Transcripts
1. Introduction: In this course, you're going to learn everything you need to know about Adobe Lightroom classic. First, I'm going to show you how to correctly set up the catalog and adopt a sensible workflow. Then I will show you how says simply in poor photographs from your computer or SD card. Every editing tool is covered, shown you how to create amazing images. Bring skies to life that the adjustment brush, I'm painting the effect exactly where you wanted to create accurate masks that allow you to target specific areas of your photos for local adjustments. Nobody likes a noisy photograph and noise can easily be removed, which is ideal for onto expos photos or photos with a high ISO value. Simply brush away unwanted areas of your photos because Spot Removal, Healing Brush, or completely remove items from your photos. The Spot Removal clone Bush hadn't lies in selected areas. Using the radial filter adds atmospheric and draws the viewer's attention. Simply fixed lens distortion with one mouseClicked. I will show you how to bring your photographs to life with real-time examples showing the editing process from beginning to final edits. It really is amazing to watch your photographs come to life before your very eyes. And using the tone courage, you can create that vintage law. This course covers everything you need to know in each and to follow modules. Each area covers is simply explained and you can jump in. I announced, allowing me to learn at your own pace. My mission is to make you a super crazy and I want to help to release your inner creativity. I want you to bring your photographs to life and lightening Classic will really help you do that. And I'm super excited to get started. And I'll see you in the first module.
2. MODULE 1 Understanding the Lightroom Catalog System: In this module, I'm going to introduce you to the light room catalog concept and show you the importance of set enlightening or correctly. And also the importance of adopting a sensible file and system for your photographs. Because remember, Lightroom does not store your photographs that you use to do that. The catalog, it does not store you photographs. The catalog is the link between where your photographs live and Lightroom. So we're gonna take a look at that. And in the next module, I'll show you how successor catalog and the modulator that I will show you how to import photographs. And then we can get to the sexy part, which is the edit and part. But we need to get this central part of the way first. So with that said, let's jump right in and take a look at the catalog concept. So first of all, just what is light room? Well, from the Adobe website, they say Lightroom is the essential tool for organizing, editing, and sharing your photography. And of course it is. It does a wonderful job of doing all of those things. Now for me, the organizational part, if you like, is the sensible part and the editing part, is the sexy part. Now to get to the sexy part, you need to make sure you've done the sensible things. So the first thing you need to know is that Lightroom does not store your photographs. When like all the software that does, Lightroom does not do that. What it does do though is it creates a catalog. And that catalog is an image locator that points to your photographs. So if you think about a real-world catalog and actual physical catalog, you would flip through the pages. You would find the item that you want. You would order it and somebody in a warehouse would go and locate it, put it in a package and send it off to you. Now, Lightroom discard as similar to that, it creates a catalog. And in that catalog or all your images. And when you click on an image in light room, it will go off to a, your images are stored and it will allow you to additive. So it's the same sort of thing. So the thumbnail images in light room and not the actual images. They're just exactly like a catalog. They're just little thumbnail images of the actual item or in this case the actual photograph. So when you click on the image, Lightroom will go and find sound because Lightroom does not store your photographs, is up to you to have a sensible system of storing your photographs. And that's what we're going to take a look at. But first of all, a warning. And the warning is this, it's extremely important to have a consistent workflow right from the very first time you begin to use Lightroom, European warned. And this is very true. You need to set like rumor correctly. And if you don't, it becomes really messy. Now perhaps you've already opened like remote, uneven pause at some photographs. No. If you haven't done it correctly, what Lightroom will do is it will create the folders for you and it will probably give them an import days as the title of each folder. And that probably mean nothing to you and you'll get completely lost and you'll lose your photographs. You might move them and break the link. All mayhem can break out. You do it incorrectly. But the worst thing is you can become really frustrated. And I don't want you to give up on Lightroom from the very stars. You're gonna miss out on all those fantastic sexy edits that we're gonna do later on. So stick with this, Adopt a sensible violence system and he can't go wrong honesty, and it's dead simple. It really is simple. So let's get back and I'll show you what a sensible file and system is. It's all about good housekeeping and managing your images. So the first thing you would need to do is to create a photograph folder. Now you can call us folder whatever you want. A simple name will just be so-called photographs. But you could put your name at the stars. To be honest, you could call it wherever you want it, but photographs kinda makes sense, doesn't it? And then that follow should be saved to an external drive. Because what's going to happen is that folder will fill up hopefully with thousands and thousands of photographs and you don't really want them clogging up your computer. It's much more sensible to have them on an external drive. And if you really got you back that external drive up to another one. But that's for users decide. Right? So let's get back to those thousands of photographs that you've already taken. Now, we need to get them into that main photographic folder. So the first thing you should do is crazy individual folders and name those individual folders. Now a good system to adopt perhaps would be date, location, and event. So it could be the date you went to Paris. So you've got a date and location there. You went to Texas, date location, that type of thing, event, Whedon barbecue, whatever is. It's up to you. It doesn't really matter as long as you adopt a system that your happy with and your existing photographs would then go into those individual folders, which would live in the main photographic folder stored on an external drive. Very simple as M. Now, what about new images? Well, what you do at new images, as you can either connect your camera to a computer or popping the SD card and the card reader whilst Lightroom is open. Now when that happens, the Import dialog window will appear. And you've got the chance then to create a new folder and transfer those images from your camera or your card into that new folder, which again will live in the main photograph folder. So it's very simple and it very simple housekeeping. Your job is to create that Maine Photographic folder and keep it safe. And eventually you will tell Lightroom whether photographic folder is. So consider your main photographic folder. The warehouse where all your photographs are kept. So let's have a look at the catalog concept then. Lightroom will create a catalog. You can create as many catalogs as you want in light room. It makes sense, I think to just create one. But I will give you a couple of examples where you would create more than one catalog. So perhaps you may be sharing your computer with a friend or a family member. So you would have a catalog, each or perhaps your wedding photographer. And you wish to save all your images separately from your personal images. So you would have a light room catalog specifically just for your weddings and, uh, Lightroom catalog specifically for your personal for photography, if you wanted to or your wedding photographs or your client photographs, wherever, they can still be saved what your personal phone photographs. It doesn't matter because they will all eyes, you know, P and individual folders. But it's entirely up to you. I think if you are work for a client, I think it's good to have two catalogs, personal and client work. You don't do any commercial work TO then just have the one catalog. That's all you'll ever need. Now of course, that light room catalog is linked to light room. And your main photographic folder, which is living on the external drive, is linked to the catalog. So select an image in light room and the catalog will go and find a from your main photographic folder. Okay, to simple as that rarely. So carried along with the catalog concept then let's have a look at what happens to your photographs. So currently you can see on the screen there's a raw file and it's living in the main photographic folder, which is linked to the catalog, which is length Lightroom. Now when you start editing that photograph, you will never, ever do any changes that photograph. It will remain constant in that safe and sound in that main photographic folder. So anytime you add as a photograph, the whole process is non-destructive and not file. That photograph will remain on touched. What happens there is that Lightroom will create what was called a side car file, which is an XMP file. Now all our file is a text file which will contain all the edits that you've created in light room. So for instance, you open your image of enlight room, you correct the exposure. You change the brightness, the shadows, colors wherever you do to him, all those moves that you make when you're creating that edges are saved into this text file is XMP file. So when you shoot light room down and you open it up again, and you click on the image that you've been editing seamlessly. It will also apply all the previous attitude Dawn, which are saved this XMP file. So it's a great system. It's non-destructive and it never ever changes your original photograph. Now I should mention that there is another system different to this Sidecar File System. And that's the digital negative, the DNG system. And you've got the option when you import your photographs to convert them to DNG. Now all PNG file is exactly the same. It's, it will make sure your photograph is never changed. It's non-destructive. But it basically combines those two files together, the original file and the XMP file into one file. Now, it works exactly the same and it's entirely up to you, which you do. So I can't stress enough the importance of setting your catalog of correctly and adopting this sensible file and structure. Now it really is simple though in the next module, I'm going to show you how to create that Maine Photographic folder and also set your first castle GAAP. And I've got some friends to help me out. I've got my little computer minicomputer, cut my external hard drive, which is gonna plug into the computer. I've got my main photographic folder, and I've also got my catalog. And I will show you using these, how simple is honestly. And then I'll do it on the screen as well. And you perhaps follow along and setup your first catalog. So stay tuned and I'll see you shortly.
3. Module 2 How to Create a Catalog: In the previous module, I explained the catalog system. And in this module I'm going to show you how simple is to set a catalogue up. So let's make a stop them. First thing you're going to need is a computer. So I have a little computer here and they made just for you. So we have our computer. Now, as I explained in the understanding the catalog module, we save all our photographs or move them to a, an external drive. And here is my external drive. Notice plenty of options on external drives. Ssd divs are quite good. This is not SSD book. If you don't get an SSD drive, don't worry, this is a five terabyte drives that this will store thousands and thousands of photographs and adapt you'd ever fill out off. So that is going to be linked to my computer. Or easy so far. Now on this drive, I'm gonna create a folder and then it's going to be my main photographic folder. And I'm going to call mine Lightroom bite-size photographs, but you can call yours wherever you want. Anything called Do your name and photographs were that we'll just call the photographs. It doesn't really matter. This is going to be my main photographic fold. It's very important that we never move that from this drive as well. But I think I did mention that in the previous module. So I'm gonna create this main photographic folder and then I'm going to launch Lightroom. And I will then create this catalog. And this catalogue will then be the link between the Maine Photographic folder, unlike room itself. So that creates that link. Now this catalogue can kinda live anywhere. It doesn't really matter, but it makes sense to me to put it in the same folder, so vibrant in this main photographic folder, I will have all my photographs in here in this main photographically, the catalog as well. And that kinda makes sense to me. Now eventually, you will have all your photographs now I don't know your photographs live. So maybe the live on your computer, maybe you live on another drive somewhere else. I don't know. But wherever your existing photographs are, we need to copy them across. Now in the next module, we'll take a look at that. But just to give you a heads up, what will eventually happen is you will have your all your photographs and live in, in this main photographic folder here plus the catalog as well. So all of those will live in this main photographic folder. And as you can see, this is like a stand alone devices. Now, wherever this hard drive goes as external hard drive, you will also have your photographs. You catalog everything, all in one folder. So let's make a start then and I'll show you how simple just follow the same procedure I follow and setup the first catalog. So let's take a look then. So the first thing I'm gonna do is navigate to where my hard drive is. And we can see here extreme SSD. This is the drive that I am going to use now it's currently empty. So the first thing I'm gonna do is put a folder into it and that this is going to be my main photographic folder. So simply right-click new folder, and I'm gonna call this Lightroom bite-size photographs. Now this will be my main photographic folder. So as you can see, external hard drive, extreme SSD, and then have this folder that I've just created. So let's just launch Lightroom then. When you open Lightroom for the first time, it will create a default catalogue. Now, we don't want to use that because we wanna create a new catalog and pour it onto that external hard drive. Now if you've already open to catalog or in the past and imported some photographs and done some work on them. Don't worry because you won't lose that catalog. But we want to start off with a new catalog. So let me show you how easy it is to do that. So I'm quite simply going to go up to the top to file and select new catalog. When I do that, I need to locate where that folder is. Now we know it's on this extreme SSD external hard drive. And I wanna make sure that this folder is selected because this is the Lightroom bite-size photographs folder that I've just created. And I want to save my catalog into the so I'm gonna call it Lightroom bite-size catalog. So let's have a recap. So far, I've created this main photographic foal or which I've called Lightroom bite-size photographs. And I put it onto this external hard drive. I'm about to create this catalog in the same folder. So jump on back to the computer. We can see that's all set to go external hard drive. The folder of created Lightroom bite-size photographs. And this new catalogue, which is now going to live in this folder. And simply hit create. When you do that, you previous catalogue will close down and your new catalogue will open up. And there is its simplest that we've now got this new catalog. And if you look on the menu bar at the top here we can see Lightroom bite-size catalogue. Now I just check in the Finder or explorer view using Windows again and want to locate that external hard drive, the SSD. There's the folder, crazy Lightroom bite-size photographs, and it now has a new folder inside it called Lightroom bite-size catalog that the click on law. There's our catalog or created. And that's so easy is and this now forward, I will use this catalog to show you how to edit photographs, because the first thing we need to do is impose our photographs and we'll do that in the next module. So I'll see you a little bit later on.
4. Module 3 Importing Existing Photos: In this module, we're gonna look at how you improve photographs into Lightroom. And it's all about how you impose exist in photographs. And in the next module, I'll show you how to import photographs when SD card, but this is all about exist from photographs. So if you remember from the last module, we hooked up our external hard drive to the computer and we created this main photographic folder. And then we went ahead and we created a catalogue. So let's introduce our photographs then. So perhaps they live on your desktop or perhaps the live more likely in your pictures folder. So I'm going to show you two scenario is one where there are new desktop and one where they are living any pictures folder. And quite simply, we are going to move them across. Now there's two ways to import photographs. One is to locate them and to follow a route into a path, should say, into the imports dialog box. The other way is just to simply drag and drop, which you might find very useful. And I use both, but I'm gonna show you both types, both ways of important, either drag and drop or by locating them in your finder and doing it that way, then Lightroom's Finder is should say. So let's take a little look there. So before I show you how to import photographs, let me show you where my photographs are stored. And you might have a similar situation. So I locate my Finder or Windows explorer views and a PC, and I can see it my pictures folder. I have two folders. One called Newton's cradle among called Robots. Ignore this one because in your pictures folder, you might have a light room catalog, the default one that Lightroom crates for you. So we're going to upper back there deliberately just in case you see that in your pictures folder, just ignore that. So we have two folders containing photographs. And this one's full of lovely robots. That's where they live. And you might have the same in your pictures folder, Not the same robot shots obviously broke your pictures, your photographs. Now on the desktop, I have another folder, and this one's called mannequin. And if I double-click on there, I can see the house. Three photographs of a boast now of called it mannequin deliberately because I need to change the name to Boston. I'm gonna show you how to do that. So that's living on my desktop. And just a quick word as well. My folders have been named. And that's just because that's what I do. Your photographs perhaps are in folders that I just have a date because if you've imported them already in TEA Pictures folder, it quite often just defaults on a date. And so your folder just might have a date on it. So let's go back to Lightroom then. And we'll start the import. And want to show you two ways of important new photographs and the various options that you have as well. So the two ways basically is to use this Import button here located in this bottom left hand corner, or locate your photographs and drag and drop them. So I'm going to show you both methods and the both work to be fair. Exactly the same. It's just about how you locate your photographs. That's the only difference. So let's make a start then, and I'm going to click on this Import button. And when I do, this little window appears now that's much too small. I can't see any of the photographs. And you might have the same little window that pops up. And if that happens, just click on this little triangle here. And that will make the window bigger. Now we can see what's happening. So let's take a look then. On this side, in this left-hand panel, this is where your source images are. So you need to locate where your source images are. And I'll show that in a second. And then basically you follow the arrow across. And we have four options of how we're going to add those photographs to the catalog. And then moving across to the right-hand side is the destination side. And this is where we decide where the photographs are going to live. And I'll take you right through all of that when we get to this side. That stars on this left-hand side. And I need to locate where the photographs are. So I know those photographs, those robot photographs are on my Macintosh hard drive and they're in the pictures folder. Survive just open that. I can follow the path uses Franklin gala Pictures folder and there is the robot folder. So if I click on there, all those robot photographs will appear and currently all of them would be imported. And how do I know that? Because they have this little checkbox in the left-hand corner of each image. And if it's got a little check in it, it means it's going to be important. And I can quite simply decide which images I want to bring across. Just by checking that box. I'll go through this in a bit more detail in the next module. Because I'm conscious of the fact that I don't want to tell you the same thing twice. Bats that are probably will end up telling me the same thing twice, but hey, that's okay, isn't it? So we've located our photographs, we follow the arrow. And the next thing we come to are these four options. So let's start with this first one, then, add photos to the catalogue without moving them. Now, if you choose to add, what's going to happen is the photographs will stay where they are and they will be added to the catalog, but they will always live, in this case in my pictures folder. And you don't want that because you want to move them rarely. So this is the one I wouldn't use because it's gonna get really, really messy. So we don't wanna do that. Next one then is move. And it says here, move photos to a new location and add them to the catalog. Moves really got because Lightroom rarely will move your photographs across into the main photographic folder. And it will leave behind the empty folder where those photographs used to be. And you can just delete that folder. And that's probably the most popular way of doing it. The next option you have is copy. Copy is going to do exactly that. It's going to copy those robot photographs into the main photographic folder on my external drive. And what that will do is it will leave the photographs here. And as I said earlier, it will make a copy. Then you'll have the photographs still live in the new Pictures folder. But there will also be in this main photographic folder. So you'll have a duplicate and it's not the way to do it. I don't think it's supposed you've got a backup, but I wouldn't do it that way. The whole idea is to clean up your drive, clean up your computer and story photographs elsewhere on this external drives. So copy is not something I would suggest you use. However, the next one, copy as dN j is a good option. Now when you copy as DNG, what Lightroom will do is it will do exactly the same thing. It will copy all our photographs. In this case from my pictures folder, all those robot pictures. It will copy them into the main photographic folder and it will create new DNG files. So as they're being copied into the main photographic folder there being converted at the same time to DNG. That's quite good cause DNG just stands for Digital negative. And all is rarely if you look on all these photographs, they have a a file extension, a RW, And that's a Sony raw file. Rise, it's roar spelled differently as I've just realized. But every camera manufacturer has their own file extension for a roar photograph. And then with a JPEG, it's difference dot JPEG is a universal file format that all camera manufacturers use. But unfortunately they all use different file extensions for the roar shots. So that was why Adobe come up with this universal file format. You don't have to do it. It doesn't really matter, but it's kind of why not? You know, it's it's it's the way forward, I would imagine. So. It's where do you think about that as it will leave behind all the robot photographs in the pictures folder, the originals. And I would have to go in then and delete them. So that's the other thing. Just a point here. If we did go back and jump back to this one, if we did move them and they all would be moved from the pictures folder into this main photographic folder. But they wouldn't be moved as DN. Geez. That's okay. Because once they're inside light room, we can then convert them to DNG so we can do it that way as well. So let's try this way first, then copy as DNG and follow the arrow across them. So we have our destination. And There are four options here for little windows. And I'm going to start at the bottom because I want to show you the destination First. We need those to go to the extreme SSD in my case anyway, because that's my external drive. And if I just open that up, I want to put them in this Lightroom bite-size photographs folder that I created earlier. And that's where I want them to live. So I've located the destination. Now, I'm gonna jump backwards and then I'm gonna come back to that window and a second. If you go to File Handling, again, I go through this in more detail in the next module just to give you add soap and standard preview and don't import suspected duplicates. That's all you need to know. The bar will explain more in the next module. But, but by all means if your important photographs as your watching this tutorial, you doing well, if you do. But if you are doing that, then select these two options. That's all you need to know, honestly, it's as simple as that file rename and is important. Or is it it's only importance of it's important to, you know, I do rename my photographs when I bring them in. Now again in the next module, I'll go into that in more detail. But I am just going to type in here robots. And again, in the next module, you'll learn more about that button. My image is now going to be renamed as 20-20, August 30th. Robots and ascendant from w1. So they, instead of ironies random numbers that you can see underneath each image, there will now be renamed. Does it matter? Not rarely, but you can choose to rename or not. And you've got loads of options, which again, you'll discover in the next module. Next one then apply Jordan import. Now you can apply develop sentence and honestly look at all them. Why you would do that? I don't know. I kind of do now, but I honestly at this stage to be potent presets on your photographs when you haven't even impose on them. It's just something I wouldn't do. And most people don't do that. They just import the photographs. And then obviously you do that lovely edit and process in the developed module. So I don't do that. I think this option is for a give you an example. If you were a sports photographer and you needed to get your photographs of that sport events across to the newspaper as soon as the final whistle goes in that particular sport and events. And you've got a specific set of presets that you apply to all your sports shots. That might be an option that isn't made. So I don't do that. The other thing is metadata. Metadata. And yet you can jump in and fell all this and if you feel you need to, and again, when you watch the next module, I'll go into that in more detail. You can basically attach your copyright information to each photograph if you feel you need to. This next one though, keywords, that's quite good. And I'm going to key word. This set of photographs with the keyword robots. Now, there's a whole module on keywords. And again, in the next module, which is about import from SD card, I will go into that in a bit more detail as well. But just for quickness, inserted the keyword robots, and then eventually back to this little window here, the destination window. And this is important. This is really, really important. I've located where I want the photographs to be on my external SSD drive. I've located the Lightroom bite-size photographs folder, and I have a couple of options here. Now. I can choose these three options by original folder, by days, or into one folder. And in this case, I want to select by original folder. Now when I do that, if we look down here, extreme SSD, Lightroom bite-size photographs. Oh, and there's a new folder about to be created, call robots. Now it's doing that because I previously gave this folder a name, if you remember rightly. So if I go into my Finder, I previously named this folder robots. And so what it's doing, Lightroom is doing is adopting the same folder name. Now of course, you might not have given your folders names. So this is where you have the option to do something completely different. So I'm going to select this one instead into one folder. And then I'm going to click into this little box here into subfolder. And I'm gonna call this, I'm going to call this more robots. And I've done that deliberately, no critical that robots obviously, but I've called it more robots. So you can see the distinction now. You look now extreme SSD, light room bite-size photographs. There's now going to be a new folder created called more robots. Swallow it basically showed you there is that you need to create folders. Originally all these robots, we're in a folder called Robots anyway so that I could adjust, selected that option could NIH bio retinal folder because it was already named. But if you haven't named your folders and, you know, I don't always name my folders. Then I've got the option to do it here into one folder, into a subfolder, and then name it in the import from SD module, import from an SD card module common-law. You will see that in more detail, but that's just, just to show you how that part works. So let's retrace our steps then before I click on the Import button, I've started on this side, which is the source panel. And I've located where the photographs are. And then I follow this arrow across. And I've chosen to select copy as DNG, which means all these photographs will be converted to DNG. To follow in the arrow there going to be copied to the extreme SSD drive. I've gone ahead and taken a look and these folders and eventually ended up at the destination. And it's extreme SSD. Lightroom bite-size photographs. And I'm creating a new folder called more robots. And you can see the new folder here. On all I simply need to do is hit the Import button. And lo and behold, the magic starts. And then this top right-hand corner, we can see the progress bar. And there you go. Light room is now combat and those images to DNG files. And it will also create a standard, let's just click on OK here. And it will also create standard previews. And they are now in ready to be edited. So let me show you a few things that if I go back to my finder window, the robot filed, this is my pictures folder. The robot folder has these images. They are still there. Now I can choose to delete that folder and are probably would I would just drag that to the wastepaper bend because I've just copied them. But I guess rarely Anita, to show you that a half copied them. So he's another window, extreme SSD, Lightroom bite-size photographs. If I click on that, there is the folder I've just created. More robots and double click on that. You can see they've been renamed with the days and ascending numbers 218 in this case. And they all have the new file extension dot DNG swatch. You can see I chord because these 11 and the pictures folder, I could delete this folder. I'm not going to bar I could delete the ushered days. It rarely ball and want to leave it there for time being, I could delete that folder because they've all been copied across into the catalog. And that's the way that works. So I'm just gonna collapse that window down there. And let's look at how we import some more than just going to click in here. So before we move on, nova jump over here and we're still in the library module, jump over here and locate the extreme SSD external drive. You can see I have now created this more robots folder and it has 19 photographs inside it. That's pretty cool, that's new. So let's import some more photographs then. Now when I open my Finder, and if you haven't got a Mac, I would imagine it to Windows Explorer. And I'm gonna select this or the folder here. Now it's located again and my pictures folder. And this fold is called Newton's cradle. And I'm going to use the drag-and-drop method. So previously we located it over here in the Source panel. But here in this little example, I'm gonna show you the drag-and-drop. So I've located the photographs in my Finder or Windows Explorer. And I'm just going to drag it into the center of the screen. And I'm just going to drop it anywhere as long as it's in this center portion, I can just drop it. And lo and behold, the import box appears on all of radon is bypassed. This left-hand panel rather than go and lock. And for the photographs, I've chose to find them in the Finder or the Explorer first. It doesn't matter. It's exactly the same thing rarely. But just I just thought I'd show you how you can do it that way. So let's follow our path again then. I don't have to bother with this part now because they're already here. And again, I can choose to include or not include various photographs. I won't bother with that though. And in this case, I'm gonna click on move and stat. So I'm just going to move them and you'll see them disappear from my pictures folder. So across again now cause a previously done this, it's more or less setup extreme SSD. And unfortunately, right. Is this a good little example to show you? So in the destination little panel here, I'm about to import all those photographs into a subfolder called more robots. Now, I don't wanna do that, do I? I'd already named this folder, Newton's cradle survived. Just click right before a day would let us just have a look here. We've got our more robots folder and obviously our catalog folder. So just bear in mind we only or two folders there, but watch if I change this back to original folders. Look what's happened is indeed going to bring in the folder called Newton's cradle, but it's going to put it inside the more robots folder. And that's because I've still got this little box checked here. So I'm just going to uncheck that. And there you go. It's in its own folder now. It was about to be a folder called Newton's cradle. And it was above to be a subfolder inside the more robots folder. And that's because I had that box check there. So as you can see, by original folders, because I had named and Newton's cradle, I can do that. Now. Obviously, if I hadn't named i, this is where I can put into subfolder into one folder and I could rename it. So I'm gonna do that. So you can see both way, ways of doing it basically. And I've called it Newton's cradle to, and they can see new folder called Newton's cradle to. So you saw both ways of doing it there. If you have named your folder, then great. Just bring it in as original folder. If you haven't named your folder, more than select this option into one folder, check this little box, and then give it a name, and it will create the folder to simple as that. So all these other little panels here, File Handling, once you've set that to standard and don't import suspected duplicates, then you know, I have to do that again. File rename, and all right, the core robots. We don't want that. I'm just going to call that Newton and apply Jorn import. I could put a keyword there. You get the idea, I'm not gonna do that, but you could put a keyword. And then the destination. We've just been through that. So just simply click on the Import button. And again, the magic will happen. And again at the top here, locked as to mean CR two operations in progress. What's happening there is it's important the photographs and deleted them from the pictures folder. So we're gonna take a look at that in a second. Now, the way I've done that these photographs are not now digital negatives. They aid, they've come across as raw files. And I want to come back to that in a second and show you how I can change them to digital negatives were first of all, let me open the Finder again. And there's my pictures folder. There's the Newton's cradle folder, unlock it empty for clicked on the robots folder because we copied them across. They are still in that robots folder, in the pictures folder. However, I chose to move these Newton's cradle photographs to the main photographic folder. And in doing that, Lightroom is deleted them from the pictures folder and that is pretty good, isn't it? So let's open up a nother, find a window. And we can see that now on my external drive, extreme SSD, there's my Lightroom bite-size photographs folder, and it now has two folders and it got three. It's got to photographic folders. We've got more robots and Newton's cradle to. And as you can see, the more robots folder. All these robot photographs are all dn Gs. But however, the Newton's cradle photographs, they came across raw files because I didn't select the copy is DNG. So we can actually change these photographs now however. So they're in the library and all I need to do is select all the photographs. I could just press Command or Control a. So now all those photographs is selected and then go to the library, dropped down and just select conveyor photographs to DNG and just hit okay. And all those photographs, all 21 of them, will now be converted to digital negatives. So if that's your thing and you want to go forward into the 21st century and beyond with this new file extension dot DNG, then that's how you do it. Thrive moved those photographs from the pictures folder into the main photographic folder on my external drive in their own little folder. And I'm now convert them to digital negatives. And Lightroom has deleted them from my pictures folder, which is pretty cool, isn't it? Let's take a look at what's happened there than if I open the Finder window up and we can see right extreme SSD, Lightroom bite-size photographs. Newton's cradle to. So these are the Newton's cradle shots that I imported previously. And as you know, I've just converts them to DNG on Lightroom's done that for me and it's fantastic, isn't it? Now, jump and back to the library module in light room. If I just expand this little window here, you can see we've now got two folders. We've got more robots and we've got Newton's cradle to, and I can jump between the two. There's the robots and there's the Newton's cradle to. So we're starting to populate our catalog with photographs that really got us there. So we have on the desktop our mannequins, and what should we do with them? Well, that is a good question. I can either choose to drag or drop. Or I can use this method of locating them. And I think I'm going to use this method. And just so you because then the drag-and-drop ones obviously. So is this one rarely. But anyway, let's do that. So let's hit the Import button and we'll locate where those photographs art. So the NOT ME pictures for all that. They are on the desktop. So click on desktop, expand law. And there they are. They're mannequins. And there's three of them out. Again, following the route. We've located this as the source paths as there. And I've located where they are, follow the arrow. And again, I've got my four options which should I choose? Well, I am going to choose. I kinda like this move. I'm gonna choose move. And the reason I want to choose move is I've got a feeling that a lot your photographs, maybe jpegs, and this copy is DNG. Just to let you know, you can't convert a JPEG to a digital negative. It's only for raw photographs. So I'm gonna use this move option here. But again, as you know, you've got three options. Don't use this ad, that's no good. You've got these three options across here. File handle is going to be the same once you've set that all. And I've said that Novozymes, it's already done file rename and well, It's called mannequin, but it's actually a Boston snip. So I'm gonna say boast, applied Jorn import, nothing a corporate keywords on. Again, you'll find out that all of that in the next module, destination where we know all about that too, or do we let us just go through it again? Now a could choose by original folder. And as you can see, all look the same problem. It's gonna go into the Newton's cradle B. That's because I've got this little box checked it, right? So it's going to go into its own folder called mannequin. But as you know, it's not really a mannequin is a, it's a boast. So I'm gonna change this two into one folder, into a subfolder. And I'm going to call lap boast. And there you go. Lightroom is created a new folder already for the import. And I'm just going to simply click on import our 10-watt though. I'm not going to impose this photograph. So ammonia important too. It's just to give you an idea or you can switch things on and off. And then I'll just click Import. And it will bring those two photographs across. And if I look now in the mannequin folder on the desktop, it's got one photograph left in it. And it's got one photograph left in it because I only chose to bring across to photographs. Bought Youtube disappeared. And that's because I selected the Move option. So that's presi goddess New. Now, let me import the final photograph then. And let me do by the drag-and-drop method instead. So there's one left and I'm just going to import that one to drag it into the center. And the Import dialog box appears one photograph, I wanted to live in this folder, but I don't want it to be in a soap folder. I just wanted to be in the folder. So I just uncheck that box. The annette, we'll bring that one photograph that are left on the desktop. It's going to bring it into and extreme SSD Lightroom bite-size photographs in the previous folder we created called boast. Now, the reason I'm showing you that is because you might have a folder here eventually, that might say family trips abroad. And every family trip abroad, you wanna put in that one folder. And that's how you can do it. I can choose to put that post photograph inside the Lightroom oh, sorry. Inside the more robots folder, if I want, I could choose to put it there. But it makes sense to put it into the post folder because that's what it is. And then I'm just gonna click on import. And that will bring that in. Now in the library module, I can only see one photograph, but I know there's three images of the boast, but what it's showing me is the previous imports and we'll just click on boast than all three will appear. So it's all pretty easy, isn't it? Now these are RAW files, so I could select all three. And as you know, just convert them to dn Gs and say Yes. So they will then be converted to DNG. Just to tidy up, what I can do is this folder will now be empty, which it is because we've moved them. And I could just put them into the bin so that folders in the bin. And then let me just open the finder. We have. Let's go back to my pictures folder nouns to do that, just bear with me. I have to go to my computer and and then do all of that to get to my pictures folder. And I have the Newton's cradle folder, which is empty because we moved them. So I'm going to put that into the Benner, don't need it. And we've got the robots fold out. And I remember I copied them across as DN Gs. So what Lightroom did was keep the original raw files in the pictures folder. And I don't want them now because they are safety across into the new name photographic folder on an external drive. So now I've got nothing in the pictures folder because they're all living inside Lightroom. And if I just take a final look in the extreme SSD external drive, I've got Lightroom bite-size photographs. Click on. And I've got the boast folder with the three images digital negative. I've got more robots and I've got Newton's cradle and no photographs now are living in my pictures folder. They are all safely stored on the external hard drive. And that's how easy is to impose existent photographs. And there's a number of ways of doing it. And I've showed you to the best of my ability, all the different options that you have. Now to import from an SD card, it's pretty similar. And in the next module, I'll show you that. And I'll go into that in a little bit more detail as well. And I say cause I was conscious of telling you the same thing twice, but it is pretty easy as Ned and I'm quite excited now. I've got my catalog is growing. And again, once we get all our photograph sin and we learn a bit more about the basics we can get through to that sex yet and part. So there you have it then house2 import existing photographs that are living in your pictures folder or on your desktop or wherever they may be into the Lightroom catalogue system. And it's easiest, just follow the route around the Import dialog box. Now I do know that video was rather long. It's important because it's one of the big things that people get confused about. And as I say, we don't set like remote correctly from the stars. That's when you'll encounter problems. Now in the next video is all about how you employ photographs from an SD card. So I will see you in the next module.
