette is slightly off-center matching where he's faeces. And what I could also do is go into texture, reduce the texture is a 100%. And that is just soften that background as well as any sort of noise. Brian grittiness in the background of actually smooth that off a little bit as well. So that's pretty cool, pretty happy with that. Press the tick. Couple of little things I want to do now is just a little bit of little bit of brushing. Now that needs to, but I wanted to go in there and just go. I wanted to go and do plus brush. And I want to, oops, don't want to do that. Plus brush. But going noss enclosed, I want to brush around. He's all hear that broader, broader. Zoom out. Make sure it's not real Funky. Go back in here and add a bit more here. Broader. And eraser and his pupil, they, I don't want to, I want to bring these people back side of what his people would be black. I don't want to broaden that. Okay. Going they brought in it. And what I wanted to do is just go back and just check, make sure that they level theory even it doesn't look too crazy and I think that looks really cool, That's happy with that. Because that's what I want. I want you to pay attention to go to his eyes. I want you to see all the wrinkles. And they go down and say, check out the texture in any Beta ISA. That's still left enough definition in the clothes and all that sort of thing. Yeah. I think we'll wrap it up there. Thanks. 33. Greg McMillan - Guest Workflow Example : Hi everyone. Greg McMillan here from the iconography podcasts. Like James is invited me to make a contribution to the 30 days of Lightroom Mobile. I'm going to show you to do a quick photo at it. From this one to this version. Let's get right into it. Here's the image that we're working with. And the first thing I'm going to do is zoom in on the trunk of the tree. As you can see, it looks very dark and there's not much detail there. But in the light panel, I'm going to take the blacks and go to the plus side and settled in and around 70. Now you can see that some of that detail has come out of the shadow areas and other adjustments will darker than back down again, but this will prevent them from losing detail later in that process. If I press and hold that, you can see the difference. It's quite a, quite a big difference in bringing it that detail in the shadow. The next thing I'm going to do is go to contrast. And I'm going to decrease that as well. Right to vote there. And it's bringing even more detail out of the darker areas of the image. I'll zoom back out. Next we go into the effects panel. The first thing I'm going to do here is I'm going to adjust the clarity and I'm going to bring it up. And while I do that, watch the histogram at the top of the image. As I slide that up, the histogram shows that we're actually increasing the dynamic range. And I'll settle out at around 5051, around there somewhere. Now press and hold and see the difference. Then the next thing I'm going to do is add texture. This adds definition to the image. I'm going to take that too, but 30 definition. It adds texture or definition to the image which is similar to the photos app, the native Photos app. The editing suite. In the iPhone, it has a definition slider and it basically does the same thing. It just gives it a little more, more texture to the contrast areas of the image. Next, I'm gonna go to the color panel. The first thing I'm going to do is increase the saturation and then the vibrance. And there's a couple of things to watch here. One is to watch the snow in the background on the other side of the river. And you'll notice that it's going to show more blue is going to turn to a blue hue. In the histogram, you see the blue channel there is close to the middle of the history and it's actually going to increase in width or size, which is going to give it more dynamic range. And it's also going to show that the blue is getting brighter. And some parts of the image. I'll start off with the saturation. I'll take it up to around 40 or so. Then the vibrance, take it up to about 25. Now I'm doing these adjustments for the sake of the leaves to try and get them to show a little better. Now to deal with that blue, I'm going to scroll back down and up in the corner here of the color panel, you'll see a mixed button. This is the color mix. So the first thing I'm gonna do is blue, it's already selected. I'm going to increase the luminance. And it's going to toned down the blueness of that snow in the background. I'll take this up probably to about 30 or so. And it's going to not only help with the snow in the background, but the pine needles won't look as blue. If I was to take that down, you can't really see it too much in the pine needles. But the purpose of this was really to deal with that blue color in the snow, in the background to make it look a little more natural again. Now I want to bring out the greens in the tree. So I'll go to the green channel. I'm going to make some pretty extreme moves here. Won't have a profound effect on the rest of the image, but just the pine needles, that's, that's that's what I wanted to adjust here. I'm going to zoom in on these branches. And then we'll see what happens with these green pine needles. The saturation. I'm going to take it right up to vote AT. You can see there's a subtle change there. I'm also going to take the luminance up to 80 as well. The green areas that are lit by the sun, they'll actually be brighter. In the end of the end of the process, they will look a little better than they did at the beginning. That's all the adjustments I'm going to make in the color mix panel. So I'll hit Done. And then I'll go back to the light panel again. Because we took so much contrast out of the image before. Although we added a little bit back in with the definition or the Texture slider. By adding definition to the image, I'm going to take this contrast slider and I'm just going to it back to 