The Perfect Lightroom Editing Class for Beginners

1. Introduction: Editing the photographs is a lot from what you may feel overwhelmed with jumping in. I launch Lightroom for the first time. No, don't worry, because perhaps to all the, so many options, but where to begin. Now in this class, I'm going to teach you 12 fabulous editing tips that really will set you on a path to creating great images. So if you join the class, you'd be 12 short modules away from becoming more competent with your photo edits. And each module will introduce you to a new editing style. And you can watch me as his example photographs in real time. I will also explain the thought process behind each added. Plus. You can also download the sample photographs and join in. Now I do have a complete Lightroom class already on Skillshare, but I thought, why not create a shorter bite-sized class to get you Addison a lot quicker. I'm perhaps once you've completed this bite-size class, you could join the full Lightroom class with a bit more confidence in your own ability. Now the 12 modules will cover also tell by bands, crop and transform and Lens Correction Exposure using the histogram, presets and snapshots, local edits use a mask and remove it on once the T-cells and quick edits in Photoshop. Plus there'll be many axes along the way. Now before we jump into module one, my biggest tip is this. Always make sure you actually like the first graph before you begin the editor. And if you slightly unsure about that particular photograph, then move on to another photograph that you do like. Because she can waste a lot of time trying to create something pleasing from an image that's simply doesn't work. Now, that said, you need to have a keen eye as some images can be brought to life with a simple crop, but more on that later. Now, as a professional photographer and media teacher, I have taught countless numbers of people how to use Lightroom to achieve amazing results. And I make learning easy to follow on a lot of fun. I promise you will really enjoyed the class and guarantee will begin to see a huge improvement in your photo edits. So welcome aboard. And I will see you in module number one 2. Module 1 Auto Tone: Welcome to Module number one. Now as immediate teacher, my mission is to teach you how to use all the lovely tools available in Lightroom to enhance your photographs. And I did think long and hard about whether to include the Auto tone option in this class. But why? Well, it has the word auto in it and I usually avoid anything with the word auto in the title. Now that said it would be wrong of me to avoid showing you a very simple tool that allows Lightroom to correct exposure on your behalf. Now I can't lie something I never use. However, there's no doubt that is a credible option to correct exposure. Plus can be really good jumping off point, especially when you learn. So let's jump in then and take a look. So here we have a nice summer scene. And I'm going to use also Tone to try to improve the shot much the plan anyway. Now when I use Auto Tone, Lightroom takes control and adjust the exposure to improve the shot. So where does it live then? We'll it lives in the basic set of tools just here. So I expand this window and dropdown here. You can see it's in the Tone section, and it's just here on the right-hand side. Now below we can see a set of sliders. Now throughout this class you will see me use the sliders quite a lot because this is where we can make some real heavy waste adjustments. But in a spirit of showing you everything, I'm going to show you how the Auto tone while now endeavor to improve the shot. So all you need to do is just simply click on the button. There you go. Is it improved? While I would say is definitely. And if we look at what Lightroom is done, it's lifted, the exposure, it's boosted the contrast, it's dropped the highlights. It's lifted the shadows littered the whites and drop the blacks. And it's also added a bit of vibrance. And it hasn't deed improved our shot. If we look at the shop before, I used to Auto Tone, it looked like that, this rather dollars net and a bit sort of lifeless. But then afterwards to tone, it looks like that. Now as I say, it's not something I would use, but perhaps it's something you may use. And also it can be a good source of jumping off point because you don't have to stop there. If you're not happy with what Auto Tone is achieved, you can start dragging these sliders and sorts of making it your own, if you like. Let's take a look at another image, then it's another summer shot. Now what the camera's done here is it's exposed correctly for the brightness of the petals in the flower. Now as a consequence of that, the background is quite dark. So let's see what Auto Tone makes with this shop. Then. You just click on and there you go. Pretty good, isn't it? Again, you can see the source of adjustments on the sliders that Lightroom has done to achieve that lock. Now, I think it's a little bit too bright. So I could make those adjustments and it's a little bit too vibrant for my liking. So you can sort of put your own stamp on that. Now, like I said, it's a very quick way of achieving an added. And also as I said, you can put your own stamp on it because you don't have to just stop there. There's plenty more I could do with this particular shot. So before and after on this shot, as I say, it was quite dark and even sorted the insect on the plant. There's not much detail there. Say after all, so Tone or like details come on back, isn't it? That's of course the shadows have been lifted. Okay. Let's move on to another sharpening. Now this is a street photograph that I captured