5. Module 4 Importing Photographs From An SD Card: In this module, I'm going to show you how to import photographs from an SD card. Now it's really simple and it's very similar to important existence photographs, which we did in the previous module. First thing I'm going to show you though, is how to set Lightroom up to automatically detect when you've inserted an SD card. Because that way every time you insert the SD card, the Import dialog box will automatically appear. So let's do that first. And so you need to navigate the top menu and select preferences. This window will appear and make sure that you have the General tab selected. And that's the first option here show Import dialog when a memory card is detected. So just make sure that as checked and then close that window down. Now every time you insert an SD card from henceforth, the Import dialog box will appear. And you can just follow the same procedure that I'm going to show you now. So without further ado as the site, I'm gonna put this card into the card reader and I'll show you the procedure that you need to follow. When I do that, magically, the Import dialog box will automatically open and I can see all the photographs that are ready for import. This side, we don't have to worry about. I could, however, just expand that. And you can see the Ruther, those photographs are gonna take well the source, so you can see that it's x T2. But we don't need to do that. I can say because Lightroom is detected that we've inserted the card is really good, doesn't it? And we follow the arrow across like we did in the previous module. And we have our four imports options or peer. Now before we do that, let's take a look at this middle section then. Now I did mention this in the previous module that we can now decide which photographs to bring across by checking or unchecking these little boxes here. And let's just have a look at this one, for instance. Now to zoom in, take a better look, pressed the letter E. Now I know Sophie would not want me to bring that photograph across. So I can just come down here and just uncheck that. And press J again and go back to the grid view. And there was a couple of silly ones. We always like to have a life like this one. And again, she's blown occurs out of the way. So I wouldn't want to bring that one in. Pressed the G back to grid view. And by and large, I'm gonna take all those across there or below locked fine. Now, when you do it, you can spend more time and decide which ones you want to bring across. Now back to these four options here at the top. And you can see that ad and move our grade house, which means you can't use either of those two. But that makes sense, doesn't it? You wouldn't want to add them from the card because that would mean that there would be added to the catalog, but they would always look for the photographs on your SD card. And of course, you're going to take the SD card out to delete all the images off it and then go and do another shoot. So we can't use the add and move pretty much the same. So we're not gonna use that. What we can't use those too. So the only two options we have, our copy and copy as DNG. And either are good enough. I like to choose copy as DNG when I've shot in RAW. No, I always shoot in RAW. So this is the option I always go for. You may well have shot in the JPEG format, in which case you can use copy. But just to let you know that if you did use copy is DNG and you shot in the JPEG format, it wouldn't make any difference because light room would detect it to JPEG and indeed wouldn't try to convert it to a DNG because it can't do that. So it was just import them as jpegs anyway, so it doesn't really matter. Now I think I give a pretty good description in the previous module of what a DNG file is. It basically just unifies the file extensions because all camera manufacturers use their own particular file extension for a raw file. And in this case with Fuji, its dot RAF. And as I say, they've all got their own file extensions on all the DNG does is it basically gives it the file extension DNG and have basically donor to unify that file extension. Because it can get quite confusing, especially for the likes of me. Because I jump between different camera manufacturers with being a teacher, I have to try all different cameras. So dot d and g is the way for me. And I think that's the way for you as well, but that's for you to decide. It doesn't really matter which one you use honestly. As we come across them. Again, this is our destination side. And we have the four windows. And I'm gonna go into these for Windows and in a bit more detail. And I, we did look at them in the previous module, but let's look at them in a little bit more detail then. So let's drop this first one, dial file handling. And again, I did mention that we should select standard previews. And honestly, rather than me go through what all the differences are, trust me, just select Standard preview because that's the one to go for. Next one then is build smart previews. When we import these photographs, of course, they're going to be living in our main photographic folder on our external hard drive. When you select Smart previews, you can actually create a small aversion while Lightroom does for you, it creates a smaller version, for goodness, but a smaller file size. And you could perhaps save them to your laptop. And what happens is if you're out and about with your laptop and you didn't take your external drive with you. Wiki Maine Photographic folder. You could still work on those photographs because you'd have access to the smart previews so you could make some edits to these photographs is Sophie, for instance. Then when you return home and plug-in your external hard drive, the photographs inhumane photographic folder would be updated with the adjustments that you've made to the smart previews while you'd been out and about, we wrapped up. Now it's something I don't deal with that pretty clever is there? And if you want to do that, just check the little box. Next one down is pretty obvious. Don't import suspected duplicates. Lightroom is pretty clever and knows whether a photograph has already been imported visually, you can see we're going to import the same photograph. But this little box will help anyway. Make a second copy to, well, this is a good idea. You can actually import the first graphs to humane photographic folder and to another drive at the same time as a backup. It's something I don't do because I I manually make backups every now and again. But certainly if you check this little box, that's what's going to happen. And you can select where you want to save those copies. And lastly, to collection, I'm gonna do a whole module on collections. But just to give you a heads up, I'm about to impose a series of photographs of Sophie. And Sophie is a model. And I couldn't port some more photographs of a different model with a different name. And that's thing going a Marie. And then another set of photographs, mono shoot called Julie. But all three ladies are models. So I could trace a collection call, models, pop all those photographs into this collection. Now it's something I choose to do later on. And that's why I'm gonna do a separate module only just to let you know that when you get a bit more knowledgeable and a bit more confident with light room, you might decide that's the thing for you. It's not something I do. I would do it Once the photographs in an I create my collections that way. But certainly you can do it at this point as well, though. Obviously I'm not gonna do that, but that's what you can do. Next window is file renaming note. You can choose to rename your photographs as you bring them in or leave them with the original file names. On the file names are given to each photograph by your camera, and they are generally just random numbers and letters that don't mean anything. But it's fine to leave them as is or to rename them on. I tend to rename my photographs as a bring them in. You have a number of templates you can use or you can create your own. And I've created one called bite-size imports. And if we take a look at that, we can see that I chose to rename them by the year, the month, the day, the shoot name and ascending sequence numbers from w1. And you can use all these little drop-down here. And you can drag and drop and create your own file renaming template. It's up to you or just use one of the preset templates that are available. But I've chose to create my own and I've called it bite-size import. And we can see here the sample. It has the year, the month, the day, and the name of the shoes, an ascending non-Muslim Tableau one. Now it's called an oh, you can't see it but toss me to say on tight or shoes. And that's because I need to put the name of the shoes in this little box here. So I'm gonna type in the word Sophie. And Sophie has indeed appeared in this little sample here. So as I say, it's up to you where the honor rename your photographs as you bring them in. I think it's worth doing. So that is that will owe window. Next one applied your and import. Well, you can choose to apply presets at this stage. Now, as I described in the previous module, that's something I don't do. But I think there's a give a little analogy, a little example of a person that might do that, maybe a sports photographer. So I won't go through the same explanation again. But for most people, you would import the photographs. And then you would go to the develop module and do all those lovely fantastic edits. That's the fun part says no, I don't think he would do at this stage. The next thing then is metadata. And I've created again, my own templates for metadata, Frank Mengele, perfect photo company. And again, if I just have a look at that and just select it, appear fright Mengele, perfect photo company. And again, you can create your own swipe simply filled in the IPCC copyrights, an IP TC crater. And it just means that if anyone uses my photograph without my permission, the metadata is attached to it and everyone will know that it was copyrighted. So you can choose to do that or not. But that's how you do that then. So let me just put yep, there you go. Metadata front Mengele, perfect vertical me. Now also at this stage you could add keywords, and in this case, I am, I'm going to add the word Sophie because Sophie is featured in these photographs. And the next one I will add is models. Now I'll be honest, I add my keywords generally, wants the photographs have been imposed. But just to let you know yet, economic Sarah and keyword at this stage. Now imagine this SD card was full of various model photographs on all the models obviously will have different names than it would be stupid to type in the word Sophie and could be NOW a whole collection of photographs from different events on that one SD card. And this is where you have to be careful because you can start keyword and photographs incorrectly. And that's why by and large, I do that once I've imported the photographs. So common op is a whole module on keywords. Or keywords are great because they help you locate your photographs. So eventually my catalog will be full, jam packed full of thousands of photographs. And it might be difficult to find those Sophie photographs, but because I've added the keyword Sophie, it would make it so much easier. So we can choose to do it there or later. And in this case, it made sense because there are only photographs of sophie. That that's what I could do at this stage. So that is applied yarn imports. And lastly, destination. And I know that my main photographic folder is on this SSD external SSD drive. So if I just expand that window, I can locate my Lightroom bite-size photographs and I'm ready for import or am I because at the moment they were just randomly go into the Lightroom bite-size photographic folder. And remember, I need to create an individual folder for these photographs of sophie to live in. So this is where I would choose this option here. Make sure that you have this selected here into one folder. Click on this little check box and this is where we can rename the folder. And of course, it's Sophie, isn't it? So I just type in Sophie. You can see now that a new folder has appeared in the main photographic folder. Across by to tell me it's a new folder and it's slightly grayed out because it hasn't been created yet, because I need to hit the Import button. So let's just go through that again. Destination window. I've located the extreme SSD, which is my external hard drive. I've navigated to the Lightroom bite-size photographs because that's the main folder I'm using for my all my photographs. In the organize tab here, I've selected into one folder. And then I've checked this box into a subfolder called Sophie. And it's created this folder for me. And all I need to do now is hit the Import button and it will bring those photographs across. So let's do that then. Now in the progress bar at the top, I can see the copy and impose progress bar as it moves across. And we can see all those photographs are starting to come in. And the great thing about Lightroom is that if I was really eager to get going and to start add in these photographs, I could indeed click on one of these images and start adding it instantly. Which is crazy. It's still a raw file at the moment. It hasn't been converted, but it doesn't matter that you go to just being converted. And I could start at it in that photograph. Now, I don't know if you can hear this and another microphone is picking up, put the fun on my computer, and it's just kicked in to cool it down. It's quite labor intensive, the imports, and it does take time as well. So if it's a big import, you may find yourself taking yourself off to the kitchen and make yourself a cup of tea or a cup of coffee. I'm not particularly bringing a lot of photographs in here, but you might view or bring it in hundreds of photographs. And maybe up to 1000 photographs more when, for instance, than it could take a considerable amount of time. So I'm, I'm fill in this little section out with me, chat and just to show you how long it's taken and it's still bringing them in. So it's now cumbersome to DNG is fought Bryce 42 photographs were converts a to D and G. I'm gonna click on OK. And now or build the standard previews. So just shows up for 40, just over 40 photographs, how long that takes? And my fan is really kicked in now to cool my computer down. So yeah. And that's why you got the ability to add it's a photograph, even though Lightroom is still important because you could be waiting for ages. So yet with this, then I could go in and start messing around. I do know with this one until I get blown out there isn't a I can drop the highlights and that brings some of the detail. But anyway, I'm not going to show you anything to do with that and until we get to the editing modules. But there you go. That's how you import from an SD card. And we just go back to the library section. We can see it's still build no standard previews. But let's expand the Folders section and we can see that we have our boast folder are more robots folder are Newton's cradle folder. And now from the SD card, we have Sophie folder full of 42 photographs. And that's how easy it is to impose from an SD card. So there you have it then important from an SD card and it really as simple as islets, identical almost to the method that I showed you earlier of how to import existing photographs. So you should be an expert by now. There's no excuses. House, are you? A little bit later in the next module?
6. Module 5 How to Maximise Space: Now like most software, Lightroom has got plenty of panels, pallets, tabs, windows, call them what you like. They're all over the place, but they all serve a purpose. But do you need them all open at the same time? Obviously not because it's all about maximizing your workspace. And I think the more workspace you've got, it helps you to release your creativity and be super creative. I want to show you a couple of tips and tricks that will help you maximize your workspace. And others say it's really important that especially if you're working on a laptop, which as you know, space is at a premium. And as I say, you don't really need all those windows and stuff open at the same time. So you can set it to automatically opened and closed pallets when you're not using them. And that was a really great idea. So let's jump in then, and I'll show you those little tips and tricks. So let's take a look then at how we can maximize our space in the Lightroom environment. Now we're currently in the library module and in the center, our screen is our work area. Because we're in the Library module, I can see thumbnails of all the images in that particular folder. Now we're jumped across to the develop module. And again, the work area is, stays in the center, so you work is always in the center. Back to the library module, now surrounded and that work area, we have four panels, one at the top, one at the bottom, one at the left-hand side, and one at the right-hand side. We can, if needs be, close these panels down. Now, each panel has a small triangle. And if I click on that triangle, it will collapse that panel on the left hand side. And there you go, it disappears. Click on it again and it reappears now that it's the same process for all four panels. If I right-click on that triangle, I have more options. Perhaps I could sink. I want to sync the left panel with the right panel. So select that. And then when I collapse this left-hand panel, the right-hand panel will disappear as well. Last one I'll show you is the auto show, a hide and show. Now I don't use this one because it gets a bit annoying. So as you see, it's disappeared. If we wanted to reappear, I just hover the mouse over the triangle and it reappears and I can access the information. I don't particularly like that. Now you might find that really useful, but it's not for me. So I wanted to switch that off. And I like to just keep mine on. Manual. Manual works great for me. And if I want to collapse one of those panels, I just simply click on the triangle. Another function in light room, and that will help you with creating more space is something called lighthouse. If I wanted to view my thumbnails and make a little bit easier to see them. And I could switch off all the information that is surrounding the thumbnails. And we do that by pressing the letter L from L stands for lights out. And what will happen is the background is doled out and you can see your images a bit clear. Never press it again. It goes completely black. And it's almost like Lochner. And a negative isn't the amount I kinda like that. It makes things a lot clear. So that's something you might find useful. And then to just return a return to its previous state, just press l again. Another way of getting rid of all the information surrounding the work area is just to simply press the Tab key. And the Tab key will get rid of all the panels will actually get rid of the left and the right-hand side. Precedence shift tab will remove all four panels. Then simply press Shift Tab again and all four panels will return. We also have the full-screen mode as well. So if you select a photograph, press the letter F, It will go into full screen. Also added some full-screen. You can actually use your arrow keys left and rise to scroll through your images. And which is another great way of locking in a bit more detail. Press Neff again, will return to the previous state. Now one of the things you must do in light room to maximize your space is this little trick I'm gonna show you, cause solo mode. Now it's really important. So I'm just going to jump from the library module to the develop module. And I'll show you what I mean. First of all, as I said earlier, I would collapse some of the pallets or don't particularly need that one. I don't need the film strip along the bottom and I don't need that one. So I've got more space now. Now, if I wanted to make an atlas on this particular image, say imagine if I wanted to put a vignette around the outside, I would jump across here and here are all the editing tools. Now as you can see, there's a hell of a lot of editing tools, as you would expect. And I guess if you're working on a laptop, this the fact that you've got to scroll through all the pallets, all the tabs to get to the one you want. It can really slow you down and become really an, and you can get lost as well. So what I'm looking for is the vignette effect, which is just here. And there you go. Wacko data vignettes around, for instance, upward and typically do that in the shop. But just to show you, now, what we need to do is with these tabs is make it easier to find what you're looking for. And as I say, the way we do that is we enter into something called solo mode. And to do it, we simply click on any of these triangles, doesn't matter which one you click on. So if I clicked on this one and I selected solo mode, what happens is it closes down all the palettes and just leaves open the one that you are working that you use. And at the time, if I wanted to change the background color in this photograph, I know I could do that using the HSL tab. And when I map palette, I've got the previous palette closes down. So again, I'm not teaching any ad and at the moment, but there you go, I could just change the color. Very easy. Now, I might decide then to put a vignette round, and I know that in the effects palette. Now when I open that, the previous HSL pilot closes down. So as you can see, whenever I wouldn't want dropped one of these tabs and to reveal a palette, the previous one closes down, and that's fantastic way of saving space. Now, I showed you that in the, in the developed module. So let's jump back to the library module. I'm just going to reinstate these panels by jump back to the library module. It's exactly the same here. Right-click on any of these triangles and enter into solo mode. And that's one of the first things that you need to do. And I say because when you open any of these drop-down, these tabs and open a pilot. The previous one will close down. And that comes in really, really useful. So the habit then maximizing the space in that room environments. Now it's really simple and quick thing to do. But trust me, it really helps you, especially when you get through to import your photographs. And certainly when you develop any photographs, the more space you have available and the better. Okay, I'll catch up with you in the next module.
7. Module 6 The Library Module: In this module, I'm going to take you on a tour of the library module and institution to the various options that you have. And then as we move forward through all the modules, you'll watch me using the tools. And you can use the tools and you can be an expert. That's the plan anyway. So let me jump in and show you the library module. So with the library module open, I'm going to take you around the various panels and tools you have available. I'm gonna jump ahead slightly. And I'm going to jump over to this left-hand panel and just expand this Folders panel here. Now the reason of Don letters, just to show you, I'm gonna talk about the central part here. And this will help me on this left hand side. So I currently have the Madrid folder open. And if i I can scroll through all my photographs in the Madrid section. If I wanted to look at photographs of Siam, feel stayed him in Liverpool. I'll click on the folder icon. And I just thought I'd show you that first we're going to go through this left-hand panel very shortly, but I just thought that's a nice little place to start because this is what the library is all about. Locating your photographs, catalog in them, keyword and then favorite in them, all that type of stuff. But essentially, the biggest thing is the fact that you can access all your photographs from various folders that you've imported into the Lightroom catalogue. So as I say, this central portion is your work area. And as I've mentioned before in previous videos, you can make these thumbnails bigger or smaller. It's entirely up to you. Three abreast suits me. Perfect. So that's the way I leave mine. Of course, you can do all the things I've mentioned in previous videos like lights out and view your images that way. And I'm, I did that by just simply pressing the letter L on the keyboard. So let's take a look at the various panels and tools that we can select while we're in the Library module. So jumped up to the left panel. Let's start with navigator. So I'm just going to expand that. And the current photograph selected, as you can see here, it's a lighter gray. So as you change, select different photographs. You can, you can sort of see which image is selected by this lighter gray area. And if you've got the navigator open, you can see that it's reflected in the navigator to so I'm going to press the spacebar to fill the work area with this photograph. It defaults. On the end of your mouse pointer. It will be a zoom tool. So I'm gonna zoom in to this lady's face. Now I have a hand at the end of my mouse tool and I can move the image round. We jump up to the navigator. There's a rectangle which is. Identical to what we're seeing in the work area at the same size. You can see that there. And I can drag that round. So that's another way of doing it. Now can also change the ratio as well. So if I could change the ratio of perhaps a three-to-one, and that's going to zoom in a bit more than two to one. Obviously, 2.2.1 is my preferred option. Now to return it back to the full sorts of image. Just click while, whilst not dragon, just click. And that will happen and you'll go back to the previous state. So that is the navigator tool or pretty easy. I don't use it that much to be honest, but that's what it is. The next one's catalog. So let's have a look at that. Now this is a very small catalog, and I've produced this catalog specifically for these Lightroom bite-size tutorials at the catalog will grow, but currently it only contains 254 photographs. My main work catalog contains thousands and yours will probably contain thousands. But for these bite-size videos, it currently stands at 254. And we there's no sink photographs. There's no quick collections yet. And the previous imports, I just imported one photograph. So that's the catalog. Next one is folders now are kind of touched on this at the very beginning. So I'm gonna go back to the grid view just by pressing, gee, now I can say I can just jump between folders very easily. I can jump up to Barcelona and feel stadium, as I say, you know, CRC. And I can jump between all these various folders. Very easy. And once you're in a folder, you can select a photograph and then jump across to the develop module and develop it. So that's really good. You obviously use your folders panel quite a lot to access. He photographs. The next one is collections. Now, there are no collections I haven't created any year. Now in another tutorial video, we will take a look at collections. Collections are fantastic and really important, but we'll look at that in another video. But just to give you a heads up what our collection is, imagine you would like one folder containing photographs from various folders. So for a, for instance, would be, I might want a folder that contains photographs I've captured in Spain, Street photographs in Spain that my favorite Street photographs of Spain. And you can see in my folder section, I have a Madrid folder and a Barcelona folder. So I could make a collection of my favorite shots from both folders. And that is really useful when you get to the develop module. And it's the same for, I know to say I've got a folder called Sophie, R, one called Sarah. So I could make a folder called models. I'm pop photographs in that has both Sarah and so for me, my favorite model shots. So collections are fantastic and as I say in a nother video, I will take you through how easy it is to create a collection. So continue down to the bottom of the panel. We have our import and export buttons. And I guess they're quite self-explanatory RV, or we'll take you through the whole export procedure. And surely the best way of setting that up, again in another tutorial. Now, along the bottom, we have a toolbar where we can add and subtract this toolbar with this little drop-down triangle. And we can add stuff, academic Ratan, for instance. And onto the toolbar now appears the star rating system. So we've kind of looked at these first two. And again, I'm not gonna go through these in too much detail, but we know that's the grid view. We know that this one is the loop CPU and the shortcuts for those, which is G and E. Oddly enough, you can actually spec press the spacebar as well for the loop view. And then we've got like an X and Y comparison of two shots, et cetera, et cetera. And we'll go through all these, as I say in another video, how you can use this to keyword shots and how you can rate your shots and spin them around and stuff like that. So that's that toolbar along the bottom. So moving over to the right-hand panel, let's take a look at what we've got here. The first one is a histogram. So let's expand that and take a look. Let's pick a photograph, let's pick S1, for instance. A histogram is really useful. I think I'm just going to go into the loop view for this. If we look at the histogram, One of the great things is I can see information about that photograph. I can see that it was shot at ISO 4 thousand vocal and 75 mill up Jeff 2.8 and the shutter speed 125th of a second. So get information about the many ways to get information about you shot, but it's readily available on the histogram. And also I can see that this shot is exposed really well. When we get to develop a set of tutorial videos, we'll look at the histogram and more detail. But just to let you know a little heads up if you like, that. Uh, well exposed shot generally goes from one corner to the other, all the shadows and blacks to left-hand side, all the whites and highlights to the right-hand side. And it's got quite a good range. And it goes, so say goes from one side to the other as a pretty well exposed photograph. So that is the histogram. Next one is quick develop. I don't see any reason why you would ever use quick develop. When you think about a quick develop, why would you use that when you've got the fantastic tools available in the develop module. And that's where you gonna do all your fantastic editing and be really creative. These are just quick sorts of adjustments you can make to exposure environments or I just never use those. So I can't imagine that you would either. So, but that's where it is. Now keyword and we're gonna do. A whole video Hong keyword. And now with this shot open onscreen and selected on screen, I can see that it's already being key worded with two words, Madrid and Madrid street. So I've already added them at some point. Below it, we have keyword suggestions. And again, this will fill and be populated. More keywords you add. And they will appear here. And you can just simply click on one of them suggestions if you think it suits the photograph that you've got on the screen or all the photographs you have selected on screen. The one below it is recent keywords that I've used, keyword sets. So yet we'll, we'll, we'll look at that in greater detail. But that is keywords and keyword list is quite good. Let me go back to the grid view just by pressing. Gee, I can see that I have two photographs. That being key word with the word crystal palace, 29 with madrid, et cetera, et cetera. You can see that now I clicked on this little arrow. Sophie blew the 16 photographs key worded with the word Sophie blow. And if I click on the arrow here, what will happen is those images will appear on screen. And there you go. These are the shots of sophie completely from a different folder. But I will, I am able to access them and locate them because they're being keyword. So a keyword and is a really important part of Of the whole light room system helps you locate your photographs really easily. So it is quite important to keyword you shots. So let's go back to the Madrid folder and carry on them and we are back in the Madrid folder. The next one then is metadata. Or metadata depends what you want to call it. Metadata is here's where you can add metadata about your photographs. You can select them all and add it as a group of shots or individually or wherever you want to do. And you've got your presets a and now this, if you've followed all the videos, you will see that when you are actually important your photographs into light, light room, you're given the opportunity to add metadata. But if he didn't do it on the import stage, you got the option to do it now. So that is your metadata. And then comments. I don't bother at comments. So I wouldn't worry too much about that. These two grayed out at the bottom. Again up, we're not going to look at those because that is how you I could select several photographs. And then when I'm in the quick develop panel, whatever change to exposure and made to one photograph. It would change, you know, VAD several selected. It would change the exposure on every photograph selected. Here's an airplane just going overhead. If you wonder what that noise was. But yet, so that kind of completes all the different panels that you have in the library module. So there you have it then the library module I, and as I say, as I move forward through all the various modules, you'll watch me using those tools and you will start using those tools to law becomes second nature. I'll see you in the next module.