0. And the quickest way to do that is just double-tap it. It jumps right back to 0. We can get away with this now because with the prior adjustments made to clarity and texture, they help retain the details of the darker areas of the photo. Why not do this adjustment before we did the color? Well, with the contrast backed off, we can actually see more color detail because the darker parts of the image weren't too dark. We were able to see how the color adjustments affect the shadow areas of the pine needles. And now with the contrast back in the sunlit areas of the tree, you have more pop to them. That was the goal of this whole edit to begin with really is to make that part of the image pop. So now we'll go over the detail panel. This is where all the sharpening is done. There's four different parts to sharpening the image. This is always the last thing I do just before I finish the image with a slight vignette. And I don't put a vignette in every image, but in this one we're going to, and we'll get to that shortly here. The sharpening slider, it enhances the detail throughout the whole image. You want to be careful with this that you don't go too far. Since the focus of this photo was set to the branches in the sunlight. If you look down by the trunk, There's a twig sticking onto the snow and that happened to be in the book, the same focal plane. We're going to use that as a gauge for our sharpening. I'll zoom in on the twig and there it is. And I'll show you what happens if I take the sharpening slider and remember this sharpens everything in the image. And I'll take it right up to the top just so you can see what happens to it. So the twigs, the twig looks a little over sharpened. And you can even see that the artifacts and that's probably noise in the snow. It really gets enhanced by this as well. We're going to back this back down. We're going to probably stop it around 70 or so. Right around there. It's just very subtle sharpening. And I keep it subtle just because that's a small part of a bigger frame, a bigger image. You don't really need to over sharpen because if you over sharpen, then you're in trouble with the image and you get artifacts and everything else. The radius slider controls how wide the edges where the sharpening is applied. Since sharpening has done to the edges of a photo. Lower radius values offer finer edges, which is better for more detailed areas. Back in on the twig here again, I'll adjust this radius. If I go way, way up high, you can see that it starts to give what I call a haloing effect around the, around the edge of the twig. I'll take this back down and I'm just gonna set it at one. We don't. Again, when you zoom back out, you can see that it really, it's not as noticeable as you might think, but it just helps with how much sharpening has done to the edges. Like whether it's a wider edge that gets sharpened or a narrower Edge. And how it looks. The Detail slider affects the amount of sharpening in the areas of finer detail. The higher you go with the slider, the more the smaller details get sharpened. I'll show you what happens when I take the Detail slider and they go all the way up. Again, we're getting into what we had there earlier with all the fine a little weed details getting sharpened, which is pretty much everything, even the texture and the snow. We're going to back this back down. We're even going to go as low as ten. Because we just don't want this thing to be over sharpened. By keeping the Detail slider up, way too many of the finer details get over sharpen, in my opinion. Now, masking determines the elements of the image that are sharpened. When it's at 0, the whole image gets sharpened. As you go up the scale, the areas with stronger detail we'll get sharpened while the areas of less detailed won't. If you slide it too far up the scale, the image will start to look soft and maybe even blotchy. If I was to do that, say, well, let's go back to the twig. And if I took the masking all the way up, you can see how it softens it. So it's actually counter-intuitive. It doesn't really do any sharpening at all. Taking this back down. I think I like where it is when it's right at 0, so I'll leave it at 0. Now I'm going to go back to the Effects panel again. I often finish and edit by adding a vignette for a little artistic flare. You don't want to go too far with a vignette. You don't want a border, you just want to add a little mood of the photo to draw the viewer to the focal point of the image. In this case, it's the part of the tree that's lit by the sun. Scroll down to where it says vignette and I will take that down to about 24. The feather. Going to increase the feathering. To make it a little more subtle, that it just expands out to the corners a little more. Take that to around 80 or so. Now, before there's the image as it was taken. And then after with all the adjustments done to it, including the vignette, I think it just adds a little bit of, like I said, an artistic flair to the photo. And it makes you focus more on the branches where it's lit by the sun. Whereas if it's not, if you don't have these edits done and you take a look at it, your eyes are going all over the photo. But when you put that vignette on there with these edits that I've done, it, your eyes just get drawn to those branches and that's the whole point of it. Now I think I'm finished with that. I will just export it. Export the camera roll. That's it. That's my edit of a photo for the 30 days of Lightroom Mobile. I want to say thanks again. I'm like James for inviting me to make this video and contributing to the cause. And the purpose of the edit was to take what I considered to be a kind of a normal photo of a tree and lit by the sun. And I wanted to enhance the color, the detail, the contrast, make it more saturated. But while watching it for other elements of the frame, like the blues, blue cast in the snow and the other side of the river. And