8. Module 7 How to Add Keywords: Previously, I showed you how to ky. Where do you photograph that generally import stage. And I did mention that I prefer to keyword my photographs once I've imposed them into light rim. Now it doesn't really matter which way you do it. But I think I did point out that if you keyword giorni import stage, it can be a little bit messy if you have photographs from different shoots. So I prefer to do once have important domain. So in this module, that's what we're going to take a look at. And let's say it's a good practice to thing two keywords you photographs because it will help you so locate them. So let's jump right in and look at how you key, Where do you photographs? Inside this product photography folder, I have various images of different products. And as you can see, there's toy car, there's some robots. And the sun vintage cameras have a jump across to the right-hand panel. We can see our keyword and options. Now expand this window. You can see an area here. This is where we'll type our keywords and just below that is keyword suggestions. And this will start to be become populated with different keywords suggestions, the more keywords we add. Also below that we have a keyword set. Now it's set at the moment to recent keywords. But you can see here that you might have a lot of outdoor photography or portray Whedon, et cetera. Plus you can always add different sets as well. But for now, let's keep it simple. And I'll leave it set to recent keywords. And as we go along you'll see these areas become populated with different keywords. So I'm first going to do is keyword, the four photographs of this toy car. And I wanna key word each photograph with the word toy car or the words toy car, and also the word Porsche. To do that, I'm going to select all four shots now, I'm sure you know how to do this book. I will just show you just in case you don't, to select all four shots. First of all, select the first one. Then jump across to the last one, press the Shift key, and then do a mouse-click. Know all four shots are selected. On the right-hand side, I'm gonna jump into the key word dialog box. And I'm gonna type in toy car with a comma and then the word Porsche, and then hit return. Now those four photographs are now keyword with the words Porsche and toy car. And you can see in the right-hand corner of each image and little sort of black box appears. And it kind of remind you that those images now have keywords. Also Jordan across back to this right-hand panel, we can see now that we have in our keyword sat, recent keywords, we have the words toy car and the word Porsche. So if I now wanted to locate those images of the toy car, I could simply jump up to the top menu strip. Click on text. And then make sure the septa keywords. And then just simply type in here toy car. Then like magic, just the four images that are being keyword with the words toy car appear on the screen. All the simple number click back onto the toolbar, click on non. All the rest of the images will, will appear. So that is using the import dialog box here on the right-hand side. Now there's another particularly clever way of keyword in your photographs and want to change the folder. And I'm going to go across the this folder that contains photographs are taken them various models over the years. Now, wanna keyword this group of photographs. I just want to select the female models. Now, I could do the same thing. I could select each one and jump across to the keyword box and just type in female models. But I thought I'd introduce you to the painter tool. Now the painter tool lives along this toolbar at the bottom, it's just here. Now if you can't see it, again, dropped this menu down and make sure it's switched on the little tick next to it when you select the painter till a spray cans appears on the end of your mouse pointer. Now, you can actually spray various attributes on to your photographs. And that sounds like a really strange concept. But stick with me and I'll show you how easy it is. Now in our case, we want to spray on keywords. But if you dropped this menu down, you see you can select any one of those attributes book, In our case obviously be one keywords, the dialog box to taste, and we want to type in our keywords and hit the return key. What do I do now is just sort of select which photographs that obviously need spraying with those keywords. So I'm just going to quickly go through these images. And it's just a simple matter of clicking on an image and it will apply the keyword to it. And once you happy, just click on dawn in the toolbar. Now those particular photographs of female models have now being given the keywords female models. And that is reflected in our keyword set. So we now have recent keyword female models. And once again, we can jump up to our text tool and just type in female models. And in this case I only have to type in female and they all jumped off. Now that's how easy that is. Now I'm just gonna click on non. So they all return and just show you another way that is really useful to locate those photographs once the being key worded. So I'll introduce you to the keyword list. Now, I expand that window. I can see that I have 15 photographs, keyword with the words female models, for photographs, key word with the word Porsche, and for fresh ref keyword with the keyword toy car. Never jump back to the female models keywords and move across. I can see a small arrow. Now if I click on that, what will appear on the screen are just the photographs, those 15 photographs of the female models. So let us just try that. And there you go. Any images of any male models have now disappeared. So that is another way of doing it. You can either type in the tool bar at the top and search for the keyword at photographs that way, or use the keyword list. If I clicked on toy car, for instance, on the arrow there, than just the toy car images would appear. So that's a really great way of an answer, the way I used to be fair, I don't really use this toolbar. Well, that's a great way of locating your photographs in this keyword list once you have applied keywords toward your photographs. Lastly, I'm going to show you how to key word photographs or in different folders. Now this is a really clever thing to do. So let's jump across to this folder here. Liverpool fairy, Liverpool than the ferry. This folder contains a number of photographs of the Liverpool waterfront. Now what I'm particularly interested in just make this photograph a bit larger is this building in the center. This is the very famous landmark in the report, which is called the Live a building. So I wanna keyword all these photographs with the word live ability. Now we know how to do that I showed you before. When I shift click and select all those photographs and then across to my keyword list, accord spray them on, of course, but I'm just going to type into this little dialogue box and hit the return key. Now they are all now keyword with the words live a building. So let's select a different folder that's goes to this Liverpool at night. And C of the liability is in any of these photographs. Now I obviously I'm from Liverpool, so I know that I know the building quite well. Now rather than the type in the keywords again, or even spray them, I don't even have to do that. What I'm gonna do in status is select the photographs that I can see. Have the live a building in in that particular photograph. So this one has, this one has no, I'm, I'm hitting the command key to do this, to add to me selection. You've got PC, it's control. So that one has got the Liveable, that one has these three haven't, that one hasn't, and neither of those two. So those four, I've got the live Ableton. Now if I jump across to here and go to recent keywords in this keyword set. I can just quite simply click on Live a building and overdo that those four photographs will be key words with the words liveable. And so here we go. And there you can see the tell-tale black indication that these images of being keyword. So let's jump across to some more folders, Liverpool Street, for instance, and want to quickly go through those. Are there any liveable and shots and there I there is, there is one there. So I'm going to click on that image. Scroll through buffer that there's another one somewhere, a command or control. If you've got Pc. And I'm going to click on that one too. So there's now three images selected there. Have the live Ableton. And again, just jump across to the keyword set and simply click on, In my case, liveable and but whatever key words suits your photographs. And they again up in key worded with the words liability. So there's not gonna be any in this folder, the Madrid folder, non-product promotional heads rebel. Now I'm gonna jump down to this last one. See odyssey. And I can see the liability in that shot there. So I'm gonna click on that warm scroll and through I can see the live a building in this shot. So Command or Control click. Just those two shots. I've got liveable Nin, again, jumping across the key word set and simply click on the relevant keywords, in this case, liveable. And they go, I'm going to click on there. Now, I can see all those photographs, although they're in different folders, I can see them altogether because they have been keywords with the words liveable. And to do that, if I just expand my keyword list, I can see I have 17 photographs key word with the words liveable. And I've, I simply click on this arrow to the right-hand side. Lone behold, all those images will appear. And you can see they're all from different folders. You know, there are the nighttime images mixed with CRC images and they're all kind of mixed together. And that's great. If I now go into the Develop module along my film strip, along the bottom, I will see just those images that are keyword with the word live a building. And I can quite simply go in and start adding those images. It's a really great thing that you should really get familiar with and you should do often with keywords. It's a great way of locating your photographs. And because I'm sure your catalog over the years it grows and it grows. And keyword you shutters really going to help you to locate specific photographs. And finally, another great option is to create some keywords and then add them to the keyword list. And then you can decide which photographs should be assigned those particular keywords. So let's have a look at how you do that then. So accordingly, have the Madrid folder open and I am going to add some key words to the list. Simply click on the ad icon and then type your keywords into the dialogue box. And then hit create. Let's add another one. Then He creates. And finally one more. And one more for good luck, I think. And then hit create. Now over in the keyword list, you can see that. And it's now populated with those extra keywords that I've added. And you can see that some of them contain no photographs, obviously because the new keywords and I've just added them, know all I simply need to do is select photographs and then add those keywords. Now these first three photographs are all of the crystal palace in Madrid. And I can quite simply go across here, sorry, dropped the keyword list, recent keywords, and there'll be an There you go. Pull that police GOD, Christelle. Click on that. And they are now keyword and now they are also in Madrid. So I can click on Madrid T2. And you can see up here, it's added both sets of keywords, Madrid and the police GOD crystal. And remember that you can, you can add as many keywords as you like to photograph as long as you put on a little calmer. And I say you can add as many as you like. Let's move along that one there. And say that one. Command or control. Click. Either one. You can kind of go through them quickly and just do a few. And they are street photography. So I'm gonna click on that. And they are also in Madrid. So now those photographs are selected, have the keyword Madrid and street photography. And it's very simple in this particular photograph a That's a good friend of mine and great photographer. Command and click because he's a NAT shot as well. And I could just click on the words MIC ryan to make Ryan. And again, we know from dropping down the keyword list, if I just find the MIC ryan, keywords, click on the arrow. And lo and behold, it was just those two photographs pop-up or the police plat cod crystal. Just those images will pop up. So they have a keyword and it's a very, very simple thing to do. Very worthwhile because it will help you locate your photographs really quickly and speed up the whole process of taking your photographs from imports through to the final edits. So there you have it then keyword and you photographs. It's a simple thing to do. It's nice and quick. There's a couple of methods of achieving there. Just choose which one you prefer. And I will see you in the next module.
9. Module 8 How to Rate Your Photographs: You have to show you photographs, some tough love. Now what do I mean by that? Once you've imported all your photographs, you need to go through them and decide which ones you like and which ones you don't like. And to do that, we use the rate and system and there's three ways of rate in your photographs. There's the star E8 and system, the color-code and system or my particular favors, which is the flag system. And it will really help you to sort of avoid having your film strip cluttered with loads of photographs that you've got no intentions. Edison. And of course you can delete those photographs to Oregon. Just choose, as I say, with the rating system to just not see them. It's a great system, which ever one you go four and I say I used the flag system, but it's something you need to do and it just makes light room a bit more streamlined and easier to work with. So with that said, then let's jump in and have a look at the rating system. So here we are in light room. Now we have three methods of favorite Now photographs, and they can be found on the tool bar below the main window. And here are the three options we have. We have the flag system, and we have the star rating system, and we have the color-coding system. Now if you can't see those three options on your toolbar, simply pop across to this triangle, drop it down and you can see you can add or take things off that toolbar. So if you can't see them, just just simply click on and they will appear on the toolbar. When you employ photographs and they will populate the film strip along the bottom. And of course, the central part of Lightroom to now what you need to do is to source a weed out the photographs that you don't like after shown that they're tough love because you can't keep them all. Because there's going to be some they're much better than others. And to locate them and to work on them becomes a bit more difficult. If you have a film strip just full of shots, you lie, can shut that you don't lie. So that's why it's so important to do. And as I say, you have to show you photographs, some tough love and Garfield. And so don't worry, you're not going to upset them, but just get rid of the ones that you don't, you're not going to particularly use. So to begin the favorite and process, you'll need to scroll through all your images and obviously pick the one July and reject the ones that you don't like. Now the bigger they are on the screen, that's going to help you to make that decision. So we know that we press spacebar will fill the screen with a particular image. And g will take us back to the grid view. So basically go through and select the ones you like and the ones you don't like, bought. What particular favorite method should you use? And like I say, you have the three options. The flack system, the star eight and system, and the color code and system. So let's have a look at those three things and operation. And Hopefully you'll see that the flux system is the best one to use. But I say it's entirely up to you. What suits your workflow best. So let's start with these two images at the top. Now they're very similar and have to make that decision which is the best. Now this happens a lot when you use continuous burst mode. In obviously the images are going to be very similar with fractions of a second in-between each shot. So to review them in bigger detail, wouldn't it be nice to have them side-by-side so I could review them that way. Now you can do that. So at currently this, this image is selected as you, as you know because it's got a light gray background. I press Command or Control and click on this image. I've now got two images selected. Now the press the letter c. Now there is a little icon for this down the bottom, the compare, the, you guys can come up yet the compare view shortcuts C. So if I press C, those timbres, you'll look them up on the screen. It will press the Tab key. I can get rid of the panels on the left and the right-hand side. This allows me to give a direct comparison between those two images and I'll make my final decision. Now, looking at the two shots, I prefer the shot on the left-hand side. It's very close. Bought a really like this girl's expression over here. I think the flame shape is better. I'll like the way this young girls looking, you know, intensely at what's going on and this lot choppier. So this image is much better. Very similar like a say both, you know, you have to make that decision, otherwise, you film strip will just be populated with loads of photographs that are either similar or as I've said, there aren't as good as others. That's why we do this favorite and procedure. So that's one way of sort of review and similar shots in greater detail side-by-side. And that will really help you. So let's go back to the grid view. So now I know which photograph I would like to favorite. Let me show you the preferred method that I like, which is the flag system. And I'll explain why a little bit later, but flag system is the way to go. I think. We go back down to the toolbar here, here is our flag system. Now it's given us two options there. One is to flag as a pick and the other is to set as rejected. Now, there is a third one which is on flag. Because of you flag something as a pick and make it a favorite, you may well change your mind. So we need to own picking. And so let's think Miss talk about shore courts then. So to flag something as a pic, it's simply press the letter P on the keyboard. To unflagging, simply press the letter U, and to reject the shot, simply press the letter x and it's as simple as that. So with this selected, the light grey background, if I just simply press the letter P on the keyboard, it will flag it as a pic. So that has now picked as like one of my favorites. This one next where for instance, I think I'll reject that because it's too similar to the one I've actually chosen. So I can set that as rejected. Now in both shots you can see. The one ice I chose as a favorite has now got little white flag in the top left hand corner on the one I rejected as got a black flag in the left-hand corner. So you can kind of go through your shots very simply doing that. So let's just, just for the speed of this video, I'm just going to go into, let's go into the loop view. And I'll look at that one. And let's look at the next one. And let's look at that one, right? That one I'd set is rejected because I don't like the way the hands being caught off there. So press the letter X that's says rejected. Use my arrow keys. That one's quite good. I'm not too sure about that in a moment. So if you're unsure about something, you don't have to flag it at all and you can always come back to it later. This one I really like, so I'm going to flag that topic. And you can see how easy it is to just go through images are really like that. One are flagged, That's a pig. And now there's two images here that are very similar to know, do I show them tough love and carry the one and just keep the other. I think in this case a will land. You. Just become difficult because the art, they are similar. So outflank both of those as, as picks. This one not really fostered on that, so I would reject it. See how easy is never just move backwards. I did say that I would flag both of these did change my mind on that. I can just press the letter u on the keyboard and remove the flag or pour it back by precedent p it, it's as simple as that. And go on through these shots and doing it that way. You are showing them some tough love. But you're kind of getting rid of the shots that you know, you're never gonna edit. Big pointed ME here though, is that you're not actually delete in the shuts. You would just remove them from your film strip along the bottom so that you don't see them anymore. And it's as simple as that. Now, you may well say, well, Franck, there's still a lot of shots on your filmstrip. Which brings me to the next thing. If we go to this bottom right-hand corner, at the moment, all my filters are switched off. And I'll filters just means it's going to filter your photographs and leave the ones that you want to see. And as I say, there's various ways of doing it. I'm showing you the flag system at the moment. So with that in mind, I just dropped this menu down and select flagged. Then all of a sudden all those photographs will disappear on the film strip. Now you haven't deleted them. You that just not available to view. And the only ones that are now in view are the ones we flagged, which I just quickly flagged five shots. If we want to return to my full film strip to see all the, all the photographs. I just switch filters off and then the old comeback. So it's a very easy way of just saying yes, I like that shot. No, I don't like that shots. And again, like I say, you haven't released them and you can always change your mind. So that's the flag system. Now the star rating system works exactly how you think it would work. Where you give your images anything from one star to 5-stars. So let me go back to the grid view and I'll do what I did previously, which is to pick two photographs. This one, this one. And go to the compare view. Just get rid of the tube's. Okay, so with these two images on the screen, let's give them start buttons. Now this is where it becomes difficult because it very difficult to chew. Well, suppose it's easy not to give something 5-stars, but then how do you make the decision of how many stars to give something back isn't nearly as good. And that's where it became, become rarely confused. And I think so with these two shots on the screen, it's, it's a good example because I think they're both good in their own way. So I wouldn't really know how many stars to give them. I suppose a good give them both 5-stars. But yeah, that's where it becomes a bit difficult I think. But with that in mind, and let me just, I'm gonna go through like I did previously and give star ratings. Now, obviously, if I select a shot, I know you're all quite intelligence. I've got that shot selected there. It's pretty obvious that of I click anywhere on here, I can give that image a star a1. So I click here, I give it the full 5-stars and five stars appear just below the photograph itself. I can change me mining, give it three stars. Now to remove the stars altogether, press 0, which brings me to the next thing which is short quotes. Again, we've got shore courts for the star rating system. And it's quite simply the numbers one through to five. So to give something three stars, if I just press number three on the keyboard, that shot as now being given three stars of press 0, like I say, it removes all the stars. So that's how easy it is to do. So you can go through your shots and do it that way. So with that in mind, I'm just gonna go to the loop view again. And I'm gonna start given these shots. Some star A1's. So that one I'm going to give five stars. Go to the next shot. I'm gonna give that 5-stars also. Next one out, ado like that. But I'm a bit concerned about sharpen this leg off at the top. So I'm gonna give that say three stars. Next one. Again, it's, it's got something missing here. So I will give that say two stars. This one would be 5-stars. No, I think you can see it starts to become slightly difficult to decide how many stars to give your photographs. That one, for instance, I'll give that a five-star. This one, it's just a different color as net. One's under exposed. So I could give that I don't know, one star and a C. You go through your shots. Given them the star eaten. Obviously take a bit more time, more I've just on there, but that, that's the way you do. Now, again, as you can see on the filmstrip below, we still have all those shots visible. The ones that we've, we haven't yet got round to star a1. And the ones that we have star raise it. So again, we return to the right-hand corner and we have to switch the filter's on. Now in this case, we're going to switch on the rated. Shots. And they are currently they are the shots that I've just gone through quickly and star raise it now it's showing all of those images that I've got any amounts of stars on. So to filter those shots slightly better than if I jumped across here and just adjacent to where the stars are. And there's little dropdown there. And I can say racing is equal to and I'll click on there. It's currently set to any photographs that I've got a one star. And of course, this photograph just has the one-star ever went to stars. There's currently two photographs that have two stars. So you get the idea of a press five than just the images that had a five-star rating would come up. Now there's other options they're racing is greater than or equal to. And you can kind of filter your shots that way too. If I was gonna do it, I do like to use this racing is equal to and you can be more specific and just look at you like in this case, there was no photographs with four-star rating. And you can do it that way. Now again, like before, you can switch that filter off, all your images will reappear on the screen. So that star rating and Laker say, it works great and it could be ideal for you in your particular situation. It's not something I would do because it just gets a bit confused and I like to be more definite and go, wow, I love that shot. I don't like that one. Just be a bit more definite. But that's the way I do it. You, you don't have to do it that way. And the star rating system could be paragraph for yourself. So it's simple to use. There was an adjust, just remember to put a star rating on a photograph. It's numbers from one through 25. And with 0 b into to remove the star altogether. So let's take a look then at the, the color option and how you can color-code your images and do it that way in favorite them that way. That's quickly jump back to the grid view. And as I said, along the toolbar, just here, we have our five callers that we can choose. Now it, it's a simple matter of selected an image and then select another color. So if I gave that a blue color, you can see there's an outline now around the image and the little blue, sort of rectangular. If I clicked off that image, then the whole they're grayed area becomes blue. And you can quickly see, let's, for instance, the image next to it. We'll give that a red. So now you can see this one's blue and this one's red and it's as simple as that. And that would work really well. If I say you are working alongside somebody, a client for instance, and they might have a particular favorite that they like. So rather than use the star rating system and the flag system, gives your client or color, or give your family member, or maybe it's a Whedon you've done for someone. And you know it, I think it's a good way of just making those images stand out. You might find that you like to favor all your shots with, with callers. It's entirely up to you. Now there is, again, a shore court for the cause and it's look, it's 6789. And then we run our numbers. So purple, oddly enough, doesn't have a number. So just to show you that if I clicked on this image here and that's pressed the number eight. And I've just set that label to green just by pressing the number. I think it's to be fair. It's you have to remember if you do it, that we have to remember what each color wore, what particular number has. So you probably better just click on these little color swatches here. So that's how you sort of color, sort of select your images or favorite them, I should say, with an individual color. So that kind of completes this lot tutorial, you have the flag system, which is the option I always go for. You have the star rating system, which is kinda make sense, but it does become a bit confused and, and the, the coloration system, which can be quite nice because as I say, it stands out on your screen. But again, you've got to decide then it's, it's very similar to the star system, isn't it? You know, what particular color do give you favors and what college you gave one that's almost a favorite and it becomes confusing. And I think with the color rate and system, I think it's great if you're sharing those photographs with a family member or like you say, you're working alongside a client. And he can simply his favorites if you lie or hair favorites can be color-coded. So there you have it then the rating system. And it's easy as net, and it's something you should do once you've got your photograph, said keyword them, and then at the same rate them and showed them a bit tough love. They haven't got feelings, you won't upset them. But you will always be able to see visible in your film strip the photographs that you like. And I say you can use that little filter system to filter out and the different ratings, star ratings or the flags or on flight you saw on the video. So you know now you're an expert. Anyway, how see you in the next module?
10. Module 9 How to Create a Collection: In this module, we're gonna take a look at collections now, what is a collection? While, as you know, when you import your photographs, they all live in individual folders or not-so-great. You click on a folder and you have access along you film strip to all the photographs contained within that folder. But what happens if you want to mix together photographs from various folders? Now this is where a collection comes in really handy. So you can pick photographs from individual folders and put them into this collection. So essentially, a collection is another folder. And the folder you can create an RG favorite photographs. So I'll give you a scenario. Imagine you wanted to put together all your favorite photographs from the previous ten years of family holidays. So you can go into the individual folders that store those photographs and you can pick your favorites and then add them to this one folder or collection. And then they will all appear along the film strip or together. So all from individual folders, brawl living in, in one place. Now it's fab and it's dead easy to do and we share today. So let's jump right in and I'll show you how to create a collection. To create a collection, we need to be in the library module. And if we jump across to the left-hand panel, we can see that the collections tab navi expand this window. I can see that we have no collections. We do have smart collections, and these are created by light room itself. Now we're not going to take a look at those because we're interested in collections that we create. And I'm simply going to create two collections. One contain them, my favorite photographs taken in Liverpool, and another collection with my favorite people shots. Now to do that, I'll just simply move across to this plus icon, click on it, and then select create collection. And this box will appear and it will allow me to name that particular collection. So this first one I'm going to call Liverpool favors. And I'm going to make sure it's one of the options I'm gonna select here is set as target collection. So just make sure you've got that selected and then hit create. Now jumping across the collections window, I can see I've now created that new collection, local faves. And it currently contains no photographs because we haven't added any yet. So let's create a new collection. And again, just the plus icon. Click on a crate collection and just do the same thing. This one I'm gonna call people faves. Now this time, I want set it as the target look collection and you'll see why as we move along. So just for now, I'm going to hit Create and create that collection. And again, children across the window on the left-hand panel, I can see I have a new collection called people place. And again that contains no photographs because I haven't added any. So now let's go through the process of r. We simply add photographs. There are innumerable ways of selecting your photographs to drop into each particular collection. And let me just show you this though. If I just mouse over, the people faves, a little cross appears. Now. We're just mouse over the people faves. No cross will appear. Now, what does that cross mean? That cross means that back collection of livable phase is the target collection. And again, we're gonna come back to that later. But that is really important. Target collections and you'll see why very shortly. First of all, let me just show you a very easy way of just pop in a photograph into the target collection. Just simply select a photograph, Make sure it's active. And then just click and drag and then pop it into the folder. And I can see now that folder has now got one photograph, which is the one I've just drag it across. Now this is not my favorite way of add-in photographs to a collection that's very easy to drag. You have a lot of fractions. It's very easy to drug a photograph over and put it in the incorrect folder. You might just drop it and it lands on a different collection folder. We don't wanna do that. So I prefer to use the shore cost. So let me just show you how easy it is then this particular photograph, I would like that to be in the target collection. Remember, this is the target collection and the little cross should appear very shortly. It's not going to go for I know that that's the target collections. So with this photographed selected, I just simply hit the letter B on the keyboard. Now watch what happens. A little dialogue piece of dialogue come up on the screen to confirm that that particular photograph as been added to the target collection. So here we go, press the letter b, add to target collection Liverpool faves. And you can see that folder now contains two images. So you can quite quickly go through your images, just pressing the letter b. So let's change folders then. And let's go to Liverpool from the ferry. And I could look at the shots and I can also obviously go into the loop view, which we pressed the letter e for that. So I can see the image in, in larger detail and be more specific with what I want to add to the target collection. So this one, for instance, perhaps May want to add to the collection. And then I can just simply hit again the letter B and that will go into Liverpool faves. I can change the folder. It goes Liverpool at night or really like that shot. So that's gonna go into my faves. That's come across like this one. And again, press the letter b. Now you don't have to be in the loop view. Obviously you can be in the GridView to do it. It doesn't really matter. Let's go to Liverpool Street. Now for instance, imagine I wanted this shot. Now I'm gonna use command, click for this book. It's command or control if he got a PC. So I have this one selected and may want to add that one to that one. And again, I'm just using Command or Control click to select these photographs. I like that one. And that one, right? So I won't do too many. But now I have a number of photographs selected there. Just simply again hit letter B on the keyboard. And they've now all being added to the target collection. Let me just see if it worked right. I want to add anymore, I will just go back to the collections itself. And I can see there's now 11 photographs in collection. And that's really cool, is then we'll press on it and select it. I can see now that I have a collection of photographs from different folders, all living in the WAN collection and that's reflected in the film strip at the bottom. Now, if I jump over to the develop module, you can see that that is now reflected in the developed module to those particular photographs in that Liverpool faves collection. All along the film strip, along the bottom. Now we look over here on the left-hand panel, you can see that we've now lost our folders. Now folders are only available in the library module and the not visible in the developed module. So if i wanted access to photographs from another folder, I would have to click back into the library module and select that particular folder. Now this is another great reason why we create collections. Because that's a sake because people lose access to our folders. We never lose access to our collections. Now just expand on this and imagine I have, if I had a great number of collections, I can just jump between them. So with that said, let's go back to the library module and start to populate this people faves collection. Okay, back in the Library module, let's select a folder phenomena. Select this Rebel, Rebel folder, which contains people shuts, took in the studio many years ago. Now in the collections tab over just open this little collections tab. I can see that we've got other people faves there and our people phase. Now remember, I need to make this people faves collection, the target collection. Now to do that, simply right-click on it and set it as the target collection. Now you need to do that to use the shore court letter B, which will automatically put the shots and the right collection as long as it's set to the target collection. And remember said areas across appears to let you know if that is the particular target collection. Now you can't simply just drag and drop into the correct collection like I showed you earlier. But it's always good practice to make sure you have your particular collection set as the target collection makes things a lot easier. Now again, now I can just move through this select and shots by simply hitting the letter B. And that will go into the target collection, which is people faves, Simple as that. Let's get one, let's get that one. And I like that one. And again, I'm just randomly selecting these shots. You would take the time to do this at a pop that one and it's, well, now back to the folders. I can now go to this another folder, this Sarah folder, and selection shots from there as well. I like that one. Simply hit the letter B and yep. And just go through your shots that way. Changed the folder Ghana, I'm going to nip to the Sophie folder and select a couple of these shots or like that one. And again, I'm just randomly selecting these shots. You would take more time to do this. And there you go. Just pop a few more in. Let's pop that warning. So they're all now in the people faves collection. So open on this window, I can see that in people faves, I have nine shots and ever click on it. There was nine shots or from different folders, and I live in the same collection. And again, jumping across the developed module that is now reflected in this innocent timeline at the bottom. And I can jump between shots. And again now on the left-hand side in the collections section in this panel, we can jump between collections. Now this is fantastic. So not only may jump from between and collections, but I am able to view photographs that would belong in different folders. And again, like I mentioned, area, we've lost the folders. On this side, we've lost the ability to change folders, but we will always have access to the collections, which is fantastic, isn't it? So that is collections all very simple. And it's a great thing to do. And like you say, because you do lose access to your folders, panels in the developed module, it's a great thing to do to sort of make sure that on that timeline, you've always got access to the photographs that you want to work on if they contained in different folders. So there you have it then collections the gray Sandy. And I know in my catalog I've got loads of collections and I add to them or take, subtract from them, make them better, make them smaller, delete them. And of course, whenever you do that, you don't touch the photographs that I live in. In your main folders. You only source it, delete or add or whatever from the collection. So that's why collections are fantastic. Okay, so I'll see you in the next module.