I wanted to just add a little vignette for artistic flare. But also the point the viewer's eye to the centerpiece of the photo, which was the pine needles lit by the sun. Again, my name is Greg McMillan. I'm a host of the iconography podcasts, and it's the iconography Podcasts Network on YouTube. And you can find more of my photos on Instagram. My name is Macmillan photo on there. And thanks for watching. Take care. 34. Shayne Mostyn - Workflow Example : Good, I got a shiny most in here on my YouTube content creator and educator over there. Youtube is shining most of the mobile photography and what I do over there, we create photos like this. There was no sort of photos. What we're really doing every day or is pushing the centers on these cameras. Really, really hard when you go into shoot generally enroll pro role when it comes to Apple products. With all of those RAW files, you're going to have to edit them. And more. Goto is Adobe Lightroom for editing all these photos. So what we'll do today, I'll have a look at one of these photos. This one hears from the iPhone 13 Pro Max, very dark photo, very nighttime sort of thought and lots of stars in the sky. I'll show you how I do it. This is the photo that we're going to edit. This is a photo of an old truck underneath the starry skies when the iPhone 13 Pro Max was first released. Now went on doing this sort of photo. I'll look at two parts of things or what I like to call to two different distinct areas of the photo and two different sorts of adjustments. One is a global adjustment, that is things that I'm going to adjust them the whole photo. And then there are things that are locked to refer to as local adjustment. And that's why we're using masks and things like that. With this photo here, the first thing that I looked at in every front of them look at is the composition of the photo. For me, it's not quite right. And to be honest, at nighttime, it's quite hard to do that. It's usually a little bit of adjustment here after the fact. So what I'm going to do is go into crop. I'm going to bring it in slightly because it's not quite centered. They're going to move the truck so it easy in the center. I'll just keep it on those two lights, the headlights there to make sure that it'll roughly lining up with those third rules that we have, the list third guidelines. That's pretty good right there. So I'll hit the tick there. Next thing I'm gonna do is look at the sky. So when we look at nighttime photos, I'm always looking at the sky, every single adjustment that I'm like, he's always looking at the sky and if I do something in the foreground and it affects the sky, I'm not going to do it. Luckily, Adobe has released the masking tool for the sky and the subject, and we'll use that in this photo. But first of all, with this a lot to look at the whole photo guy that looks really cold, the white balance and this just isn't good. I'm going to go into not presets, so I'm going to get into color. And across the top they exceed the white balance is white and longer. And to increase that slowly, I'm just watching the scar here. As it gets higher. The 3146, I'm happy with that. They'll hit that. It'll leave it right. There was some funders are a little bit of magenta to it. A little bit of magenta tint. And that's pretty cool right there. What I'm gonna do now is basically say the sky is what I wanted to adjust. So I'm going to go all the way to the left, going to masking, hit the Plus and say Select Sky, It's going to go through the photo now, fire in the sky and it does it. 99.9% of the atomic doesn't incredibly well. What we're going to do, he now he's go-to light and I'm going to add some contrast into that night sky. That doesn't pretty well. I'm going to reduce the blacks. So I darkens the night sky and go to effects because iPhones generally will add a lot of haze to the photo. There's a little bit too much here, so I'm going to decrease that haze quite a lot that it's added a little bit of blue. You can see that as I've adjusted dose things, I'm going to get back to the color and increase that temperature a little bit. Just like that. I'm happy with that. And we're gonna hit the tick right there. And then next thing I'm going to look at with this photo is the truck itself. And we're going to do it in the same way that we've just done that. Hit masking hit plus. This time we're going to tell it select subject and it doesn't really, really well that you can see that the subject is lit up perfectly. So everything that we adjust now, just like before, it's going to be in that pink area in there. So what I'm gonna do first is increase the blacks just a little bit and it's going to bring the truck out just that little bit to decrease the shadows. That's also going to add a little bit of contrast. The bumper bar, and this is quite bright. I'll see you back in, decrease that just a little. It's quite cool. Now I want to add some sharpness to this, but one of the tricks that are fine with this sort of fellow is adding clarity rather than contrast. They're not the same thing, but you'll see what I mean in just a second. If I go to the Effects tab and it'll add the clarity up a little bit and keeping only touching on the trachea. I really like how that photo it looks as a whole. So I'll hit the tick on that. If I don't know what this is going to look like, all I need to do now is pushing hold. Here's the before, here's the after, and I'm really happy with that edit. That's how the vast majority of my nighttime fires. There's a lot more that we can do this and spend a lot more time. You can use healing tools and get rid of planes and mediums and that sort of stuff. We can bring in some shadows and the full gram with different sort of fires. Every photo is little bit different. But once you learn how to use this tool, it's a very, very powerful tool. That's it for me to go last. Thanks very much for watching. I'll catch you later.