11. Module 10 The Develop Module: I'm super excited because we're at the stage where we can start to look at how we can bring your photographs to life. But before we do, I want to give you a tour of the develop module and introduce you to the various tools that you have available and describe what they do. And then in future modules, In fact, every module after this one, it's all about editing. I am super excited because I can't wait to show you how to bring your photographs to life. I hope you're excited to. But before we get there, let's up this little tour of the develop module. So here we are then in the developed module. Now the whole purpose of the develop module is to help you take your photograph from import right through to the final edit footprint or to show online. Inside of this Develop module, you can correct all your exposures. You can change the colors, you can fix the white balance, you can remove noise. You can correct lens distortions. You can crop year image. You can put facts on a preset Santa. You can do so much. But as I say, this video is all about introducing new to the develop module. So let's take a look at this first image then. It's an image that I shot in Madrid earlier this year. And I shot it in the raw format. You've got two options. You've got, you can shoot in RAW JPEG. And the raw images tend to retain more detail and they certainly have more dynamic range. And this allows you to push them a bit more personal beef, fair that when you're creating your edits, that said, if it was in JPEG, I would be able to do the, perform the same sort of edits. It's just that a Rorschach, so it's a bit more dynamic range. Now this is what Lightroom's Fantastic Four, because in that shot you can clearly see it's underexposed. However, the sky isn't, the sky is fine, isn't it? What tends to happen is, if you have areas that are overexposed, then to be fair, you can't really reclaim any of the detail within that overexposed area. That a lot easier to reclaim the source of details and to brighten up the shadows. And that's what I did with this image. So when I took the image, I knew that as long as at the sky rise, I could actually correct for the shadows, not what I did unless shot ended up looking like this. It's amazing what you can do to think that, you know, it was like this with the corrections made in light room, it became this. And that's what Lightroom's all about. So let's look at some of the options that you have well known many options you have. And as they are, try and keep things as brief as I can and infer the tutorials are will go into things in a lot more detail. So let's have a look then at what we have. On the left-hand side. We have a series of drop-down palettes, and we'll go through these shortly. Along the bottom, we've got our film strip so we can access any photograph at any time. We have this copy and paste facility here. So whatever edit she do to once shot, you can copy and paste the lecture, which is really useful, speeds things up. And then we have the really sexy, so hydro RJR, where we've got all these various ways of edit now photographs. So at start openness top left-hand screen then very simply with the navigator. And the navigator does exactly what it says that helps you navigate round your image. So we have a series of options here. It's unfit at the moment. That means it's going to fit into the center of the screen. I can zoom in quite simply by clicking on the image. I can click in the navigator to and drag round the image. Clicking in the screen or click an unfit or put it back to where it was. I can also click on the screen. And once I've zoomed in, it will go to a hand icon and allow me to drag grounds so I can navigate around that way too. I can also change the ratio of how it zooms in to 21 is rarely got. Let's do something silly, like to change that ratio 24 to one. So when a zoom in now it's gone in four times bigger. That you might find that useful, but you can change that anytime. So click on fit and when I put it back to two, so one because that's what I prefer it to be set to. So that is the navigator. Below that we have presets. You may open up your preset palette and you might have completely different set of preset to what my version of Lightroom is show in. Lightroom does ship with presets. And, and of course, there's many presets that you can buy online. And of course you can make your own presets. If you look at my set a, I have got the standard light room set of presets. And I've added these two collections here of presets are like the VSCO film emulation presets. And other click down here and have a log. You can see that if I apply any of those presets, it will start to emulate. These are film stock, so it will emulate Kodak pause or film stock or ill furred or Fuji, which depending on which one to select. Now, I tend not to use presets until the very end of the Edit. And I'll try and film stock and see what it looks like. Photographers will do it in different ways. And you might find a way that Sue tube or Presets predominantly for me as something that I add at the end of an edit. Snapshot, snapshot to Great. So let's change the image. Go to this image of sophie. Once I've created my editor and I am happy with it, I can obviously continue Edison Newton and try some different presets or teen some colors or ever wanna do. And, but what, what I generally do is warm. Once I'm happy with the first data's, I will create a snapshot of it and it's very easy to do if I just expand this window here. You can see that Once I was happy with my editors, I called it first Edit. And then I started to change the way it locks with presets or colors or using the various edit and tools that are available. So I can quite simply jump between these snapshots and decide later on which one I prefer. That one's quite dramatic. And it's great because as you know, Lightroom's non-destructive. And creating these presets, I can just jump between them. And as I say, create some really great variation between shots. And at a later date, decide which one I want to use. Or maybe, in this case, Sophie might call around to view the photographs and prefer something a bit different. So I will go through snapshots in greater detail as I say in another video. So moving on to the history palate below, let's just change our shot than to one I talk in Barcelona in this Sagrada Familia, expanding the history palette, then I can see all the moves that I made, all the edits that I perform to create this finished image that you can see on the screen. So if I go right the way back to the import, it began its life, look in like this. And then through all these edits, eventually looked like this. And the history politics is always there when you close like boom down, reopening and then find that image and then expand the history pilots, all those edits remain there and you can jump backwards and forwards. It's absolutely great. So that's the history pilot. Fantastic. Now below that we have collections. Now, I don't want to talk about collections too much cause you can watch a whole tutorial video on there. Just to explain what it is. You will have a daresay loads and loads of photographs stored in light room, all in different folders. So imagine if you want to create one folder that has all your favorite photographs in from various different locations you visited or, you know, family events or weapons or whatever is collections or idea for that because you can take photographs that live in different folders and put them into one collection. And they will then appear on the film strip at the bottom of light room when you jump into the develop module. And this is fantastic. So you can see here I've created a collection for this specific tutorial video, and I've called it the develop module. And you can see here, I've got all their collections that I've created. I can just jump between them very quickly. There's one of Sophie, the newsprint, Sophie green jacket. And I can just jump between collections, people favorites or my favorite people shots. And I can jump between those. And then right back to the develop module, which is the one we use in at the moment. Absolutely brilliant. So that has collections I save. You want to see more about that. There's already a specific video and that you can watch, and it will teach hours to do that. So let's jump across the other side then and look at all these sexy tools we have to develop our photograph. So I'm gonna change the photograph to this one that I talk of, two lines that start at the top then like we did before. The first thing we see is the histogram. Now a histogram is a graphical representation of general exposure. Now by move my mouse over this histogram, it will show me how that is divided up, which is really useful. So in the left-hand side we have blacks movement across, we've got shadows. Then we have general exposure in the center. We have highlights, and then we have whites. Now in the ideal world, the shape of the histogram should start in one corner and an end in the other. One particular shape is more varied between photographs obviously. But if everything is on this left hand side and there isn't much detail air source of data over here than the shutter be Underexposed. And the other way round of all the information was on this side, and there wasn't much detail on this left-hand side than the shutter be overexposed. So I can see with this particular shot that it is a well exposed shot. Now it needs work on it. And I hope you can see that this is where Lightroom comes into its own latch shot peers, not right. It's kind of milky and there's not much contrast in it. But I'll show you as we go along how are correct that basically. But before I do whatever shot that you have on the screen, you can find out the information and it's always just below the histogram. And I can see that it was shutter ISO 3,275 multifocal lens f 2.810100 of a second. And that's really useful when you learn about photography as well. And if you keep an eye on what sentence, specific photographs it, it's all knowledge is there and it will help you develop as a photographer. Below that, we have a set of tools. Now these tools, again, I will go through in greater detail in other videos. But just to quickly go through them, we've got the crop overlay tool and we are now also crop a photograph, I hope we do anyway, but that is a really easy tool to use. The next one is the Spot Removal tool. And within Lightroom you can remove very small items or spots or whatever from your photograph. It's not overly powerful to remove, you know, difficult things. It's just very simple things, but it does work. And the one next to that is the red eye correction tool. Now, I would hope that you would never take a photograph with people that have red eyes. But it is there and it does work. These guys, this is the graduated filter and the one next to it is the radial filter, and then we have the adjustment brush. Now, in this short tutorial video, there isn't enough time to go through those. So they will all be done in, say, individual. A tutorial videos, because they are really powerful tools. Below that are all our editing options and tools that we can use. And I'm going to start off with the basic till the other ones have got sexier name suddenly bought. Basic is where we start. And believe me, although it's same basic, Probably the most powerful set of tools and the ones you'll use all the time. So let's just quickly edit this photograph and I show you how easy is just using the basic tools. Expand them the basic palette. We have a selection of tools. Now I normally start with the white balance. You've shot in R4. You can retrospectively change the white balance vibe dropped this menu down. Here is, you'll see this reflected in your camera sentence. If you take a look on your camera, you'll see that you've got access to these different right balances. Now when you shoot in JPEG, it doesn't give you that option to retrospectively change the white balance. Although you can use the eyedropper tool and you can use the temperature sliders. Now again, another video, I will go right through how you're correct by bands. Book quickly in this shot. Unwanted select a triad. Daylight, cloudy day, cloudy day seems to be the one that works. We're looking at a before and after. This was how the image was originally with no white balance correction. And then this is just change the white balance too cloudy day and it's warm the shut up straight away as so that is a good start. I would then look at the exposure. And in some cases you would have to adjust the exposure. But as I mentioned earlier, looking at the histogram, that looks pretty OK. To me, it's gone from one side to the other. Epsom. I'll leave that one. Contrast or something are due at the end. So I'll come back to that one. And these guys are really important. And let me take you through these then I often start with blacks. And if I put my finger on the Option or Alt key, the image on the screen will go white. When I drag the slider. And you can see I'm bringing my black sense while know exactly where the blacks are. Blacks are common, probably around about they're just yet that will do to me blacks on hours and change much because as I said, this was quite a while exposed shot. Do the same with whites as the reverse and my white sustenance to come through just here. Now if you're confused about what I'm doing there, let me just switch on these two little triangles on the histogram. And these will make me aware of 1M clip and the highlights or the shadows. So again, I'm gonna go back to this black slider. And this time I'm going to drag it all the way to the left. Now these blue areas, Lightroom is indicating that these are clipping, in other words, the two black from so you can leave them switched on. Just drug until they disappear. So that's another way of doing it. And as I say, that this shot isn't this shot is exposed fairly well, so I don't have to worry too much about that. And then down to the violence, let's just boost the vibrant soap. And I'm just gonna DKs it's slightly as well. And that's locked in greater already, isn't it? So that was the before. And this is the after. So that is how powerful the basic tools are. Just getting your basic exposure right? Now from here, you can start to correct or other things. But as a basic starter that locks fab, doesn't it? So the next two we come to is the tone curve. Now it's something I don't use quite often. Oddly enough, a user quite often in Photoshop and in my video editing software, but not so much in Lightroom. What I tend to do is have a little look at the preset curves, if you like. And we've got a medium contrast and a strong contrast. It's shown at the moment the luminance. So I can bright nor dark and certain areas that shot with the curve, I can also select a color and affect the color with the curve as well. Now organic, not gonna go into too much detail. In another video, I'll do that. But medium contrast, it looks quite good, doesn't it? So I'm going to leave the medium contrast care of on and it's just dropped. The shadow is lot bit dropped the blacks and lifted the highlights. In other words, it's added a bit of contrast. But yet, by all means play around with bad. It's not something I use a lot bought in this image actually that medium contrast carvers worked quite nicely. So let's leave it like that. So that's the tone curve. The next tool is the HSL. I love this tool, hue saturation and luminance. Hue is the specific color. Saturation is how strong black color is, and the luminance is how bright the colors. And as I say, this is one of my favorite tools in side of Lightroom. Now looking at this image, it was taken, believe it or not, in the UK. And the safari park in nose Lee, which is unlivable. Now it doesn't look like it's in the jungle, does, because we've got luscious green foliage everywhere. So let's change the color of the foliage. And to do that, I would just simply make sure I'm in this part of the tool palette, the hue part, and these little things here just Hugh by dragging in the photo, adjust the saturation by etc, you get the idea. So I just select that, click on something that's green and then just drag or pour down and they go, I am Macon less green. I'm more like it's a jungle. It certainly looks better that color, doesn't it? And I could change the saturation nor dark in it. And again, in affair the tutorial, we'll look in depth into the hue, saturation and luminance. But that's great. The way you can do that really quickly. And again, let's look at our before and after. Remember the photograph came in looking like this. And with those quick edits, it's dance or look like something really specialism. So that is the HSL next tool then, and that would be the split toning tool. Now let's select a different photograph that go for this one. Now what we have with split tone and is We can affect the colors in the shadows and affect the callers in the highlights. Now again, this is something I don't use that often, but let's take a look at anyway. So in the shadows, we've got shadows highlights the control of the color via hue and saturation. So if I click on here for the shadow is, and I make them blue column AB. And we can always go back and change that. And the highlights are make a yellow color. Now that was looking rather garish, isn't it? I can back this often and back the saturation off. And then other balance of either one or the other. And it does create some great effects. So that was a before, and that's an after. I kind of think that you can create a retro lock-in photograph with this sentence. And again, it's, I do it a different way when I do it. If I want to get that effect, but certainly play around with that. And that looks quite nice. There's no, that was the before and that's after. If you do it in a subtle manner, I think you can lock rarely got. So that I split toning. The next tool on our journey then is the detail palace. Now this set of tools will help you to reduce noise in an image and also to sharpen the image as well. So let's change our shot to this one. And if I zoom in over here, you can see what noise looks like. And we need to get rid of it. Now to do that, we used the noise reduction part of this tool palettes and the illuminant slider. And we just simply drag it across. And I'm gonna drag a halfway. And you can already see that cleared up a lot of that noise. So that's the before and the after. Absolutely brilliant, isn't it? Now sharpen an image. I jump across to the masking slider and put my finger on the Option key. Now it's the old key if you've got pc. And then when I drag the slider, it gives me an outline around the key areas that I want to sharp and I don't want to sharpen all this because it was just put the noise back in. I want to show up and just the outlines. So I would stop at about there and now I can dial in the amount of sharpen, but I would like. And that looks quite good to me. And you can mess around with the radius and the detail as the saying. I'll go into that in more detail in another video. But if we look now I just drag this over here. And we looked at the before and after. It's it's night and day, isn't it? You know, it's just so much better with that noise taken out. So that is how you get rid of noise. And that's the Detail slider. Moving on then to the lens correction tool. And I'll just swap an image. I'll put this one. I'm taken am Field Stadium and livable. Let me just explain about lenses before I move on. And the wider your lens. So if you're using a wide-angle lens, it achieves that wide-angle locked because the lens itself, the glass on the front is heavily curved. And obviously because it's curved, it gives you that source of wide-angle. Now one of the negative parts of that is it will distort the image. And this is where you would then enable lens correction profiles. And it will make sure things are uprise. And take that Kevin, round the sorts of primitive you shot with a wide-angle lens. It's, it's kind of if you take a look to me shots and it does keV and at this curve around the outside. So lens correction will take that away. Basically. Chromatic aberration is a word for you that is like purple fringe. And now again, lenses. Some lenses are worse than others for introducing this parable fringing. Now this particular shot is the reason I'm showing you this is because it's got both in, especially with it being official islands. If I just zoom in here, hope you can see that there's a purple line just along the edge here. Now that is what is something that the lens is poor in that there wasn't a purple line there. Trust me. Now if I just simply click on remove chromatic aberration, that will disappear. How good is that? I remember before I discovered that used to take me such a long time to get rid of stuff like that and Photoshop, but simply Gleick along there as removed it. Now getting on to the next part, which is the Enable Profile Corrections. Now again in another video, we'll go heavily into this lens correction tool palette. But just for now, watch what happens when I click. And to enable the profile correction, it actually will take away what it thinks is a distortion. In this case, the fisheye effect. Once I've clicked on me, I wasn't sure whether the puffer, fish eye or actually operates the way it is. So I kept both. What do you think if I just jump to the eventual version that I went for that was shot at with the fisheye. I enable lens correction and got it to look like that. And I think I prefer that one to be honest. Moving along, then we have the transform tool. So let's change our image to this one. Now what the Transform tool will do, it will try to or will do, it will correct, and verticals and horizontals and perspective. And you need to play around with these guys to select which one is right for your particular image. Now I can see this door is kind of, it's not the angle. It's not, it's not what bright basically isn't. So by just simply click on the auto, i always try the auto first. It's fixed at trace awake. That's fantastic, isn't it? And switch off. Switch on. Perfect, isn't it? Let's have a look at another shot. This particular door here or this, this is a famous old built in Liverpool which looks nothing like it's being converted. But anyway, that's another story. And again with this, just try the auto and it's fixed. It. Absolutely brilliant tool to fix the perspective and the uprights and horizontals and you shut. So that is the Transform tool. And lastly, let's take a look at the effects palette. What we can do with that. So again, let's switch. Photographs were gonna go for this one. And actually, while I've got this on the screen, I'm just going to select or so on the transform to. And there you go. It's corrected the verticals and that looks much better, doesn't it? Now doesn't need cropping. I think it's okay. I'm, I'm gonna crop that. So as say last one, we're going to look at them as the effects that we can know that they're not major effects. Well, we can add a grain and grain. Start to make your photograph look like a being shot with film. Because film had grain and so dependent on what photograph you have, I think it works great on people shots. When you add a bit a grain perhaps won't work as much in this shot. But yep, grain or just add film grain. Now post crop vignetting, why is it called post crop vignetting? Well, vignetting is a dark or light area, but most cases obviously a dog. And source of vignettes or dark area around the outside if you photograph. And we use the try and get rid of that because some lenses introduce it. Women, you know, cheaper lens will introduce this darks also vignette roundly outside. So it's called post crop in yet. And because we want to add a at the end, we want to be in control of it. So watch what happens when I do that. It will start to take my eye to where the lions are, because the outer parts of the image has gone darker. And I think it's, I generally use post crop vignette and on all my shots, I just love that effect. Now of attaining the feathers off. You can see the shape that it's gonna create. And I can make that more of a square shape. And you can, you know, you can control those sorts of shape of it with this midpoint as well. You know how much you want to go in and then reintroduce the feather. And there you go. That looks fantastic, Doesn't it? So that is the effects. Now you go the other way. I'm just gonna remember minus 42 v or the other way, it will go white. Not hate to see photographs like that, but you can do that. Just going to put it back to where it was, minus 41 or do. And let's take a look at that shop before and after. That's the way it came in. Remember, right at the stars to the tutorial that I started this video. That's the way that shot locked. And then that's the way it looks now. That is the power of light room. So there you have it then the developed module. Now I hope you didn't look too scary. And every module from now on, it's all about editing. And as I say, I'm super excited to show you what those tools do. And you can watch me in real-time edit photographs. So I'll see you in the next module.
12. Module 11 The White Balance Tool: In our first visit to the develop module, we're gonna take a look at the white balance too. So just what is white balance? Well, every location that you find yourself in, indoors or outdoors has a specific color temperature. So when you pop your photographs into light room, you might look at the photograph and think, I actually don't remember the cause looking like that they were slightly different. What's happened is the white balance is slightly wrong because a combat is not as good as what your eyes are. So it just simply using the sliders in the White Balance tool, you can correct your white balance and get the caller's back to how these should be. Now when you've photograph using the raw format, your karma doesn't actually record the white balance. So that sounds a bit crazy, doesn't know. But what it allows you to do is retrospectively change the white balance inside of Lightroom using the white balance Tool. And I'm going to show you how that works. But don't worry, you can change the white balance of a.JPEG. It's just not as good as what you can do with a roar shot. Now, the thing is, when you finish your edits, you can always jump back to the White Balance tool and add a bit of atmosphere to your photograph. And by warming it or cooling it by using the sliders rights. Let's jump in and take a look at the white balance to on your camera you can select various different right balance sentence to correspond with the location that you're actually shooting. And now my suggestion is always to use auto white balance and obviously to overshoot in R4. And you can see the color shift B and applied when I change the sentence, and that will match the degrees Kelvin of whatever location your in Navy shoot in JPEG, it actually bakes in this course Shift, whereas a Rorschach doesn't do that. I just record the roar information and you can retrospectively change the white balance inside of Lightroom. So here we are then inside of Lightroom. And you can see on the screen it's a pretty little collection of some of my favorite items that I use when I'm teaching DSLR photography. But this shot is a JPEG and it was shot in the auto white balance setting and the coolers, trust me, for being rendered perfect. That's exact same cause that the actual items are ever jump across to this next shot, which is a roar shot. It's exactly the same. So again, auto white balance was used for both shots. Just add that. This was shot on the natural daylight conditions, which brings me to this next photograph. Now this is a roar shot. And what I did here was I changed the white balance setting in the camera to incandescent. Now what the cameras tried to do is to balance the degrees Kelvin to match the source of temperature that comes off an incandescent light. Now, of course, I shot it under natural daylight, and that's why it's got this blue cast. However, if I made the mistake of doing that and I shot in RAW, I can now retrospectively change that white balance. And let me show you how easy that is. If I just jump across. The basic palace and find the white balanced section. I have got a dropdown menu just here. And if I drop that menu down, this kind of reflects the sentence that you have on your camera. And there's the Auto Daylight, Cloudy, etc. So remember the first shot was shot in auto white balance. And it rendered the caller's fantastic, didn't it? So if I now click on auto here, bear in mind, I've chosen the wrong white balance setting. It will automatically fix the coolers. Now what's this? It's like magic. And it's fixed the colors. All I've done is changed the white balance. Ever change it back to As Shot. Remember that was with the wrong certain incandescent. It's got that sort of blue collar customers, but, uh, back towards 01 will do is jump goes at a timeline and click on the previous image, which was the roar photograph with the correct white balance set and the auto setup. And they are pretty much identical. If you can see a change, it's probably just a shadow of me moving around, but trust me, they're identical. And that's all from an image that was had the incorrect white balance. There is again with the incandescent and again just simply change it to automatic. Next image we're going to look at then is a JPEG. Now this JPEG images exactly the same. It was shot under natural daylight, but with the wrong white balance setting the incandescent seven. And here we have the same blue color cast. Now watch what happens now if I dropped down this menu. I haven't got the same choices that I have with a roar shot, the raw shot. Well, let me retrospectively change it to whatever white bands I choose. With a JPEG, I don't get the same choice. I do get an also, but when I click on that, unfortunately, it doesn't give me the colors, the right coolers. And again, go into the previous shot. We know that what the color should be like. But with the JPEG shot with the wrong white balance, certain. It, I just simply can't fix it. And it, it's I can mess around with the sliders and manually try and get it right. But I could be there for hours trying to get that right. Was with a Rorschach. You could see that if fixed it straight away. Let's go on to the next shock them. Which is this raw shot here. Exactly the same shot under natural eyes, but with the wrong set and the incandescent certain. Now what I've added to this shot is a color chart that has a neutral gray strip. And what a lot of photographers do is to pop one of these into there. You know, maybe the fair shot detail pop it into the scene. And then they can refer to that when they are trying to get the colors right in the shot. Now you know that I can just simply click on also. And it will fix the image. But I'm going to put it back to As Shot. And I'm going to show you that the way another method using the eyedropper tool. So click on this and move into the image. Now where ever I move the eyedropper tool, it is constantly read the red, green, and blue values. So wherever I move this round, you'll see that the RGB values in percentages are changing. Now I'm gonna make me way over to this neutral gray strip. Because that neutral gray color is basically 50% red, green, and blue. And that will help fix all the colors. Now it works amazingly well. And you can see here that the red is on 44.4, the green as on 53.2, and the 70, sorry, the blew his aren't 77.1%. Now we can, we know there's two multiplier in the image and that's reflected in those regions because it's at 77.1. Now by just simply click in this gray area, it will fix the callers. And there you go. Perfect. Just by clicking in that gray area. Let me set it back to our shot. That was it, you know, with their horrible blue Carsten, pick the eye drop rho over to the gray area, click on fixed. Let's jump to the JPEG and do the same, exactly same setup shot under natural light and conditions with the incandescent Sutton. And I'm gonna pick the eyedropper tool up and when to move across to this neutral gray strip, click on it and it hasn't Donny. And again, it's just hasn't worked. Now the reason it's not working is because a jpeg we'll bake in that white balance m. So this J beg had that incandescent white balance kinda break baked in. So although I've clicked on the grey area and it's done its best to try and get the call is back to what they should be. It's nowhere near as good as a Rorschach. The roar shock does it brilliantly because he hasn't got that incorrect white bands baked in. And let me just show you that in real life then here's a raw shot that I captured in the messy tunnel in Liverpool. And I can see it's got, this image has got like a yellow cast to it. To get rid of that, let me just try our fateful old automatic setting. And voila, it's fixed it. And I could just simply lift the exposure and do before and after. You can see the yellow cast completely removed just by using the, the also set. And now I'm just going to jump back a few steps with this shot, right back to where it was and redo that. But using the eye dropper tool. So I'm looking for something that's neutral gray in that shot. And I know that this surround around this fire hydrants was pretty much a grey. So again, picking the eyedropper tool, movement across the image, clicking in the area of that gray. And let us fix the white balance to it just needs a bit of an exposure change and they go before and after. So you can see that shooting with R4 gives you the ability to quickly correct the white balance, either by using the drop-down options that you have or by simply using the eye dropper and fine and something that's neutral gray in your image. What happens though if you haven't got neutral gray in your image? Note this nighttime shot on Liverpool. Now it's notoriously difficult for a camera to meet new sort of measure, the degrees Kelvin or the white balance and a shot when there's multiple lights and we've got so many different types of lightened in this shot. The camera is Donitz best. And I shot this again on, on auto white balance. Now, if I clicked onto auto, It doesn't really do what I wanted to do. It doesn't change it to the callers that I'd lie. So I'm going to put it back to As Shot. Even clicking on something gray within this image is not really going to make much difference. What I need to do is to manually play with these sliders. Now I'm gonna take it more towards the blue. Because I remember it had a nice blue sky and straight away that looks better, doesn't it? And then I can lift the vibe. And so let's see what else we can do. Perhaps lift the shadow is a little bit. I mean, and that looks great straightaway, doesn't it? Over here, it's a bit blown out. So as you know, we can just drop those highlights and bringing that back, known results are due and that is perhaps we need to lift the exposure slightly. And they go before and after. It's so much better as you know. And of course I would play with that image and, and carry on edit in it. But they're, they're the various options than you have with white balance and the most stress. And I suppose really we use in light room, you will be choosing enroll on you, you shouldn't enroll and, uh, you should be R4 and not JPEG because obviously a roar image, so much more diesel and it's got so much more latitude and the ability to be able to drag those sliders to correct the shot is far, far superior than with a JPEG. So there you have it then the white balance to if fixes your colors, that's what it's there for. And it will also add a bit of atmosphere, as I say, by warming or cooling is shot if you so desire. So I'll see you in the next module.
13. Module 12 Edit From Start to Finish: So I'm really excited because I'm about to show you a complete address from start to finish. And particular photograph I've selected is one that I shot in Madrid of the palate CEO to Crystal and material parked. It's a slightly underexposed photograph put deliberately so because I wanted to retain the detail in the sky. But you'll be able to watch me bring all the details back in the shadows. And as I say, go from the initial import to the final edits. So strap yourself in because there's a lot to take in and let it jump in and take a look. So here's our image then inside of light room. Now it's a great image I captured. Ma, I'm allowed to say it's great. I think. Anyway, I captured this in Madrid earlier this year. And it's the Palazzo de crystal, or a glass palace. And it's an retire oh, park right in the center of Madrid. Now clearly we can see it's underexposed. Now. Why is it underexposed? Well, it's underexposed because when I captured the charter and made sure that they expose for the highlights, in this case, the sky had the image being exposed to the foreground. I may well have blown out the sky. And the thing is in light room. It's very easy to reclaim the shadow detail and to brighten it up. Whereas if the skies blown out or you highlighted blown out, then it doesn't retain any information and the literary is nothing to reclaim. So that was my thoughts behind and taken this shot and the sentence that are used. Now we jump over here, we can see all of that is reflected in the histogram. Because we can see our Blacks and shadows on this left-hand side act. But it's kind of all the information is being dragged over here basically. Whereas on the right-hand side where highlights and whites are, it's lacking information. And that's what we need to fix. A simple mouse over here by the whale. Show me the areas that are completely huge, Leo underexposed. And there is some highlight blouse as well. But I'm not too worried about that because that's where the lights are on. Of course they would be super hot. So let's make a start then. Edit in this photograph, the first set of tools I like to visit on an edit would be the lens correction tools. So we look over here, we have the chromatic aberration removal and the Enable Profile Corrections. Now chromatic aberration is like a purple fringe and around the outline of items within the photograph. So it could be around the trees or around the palace itself. And normally I would check this box to remove that. Now, if I just jumped down here, built-in lens profile applied. So in this particular case, it's already been done for me. This raw file contains a built-in lens profile to remove the chromatic aberrations that already being done. So we don't need to do that, but ordinary, That's what I do. Now the Enable Profile Corrections to or what that will do is it will remove any distortion in the photograph. And the distortion would be there because the front of the lens is curved. So obviously that would have a source of, or possibly would introduce some distortion into the shot. So I kind of like one to remove that. Also check in this box, would remove any vignetting that is around the outside of the image. Now, some lenses are worse than others at him. This vignette and our vignettes like a darker area around the periphery of your photograph. Now I do like good vignette for it's something I like to add at the end of the edits. I want to be in control of that. So let me just check this box on and off, toggle it on and off and you'll see the difference. So there's the profile correction applied. So just toggle it on and off so you can see, so it's taken away that distortion. Now if we look at the top of the photograph, we will be able to see that vignette being removed. So you can see here it's slightly darker and when I check the box, it's slightly lighter. So that is what happens when you check that profile correction box. You will fix the any distortions and also remove any vignetting around the outside. So that's the first thing I do when I start an edit. Jumping up to the basic palette. Now it does make me smile that it's called the basic pilots because there are some extremely powerful tools within it. And in this particular case, a lot of the editing for this photograph is going to be done in the basic palette. So I think we should rename the wonderful palace or something. Let's have a look at what we've got though. We've got a white balanced section. We have an exposure section, and then we've got this presence section. Now ordinarily I would start with white balance to correct the white balance fast. Now, in this case, I'm not gonna do that because the image is a bit dark. So I'm going to wait till loved on some other corrections first and then I will revisit this white balance and do a correction then. So clearly we need to lift the exposure. So taking a look at the histogram, see, as we mentioned earlier, it's all pulled to one side and I need to fix that. So in this particular case, all histograms shapes are different and exposure to different. This one I'm gonna left up to around about there. And I can see that my histogram now is looking more healthy. Although the photograph itself, it hasn't, it's improved it but it still doesn't look right. But we only just started. Let's do a few more things then. One of the things and need to do is to lift the shadows to bring out all the detail in this foreground. So let's visit the shadow slider first then. And I'm just gonna drag that all the way across. I want to drag it say to around about then you can see on the screen that has done a great job of bringing back all this detail. And we can see what's happening now in the shot. Now a consequence of lift and the shadows means that the sky is gone a little bit Blau and ours doesn't it? So I'm going to drop the highlights next all the way down. And that's browse the detail back or the exposure back to where it should be in the sky. Now it still isn't right? But again, we're still on our journey. Fixing this shot. Next one would be blacks. Then, now what I like to do is put my finger on the Option key. I'll caveat on a PC. And when I drag this black slider, the image will go white on the screen and I can see where my blacks are there. They are just creeping in. So I want to set that to just around about here. So just whether the blacks are gonna start people through. So I'm gonna set it to minus two. Now set in the whites, I would do the same finger on the Option or Alt key. And it's a little bit more difficult with the whites in this case because we have some fears highlights from those lights. So I'm gonna do by i in this case. And I'm just going to lift them up. I think they need lift and so I'm going to put it round about there. So that's where we've got to so far, before and after. And clearly it needs a bit middleware, Connie. But it's getting there, isn't it? And let's move on to the next step, which is the vibrance. Let's add a bit vibrance then. And I'm going to take that up to, mightn't know, at some level, look round about 24, somewhere there. So I've just boosted the vibrance, just, just made those colors pop out a little bit more. Now a candidate that with the vibrance and not with the saturation. Saturation is, as you can see, it's whoo. We don't wanna mess around with that one, not in this image anyway, violence is perfect in this case. Then we have clarity and D Hayes now clarity is something I don't use a lot, but I'm going to say what happens if a slided this way, it starts to look like a really, really bad lead on HDR image. And obviously going the other way, it's going to make it rediculously soft. So I don't in this case, I'm not going to use the clarity and a tip for you. Just double-click on the actual tool name. It will reset itself to 0. Now D Hayes is, as you can see there, it's does what it says. It's just the haze. And I prefer this to use in the clarity tool. And with the DAs, I'm gonna just take up to about plus 15. And yep, that looks a lot better. Now it's still not quite right. And that is because the white balance to my eye is wrong. And I'm going to change the white balance. Now, as I said earlier, I would normally do this at the beginning of an edit after it fixed the Lens Corrections. Boss, because the image was dark before, I wouldn't have got a true field and for setting and getting the right color, if you like. Now, really you should look for something gray in the image. Or you've also got these, you know, you can retrospectively change the white balance there. But I want to bypass those and do this by eye. And I want to cool the shut down because the, the actual policy itself, it looks quite orange on it a little bit to orange. And I want to sort of bring those blues backups in the sky as well. So I can do that by cooling the shot and dragging it towards the blue. So let's just do that and you'll see a change for the better. I hope nobody will. It'll change for the better. Maybe somewhere around about there. Let me just take a little bit. Yep. And that looks much better, doesn't it? Unless source of well, that's the before Locke's miles better, doesn't it? What can I do next, right? A contrast might want to visit the contrast note. In some cases you will boost the contrast. In this case, I'm going to take the contrast down because the image to me looks a little bit digital. You know, it is a digital image obviously, but it looks a little bit to digital. And there's many ways to stop your image locking digital, applying film presets like what in this case of this simple adder, I'm just gonna drop the contrast. And I'm gonna drop it to add an a minor seven, something like that. Now if I dropped it all the way you can see it starts to look a little bit to washed out. And, but I think roundabout and wanna say minus ten. Well that looks great. And now let's do the before and after. Now, I love doing this because you can see that your head in the right way with your, and I love doing this. So ego, that's the before and that's the after. So it looks great, doesn't it looks much better? How can I make that even better than what it is? Well, I'd like to change the color of the sky, make that more of a source of Teal, awkward kind of color. And that are balanced really nicely with the sort of orange lights. Now to do that, I will go down to the HSL set of tools. Hsl means hue, saturation and luminance. He used the actual color. Saturation is how rich that color is, and luminance is how bright the colors. And we have a set of tools here. Each, each sorts of pallets got its own little tool here and of a mouseover. Adjust the hue by Dragon and the photo or saturation or luminance, in this case, the Whew. Click on it and come across here. You can see that that tools now and the end of my mouse pointer, and I just simply drag or pour down. And in this case, I'm going to drag down. And that will all look great, doesn't it? Straight away got that lovely teal color. Now I could boost the saturation in the sky or just the luminance. Let me just adjust the luminance. I don't think it needs it, but just to show you what would happen. And there you go, it's really taken it down as let me maybe just a little touch like that. Yep, I'm going to leave it there than soft. I have taken the luminance down a little bit. Now you can drag these sliders individually. What tends to happen is sometimes you don't know a 100%. Now what that color is? I know that sounds crazy because you can clearly see it's blue. But if you look a had a bit of purple in it as well. Now who knew that? Now obviously Dragon, using this tool to do it, you make sure you pick off all those colors. So that is why I like to do it that way, but you can individually drag those sliders as well. So let me just close this pilot down and let's look at a before and after. So we came in looking like that. And now it looks like this and it looks great, doesn't it? Can we do more on this? Of course we can. So the next thing that I want to look at is the effects. Open up the effects pilots. We can see that we have a couple of options than we can add grain. And we can put some posts crop vignetting in fright festival grain, grains, great insert and shots. Why is growing Great? Well, when we shoot with a film camera, the film can apply grain and it looks more real, but it works great. And some shots and some shutter doesn't. In this particular shot, i'm not going to apply grain, but I am going to apply some post crop vignetting. Isil Just Say that again, post crop vignetting. And let's see what it does that. So I drop this down. You can see that the outside of the image as gone, a lot darker. Now this is great for drawing the viewer's eye into what you want them to see. And it's something I really love to do. And on most of my shots now, I can't really judge at the moment whether I've got that right. So what I tend to do is to remove the feder and that's the smoothness of the actual shape. So now it looks ridiculous of course, but that allows me to start playing around with these and these other options. And I can see more clearly what's going on. So I kind of like in this particular case and may I like kinda like that type of shape? Then clearly I need to bring in now the feather. Okay, now it's too much and I'm just going to back it off just a bit. Let me just say yep, round about the midpoint. Just give me a little bit more sky. And the feathers of 52 roundabout there. So I think that looks graze now without the vignette that looks like that. With the vignette, it looks like that. Now, I'm just going to back this off a little bit more understood before and after. And yet that looks about right. So that's the post crop vignetting added. Ok, so let's go fullscreen. Full-screen. Wow, it looks great, doesn't it? And when you think it started life look unlike this. Clearly under exposed boss, as I said, right at the start of the address with the highlights bn. Okay. The sky and exposed to the sky Lightroom is fantastic. Or helping you reclaim for hollow shadows and create and something that looks really nice. So here is the finished status and it looks fantastic. Now, one of the things I would like to say is that, that is my interpretation for this tutorial of how to edit that shot. It's not the definitive edits. I could carry on with this and change it even further. And other photographer would make a completely different Edit. And this is the power of creativity is no. And it's all subjective. I like this Now I'm sure by sat down and re-made this tutorial, it might look different. But one thing I do know it would still look good and just using those basic tools. So that was pretty in-depth, wasn't it? Now I know I covered quite a lot there, but you can always go back and watch it again, watch it few times. Plus, as I go forward, I'll be using the same tools over and over again. And you'll soon become sorts of familiar and a law becomes second nature. So I'll see you in the next module.
14. Module 13 The Adjustment Brush: In the previous module, I edited a photograph of the politeia to crystal in Madrid. And to do this, I use global edits. And global itis just means that every adders and adjustment I made was applied to the whole of the image. But what do you do if you just want to apply edits locally to a specific parts of the image. What to do that we use the adjustment brush. So I'm going to introduce you to the Adjustment Brush and the concept of creasing masks. Now the particular photograph I've selected is one I captured juror Nkosi Odyssey events here in Liverpool, where we had a bunch of giant puppets who open through the streets of Liverpool. So you can watch me create a mask and change the color of the puppets dress and various other things. So let's jump in there and let me show you the Adjustment Brush. Yes, you're looking at a giant puppet walking through the streets of Liverpool. Now remember capture in the shot, and I took my time and waited for the property is and for the general public to be outs of shot. Because there was quite a lot of people there that aim was run into thousands. But anyway, awaited and I got this shot and I was so pleased a homeland for it. Now I'm not going to live already done the basic edits. I've just gone through this, these basic adjustments here. And what I'm really want to show you, however, is this guy up here, which is the adjustment brush. Now with the adjustment brush, I can make local edits naught I mean by that, well, in the basic palette, we make a general overall fix of exposure colors, saturation, clarity, or wherever is. Now with the adjustment brush, we can be more specific. So for instance, I can make changes to the puppets dress or to the color of the skin. Now don't laugh. And no, it's not skin, it's wood. But term I'm going to call it skin because it just makes me smile. And again, I'll do some other changes just to enhance colors and make that puppet pop a little bit out of the shot. Now that's the plan. So let's expand the Adjustment Brush palace and see what we've got. So if we look down here, we've got all the same sorts of adjustment tools that we have in the basic palace. But like I say, we can make it local adjustments by brushing in with the adjustment brush. So before I start Bush and any adjustments in and let me just explain a few things first. If you take a look on here, that exposure on a previous ad is, I've obviously set it to 3.22. And these could be when you open up the adjustment brush. They could be scattered. And it's kind of like what was left over from a previous editors. And to reset that as really simple, just double-click on the word affect just here. And they will all return to 0, and that's what you want. And then obviously we'll start at justin these as we go along. Down at the bottom, we have our brush controls. And we can make the brush size bigger or smaller. We can make the Edge nice and soft with the feather. We can change the flow and change the density. We also have two brushes. So we look here, I've got a large brush as you can see. And then I have got a small brush. So you've got a choice of two brush size is not quite good coaching psych program and in your own bush sizes if you like. And then we've also got a raise because as we sort of make an edit, we might spill out into an area that we don't have, perhaps once you include in the address. So I can also use the square bracket keys to make the brush bigger or smaller, just as I'm doing there. And I've got, I've got the mouse, of course, I've got my cut, an apple MAC, which has a magic mouse. And if I just scroll up and down and the center of the mouse, I can change the brush size that way too. One more thing to consider is the auto mask. Now the Auto Mask is fantastic because when it's switched on, just by simply checking the box, when I paint in two on the photograph, it will find the edges. So it meant I don't know if you ever did this when you were younger, I'm sure you did. You had a coloring book and used to color in between the lines. It's exactly the same thing. Lightroom. You have this box checked. It kind of magically knows where the edge of where you are calling it along. There's a lot of contrast in the soil difference between one or the other. It will do a great job of keeping you inside and not spill it out. Now to do that, if you look at the brush head at the moment, it's got a little plus symbol right in the center of the brush. And I've gotta make sure that I keep that inside of wherever I want to make the changes. So let's zoom in a bit then. And I will show you exactly what I mean. So two ways of doing this. Let me just increase the exposure just to be a bit silly. And star Peyton in. Now look, it's gonna find the edge. It's fine on the edge. And it's making sure that it's not spilling onto the outside of the dress. Now, of course, I don't want the dress talk like that, but that was just to give you an idea. You see, so you can watch in real time that the, the edits that you make and each time you create a new edit, it will put this little pin here. And if I mouse over that little pin, it shows you in red the masked area. So you know exactly where you've painted. Now to remove that edit that I've made, I just hit the backspace and it disappears. Now I'm going to put that back to 0. And show you the other way. The method I like to use. And I'm just gonna press the letter on the keyboard. And I'm going to start painting. And they go on, I want to paint. I am making no adjustments at the moment. I'm just painting the pulpits dress. So I'm gonna disappear for a while because I'm sure you don't want to watch me Peyton address and I'll be back shortly. So sometime later if we have a painted dress. Now I'm going to zoom in just to recap on what I've done there. So I've painted the dress. And as you can see, it being really careful, and I have not managed to go over the edge. Now that's not true because they went over the edge many times, but I use the Erase tool. So let's just have a recap on that then. So I have the brush selected. You can see the brush size here. Now watch if I go with the outside, I don't want that obviously. So I'm gonna switch to the arrays brush. I usually take the feather on, well off to be honest, because I want a hard edge and I would just arrays the area of just painted by mistake. And this is why I didn't want you to watch me doing it because it takes it takes time it's worth doing though isn't any job that's worth doing well, it's worth spending a bit of time on, isn't it? So that's how we would use the painting paint out. And again, just to recap, if I just make the bushel that but bigger. And I've always to raise this now obviously I want this in. So just to show you the back to brush a, make sure the auto masks on. And just to show you that it will just paint right up to the edge of the line. That's quite clever. As near as I can see, it missed a bit there. Generally when I'm filling in, it's only around the edges that I leave the Auto Mask switched on. Anywhere else, you can switch the automatic Mask gone. Because what happens is, especially in this dress anyway, decreases. Lightroom will think that the creases are edges. So I basically just go around the edge and then use tell the auto mask off and then fill in the rest. So that's how I did that. The moment we just got a red mask. Now what I'm gonna do now is press the letter on the keyboard and that will disappear. Now it's still selected. There's the little pin just here. So it still selected. But of course not. I haven't changed anything yet. So what am I gonna do with the dress? Well, I think it needs to be saturated a bit more. Maybe we should try that. That's increased the collapse. So it's got a nice green color there. I'm going to lift some of the shadows or perhaps just to make that stand out a little bit more. Maybe not that much. Probably around about there. Looks rather good, doesn't it? And what else can I do? Yep, that looks okay. Accord, in fact, change the color of the dress by using the temperature slider. And let's just have a look what that looks like. You can be as dramatic as you like. But I am just gonna maybe just dropped. Take it towards the blue slightly. Yep. That looks great. Now we can see a before and after with this little toggle switch just here. That's where it looked like. And with the adjustments and that's what it looks like now. So I'm going to leave it as that are kinda like that. Now you can change it to so many different ways and colors and it's infinite as netbook. For now, I kinda like that now it's non-destructive server and come back to it later and perhaps have another go. Maybe it's a bit too saturated. I don't know, but I can always come back to. The main thing is it's now masked. And I've got the ability to be able to go in and change that later on. So now it's time to just the puppet skin color. Now it's not skin toward isn't there but want to call it skin. And yeah, so click on New. If these are not reset to 0, just double-click on the effect and that should reset them. And now I'm gonna use my preferred method. So I'm going to click on the letter O and wanna make the brush a bit smaller. And want to make sure Auto Mask is switched on. And I want to start painting just here. And changing the brush size as you do it, you know, really I should zoom in as pose and do an accurate job. But just for speed, I'm just going to trust the Auto Mask. And hopefully it doesn't go too much over the edge now it does. I can zoom in and Apple at logger spouse, both for me, for the purpose of this tutorial. That should do actually and just get the thumb area there. Okay, it doesn't look too bad, does it? Now again, I would zoom in and and make a better job of that, but that's okay. And then obviously just do the legs here as well. And let's just say that auto mask isn't doing too bad a job as it don't know what it's done there though. So I'm just going to erase some of that. So I don't want that. Okay. Back to the brush and possibly just a little bit more. Because what I wanna do is brighten this up. Okay, so that's now selected. And as I say, I probably zoom in and maybe array somewhere up. It's crossed over the edge book. For the purpose of this tutorial will do that and click on the letter o that just tends the mask off or makes it not visible obviously, and we're just mouseover were still active. Okay. And then what am I gonna do with this then? Well, let me just say I am going to take it more towards the yellow. So lots to say about 20 yeah, roughly about there. And maybe just lift the shadows slightly as well. Maybe up to about say they're okay and that looks a lot better, doesn't it? Now I'm going to zoom in and do the face as well. So make sure among Bush yet the feathers fine or to Mask. And I'm just gonna go in and paint the face as well. And I might speed this part up because again, I'm sure you don't want autonomy do this and they have it. So that's the face dawn as well. Now by just toggle on and off what I've done so far. There's a big difference is that now perhaps I would just dropped the yellow slightly. It might just be a bit to be yellow. That looks a bit better, doesn't it? Obviously don't want it to skin color. But that looks great. And the next thing we're gonna do is the goggles and the actual helmets as well. And just make them pop out a little bit more. So let me just zoom in a bit them. And what I'm gonna do is I want, I want to sort of bring out the metallic effect around here. So we can imagine that was made of brass, for instance. So I need to click on New and the adjustment brush pallet. And then go to my trusty letter O on the keyboard. Make sure also masker switched down again and start painting in around here. Anywhere, I think would benefit from locking like a brass type of color. It may as well go over the year over there as well. Okay. And okay. So that's that done, press the letter O and we're still active as a say, because there's the pin and of a mouse over there you can see the areas that I've painted. Now, I want to take that to a more yellow color. So let's take up two roundabout, say there. And that looks great straightaway does know and may increase the saturation tiny amount. Yet and that looks fine, doesn't know. So toggle on and off. So that's the goggles done. So the next thing I do then is the actual leather helmet. And again, I'm gonna click on new and press the letter. Make sure. Also masker switched on. Exactly the same as what I've done previously. Make the bush of that bigger and then start painting the helmet. Again. I'll speed this up so you don't have to watch me painstakingly. Painter helmets. It's nothing you say every day is a paint elements. And I can now once it's been masked, I can now switch off the letter o. Switch off the letter O, you know it being turned the mask off by pressing the letter O. And then I'm going to adjust the caller's again. So let's go put some yellow in, maybe around about there. And this time put some reading probably to about there. And that looks fine to me. Now looking at the helmet, I can see that I missed this strap here. So I can quickly just go in and paint that. And I don't need to switch on the mask to see Where am Payton and also mask has done a great job. There isn't a tube. So lets just zoom out and take a look at that. Now The Press The letter h, the little pins disappear so I can get a really clear image of how well it locks. So that's the shore cause, you know, you can see all the pins. We've added. One for the dress, one for the skin, one for the goggles, and one for the helmet. And as you can see, if it's black, it means it active. That's the active warm. So obviously of a shoved the exposure write-off, which would be rather silly. Just double-click to get it back to 0. Now I'm going to click on Don. And I'm gonna take a look at before and after. Now bear in mind, I did do some basic edits before I started to show you what the Adjustment Brush tos. So let's have a look at a before and after. That was the way came in from the camera. So with basic edits and the adjustment brush, it's achieved this type of look. Now I love is that I can go back to the Adjustment Brush. Click on any of these nodes, Pins where if you want to call them, that to me, might be a little bit too bright. So I can take that back down a little bit. Because I think it was a little bit too bright. And the dress that's Click on the dress. And I might think there's too much saturation in it. So I can reduce that saturation or change the color or wherever ones because they say it's non-destructive. But I'm gonna say that's fine and click on Don. I chose this image because of the source of complexity of picking those items, especially in around the goggles and, and the helmet. And we'll just show you just to recap, let's just have a look at the sky and see what we can do with the Skype. So again, just click on the Adjustment Brush, making sure Auto Mask selected. Make sure we're on new and have been set to 0 km across. It's reemerge and look how easy is when you start painting big areas. Oh, look, nothing's happened. That's because I needed to switch on the letter O. I'm glad I did that thing because it's just something that you might stumble into by accident. Now look how wonderfully well it's found the edges of the building. It's amazing. And again, if I keep the center cross sign and make sure it doesn't ever venture onto the bill and then just stays in the sky. Have quickly got the sky selected. Now, switch off the mask. Now I shouldn't say that because the mask is still on. Luck, just made it invisible. Ok. So it's invisible. What am I going to do? Well, I'm just gonna change the color of the sky slightly. Who's going to drop the exposure just to darken a touch? And then I'm going to just drag it towards the green. I just want to make that a bit more of a almost too much the address of your like. Rather than to be in that sort of vibrant blue. It's kind of a more te li aquaculture. And they go, and that's how easy it was to do that. So you may find yourself that, you know, if you're a landscape photographer instance that it's just easy for you to just separate the sky or separate the body of water or whatever it's going to be. And just basically brush in the exposure color changes or wherever you want. Do you just have formed, you know, using that brush. So there you have it. Then the adjustment brush exciton is now, I love using the adjustment brush. Now you need to grasp the concept of creating mosques. And you may find yourself using masks quite a lot. And you'll see me and future sorts of modules using the adjustment brush. So have a little practice. And you know, you're not going to grasp it straight away. Or you may do. You may be a bit of a genius and have no puts em, have a play around. And honestly you will eventually, it'll just become easy. And I say you can target specific parts of your photograph then just to make those local adjustments. Okay, have a lot practice, and I'll see you in the next module.
15. Module 14 The Tone Curve: The first graph I've chosen to edit in this module is dear to my heart. And that's cause I captured it in a local Liverpool Nightclub where the Beatles used to hang Raul before they were famous. And of course being from Liverpool and being a Beatles fan, it's dear to my heart. Now the photograph is of a vintage microphone. However, it doesn't look very vintage because obviously it was shot with a modern day digital camera. So I am going to use the tone curve or tone curves, create a vintage lock and we can use the tone curves for many things. But in this case, I thought to keep it in keeping with our automobiles vintage theme, it would be nice to use the tone curves to create that vintage lock. So let's jump in then and I'll show you how it did it. So currently on the screen, I have a lovely photograph of a vintage microphone. Now, to be honest, it doesn't look very vintage, does it? Now that's because it's been shot with a digital camera. And digital cameras, although being absolutely marvelous, they do tend to saturate and sharpen. And I want this photograph anyway to look more vintage. To do that, I'm going to use a tone curves, but let's just take a look at some preset just to give you an idea of a vintage look. So in my presets and want to nip to these presets I have here. And these emulate a film stock. So as I mouse over, you can see the type of affect I'm gonna be gone for. So that's the before. And then in this case, this film stock for it's just taken away the contrast and just meeting those callers desaturated slightly. I could just apply that preset, but I want to show you how to do it with the tone curve. So let me just collapse this panel more, make a start. So here is the total care of now it lives just underneath the basic set of tools. And as you can see, we have a window. And in the window we can see our histogram. And I hope by now you know what a histogram is, but it's a representation of all the lights, whites, blacks, shadows, highlights, etc, in your photograph. And it reads from left to right. And then we have this line, diagonal from corner to corner. And then this is where we can start a Justin port and points on it and Dragon and stuff to effect the lights and shadows and highlights, blacks, etc. So in this bottom left-hand corner is where pure black lives. Hernan is top right-hand corner is where pure white lives. So it makes sense that if I drag the pure black all the way to the top, we just have a white image. And the other way around, if I dragged the Pure Wise to the bottom, we'd have a black image. So from pure white, pure black we have all the different ranges of lights and darks and shadows and highlights along this curve. And that gives us great power. To be able to adjust the contrast in this image. What a lot of photographers will do is put a point in the center and do a standard S-curve. We just create a little article on S curve because it looks like the letter S, doesn't it? Now what that has done as poor contrast into the image. So I did a before and after. This is the before, and that's the after. So you can see that it's added some contrast. Now we're gonna do a lot more than that. That's just to show you generally how you can put points on the curve and make adjustments, as well as being able to pour points onto the curve and to drag points about. We can also use sliders. Now if I just jumped at this little icon, expand this window. You can see our sliders and we have highlights, lights, darks and shadows. And of course, I can manipulate these sliders, which will, in this case, effect the shadow. Double-clicking on the actual word whose tended to normal or 0. Wireless windows open for just jump up here. We can see where everything lies along this curve. So we know that pure blacks are in the bottom left-hand corner than we have shadows. We have darks, we have our general sorts of mid-range mid values in the middle from of all places. And then we've got lights, highlights, and then top right-hand corner whites. No, I don't use the slides as I like to pull the point surround on the actual curve itself. But you might find a use for them. You may prefer to do it that way. But for me, I like to use the curve, an axial points on it and drag it about. So I'm just gonna close that window. And next thing when we look at then is this little drop-down menu here, RGB. And I will just drop that down. You can see that we have different channels. We have the general RGB channel, which basically adjust the contrast of you image. But then you can actually just adjust the reds, the greens, and the blues. Now you may be thinking, well, there's more colors than there. When of course there is. But what you've got to remember is that your screen is made up of red, green and blue pixels. And those red, green and blue pixels combined together will produce every color from white to black and the millions of colors in between. And you just need to know a little bit about core values. And, and as I start with just the avatar kind of explain that. But yep, so you can just basically switch to the edge, goes to the blue curve. And I can now start adjusting the blues and that image. But also because yellow is the opposite of blue, I can actually just the yellows. And that's the first thing I'm gonna do. And I'm gonna put some yellow into this image. So I'm gonna go up to the very top and I'm going to drag the curved down. And I'm going to drag it to about here. And now, as you can see, it's put in the yellow into the highlights. Also, what I wanna do is put blue into the shadows. So I've now put, as a say, put yellow into the highlights and blue into the shadows. And let's look at our before and after. So it's only sold so far, but it's beginning to, started to journey to that vintage lock. So just to recap, if I reset this now should reset to right-click flattened curve. Let's come back to the way it was. And so just to recap, going this way, I'm gonna add blue into the highlights because remember we're at the top end of the curve where the highlights live. So modern blue into the highlights. And as I said, our dad yellow because it's the opposite going that way. And what I did was I dragged this under the curve, which is the Shadows member where the blacks live. And I've added the blow. So let's just return it back to my preferred vintage lock. And there you go. So let's move on then. Let's move to the green curve. Because I want to put some green into the shadows as well. Now I'm going to lock a point here because I don't want anything could your stood above this line? I wanted to be all below. Solve kinda put a lock point there. Now we ever put a point on a curve and you don't want that point there, do a right-click and you can just delete control point. But in this case a Do you wanted there? So I'm going to put it back and I'm gonna put some green into the shadows. Cause that's making that term bluish lock kinda go like a teal color, which is quite pleased and in this particular image anyway, so that looks pretty good. It's gotten there is no next thing is the red channel. And click on the red channel. And I think this red area here is a little bit to vibrant. So again, I'm gonna put a control point in the center and just drop that source of a vibrant reds. Okay? And also, I'm just going to put a point just down here. Right now, I made a mistake there. So right-click Delete control points as I want to drag right from the corner and just put a bit more contrast in there. So that's looking really good. So let's do a before and after. So this is what it looked like before. And it's got that I think anyway, it's got that source of vintage locked to it. Now, I'm gonna go back to the RGB channel, which is like the overall contrastive Eli. And I'm gonna lift the blacks because of a do that r star to crush the blacks. And the other way to make the blacks lighter. And that will add to that vintage lock. So here we go. I'm just going to pull them up a bit probably to about there. And that is locking grace. So, uh, before and after. And that's just using the curves. There is a tool up here, and if you click on it, it will be on the end of your mouse pointer. And you can drag in the image. It's not some like attend to do, but you can pick specific areas, in this case to light nor dark. And I mean, just try that may be dark in this area, and there you go. So you can do that. You've gotta be really careful because for care was going to be wild. Now I don't wanna do that, so I'm gonna do Control or Command Z to undo that. And you can do the same thing in the red, green, and blue, so you can target certain areas, as I say, with this tool. And I don't tend to use that much. So I'm kind of happy with that, but there's more I can do to it. And to do that, I'm just going to come out with a Tone Curve section and go into the basic set of tools. So now then for some finishing touches, and what I'm gonna do is I'm gonna D Hayes, the image slightly. That kind of softens up. It's it can be used for various things, but I kind of, I just drag it slightly there. That's soften that image a little bit. We also want to take the vibrance down. Now, I prefer violence to saturation. Saturation more literary just goes a grayscale, so I don't wanna do that. Just take the violins down a torch, not too much. And that's looking great. The last little finished and sought to them would be to put some effects in. And I'm gonna add some film grain. And film grain. Obviously, he's gonna make it look more like it's been shot with a film camera. So I'm just going to put it to about there. And then I want to put a post crop vignette in. So I'm going to drag this down, which is going to dark on the outside of the image. Released the feather. And so I can see where I'm working. I want the roundness, wanted to be more square and just brought in slightly. And then I can reintroduce the feather and possibly just port and just see don't want too much. Probably out there. Now that to me looks wonderful and, uh, we do before and after. You can say that as pure digital photograph. And then when we look at what the results of the edits with the tone curve, that's what it looks like now and it locks. It looks great, doesn't it? Proper vintage. Vintage Locke created with the tone care auto curves. Have a little play round with wanting your photographs and see if you can create a vintage luck. And I'll see you in the next module.
16. Module 15 Copy and Pasting Edits: Very often we take multiple shots at the same location or the same event. And you may find on your film strip you have shots that are very similar. So in cases like this, you can edit one shot and simply copy and paste the edits from latch shot onto the shots that are similar. And this can save you hours of work. Now it's really easy to do. And there's two main ways that I like to do it. And I'm going to show you how simple is. So let's jump in them. Make sure that you have the image selected that you want to copy the edits from, and then simply click on the next image. Now can be anywhere along the film strip, but just make sure that you have this image selected. And the next image you go to is the one you want to adjust. Now in this case happens to be right next door, but it could say could be anywhere. So I'm going to click on it. I'm just gonna go over to the right-hand side and click on previous. And if I click on previous, apply the previous edits from the last image that was selected. Hope that makes sense. And if you click on previous, they go, it's applied the same edits to that image. And I, we did a before and after digital vintage. It goes to the next image. Apply it to there and see what that looks like. And that looks great too, doesn't it? And I can go all the way through them. And as the same make the same sorts of adults that's try one on there, see what that looks like. Oh, no, it didn't work that time. Of course it wouldn't because the previous image didn't have any edits on it. I have to make sure that's selected. Then go to the image that I want to adjust. An ng-click on previous. And there you go. That's made that vintage Two Husni. Now there's another way of doing this. Let me just click on this one here and reset it. So I need to go to the History palette and just put it back to where it was. And let's go to here. This is the one with the edits. And I do need to keep this Pareto. And I can just click on copy. And it will copy all those edits. No. It's exactly the same as using a previous way of just donate. We're using the previous button except I can switch things on and off. Because I might have done some spot removal. I might have done some local adjustments which are don't wanna carry through to the next image. I could just uncheck these boxes is to make sure you've got check or check node and then you can switch on the ones you want. Now in this case, I want to identical. So it doesn't really matter. I didn't do any spot removal, it didn't crop it, so I could just leave it like that and just click copy, go to the next shot, and then simply click on paste. So that's the other way doing it too. So whichever way suits, you will know when you do it. If I would have, for instance, use the Spot Removal tool to get remedies to screw holes or wherever they are. And that adjustment would have being carried through to the next shot ever used previous. Or I forgot to make sure this was switched off. And just a little tip foil. So copy and paste is marvelous. As near as I can save you hours worth of work. Just get one photograph, right. And were you happy with it? And then just simply paste those edits on similar photographs? Easiest. Okay, I'll see you in the next module.
17. Module 16 The Radial Filter: In this module, we're gonna take a look at the radial filter. Now you can use the radial filter to apply local effects. And you can draw an elliptical shape. And you can apply the effect inside the shape or outside the shape. And we'll show you a few examples where I've painted in light by using the radial filter and doing this, I will draw your attention to where the subject matter is. And it's quite a good technique. But as I say, inside or outside the shape, you can adjust any kind of effect. You can add more contrast or more saturation or decays or wherever you want to do. But i see you can apply it locally inside or outside the shape that you create with the radial tool. So let's jump in there and I'll show you some examples. Another fabulous shot of Sophie. And I shot it against a neutral gray background. I'm happy with the shot, but I think if the background is darker, it would add a little bit more drama to the image. And she's got kind of like a bit of attitude. I think anyway, if you ever met Sophie, she's got no attitude at all. But that's the thing about photography as nip. So she's got that attitude and a face. And let's say I want to add that darker background just to give me a bit more dramatic. So my preferred method of doing that would be to use the radial tool. The radial tool lives on this tool strip just here above the base successor tools on here is here, just on the right-hand side, the radial filter. Now when I click on it, this window will open up and you can see that we have a set of sliders. And those sliders are virtually identical to what you can find in the basic tool panel. And the differences that we can use those sliders to make local corrections. Whereas obviously in the Basic panel, it does an overall adjustment. So this is great for sort of being able to target certain areas within your image to make them lighter, darker, D saturate them or whatever you want to do. Now it's really easy to use. So simply moved into the image. If I hold the mouse key down while I drag, I can draw a shape. Once the shapes on the screen, I can adjust it with the points in, as you can see around the outside. Now, if I moved the mouse to an area between the points, you can see that a curved arrow appears and that allows me to change the angle so I can move it, I can resize it and I can rotate it. If I move the mouse to wear the little black painters and just leave it there for a moment. I can see the area in red is the parts of the image that will be affected by the edits. So the, anywhere outside that oval shape, if I make an adjustment, and that's what it's going to adjust the all the red areas. And obviously inside the Oval, nothing will be adjusted. Now ever come across to the panel and simply go down to the bottom and click on inverse. So a check that box and then go back to the image, a mouseover. You will see that it's only area inside the Oval. Outside of that, nothing's going to be affected. Okay, so you're gonna always sort of see where your adjustments are gonna be made just by doing that and check in that box. The first thing I'm gonna do is make sure I've got the inside selected. So I'm going to hover over there and see the red area and then come across to the sliders. And I want to take the exposure all the way down. And you can see now that I have just affected the exposure inside the Shape. And if a inverter, it will be the opposite. Now with the feather, if I take that to 0 hour would produce a hard edge around the side of the shape. And obviously going the other way, I would produce a much softer an edge to that shape. That's put it back to 50. So when you want to delete the shape, just simply make sure the pin is black, which means that the shape is active and just simply hit backspace with disappears. So back to this image then and dark on the outside. So I'm gonna draw a shape sort of like this. Just bear with me while I draw this shape. Something like that, maybe bring it down. So I'm gonna draw a shape kind of like that. And then I'm gonna take, I'm gonna make sure first of all that the background is selected which is key. You can see where the red area is. And then nip up to the exposure. And I'm gonna drop that to about minus two. And you can see the background has gone nice and dark, and that's great. So I'm happy with that. Except for the fact that the shared a Sophie's wearing this shirt is ax Egon darker and part of a body has gone darker as well. And we know that by mouse ANOVA and seeing where the red areas are. And we can see that there's obviously a red area on a shirt, so we need to erase that. So going back to the tool panel, then, we have an option to select a brush. So I'm gonna click on brush and then drop down to the bottom. And we've got to brush sizes. And we've also got the ability to arrays. So I'm gonna select the rays brush. Now we can change the size of it, the feather and the flow going, keep the flow roughly on 50. And the feather on about $50 simply need to do is to move into the image and just brush over the areas where I want the adjustment removed. And they will include the shirt and Sophie skin as well. So I'll speed this section or because I'm sure you don't want to watch me doing this. So that looks Grace now of a switch on the before and after. This is what it looked like before the adders, which, you know, it still looks great and it's, it's all subjective, isn't it? But for me, I thought a darker background would just add a little bit more dramas are the shot. And that's what it looks like by just using the radial filter. Very easy as now. Now this particular image was an easy one to two. Let us have a look at one that's a little bit more complicated, still easy for one way you have to put it a bit more thought into it. This one was a bit obvious, wasn't it? So let's have a look at this shot then. Which are taught in Madrid earlier this year. So remember capture in this shot and what struck me was the guy in the barber shop is getting his hair cause severely shores and a lady walk past and as you can see, she's got loads and loads of curly hair. And I thought the juxtaposition of the two would make a really good shot. Now obviously the camera as exposed for the inside of the barbershop, and the outside is quite dark now it was early evening, so it should be dark, but it's perhaps a bit too dark. So what I did was I'm not going to show you what all this, but what I did was I went to the basic set of tools. I corrected that. But just perform just gonna show you that's what the image looks like. So I think that's a really fun shot where this guy is lose and all his her on the floor. And this lady is got closer here. So let's jump to this image where I've made the corrections so that after the basic corrections is what it looked like. And am I happy with that? Well, not rarely because it's too light on the outside. I wanted darker on the outside and they also want this lady to be slightly lighter. So let's have a look at that then. And again, just using the radial tool. So I'm gonna draw a shape and when the staff from around about here. Now remember I want to dark on the outside of this image, so roughly round about there, but wider. Maybe. I'm mousing over the pin and the center will show me that yet I'm darker on the outside. And then I just want to drop the exposure to probably about minus1 LaFree round about there, not dark on the outside. Now I also want to take away some of the saturation. So I'm going to drop that to say around about at St. roundabout minus 40. Now I've now introduced darkness into the background around the outside I should save. So what you can see, it's looking a bit more like nighttime. Now, one of the things about doing that is it's dark and the actual lady as she's walking past. And so I need to sort a Leitner area up. So let's take a look at that. Now I'm going to press on the keyboard. We're told just hide that adjustment. Okay, it's still there, don't worry, Brits just hid hidden full-time B. While we take a look at the Lady, Now I can see that she has a highlight on the top of a jacket unless some highlights and a face as well. So perhaps there was a street light in the top left-hand corner shine and down onto a face. Now, I can't say for certain whether that was the case. However, it does look that way, doesn't it? So I'm going to add a shaft of light common down which will illuminate her face and really make that area pop-out. So we'll have the darkness from the first radial filter adjustment we made. And then we'll have this shaft of light common down and landed up onto a face. So first of all, I'm going to press on the letter H just so we can see where the adjustments are going to be made. And I'm going to go across the panel and I'm gonna click on new. And that will reset everything ready for a new radial filter adjustment. And then I'm gonna draw a shape over here. I'm gonna staff Miranda there on this, gonna take a fair bit of manipulating to get the shape right. So, uh, need to rotate it. Let's make it a little bit bigger. Maybe somewhere around about there. So once I'm happy with the shape facing, you need to do is to make sure that your effect in the right area I've survived mouse over the pin in the center. You can see that I'm affecting the area inside. And now I just want to lift the exposure because I wanna brighten that area. So I'm going to take up to about plus one. And that looks great, doesn't it? And I can manipulate that ever think it needs a bit more, may need to be dragged that way a little bit, I think. Okay, another press H. We can hide there. And we can see that as now got this shaft of light that's common down and of course the outside as being darkened by the first adjustment we made. And that is kinda look in cinematic to me. And you know, it's, it's telling a story, isn't it? Not what photography should do. And it's kind of ironic that, you know, the guy's getting all his hair removed. And she's got this massive afro hair, cause and I think that looks great. On that last adjustment we made it really did sort of show or you know, emulates what could actually have been the case that there was a street like there with this shaft of light coming down. So if we did a before and after, this is what it looked like beforehand. And this is what it looks like now. And it looked great. And that's the radial filter integrators no unnecessary. You can apply local edits inside or outside of the shape. So have a go on wanting your photographs and maybe just increase the exposure inside the Shape just to draw attention to where the brighter part of the photograph is. And I'll see you in the next module.
18. Module 17 Noise Reduction: So I know what you think and Frank is where in a particularly noisy share today and you're right. And that's because this module is all about how to remove noise. No, don't worry, I'm not gonna take my shirt off, but I'm gonna show you how to remove noise from a photograph. And we do that using the detail tool and the luminance slider. So I'm gonna show you a selection of noisy photographs. Now noise appears in photographs that I've been shot using a particularly high ISO number. And also it appears if you have an underexposed photo graph and you lift the exposure inside of Lightroom and you'll see that noise starts to appear. Now using the detail tool, we can remove that noise just by using the illuminant slider. So I'm gonna show you how to do that. And as I say, you can save a photograph, a photograph that you might think, oh, that looks awful. Now I've lifted the exposure. You can actually save it just by removing the noise with the detail too. So let's jump in them and I'll show you how to do it. Here is a lovely photograph of a man on a bike in the early evening in Madrid. Now I say it's a man on a bike, but you can barely see him. And that was because the photograph is massively under exposed. So I'm going to fix the exposure and then I'm going to correct the noise. Now you might be thinking, Well, I can't see any noise port trust me, noise is on its way. Once I start lifting the exposure in this shot, that noise will appear. And I'm gonna use the detail tools to correct the noise. So let's make a start. So firstly, let's take a look at the histogram, which can be found just above where the tools live. And we can see that in this left-hand corner, we've got blacks. Then we move across, we've got shadows. General exposure highlights whites. Now clearly everything or there's a major part of the information in this photograph is on this left hand side where the blacks and the shadows live. Now that indicates to me that this shot is underexposed. Now of course we know it's under Expo is because we can see that just by looking at the image. So we need to start correct and the exposure using the basic tools to bring the exposure to where it should be. So that's the first thing I'm gonna do. Now obviously you want to start doing this. This is when you'll start to see the noise appear in the photograph. So first of all, let me show you exactly what the noise looks like. So I'm gonna open up the base successor tools and I'm going to lift the shadows up to a 100. And then I'm gonna zoom in so you can see the noise. No noise loves an area of one flat color. And you can see as the sky as an area of one flat blue color. In this case, you can see that the noise is appeared and it's quite strong. It's not as strong on the buildings book, trust me, it is there. But it's more noticeable, as I say, in this area of one flat color. And as I continue editing the shot and fixing the exposure, that noise is likely to get worse. And we will use the detail tool to get rid of that noise. But first of all, let me continue with the shot in fixing the exposure. So let me put the shadows back to where they were. And an R take you very quickly through how I correct the exposure in this shot. So firstly, I am going to lift the shadows, but not as much as it did before, so roughly round about there. Now, it's kind of blown out a little bit in the center of the building there. So I'm going to drop the highlights. Never dropped them too much. It goes to a murky, horrible gray color. So I want to back that off. And me, we round about, there should do it because it will be lifting the whites. Now. Let's lift the blacks now or to, I don't know. Let's just doing this by I I reckon round about, there, should do it. And as I said, oh, well if the whites as well. So I'm gonna lift the whites up to round about there. Oh, that looks pretty good. Also a thing I will add a little bit a D Hayes, which is like for me a little bit of contrast. I kinda like that. And I may pour a bit of texture in later on, but for now I want to leave that out. And then I'm just going to do a general exposure lift. Not too much though. Put to rant about there. Maybe 40. Okay, now that's looks much better, doesn't it? But like I said earlier, the more I pull the exposure and lighten the shot, the more chance there is of adding noise. And you can see the noise is gone even worse than I showed you earlier on when I just increase the shadow areas so that as a lot of noise to get rid of. So my next job here is to get rid of that noise. So to do that and when you use the detail tools to let, to jump across to the tools live and ope and not the detail. And you can see there that we have a sharpening set of tools and a noise reduction satyr Tools. I'm gonna start off with the luminance slider. So when you begin to remove noise from your image, it's a good idea to zoom in because you can see things obviously in greater detail and you can watch that noise hopefully just disappear. I suggest that you put your finger on the Alt or Option key dependent if you've got a PC or a Mac. When you do that, nothing happens until you start dragon the luminance slider, and it will turn the image into black and white. Now it does this only temporary because sometimes watching callers on your screen can be a bit distracting. So it's a good idea to kind of remove the colors. So you can see in black and white. Now look at that, that noise has disappeared. So I'm only lacked back go take my finger off the altar Option key. And you can see that that noise has disappeared. Once you've done that, you can then play around with the Detail slider and the Contrast slider to maybe bring some of the details back. If I just have a little play around with but you always conscious of the fact that you're not going to bring more noise back into the shot. Now your image that you're correct and is obviously going to be different to mine. I don't need to mess around with those guys too much. So with that in mind, I'm going to jump straight to the sharpening set of tools and begin to sharpen the image. Now again, like I did previously with the altar Option key. And I'll put my finger on there and I'm gonna drag this bottom slider. And this will show me exactly where I am going to make the sharpening corrections. And rarely just want outlines. And you don't wanna make, you want to make sure that you're not bringing any more noise back in Iraq. And somewhere around about dialog's pretty good. And then I can start to bring in the sharpener. And again, keep my finger on the altar option came will take it to black and white again. And I can play around and what I'm looking for is to bring the detail back into this brick work here. I don't want to be lose and any of the detail and the bricks or the stone work, not too bad. I can see the joints between the stones and that looks fine, isn't it? So let's just take a look at that. And that looks marvelous. Doesn't know, that looks really, really good. Now it's never gonna be perfect. You're not gonna get rid of a 100% of the noise. And sometimes there is a danger that if it's unacceptably noisy shot, which this one was once a, made those basic directions. He might introduce some LacI or banding areas into the shot. This isn't too bad. I've seen worse. But unless ago long for you, it doesn't look too bad. I think that looks great. Here is a before and after then. So this is the way that image started off. Now, maybe you've got images like this and you've taken, and you've thought crazy, that's not worth keeping because it's underexposed. But it just shows you that just some basic corrections using the basic tools and then applying some noise reduction on some sharpen. It can go from what you can see on the screen here to something that looks like that. I think that looks great, doesn't it? And that's all very, very I mean, how long did that take? Really quick wasn't. So have a go on some of the images that you've got that, uh, perhaps underexposed or noisy and best alloc. So the detail tools marvelous is net from removing noise. So if you have any noisy photographs, have a law practice. And as I say, just move that luminance slider and just follow the steps that I showed you in the video. And I'm gone off to change the shirt, and I'll see you in the next module.
19. Module 18 The Dehaze Tool: Now I do love a photograph with a highly detailed sky. I love to see the wonder of nature. And quite often I paint in the detail and make it a bit more stronger. And to do that, I use the adjustment brush and just apply some local DA's. And as I say, just brings you sky to life. So it's ideal for are you landscape photographers out there? So let me jump in and show you how easy it is to just bring US Keita life. One of the great things about light room is that you can revisit shots that you've previously edited. Now this particular shot I took a number of years ago and itself the famous live of buildings here in Liverpool. This glorious building in the center. And it sits on the banks of the River Mersey. It's looking a bit dollars net and a bit flat. So some basic corrections or to fix that, which I did a 100. It looked like this. And you can see it's a bit more colorful to bit more punchy, and it's looking a lot better. Now I remember I left it as that and I was happy with that. Again, like I say, the power of light room is that you can revisit that shot and continue editing when you either get new tools to use or you get better editing. In this case, I decided to use the DKs tool. Now, what is the D Hayes Tool? Why did he use it? When I can see that there's loads of detail in the clouds, there's loads of detail in the sky. As I said previously, I do love clouds, but the detail is kind of missing now because it's a roar shot. I can see all the detail is there. It just needs bring it out. So to do that, I used the DKs tool and this is where it looked like after I've applied it. And he can see now that the wonderful, you know, the majestic nice of the sky now it looks fantastic, doesn't it? And as I say, you can continue edit Nana did with this because I sponsored that on the windows of the building. You can see that the sunlight has caught onto the glass, as we say in Liverpool glass. If you somewhere else. Anyway, on the windows, you can see that the sunlight is, it's made this lovely little yellow highlight color. Up here. There's an open-end and the sky and I thought, Whoa, are get a shaft of light coming down here. So it did that. And that looked like this. And it's enhanced this cloud detail even further as so I think that looks marvelous. So that's what I events the finished with. So going full screen on last shot, you can see it looks great, doesn't it? It looks really, really good. When you consider, it started off looking like this. It's a massive transformation as net. So let's make a start on the edit. Then first of all, I will select the one with the basic corrections. Okay. So that was just, you know, just the general stuff you'd do to get the exposure and the white balance, right? So I'm just gonna collapse these panels. So we've got a bit more space. Okay, now. D Hayes. Now the D Hayes actually lives in the Basic panel. However, as you know, if you do any adjustments in this Basic panel, it does it globally. So let me just show you what happened here is, is the DAs two, when I drag this across, you can see I'm important loads of lordly detail into the sky. However, it's also applied the adjustments to the building and to the water. And it's kinda give this horrible contrasty, oversaturated Locke. No, I don't want that how anyone, I'm sort of adjust the sky. So I want to return that to where it was. And what we need to do is to apply that locally. The D Hayes needs to be applied locally. And of course we do that with the adjustment brush, which lives on this tool strip just here. So if I click on that, you can see that I have the D Hayes here and I can paint in that adjustment. So make sure when you, before you paint and any adjustment that everything is set to 0. And obviously you can paint in which ever adjustment you want. Now in this case, we want to paint in D Hayes. So I'm gonna take the D Hayes up to about 4043. Should do it. As you can see, there's me brush in the center. Now, I have done a video on how to use the adjustment brush. So you've never used it before them perhaps go across on what that video. Because what I'm gonna do is paint in the detail now, but I'm going to speed the video up because I'm sure you don't want to see me sit there while I do it. But just to remind you that you always make sure that you put the Auto Mask, switch that on. And in this case, I'm going to set the flow to a 100. Now remember that we try to keep the plus sign on the area that we're painting. So obviously we don't want that plus sign jump into the building itself. Otherwise, we'll apply the adjustment to the building as well. So this plus symbol, just make sure it's on the outside. And then we can paint the sky. So I'm going to speed this pops up like a say cause I'm sure you don't want to watch me do this. So there you have it then one painted sky and with the D. Hayes applied as a site just to the sky. It looks great, doesn't it? Now another thing that I did with that as a just change the color of the sky slightly. And I'm gonna put in a tiny little bit of blue. And I'm going to add some green as well. So probably around about the and that looks great, doesn't it? So, you know, a before and after all. That's what it looked like. And then I'm just applying that DKs locally to the sky. It created this and that looks marvelous, doesn't it? So remember, you know that you need to sort of keep the automatic gone and the auto mask will make sure that your correction as you paint it in, doesn't actually paint the correction onto the building and zoom in when you do it, you know. So that is the DKs applied to the sky. So I'm gonna just click on dawn. So my next step now will be supply this or the shaft of light. So for the shaft allies and when to use the radial tool, which again just lives on this tool strip here. And click on there. Make sure everything set to 0. We can just double-click on effect for that. And everyone's gone back to 0. And then I'm going to draw my shape. And you know, we can use the little points around the shape to drag it to the shape we want and that, and the dimensions. And again, once we've done it, we can always alter it. And if we change our mind to what, you know, whatever particular shape or size. So let's put it round about there. Now, I want to add into that some yellow. Now before I add any corrections at all, I need to make sure that I check this little box here inverse. And that will just ensure that any corrections I make here will only be inside the shape that I've just drawn with the radial tool. So therefore, let me put some yellow him and I'm going to increase the temperature to around about 29. And that looks fab, doesn't it? And also little bit a read or think as well. So put that up to say around about 11 or 12. And now you can see that shaft of light that's kind of sort of put this lovely yellow color on top of the clouds. Now as well as add-in that cool up. I'm just going to add a little tiny bit more details just to that area there now not much, probably about ten, something like that. Just to bring that detail out a bit more, I think that looks marvelous. So that is what I did to the sky. And as I say, you know, you can pull that shape to wherever you want it to be, maybe make it a little bit longer. But for now, I'm going to leave it at that. That looks fine. So just simply click on Don. Now, when I did that, I thought, you know, the bills and should be a little bit more golden as well, because the light has come through the clouds on a tit the building to. So to do that, I'm going to use another radial adjustment. And again, just make sure I've eaten set to 0. And let's draw a shape then around the building. And again, I guess it should be on that bit of an angle. So round about there. And let's take the yellow in the temperature up to about 26. Now, you see what I did there. I forgot to check this little box here. So make sure you have that box checked. And again, it will just do the build. And now I think the building could do with being made slightly brighter as well. So I'm just gonna take the exposure just a tiny bit. Roundabout. There may be a lift, the shadow is a little bit as well, I think not too much. And perhaps increase the saturation of touch as well. And when you're happy with that, I think that looks really good. Just click on, don know that is that edit finished? And if I go back to the stars, we can see what that looked like beforehand. So there we have the image then before I applied that D haze filter to the sky. And as I say, it still looks ago, damage book apply on the D Hayes locally and the shaft of light using the radial tool. It's made a dramatic difference, isn't it? So why don't we go full screen then unlock at the two that before and after and really doors honestly, it lifts me when I do, makes me think, wow, well, where I've just done and hopefully be getting the same results. So let's look at the before then with absolutely no correction straight from the camera and then compare it with the basic adjustments are dead. And then the D Hayes and then finally that radial filter that up until the sky. So let's just take a look at the two. So here is the before. And as you can see, it's a really flat photograph and it's just not punchy. The compositions there though, materials helps those neonates exposed Well. And as I say with a raw file, it gives you the opportunity to reclaim all those had highlights and shadows and poked saturation, etc. So it went from this to this. And as you can see, it's a massive change, isn't, it rarely is. And jump between the two. You can see that this guy just looks, it just looks biblical, doesn't know. It looks just amazing. Now to finish off the image, what I did then was to take it into Photoshop. And the only reason I did that was because I wanted a reflection of the buildings in the River Mersey below where it went from. What you can see on the screen to this. And as you can see, it's pretty much the same. It's just that it has that reflection on the bottom. So I think you'll agree those edits looked absolutely marvelous and it was simple to do, wasn't it? Just use the adjustment brush and just painting locally where you want that effect to be. Now in a future module, I will show you how I added the reflection in the water. And that will be in the module where I show you how to jump from Lightroom to Photoshop. But that's common up a little bit later. So up a little practice, just painting in the detail in new skies and see how you get on. And I'll see you in the next module.
20. Module 19 The Spot Removal Tool: Now I guess we've all got photographs that contain people or items or objects that we'd, rather than having a photograph on a course using light room, we can remove those objects using the spot removal tool. Now the clue is in the title is net spot removal. It doesn't do the grand things that Photoshop can do. But for small Eisen's, it's ideal and as I say, it is amazing to watch things disappear. So I'm gonna show you a couple examples and you've got two choices. Basically, this, the Healing Brush side and the clone brush side. And I'll show you the differences between the two and examples of use and both. So let's jump in and take a look at the spot removal tool. So here we are then inside of light room. So let's take a look at the aforementioned Spot Removal tool. Now it lives on the tool strip, just here. And there is there not a shore court is. Q if you're into use new shortcuts. So let's open it up and see what we've got. So you've got two options. We can use the clone paths of the tool or the heel past the tool. And in most cases you'll be using the heel. Bought the clone doors come in handy and I'm gonna show you an instance where I would use that. And the next thing is we can change the size of the brush by using this slider. Now we can also, and we're just jump over here. We can use the scroll wheel or as I'm doing here, the Magic Mouse. And we can do it that way just by slide not and down. And the third way of changing the brush size is by using the square bracket keys. So I'm using the square bracket keys there to increase or decrease the size of the brush. The next one then is further and further. Take a look at the brush. Let me just put the feather on, say 50%. And if we take a look at the brush now, we've got a brush and crew up there in the sky that sense apart the solid circle in the center. That is the extent of the hard edge brush. And in other words, if it was just a single circle, let's just take the feather off. Just a single circle. That would be a hard edge brush. So as I painted in, you know, it, it wouldn't particularly have a graduation between the pixels, between between the two items I was trying to blend together. Now the more that you increase the feather. You can see now we've got an outer circle. So between the inner circle and outer circle is where the graduation of the pixel, where the blend is gonna take place, where that graduation of pixels is going to happen. So the more you have, the more you increase it, the more that graduation, it's going to be softer basically. And you're gonna get a larger graduation between the two areas. So I'm cakes, that's the feather. Now a pasty generally, I keep a pasty, honor 100. Now there might be a situation where you may not want to do that, but if I'm going to clone something or heal something, I generally don't want it to be transparent. So that's the way I work it. So, okay, so that is the options we've got. You can clone or heal. We can change the size of the brush. We can increase or decrease the feather, and we can also have an effect on the opacity. So let's take a look then let's go into this image of on-field stadium and Liverpool. And what we're gonna do is remove the vapor trail that is going on right through the center of the image. And I'm gonna do that by using the heel brush. So here is the vapor trail just going through the center of the image there. So I'm gonna use my magic mouse to make the brush size smaller. Roundabout there should do it. Now for otherwise. Let's just put it, increase it a little bit. And all I need to do now is click and drag over that area. On what will happen is when we go from what will happen is it will disappear. Now, press and H on the keyboard will reveal the two areas. So this, this bottom areas where I've just painted and Lightroom is selected this area here to sit over the vapor trail and have a press H. It will just hide those two areas. And I can see it's perfectly taken that they portrayal of the image. Now. And let me just change this. Now we use the heel tool. Let me change it to clone and you'll see the difference now on clone. You can actually see now what happened here with the clone tool. It actually takes the pixels. We're here and let me just press H again so you can see it's actually taken the pixels that live here and duplicated them over the vapor trail. Now that's not what we want because obviously it's not blending them together. And the heel, sorry, the clone tool doesn't do that. It's the Healing Brush doctors that so for switch it back to heal, you'll see or disappear. So that's how sit me or how easy was that, you know, so I mean, it's arguable that whether I'd want to remove that vapor trail. But that was a good little example and a very easy one to show you to start off. So let's look at another example. And again, we'll, we'll, we'll use the Healing Brush. So in this image we have three airplanes. You can clearly see that the jazz in the middle and two biplane propeller bright pipelines are the bipolar, the propeller planes. And I think this image would look so much better if this particular airplane here was removed. So again, I'm going to use the healing brush to do that because I want to heal. I wanted, well, he'll want to take these clouds and I want them to sit over the top of this play. So I want to increase the size of the brush. The feathers, ok, Aleve around about 50. And I quite simply just paint over the aero plane. And then at the microscope and they go click, drag paint disappeared. How easy was that? And again, just to show you, if I went to the clone, to clone, it's, it's actually taken all the pixels of the cloud and plunk them over there. And it doesn't look as realistic does it. So again, it's another case of using the Healing Brush. Now that's really easy as Nick sets locker another one. Now this photograph, it's all about lions. And oddly enough, I want to remove these lines here, not these lions, these lines. Now this was taken our local Safari Park. And I think of I removed these wires here from the fence and behind. It would look a bit more like liquids in the jungle and not in a safari park. And this is ideal time to use the Healing Brush. So again, I'm going to make the bra size big enough to cover those wires. And again, feather of around about 50. Pape's just a little bit more and should do it round about 68. And again, among the Healon parts of the tool. And I'm just gonna click and drag and then let it go. And while art disappeared. And again, let's do it there. It's that long gone. And that one there. And you can always images press H. And some luck where it's taken that from. I might say, well, I don't want to go from Mike, look better but went from there perhaps. And that looks a bit better, doesn't it? Let's have a look. Yep, that looks better to eat. You know. The thing is Lightroom will decide where to take the pixels from. Sometimes you might decide to take it from somewhere else. If you think you get in a better result. So always check that. In that case, I think it didn't need to do it. Right. That's OK. Isn't it? Looking fine? Let's do that one. Now. What? Don their luck. There was a line here of fencing, that wire. And it's actually sampled from here. So it's taken the wife and me are placed it there, so I don't want that. So I can drag up to there. And the ego that baton isn't it? Let's take this one house with factor you can map from. It's not too bad a suppose. And then that one there. Ok, now I don't like where it's taken laugh from. As you can see here. This is the area I'm trying to heal. And it's sampling from light room is sampling from this area here. And you can see that there's an arrow that's saying, right, this is the area that I'm sampling from and I'm gonna place it over the areas just painted and you follow the where the arrows. Now obviously it's taken some of this wooden post. Now I don't want that. So I can override that and then just drag it to where it's going to look better. So let's try somewhere around about there. And that looks much better, doesn't it? So always be mindful of that, that Lightroom will do its best to sample from an area that it thinks is similar to the area that you try and to replace. It doesn't always get it right. So that's something you should bear in mind. If I look at this one here, this is one I did earlier. You can see I've tried to take this line out here, are Lightroom has used pixels from here. Now look, it's taken some of the post and it's placed identity, you can see that, but some of the pixels from this post are now sitting here on the leaves. Don't want that. All I need to do is just drag that across and that will get rid of it. And then you go That should do. Let's take a look at that. At much better, isn't there? So there's a lot of, the other thing is there's a lot of nodes now. In other words, there's a lot of areas where I've made some adjustments. So you need to make the node active. Another way, I just click on it so it goes black before you can start dragon things round. Justin. So you need to do that. Okay. That looks fine, isn't it? So once you're happy with your corrections, just click on Don. And that looks so much better, doesn't it? It locks now as if the, you know, properly in the jungle. So let's look at another image them. Now in this photograph, I would like to remove this price tag sticker, this orange area just here on the mannequins had. So when you remove that, possibly tidy up this nose area as well. So to do that, again, I'm going to use the the, the Healing Brush again, Spot Removal tool, healing brush. And I'm going to in this case take the feather, that sublet will look. I'm gonna take the feather a bit smaller. One of the reasons for this making the feather smaller is there's not a lot of area on the mannequins head for me to sample from, awful Lightroom to sample from. So let me just show you what I mean then hopefully this'll work. So again, I'm just paint over the area that I want to be removed or replaced. One, select the mouse, go. There you go. So let's just have a look what has happened. Layer them. So this is the area here of whistling where the orange sticker was and Lightroom, as you see, it's sampled from this area here. And you can see the arrow. There's the arrow that we keep saying which shows you the direction. But what has happened is, as you can see this, there's a shine on the mannequins head just here. And that's shine as been taken across to here as well. So this would mean that I find just lift that up and I can move that around and get what I think is a better area for light room to take the pixels from. There you go, that's fantastic, isn't it? So, as I said in the previous image of the lines, you do have to sort of just watch where Lightroom is actually sampling from an a majority of the time. It does a great job. Bought you up the option to override that and just drag the area around. And as I say, make sure that the nodes are active when you do a. And then he just quite simply drag them around. Not looks great, doesn't it? So let's just try. There's a little spot up there as well. Let's, let's get rid of that one. And I'll make the brush size a little bit smaller. And we just press H just to hide those nodes. And again, Let's click on there. Well, disappeared is another one there. Disappeared. So easy as ne'er. So let's try this nose area here. Now it's never going to be perfect. And for something like this, I probably jump into Photoshop, but let's just see if I can do a decent job of removing the level chipped area from the nose. Oh, that's awful, isn't it? So let's press H and see what happened. Now it's sampled from the LIP area and parts of the lip is now gone onto the nose. So this is what you've gotta be careful about. And if I can just drag that round, that little smooth area there is perfect as NetLogo. You would never, ever think that the nose on the mannequin was chipped. But as you saw, it originally sample from the lip area. So when it does stuff like that, you can override it. And and that worked perfect, didn't it? Ok. So just keep enough Father slightly smaller is the thing I tend to do obviously on smaller areas, but also when it, when you're in a tight situation where if there's too much further, then it will reveal. Let me just show you what I mean there. If I click make that active and if I increase the father, you may see bits of orange comeback and there you go. Fad is much too big. And obviously the softer area around where I've painted, it's just eat us don't need that much further. And I say cause I'm in a tight area for light room to sample from. I didn't really need as much father as though. So the great thing is though you can retrospectively change the feather so you can make your adjustments and then go in and fine tune. And after the event if you know, I mean, so that's pretty cool as well as new. So they go simple. Before and after that. You go before, after and you'd never know it was there which are. So let's take a look around another image. Now in this image of my local park, I have a random jogger char going across the bridge and I'd like to remove a. So let's zoom in. Let's go in a bit more but tighter than that. So there she is. There. And I think the image looks so much better if she wasn't there by some wasps. And my apologies to the lady bought, it would look better without there. So again, Spot Removal tool. Now this time I'm gonna use the clone tool because and I'll show you the difference and why. I've decided to use the clone tool a little bit later on. But anyway, I'm going to do this in three stages as well. So I want to try maybe around about 30 for the feather. And I'm gonna do this in three parts and topos of the body, middle part and then the bottom part. So let's click up here. I'll make it bigger. Click there and see what happens. I'm Kate. Art's not too bad. Press hate. So you can see what's happened. Now. It's taken it all the way from over there. And it's obviously included the branch of this trait now adopt mantissa. So I can just drag this over and watch. If I do this carefully, I can UCSD line that perfectly. So. Just get in there, right? Probably a bit too much. That's Lu release it there. And yet that's done a good job as net. So it's taken pixels from there. I'm put them over there. So the next part to do then is this middle section. So let's click there. What happened today? That looks quite good. Disney and boss, it's not lined up properly. So I'm going to perhaps drag it to here. And I need to line up the posts on the metal fence. How does that look there? Might Locke's great, doesn't it? Now you gotta remember it's often a distance. So, you know, I could spend a bit more time and get it lined up. Exactly what I say because it's so far off in the distance and locker do that. But if you've got an image that's, you know, it's probably, maybe larger on your screen or it's a bigger part of your image. You can take a little bit more time. Now. Now I just need to get rid of the legs. So let's just click on where the leg area is and see what it does right now. Stupidly, it's taken pixels from the foliage to the right-hand side. Now I don't want that. What actually want is a bit of the concrete. I'm bridge and a need to try and line up those lines as well. Okay, so how does this look and go that way a bit more. How does that block there? That locks. Okay. Does Netlogo release that? And let's have a look. Yep, that looks fantastic, Doesn't it? So let me just zoom out. And of course, once you zoom out, that's what happens. The jogger has completely disappeared. So let me zoom in again. Museum, it's about there. And let's select this top node just here. Maybe I should zoom in a bit more. And I decided then to change that to heal. Can you see what happened there on that steel rail now, there is some pink common through from the jogger, so it's blended. What's trying to do is blend the jogger in with the leaves. Now I don't want that, I want to remove, I don't want any blending to happen at all. I want to clone areas, clean areas. And this is a clean area. I want to clone all the information from there over to here. I don't want to blend it, which is what the Healon brushes driven. So if I just click on clone, you'll see that disappear. It's taken those pixels and it's putting them over there. And as I said earlier, if you want to be super accurate in this tutorial, I don't want you to sit there watching me. Be rarely, rarely source of finicky to try and get it at an absolute perfect match. But you know, you, you, when you're doing it, you perhaps up more time. That said, I'm quite happy with that. That looks great, doesn't and you would never, ever know that jogger who's running across the bridge. So that is when I use the clone tool, when I definitely want a transfer pixels, hard pixels from one area to the other. And the Fed at will. Remember the feathered still, although it's a clone, it still has a feathered edge. So it transfers those pixels across. And it doesn't have the Arshad's, so it kind of blends end. But it doesn't do the same as what the Healing Brush dots where the heel and Bush would actually blend. The year that the lady at a pink sweater on a map is blend and m with the leaves. And I don't want that, I want to clone. I actually want to take a hard bunch of pixels from a clean area and dropped them on top of the jogger. So that is an instance where I used to clone till clones, Fantastic. So lastly we have the image on the screen. You can see at the moment, and it is a very odd image of some architecture in Liverpool. Now the cameras being pointed up towards the sky, obviously with what was the aperture size F8. What I can see is lots of spots and those spots are on the sensor of the camera. Now this happens a lot with digital cameras obviously. And once you start closing the aperture down face isn't a particularly small aperture. But anyway, when you do close the aperture down and point it at the sky, that is when all the dust specks will appear on your photograph. It's quite annoying, but we can use Lightroom to remove them. And I'm gonna show you a little tip are quite like this. So let's open up Spot Removal. Make sure it's on. He'll okay. And we'll get b brush size ready or gas. I'm gonna put the feather on around about 50. And I'm gonna come down to the bottom here to this toolbar along the bottom. And it says here visualized spots show or hide the show or hide the spot visualization. So I'm gonna press that and look what happens. The area goes to black and white. And I can clearly see where the spots are. Now you can use this slider here to reveal more of the image. Now obviously, I wouldn't, that that's a bit too much because there's obviously, you can see the, the grain common through there. Surrounded by, there would be, right? Because I can see where all those little dots are, the dots, specks of dust. And all I need to do now is just paint over them. Now I'm gonna press H just to hide that the nodes. And I will then go through and get rid of every single spot in this top part of the image. So once I'm happy that I removed all those spots, I can just check this box and take a look at what happened. And they can save all spots of gum. How cool is that? So let's see a before and after. This is the before with spots and this is after. So I think that visualization spot to option that you've got, it really does help in a situation like that anyway. Now, I know you watch in this new same prank, there's loads of spots here as well. If Miss section, but I won't do them. But just to let you know, I just thought that and little thing you can use that visualized spots and yet so easiest next. So it's amazing that net to remove something from your photograph and lightening does a really great job. And you can save a photograph, a photograph that you might have thought more, that's kind of spoil and the actual look of the particular photograph, just by removing that one object as a saint, it creates a whole different photographed as it. So I have a little practice and I'll see you in the next module.
21. Module 20 Jumping from Lightroom to Photoshop: It's simple to jump from Lightroom to Photoshop. Just simply select the photograph that you want to edit on your filmstrip, right-click and then select Edit infection shop. And lo and behold, your photograph will appear in Photoshop. And you can edit your photograph and then save it. And it will jump back to light room. And you will see the edited photograph from Lightroom appear in on your filmstrip. Fantastic. Now, you may never, ever have a need to jump to Photoshop, but at least if you watch this module, you'll know how to do. And the photograph I've selected for this module is one of the Liverpool waterfront. And we did see earlier in a previous module, and I promised I'd show you how I added reflection in the water. Now maybe adenine reflection is not your thing. So you could skip to the end of the module and just watch me bring it back into light room. However, if you really keen on learning how to add a reflection than this module is ideal for you, isn't it? So, without further ado, let's jump in and I'll show you how you jump from Lightroom to Photoshop and back again, and also to add this reflection in the water. So let's jump in. To be honest, the majority of the edits that you do to your photographs can be done inside of light room. But occasionally there's times when you do need to jump into another piece of software. And of course, Lightroom is bundled together with Photoshop. And they lived together. It's fantastic. The brother and sister. So you can seamlessly jump between one to the other. Now don't get me wrong. You may never have to jump into Photoshop and maybe that's not your thing, but the certain things that you may want to do. And only photoshop can do it. The one on the screen is the one we're gonna work on today. And we're going to add a reflection from the buildings above, in the water below. Now obviously that's something we couldn't do in light room. So there are a number of ways then that you can take this shot into Photoshop. One of them is to just jump up to the top menu and the drop-down. And then just drop-down photo and just look for Edison. And there you can see the top one edits in Photoshop. And you've also got the short-course, which is because there's a mock, it's command, a dare say it be controlling on a PC. There's, there's other applications I could add it into, but we'll look at those in future videos. But this is the one I would go for. So that's, there's two ways then click on there. Use the shore cores. Or the way I often do is just to right click on the image and do a right-click on the image. I can see it there editing. And I'll just select Photoshop. So let's do that. And this image will open up in Photoshop. And there is then in Photoshop or ready for me to start the edit. Now, you might be new to Photoshop. So there may be things that I go through R triangle through as slowly as I can. But as I say, it's not really a Photoshop tutorial as such. But anyway, you can follow along, but the first thing I'm gonna do is just show you something really simple. This is probably going to seem a bit strange. But anyway, I'm just gonna draw a box just here. And I'm going to fill up with red. Why am I doing there? Just to show you something really. So filled it with that red color. What I'm gonna show you now is just what happens when you take it back to Lightroom. So imagine I've done some fancy edits on this photograph, or didn't just put in a red box on. But imagine I've done some fancy audits and all I need to do is, is to go up to this little bar here with the name of the file on and just close it down. So I'm going to close it down and I'll be prompted, do you want to save in a the changes that you've made? And I would just say yes now, just save it. And what happens now is those corrections have been saved into Lightroom. And there is we're back in the Lightroom environment and look. There's the original image or an edited. And here's the one that's just come back from Photoshop with a red square on 0.1t, Red Square on office obviously. But that was just to show you how easy Nava press the letter. I it the information will come up there, the name and stuff. But you can see now the file extension is Dr. Jeff. And a TIF file contains tons of lovely goodness. It's a lovely big file size. And yet, so it's super high-quality. 14 hours, a red square on. We don't want that. So let's go back to this image here. And I will do exactly the same thing. And again, remember because Lightroom is non-destructive, This is my digital negative DNG. And I can export this and do millions of things are there, and never, ever change this original image. So I'm just going to click on to get rid of that information because they don't want that. And take my usual route into Photoshop, right-click editing Photoshop. And you know what happens now? Off it goes on it's little journey and it will eventually open up in Photoshop. And there is all ready for me to edit. That is how simple it is to take a photograph into Photoshop to edit, and then returned to Lightroom. Please continue watching if you would like to see how to add a reflection, The following content assumed you have some understanding of Photoshop. We're sorry if it looks a little complicated, but please enjoy. Different people will show you different ways of doing it. But this is the way I'm gonna do it. So I've got this tool selected here. It's the rectangular marquee tool. And that allows me to create a selection. So if I click and drag, I am going to drag an area sort of around about the, Let's have a look. I'm going to click that area that right, so I've now got that body of wars are selected now that's not what I want to copy obviously. So I need to move the selection than to the area that I do want to copy. So if as long as you've seen from outside the selected area, the cursor changes to, it expects me to draw something else when I do that. So just make sure that you're inside the collection. Collection makes sure you're inside the selection and that will allow you to move that selection, then it's not what I'm gonna do. I'm gonna move it up because the area I want to copy is just here. Obviously, I want to copy the buildings and stuff above. So that's the A01, a copy. Now to copy that, I'm going to press command J. Now for a PC it's control plus j, four AUA forum mark it's command and j. Now, I have now copied that area onto its own layer. Now again, this is not Photoshop tutorial, rarely bots. What Photoshop does a war, it's greater is that you create multiple layers and that gives you multiple effects. So if I just, we look over here, I'm just going to double-click on this, by the way, and give it a name. So I've called it reflection, and we've got our original background and reflection. If I turn the background off, you can see now on its own layer is the area that's going to become the reflection. And I can switch that layer off. And this is what photoshop is good for for those layers and creating composite images and stuff like that. Now what I need to do now is to flip that image. So I'm going to press command t. And it would be Control T on a PC. So now that just selects that area ready for me to manipulate it. So again, make sure that you're inside that area and just do another right-click. And when I do that, I want to flip the selection vertically because that's how I'll create the reflection. So click onto there and then just hit return to accept that. Now we need to move downwards. So I jump up here to this tool palettes and just select the Move Tool. Come back into the image and then just drag it down. And there you go. You can use your arrow keys to, to manipulate it a bit better. I'm just going to drag it a little bit more as well. I'm going to press Command T, put my finger on the shift key and I'm just gonna make that a little bit bigger. Because there's a bit of a white line there that don't like. But anyway, so that should do it. Now you may well think, well, that's great. That's a fantastic reflection, but for me it doesn't really look real, it doesn't look convincing. So I need to put some movements and so that water. And I'm going to show you a few different ways, put in the movement in making it look more realistic. And I'm even going to add some waves as well, just to sort of give the illusion Well, just to pull people rarely that there was the reflections rail. So, so at the movement, I am going to use the Blair tool, only use to Blair tools. But before I do that, I'm gonna just jump up here. And I'm going to jump into here and select Convert for smart filters. I could give you a big explanation of why I'm gonna do that. But hopefully as I go along, you'll see why I've done it, but I'm gonna click on here first. And just accept that. Then I need to put some motion blurring. So I come up to my filter section, dropped down to where it says Blair on over various different blades that I can apply. And the one I'm going to go for is motion blur. Click on there. And straight away it supplied a lovely sort of motion, Blair, to the water. And it looks quite realistic, doesn't it? Now, if you notice my sentence, let me move this over here. If you notice the sentence I've used, I've used a 90 degree and a distance of 30. Now look if I point it to and level like that, the Blair is now going horizontal and nuts doesn't look realistic to me. I want the player to be going vertical. And that's why I selected 90 degrees. And it wouldn't stop on 90 theta go 90 degrees. And of course, you can adjust the distance. Now watch when I do this, when I adjust that distance, you might look at that thing or that locks batter Frank. And that's the great thing about being creative, isn't it? Because we've all got different taste, different perceptions of how things should look. I think it looks better on Thursday, but when you do yours, you can, by all means desired what way you want to do it. So I'm going to click on, okay. Next thing then if I just zoom in over here, I may well think that the edges of the build and Windows and various other things are too sharp. So I'm going to apply another blair. So up to the filters, fine, the blurb selections. And this time I'm gonna go for Gaussian blur. Some people say Gaussian blur, but I think it's Gausian Blair. And click on that. And it was already set to where I needed to be. Now if I just switch the preview off, let's put that over there. Switch the preview off. You'll see that's without the blur, that's with the button Esau. It's enough to make that look more realistic for me. Swam gonna accept that. Just click on OK. And that's that part of it, dawn. So let me just double-click on the zoom in, zoom out so that tiny bit. Ox great, doesn't it? The reason I converted this reflection to smart filters is because I can always go in and change those values whenever I want. Now again, this has a lot to take in because it's essentially a light room tutorial. But anyway, there's only I'm doing this video because people have asked how he put three flexion. Don't blame me, don't shoot the messenger. Ever double-click on. It says Gaussian Blair, I can go in and change that. So in other words, I'm not it ACA was retrospectively changing and I was carry-on change in it and an alternate, you know, to my heart's content. Whereas if a wooden or change it to a smart filter or wouldn't be able to do that. So there you go. That's why I've done that. So that looks real ish, but we need some waves now, so I'm going to add some waves and that should take it even more to that realistic look. Now before I add the wave effect, I'm just going to come across to where it says reflection when it comes to this layer, do right-click and I'm gonna change it to a Smart Object. Now again, it would be a long explanation to explain why I've done. They're just trust me, that's what you should do. Because like I say, I keep saying this, it's not a Photoshop 2D. Well, it wasn't meant to be a Photoshop tutorial, but anyway, let's carry on. So now I've done that. I need to go up to my filter section, goes into stores and select Wave, which is just here. Click on that. Now again, I could go through what all these things mean, amplitude and wavelength and stuff. And by all means you can play around with them. But, And it was, keep it different wave sizes, the amplitude of the wave and stuff. Hey, you can play with that cornea. But I've already set this to what I think would be ideal for this particular photograph. So 100 generators and you can see a maximum of ten, maximum of six. And I obviously want the waves to be horizontal. So that's the way I've got that SAT. You can play around with that. It is a bit disappointing that it doesn't give you a preview below. And it's also a bit disappointed in this box is so small and you can't make it any bigger. So you just have to go with it basically. So I'm going to select that. Although sentence and click on, okay. And you can see we have now go waves in the water. No, I think the waves, there's too many of them and I only want them to just show through now. And again, I don't want them to be visible in certain places. So to do that, I am going to take you across to the weather layers are. And here's what we've just done. There's the wave in the smart filters that we created. And this little box here, this is what's called a mask. We use mosques in light room as well. So maybe you're familiar with masks, hopefully you are. But if you can imagine, this mosque is white. That means to me, What did he say? White reveals, black conceals. So because it's white, we can see 100% of all of the waves that I've had. Now I don't wanna see all the waves. So, and that's the bit we're going to tackle now, isn't it? So I'm going to cover up that white window that we're looking through. I'm gonna paint it black so you can't see through that window, and therefore you won't see any of the waves. So to do that on a click on a, and I'm going to press command or control I. And what that does is invert the mosque. In other words, it's painted black. So now, now we can't see anything. And that's because it's black. So a need to rub away some of that black area on the mask to reveal the waves below. So to do that, I need a brush. So I'm going to select a brush, this one or do I want to set the opacity to 40%? And I'm going to make sure the color is on white. Now if you've got different callers, they're just pressed. Di, di just means defaults on it or go back to these black and white collars. Okay, and there's the brush, and I'm gonna now paint in where I think there should be little waves. And let's just start here and a painting. Did you see that then? Little fuel that a wave's appeared. Let's do quite a bit round there. And some, they're all very soul sun lamps from there. Maybe some over there. And I'm just randomly potent waves in now is ever so saw. But that's what I want. I don't want the waves to be all over the place. I just wanna give the impression that bat is actually water. Which of course we know it isn't because I've just, it's just what I've copied from above as net. So maybe a few more there though that that worked quite well. Just third at noon on the building itself. So that would do I'm happy with that. And is it finished? Well, not really. Just two more things I want to do. And I'm just going to change the two and it's going to come up to the brush and go to this that will move tool. Just so I can point to things. Reflections are generally darker. And this is the same sort of the same source of luminosity, if you like, is what's above. And of course it's going to be because I actually flipped the image that night. So I want this to be darker. So what I'm gonna do is make sure again, restoring this reflection layer. And I'm gonna go to the adjustments. Now again, it's a lot to take in and out. What I need to do then is dark in this. And to do that, I'm gonna use calves now, curves are something that you should know about because we, of course we got calves in light room. So I'm going to click on there and I'm gonna drag from the center. And when I do that, you can see everything's gonna go darker. Now the problem is, the whole image is gone darker. And I only wanted the bottom part to go darker. I just wanted the water to go darker. So to do that, we create something called a clipping mask. Or you need to know is that we click on this little icon here and it will create this clip and mask. And what's happening is the curves which we've just created are only going to affect the layer that's directly below. And you can see the arrow is pointing to this reflection layer. And so we've just darkened the piece below, which is great, and that's what we wanted. We didn't want the whole image. We just wanted this bit Matlock and really, really good. Now the last thing I'm gonna do is again select the reflection layer. And I'm just going to change its opacity. And I'm gonna, not by much. I'm just going to drop the opacity using this slider to about, I don't know, probably about 95, something like that. Let's try night year 99, T3. It settled on 93. And that is the Edit complete. And I think it looks great. So once I've done, all I need to do is mu member nominated very early on monetary drew the red box. I just need to go to here and close it down. And if I close that down, it will ask me do I want to save? And I will say yes. And it saves and it will go back into Lightroom. So I'll have access to it there. So let's open up light room. And and there is in light room. So we looked at the previous one. So far, we had we had this one which was the original mean cry HeLa, how different it looks there. Then we put a red square on it. But anyway, we went from that to this width reflexion on man, it looks fab doesn't. I hope that's given you a little insight into taking stuff across, into Photoshop and how easy they work, you know, the sort of integrate. So there you go. Jump in between the two is easy as NAEP and answer. So daily you may never, ever have to do it. It might not be your thing. But trust me, most photographers will jump from Lightroom to Photoshop occasionally because the certain things that like room just can't do. So just to give you an example or my poor traits IT into Photoshop, just to touch them up slightly. Because as I say, it's, you've got more tools and more opsins in Photoshop. However, you can't be a photographer that never jumps into Photoshop. And one of my friends is a prize when National Geographic photographer, and he never uses Photoshop. So don't worry if you don't fancy jump into Photoshop. But I felt a hat to produce a module that shows you how easy it was to do that. So I'll see you in the next module.
22. Module 21 How to Change Colour of Anything: In this module, I'm going to show you how you can change the color of absolutely anything. And it's a great technique and it's dead simple today. Now involves using the adjustment brush. So hopefully you're up to speed with how to use the adjustment brush. But we basically just make a selection, make a mosque, and then change the color. And there's nothing to honestly, but it is amazing to what the color of something completely change. So let's jump in then and I'll show you how easy it is to change the color of anything. Changing the color of an object in Lightroom is relatively easy. Now you may want to perhaps change somebody's eye color or change the core of the clouds professed off. Maybe you think you would use the HSL sets of two or so because they contain the hue, saturation and the luminance. But let me show you what happens then in this example. If I click on this little tool here, come across over to the car and drag upwards and downwards. It does indeed change the color of the car, but it's not really, it's changed in a very subtle, isn't it? It's not really given me what I want. And also via lock as a dually, if you look at the lights on the car, they are also changing. So really I just wanted the car call us a change in up anything that was also in that color range. So it's not the tool to use rarely. So I'm just going to reset back. And I'll show you how we do. Color change is so much more accurate when you use the adjustment brush and that lives on this tool strip just here. Now I've made a tutorial video all about the adjustment brush. But hopefully you're familiar with how it works. So let me just go through a few things then. As we'll be using a brush to make the adjustments, then obviously we've got Bush sentence that we can change here. So we've got the size of the brush, how soft the edges of the brush, the flow and the density and this Auto Mask. And I'm gonna share how they all work to change the color of the car. So for this, I'm going to select a feather of 50. And I'm going to keep the flow and the density on a 100. And I'm also going to check this box that says Auto Mask. Now what also masters. Let me show you first I'm going to start painting over here. And I'm going to press the letter o. And when I press the letter owl reveals the mask as I paint. So that red area is now the mask. And that is the part. When I start making adjustments over here, it will only affect the red areas. So that's what a mask is. Now with also must selected. It ensures that as I paint if this contrast between the two areas, and in this case, that is does the car and then there's the tire is a distinct contrast there. It makes sure that the mask doesn't bleed across into the areas that I don't want it to be proved wanted to be. So. It's really useful. Now some times you need to switch that off, but we'll look at that later. But I would go ahead and paint finish Peyton All of the car to the next stage then would be to press the letter L again. Now if I press the letter o again, it hides the mask. Now it's still there. It's just that that red area is not visible. And that will help me obviously to get the coolers right. So you know, it was press out to reveal that again. But let's just leave it sorts of invisible for the time being. And then I'm gonna come across here. And I'm gonna go to the saturation. And I wanna take that down, all the way down to minus 100. Now you can see what's happened straightaway. That red masked area as now, contains no color at all. And that gives me the ability now to poor color back in. And we'll do that with this color box here. So if I just click on this lot cooler box, I've got a range of colors and I can now simply select a color. So let's select a nice blue color. And straight away you can see that area, the car has now gone blue. Now the higher I left little box, the more intense that colleague becomes an obviously, the further down and make it, the more subtle the colour is. So as you can see, I can change now the color of the car to wherever I want it to be. So let's put it back to that nice sort of blue collar. And I've love a postdoc callers, last, lover pores. And also once you've done that, you can also start playing with the other sliders. Now, that will vary between photographs and what you actually transfer achieve. But you know, I could make it lighter, I can make it darker. Yellow could do a whole host of things just using the other slide is some of them won't work so well. But you can play around with them, but that's how easy it is to do. So I'm gonna switch the mask back on by pressing the letter O. And just to give you a few more sort of directions, rarely on how to use the brushes. So again, I would paint. Now in this case, I have actually painted over this Chrome parts of the front of the car. Now to remove parts that you've painted, let's do there because that's a bit easier. I've painted over the headlamp by mistake. While I could do is just press my finger on the altar or Option key, and I didn't even see that. But in the center of the brush, it goes from a positive to a negative. And that means it will remove parts of the mask. So I can quite simply just take-away areas that I don't want. And I guess also masks still switched on, so it should really find the edge headlamp. And I make it neat, Norway hasn't. So I'd have to zoom in and do it properly. But then again, ever you go it's gone back to Adam. And again, I just take the middle part I was. So you add and subtract just by pressing Alt or Option. The other thing is to make the brush size bigger. I use the magic mouse. Now if you've got a wheel on your mouse or you indeed you've got an Apple mouse. You can just change the size by using the center of your mouse. Fail and that you can use the square bracket keys. So if I just The right square bracket makes it bigger and the left or make it smaller. So that's how easy that is to do. So you paint on when it's on a negative SRE are positive and you remove with a negative. Now also, make sure you zoom in when your painting as well, because that really helps to get an accurate source of selection. More accurate your selection. Obviously the more realistic it's gonna lock. So I'm gonna jump to another image then the same image where I've painted all a car. So there you have it then all the car is now being painted and you can see how sort of accurate made it. And I would just move around a little bit. I could see little bits of Miss To be honest. But for the purpose of this tutorial, it be fine. I'm just gonna make the pore size a bit smaller. And also just show you how easy it is to just remove Betsy No, you see bits on there, for instance, I can just remove that little bit of extra stuff there, but yet you can go in and fine tune. And both the purpose of this, that is fine and we can now change color. So I'm gonna press our again because that will just hired the mask. Now I know that mask is still active by the way, because it has a node and this little black circle here. And if I mouse over the node, you can see the mask. So there you go. Already to change that color. Let's do the same as what I showed you earlier. Take the saturation right down. Now in doing that, you can see that the detail in the LED lights, these little indicator lights, and the, you know, the inside of the car, all those colors are still there. Now when you use the HSL method earlier on, you could see that they were changing as when the Caracalla was changed. And so obviously this straight away, you can see this a way of doing it. So click on the color box and then quite simply, just drag that to the caller. Want come out looks fantastic, doesn't know. So that's how easy it is to change the color of an object. And it's far more accuracy. And I want to show you a few more examples because I think one of the big ones that people like to change is certainly the color of clothes. And also Eichler. So we'll take a look at two examples, and I'll show you how easy it is. Now in this photograph I captured to my students on a walk around, around the city, Liverpool. And what strikes me is that amor hair Jackie is a bright yellow, whereas sister Laura Scott like this Muted Pink column. So it would be nice to change this yellow color to source maybe two, maybe that perhaps are light green or light blue. But as you know, once we've selected the jacket, we can change the color to wherever we want. So let's begin then making the selection. Someone who zoom in and we'll move about a bit and I'll stop patents so we go to the Adjustment Brush and when to use the same sentence, feather 50, flow and density is 100, an auto mask. And I would start painting. Now, you can't see anything. So I'm gonna press the letter O and then that will reveal. Now with the auto Mask, remember. As long as I keep that. So so cross that you can see in the center of the bros. As long as they keep that inside the area that I wanted to paint or a 1a mask, it shouldn't spill out over the edge. So basically paint away. Now, I did say area that sometimes you need to switch off the auto Mask. And the reasons for that is when you see an edge like this. So this is like a seam or whatever you call it honor jackets. Lightroom will think that that is an edge which obviously isn't. So I would then go in and switch the auto mask off and then that allows me to know you can see that then it ucsd painted over that edge, whereas previously with the auto mask on it thought it was an edge. So that's what you've gotta be careful of. But then it's a case of switching on and off basically. Now obviously I would need it on to paint where this strap is. So again, C will found the edge perfectly calm appear for instance at several. Ok. Now there you go. There's a classic example there where it's missed two bets and it's only done that because it thinks it's an edge. And then I would just switch the auto Mask off there. And there you go. I'm up here where the hair is now that's a bit tricky. Honest fits the awesomest back on. And I'm just going to come around here. Now. You would have to let me just do that bit there. This is where you have to be super accurate. So I'm now going to press Alt or Option, so it's gone to a negative. I'm gonna make the brush size as small as I can. And I would go in and I would try to take away the mask from the hair. And then maybe you can see that I am axillary moon part of the mosque. Because it would be nice if I want to make the jacket green or blue, it would be nice to sort of our hair. So common three wouldn't it? So that's a bit tricky doing that part, but it is worth doing it. Trust me. And I say I would go round the whole image now. And let me just see there was any tricky bits that I could point out. Not rarely. As I say, it's a case of switching the OLS mask on and off to just to make sure you've got everything. And to say that all is max does a great job look about. So yeah, I would get an accurate selection adapt. So I'm gonna jump to an image where I've actually finished painted the whole jacket. So I've now finished painting the jacket animal, just mouse over, you can see there. So let me just press the letter o so the mass will stay on. I'm just gonna zoom in and you'll be able to see how accurate I got that mask. And you can see I've painted round here and I've got it really nice and neat. You know, I removed the red areas on the zip and stuff like that. You know, it was it didn't take that long and you can see the hair doesn't look too bad. So that is already then for me to change the color. And on this image as well, look, I can see all the corrections have made as one there, which was for lawyers face and there was one for the sky. I always go remember if you've got multiple adjustments that you've made with the adjustment brush makes sure you've always got the act of Warner's the black one guy went over here for instance, on lawyers face. You can see that is now the active warm. And I made Laura's face a bit lighter for the life of me. I can't remember why I did that, obviously, because it must have been too dark. And what did they do in the sky? Or was it the whole sky? So they go back on the jacket then, and let's see what we can do now is press the letter O again, because we don't need to see the mask. We know it's active. And then again, common across to the Tools. I'm gonna take the Saturation to minus a 100. And just like we seen previously, we can see now the jacket has no color whatsoever on a click in the box. And I'm gonna go maybe for say, a lighter green. That looks great. Strays away does know. And it doesn't stand out as much as the yellow jacket that we had in the original photograph. And again, as you know, I could pull this box around and change it to y of a color ones. But that nice source of bluish scratches just try green. Yeah, greenish maybe. But as Yep. Diego, that'll do. And they've got kinda like more to me anyway, a jackets, not sort of pop announced that the image as much. So it's a nice little example to show you. Now once it's done, click oddly enough on the word, don't just stay on the bottom. And you've committed that, then you can always go back in the early time and change the color because you've made that selection. So let's look at an image now where I'll change the eye color. So Sophie has beautiful brown eyes. But what what she looked like with say, green ie blue eyes. Now I've gone ahead with this image. I'm just going to click on the Adjustment Brush and come over here. Actually have a press owl you'd be able to see. I painted. Now nothing's happening because after make sure it's active that you go. You can see where I've painted her eyes east today. I'm not gonna show you how painted the eyes can show you an hour to do it now. And and yep. So they're painted and they are ready to be changed. So she looks a bit demonic, doesn't see what there is red eyes. So I'm gonna come over here and just do exactly the same thing. This is how easy it is. Now had the color taken out, click on the color box, which as you know, I start replacing color. And let's go really, really know that's too much, isn't it? So I'm, when I'm doing this, deliberately abstain at the top because you can see how strong the callers are when you are at the top. Now in this case, we want it to be more sort all Don't be. So something like that. And may go, she's got blue eyes to easy, isn't it? A nice green color here? And of course, once we've done that, we can also then go, I like to use the shadow was actually, And I can lighten the eyes as well. And enlightening the eyes, I might think. Do you know what there perhaps a bit too to greenie. So take it across to the blue. And it's easy as so. Click on Don once you happy, and then we go, and then you go. Sophie is now got blue eyes. Another example, just a quick one before we finish. And again, it's a bit of clothing. And just as a recap, rarely in this image that I decided to change the colors in steams tie. So let me press the letter L and R are shea where a painted. I just wanted to change the stripes. Now just look into that. I want to press the ALT. So it goes through the arrays brush. And I'm just going to take off a little bit of spillage. You, once you've Dani selection, you can always go in and fine tune it. Just have a good little lock rounds when oppress our again and then again. It's the same thing. I'm going to go and take Colorado's jump on the color box. And let's match given the green tie. And that's how easy that was. Oliver just zoom out. They go Steven with a green tie. So you can literally change the color of anything. So have a go on your photographs and give it a try. And as I say, create an accurate mask first. And then just simply change the color. And I'll see you in the next module.
23. And Finally...: Hi. Now before you jump
is the final lesson. I would like to ask if you can leave a review when you've
completed the class. Now you can simply choose one of the four options
provided by Skillshare. Or perhaps if you've
got the time, maybe you could leave
a short review. Now, either would be really appreciated because your inputs rarely will help others have the confidence
to take the class. Okay, Thanks, Best wishes. Now let's go back to the class.
24. Module 22 How to Export Photographs for Web or Print: When you've completed edit near photographs, the next logical step is to export them out of light room. And it's a really simple thing to do. We just simply open the export dialogue box and fill in some information. And remember that when you export your photographs, your creating a new JPEG. And JPEG is the universal file format, isn't it? So when you create this JPEG, you can send it to anyone. You can send it to the printer, you can send it to a newspaper in Senate anywhere. It's this universal file format. And your original photograph that you've edited remains on taught living inside your catalog. So it gives you the ability to export it thousands of times in thousands of different sizes. Endless. Now the information that you put into the export dialogue box is important because you need to decide, is it going to be for viewing online or is it going to go off to the printer? And it's all about file size and resolution. That is the key details that we put into the export dialogue box. I'm going to show you a guide to how to do that and how you make that decision on resolution and sizes. So let's jump in and I'll show you how easy it is to export from light room. Before you begin the export process, or you need to do is simply decide where the photographs are going to be used. Are they going to be for social media and the internet, or are they going off to print? Because that was sort of influence your decisions when you are inputting the data for the exports. Sounds a bit complicated. That doesn't, that honesty is really easy and wanna take you through it. And along the way, I'll show you how to add wars and marks and include metadata. So let's make a start. Now, there are many ways to access the export dialogue window, and I'm currently in the developed module. I jumped across to the library module. You'll see that we have this export button is used here and then right-click on the than. The export dialog box will appear on the screen. And I want to cancel out because I always find myself at the end of an edit. Oddly enough, in the develop module. And when you're in the Develop module, you actually lose this little Export button. But don't worry, because there's plenty of other ways to access it. And let's go through them, them to the obvious one would be file export. Right-click on their window appears. And we can do the exports. If a right-click on the image and click on export, the dialog box will appear. I can also click on the thumbnail in the film strip, and I can access the Export button just there as well. So one last way of doing it would be for shift. Command or Control a on that bring up the export dialogue window as well. So there's many different ways of doing it. And they all work exactly the same. But I've got thoughts or just make you aware of the fact that when you're in the Develop module, you do lose that button. But as you can see, there's loads of other ways of accessing it, so nothing to worry about that. Now you can export as many photographs as you like. In one exports, you can export one photograph or as many as you like. It doesn't matter. In this little example I'm gonna show you, I'm going to export five photographs. And they're all taken in the Milo ballpark here in Liverpool. So let me show you this image here is the current one. And you can see that in the film strip, it's highlighted. And we'll move along to the next one. And yes, I want to take that one. I want to take this one. I want to take this one. And lastly, this one. To do that, the five images you've just seen that, that simple, I just simply put my finger on the command or control if you've got a PC and then just select the photographs. So there's 12345 and there the five images that I wanna take across, simple, isn't it? Well, I haven't done it yet. It will be simple. And now I can choose any of those methods that I showed you earlier to bring up that export dialogue box. And the quickest one for me is just to right-click and then find exports and click on it. And when I do that, straight away at the top is telling me that I am about to explores five photographs. Were you know that because you've just watched me select five photographs. Right? And now I'm gonna take you through this exports procedure, through all the source of the input that you need to make. An honesty really is simple. But as I said at the very start, you just need to consider whether the photographs that you are exporter and offer the Internet or for print. It's as simple as that rarely. So export location, let's begin here. Export to, and you've got a choice. Now I'm not gonna go through them all because I'm just gonna say straight away that the best one to choose is specific folder. I'm gonna export them to a specific folder. And I need to now create that folder. Now you may already have that folder created. You may pop your photographs in the same folder every time you export them. Honestly, it's up to you. I'm going to choose. And I'm gonna go to my desktop because that's where I'm gonna put them for the purpose of this tutorial. And I'm going to create a new folder. And I'm going to call that x bars. Whoops, export prints. So I'm gonna call it export prints and hit craze. And I've now got a folder there on the desktop called export prints. And I'm gonna choose that. You don't have to do this, but you've got the option then to, to create a sub-folder. And now in this case I am because I am going to put a folder within a folder called Sefton Park. Because if I send all my future exports to this folder called export prints, and I don't put them in a subfolder. It's all going to get a bit messy. Now again, you may just create folders for every time you export, create a new folder with wherever, location or event that particular set of photographs have come from. But I'm just I thought it was quite nice to show you how to put them into a subfolder. I don't want to add them to a catalog. And lastly, this existing files, I always leave that on. Ask what to do. And what that means is if you're about to create a, an export and it has the same name as a previous exports. It will give you a little worn and in other words, it stop. You. Create an export or, you know, export in a photograph with an identical name to photograph that you've previously exported. So I would always leave that on. Ask what to do. Next section then is file naming. Now again, you've got plenty of options which are here. I'll go through them in a second. You can't choose to not rename you your files at all when you export them. But I would suggest that you rename them. And the two I like our custom name and sequence, and filename and sequence. So let me just click on filename and sequence. We can see is if you have taken the time to rename your photographs inside of light room, then that will be reflected here. And as you can see, I previously renamed these photographs septum park, palm house. And so that's what we'll do, the filename and the sequence. And the sequence here is going to begin at number one. So will be ascending from number one with the filename that I've created inside of light room. Now you haven't renamed your images and I quite often don't. So this is where I would choose costume name and sequence. And as you can see at the moment, it would be called Untitled. And with the ascending number starting from one. And all I need to do is just to type into this boxed some custom text. And there you go, Sefton Park. And you can see now that those files will be renamed to Sefton Park with the ascending number starting from one. And, um, that's great. I'm just gonna leave it as that. So again there, the two choices you've got costume name or the file name that you've already created inside of Lightroom. By all means, take a look at some of the others, but they're the two that I would suggest. Now the next one is video, and of course we're not looking at video, so we'll skip past that. Now, File Settings and image size are really important. And as I mentioned earlier, this all comes down to where the photographs are gonna end up. You're going to end up on the internet just for people to view or are you going to print them? So let me take you through the file sentence first, then image format, and you've got a choice. Now the one you're going to select 99 times out of a 100 is JPEG. Because if it's gonna go to the Internet, it's going to be J bag. If it's gonna go to print, it's going to be JPEG. But you've got the option to export as a PSD tiff. Dng or the original raw file. Honesty, you virtually always going to select JPG. Now quality, I don't mess around with this too much fat, don't mess around with it at all. I always lever on a 100. And a belief that I would say anyway that, you know, numbers less than 85, you're gonna get a really mean inferior image quality. So if it's really important to you to sort of admit you file sizes smaller, Don't drop below 85. Honesty troughs meet, Leave it on a 100, it's fine. The next one is color space. And again, industry standard SRGB. Just leave it on SRGB, it's fine. And if it is non SRGB, make sure it is. And then lastly, limit file size. And again, this is where you may perhaps about to upload a photograph to a website and they may say, make it no bigger than three megabytes. While this is where you can limit the file size. Again, it's not something I do. I'll show you the method I use, but by all means you can limit that file size in this little box here. Just going to leave that unchecked for now. So moving on then we have the image sizing options just here. Now currently looking at this, what would happen is if I left it the way it is, Lightroom would export those five photographs at the size. They are currently at 300 pixels per inch. Now, before I move on, just make a note about bar, 300 pixels per inch is generally the industry standard for a fine print. So try and remember that number. And yep, trust me, that is the industry standard there for a quality print. Now, I want to resize my images. That's what this section's all about, image sizing. So I'm gonna check this little box here, resize to fit. Now you have a number of options. And the option that I go to mostly is long edge, long edge pretty much cause everything. Now at, at the moment the units are set to centimeters. And this number here, 29.7, is actually the width of a piece of A4 paper. So a piece of A4 paper is 21 centimeters by 29.7. So currently, Lightroom would make sure that the longest edge of this particular photograph, if we just look at this one, it's a landscape as No, the longest edge would be 29.7 and it would fit perfectly on a piece of A4 paper with the print resolution of 300 pixels per inch. So it would be a fine print on a piece of A4 paper or size for A4 paper. We can change that to inches. And I could type in there ten. So now I would have a ten by eight size photograph or obscenity. The longest edge would be, and again, at the highest quality. Let's change this then two pixels. Because if I wanted this just to be on a social media or photographic site. I would change this figure to two thousand two thousand pixels and the resolution to 72? No, why would a change that resolution 72? Because a computer screen resolution is 72 pixels per inch. There's no real need for to be 300. It wouldn't do any harm if you left or 300, but there's no real need. And this will keep the file size nice and small for uploading to the Internet. Now that is the way I do it by all means, like I always say, play around with some of the other ones, but that is the way I do it. Now. I'm gonna change this back to centimeters and 29.7300 so that it's simple radios and it, you know, for me, I think the decision is select longer edge and then select either pixels or centimeters. Or if you work in inches, inches, and then change this to either 72 or 300. And dependent on whether you want it to be just uploaded the Internet or it's going off to print. It's simple as that. Now the next one is output sharpen, and now it's something I don't bother with. And the reason being is because I've generally sharp and my image, you know, already in Photoshop using the detail tools, photoshop that don't do it in Photoshop. Let's give it in Lightroom's hurry and are probably already done LA as a say, using the detail tools. So I leave this off. I don't bother with it. But you know, you've got the option to sharp for screen or different papers and then different sorts of levels of sharpen. Or if it's something I don't do. So we're not going to bother with that one. Okay, the next one on our little journey is metadata. And again, you've got options to select what you want. Maybe just want the copyright only. Copyrights and contact info only. All metadata, acceptor, et cetera. It's up to you what you want to do there. And so you can explore that with all metadata. So that's all your camera details, the sentence that you use to take that image and keywords, et cetera. So you can choose to include all of it or just parts of it. That's pretty self-explanatory as and again, you just make that choice there. And lastly, we have wars and Mark and now watermark and is very popular thing to do as Nate. It's not something I really add to my photographs, but yes, I want to show you how to add a watermark. Now if you don't want to watch them leave this box unchecked. And what? I'm going to make it active, and it's going to apply a simple copyright watermark. So let's just take a look at what that looks like. So I've clicked here and I'm going to select Edit watermarks. And they go, it is popped into the lefthand corner, copyright Frank Mengele. And in this box here, I could type in whatever text I want to apply. Also, you've got these presets here. So this is one I used recently for a client, and I didn't want them to print the images without paying me. So they all went out with sample for review on them. So the depth vary and you can see there in this box here, I've just simply typed in sample for review. And you can use this side here to sort of control what particular fonts you want and what size. You can add a shadow to it. You can do all kinds of stuff there. You can play around with that. And also you can position they're using this little box here. So that is a, that's a kind of simple water walk. What about if you want to add a custom watermark with your signature, which is quite popular, isn't it? So for that, I would switch, we go Pierre watermark style. I would switch that to graphic. Now it's asking me to find the graphic. And I've got one creases in here. And there is just going to click on that now it's a PNG file. Now if you don't know how to make a PNG file and leave a comment below with very simple. But yet I created this earlier, so I'm gonna choose that. And lo and behold, there is on the photograph. I don't want it there. I wanted to be in the left-hand corner and I don't want to be tight against the side. So I can use these sliders to bring it in. And I don't want it to be the high either. I want it to be round about there. And there you go. Now, before I finish there, I'm just going to go up to this menu here. And I'm going to save Colvin's sentence as a New Preset. Click on this, and let's call it PHP. Photo logo. That'll do call it what you like, but that's that lumi FB fossil logo and I will just create that. So that is now saved as a preset. And I can apply that to future exports. And it will always appear in that bottom left-hand corner. Very easy, wasn't it? I was messing around earlier and they created this one. Let's have a look and bite-size tutorial, and there you go. So once you've got the min as presets, it's very easy to just select them. And I could still move that round of I wanted to. But anyway, it's fine there isn't it? And then simply just going to click on Don. And now now apply in the PHP photo logo as a watermark to all five of those photographs. That was easy, wasn't it? Lastly, very much. Lastly, is this part that post-processing part of the exports. You can choose to do nothing that way. Those images that you explore, and we'll just go to the folder. And that's it. You could choose to show in Finder. So when they're exported, your Finder will open and it will show you whether photographs are. Now the one I like to choose is open in Photoshop. Now, there's a reason I do that, an honesty, you don't have to do this. But I am a bit of a Photoshop wizard, I would like to think so. Io's over that lock in Photoshop. And for this particular tutorial, it's going to help me to show you something else. So for thinness case, in this case, I am going to select opening Photoshop. As a say, you don't have to. Now all that's left to do is to click on export. So I'm gonna click on explores. And in the progress window or PA. You can see it's starting to export those five images. And very quickly they have opened up inside of Photoshop. And I have now five photographs. And if you go along kid, and though you might not be familiar with Photoshop, but don't worry, it will serve its purpose for this part of the tutorial. And we can see we've got five images, Sefton Park one, Sefton Park2, Sefton park 345. And they all have the watermark added to the lefthand corner, which is where I wanted it to be. So that was a nice little batch, exports, wasn't it? So hopefully if you're still watching, I am going to add a little extra and I'm gonna show you how I send my photographs to print. And now do this within, inside of Photoshop. So I know perhaps, you know, skills in Photoshop or something you don't use. But anyway, I'll show you what I do. So I'm going to start off by creating a new documents, so File New. And then I'm going to select this one here, 29.7 times 21. In other words, an A4 piece of paper. Or you can just type it in here, but I wrote it once setup. So we're talking, we're gonna do, and I'm going to call this Sefton Park septum park print. And I'm just going to create this blank document. Okay, now I'm gonna go back to this first image here. And what I wanna do is I want to send this to that blank document. And the easy way to do that would be to right-click on the layer just here and duplicate the layer. And I'm gonna call this Sefton. Sefton Park won. And I wanted to go to the Sefton park print document and I just click on OK. So now when I select this Sefton park print document, you can see It's on its own layer on this background document that I've made. Now want to make it a bit smaller. And again, it's to say it's not a it's not a Photoshop tutorial. But I'm just gonna resize that and make that a bit smaller. So there you go. It's now sit in on this piece of paper ready for print. And as a final thing, I would just put a bit of text just here. And I'm just gonna type in, you're probably sick of hearing the word Sefton Park. And he way. Sefton park. And and there is that. And I'm just gonna make that text a bit smaller. It's not that big. And that would go off to the printer like that. Exporting is easy, as narrow, and as I say, all you doing is creating a jpeg of a certain size, a certain size to the web or set size for prints. And as I say, your edited photograph original stays in the catalog completely untouched, giving you the ability to export at anytime, any size as many times as you want. And it's fantastic, isn't it? I'll see you in the next module.
Frank Minghella, Perfect Photo Company