and my hometown city because I've used a wide angle lens. There's a lot of information in the shot now I want to sort of get rid of some of that information, but more on that later. Let's try Auto Tone and see what it does. Now for me that's much too bright and that wasn't a shot that I was going for. This is a typical case where you'd have to if you're going to use Auto Tone, you would have to sort of start playing with the sliders. But I'm going to leave it as it is for now. Because the other thing I want to do is as I said, this too much information. I'm going to crop the image. Now. We're gonna do a whole section on Cropping common APA bit later. And you will learn sorts of why we crop, how we crop and all that good stuff and all that's coming up later. But for now I'm just going to crop the image roughly to around about there. Still looking too bright. But what I'm gonna do is I'm going to switch it to black and white. And again, we're gonna do a whole section on black and white. But I'm just going to click here and turn it to black and white. Now I think the shadows have been lifted a little bit too much. So I'm going to just drop them down a little bit. And I'm also going to just put an effect around the outside. And again, we'll look at effects a bit later on. So they have a lovely street shot in black and white. Now It all began with this image here, which has completely different, isn't it now Auto Tone talk as part of the way there and as a saved by just sort of tenants are black and white adenine effect dropping those sorts of shadows. We achieved this look here. That's great, isn't it? Okay, so I will let her play around with Auto Tone and see what you come up with. And remember, we're going to learn a lot more than Auto Tone. But I thought it only fair to include it because it is a really quick way of improving your photographs. It's not the best way, but it's certainly an option and that's a good tool to have our catch up you in the next module. 3. Module 2 Cropping: Now I guess we're all familiar with cropping a photograph, as we often do it on our smartphones, cropping out unwanted people or details. With did you know that cropping a photograph can indeed help to create a much better photograph. Taken a wider shot, for instance, and changing the ratio to make a more pleasing composition can actually change the whole atmosphere of the shot and actually tell a whole new story. Cropping can be the saviour of a photograph that you previously dismissed as not being worthy. You just need to have that creative eye to see it. Remember, Lightroom is non-destructive, so you can try any number ratios. Now in many cases, cropping should be one of the first editing tasks as it will help you decide whether to continue with the edit. So let me show you what I mean. So as I said, crop and can be the saviour of a photograph. Now, taking a look at this image has shot this close to where I live. I live by a seaside resort. And it's a source of shot that you fire off really quickly. I could see the two children and I was amused by the the young guy eating his ice cream. And Perhaps it assist her, that's locking on and she's quite jealous. And you fire the shut-off. And of course you're going to include bits of information and other items and objects that you don't want in the shot. And this is where the crop tool comes into its own. Now it lives on this toolbar just here. And it's the second one in from the left. So I'll click on it. This little window will appear. And you have all these options. Now, I have the rule of third grid switched on. So I have nine equal sections, and that's the default setting. So yours will probably do the same when you launched the crop tool. Here we have a lot of padlock and that will constrain the crop to the original size of the photograph. And we can unlock that. We can do a free crop and crop it to whatever size we want. We've also got these options here. So this is set to original, but we've got different ratios that we can choose ramp plus you can enter a custom ratio. The ratio I'm gonna go for in this particular photograph is one-to-one. So I'm going to create a square photograph. So when I click on it, and lo and behold, the grayed-out areas is are the areas that are going to be cropped out of the photograph. And I can just simply select a corner and start the Cropping process. Now, I want to get rid of the guy with the red coat on. I want to get that out of the image. So I'm gonna do that. You can see now that the tool is now changed to a hand. So I'm outside. I can rotate. Or as I say, I can pull. When you're inside, you can drag. That's the way that works. So I want to social drag up to round about here. Something like that I think would do it. Now it's non-destructive. So if I click on Close to source a commit, the crop, That's what I end up where I think that looks great. Talent, a little story. And it's quite whimsical, isn't it? And all from just using the crop tool. And as I say, if we go to the original shot, It's a completely different images. Now, what is the subject of our photograph? And it's a bit unclear, isn't it? Just by using the crop tool, I've told a whole new story, simple, isn't it? Okay, let's take a look at another image then. It's another seaside scene. Let's jump straight in to the crop tool and let's make it ready Quick Edits. Then. I'm going to unlock the ratio. So just simply click on the padlock that will allow me to adjust the crop. Freestyle. I can just drag anywhere alike. So I'm going to drag up to their bring this across. That's probably a bit too much detail there and something like that. Now I've always using the rule of thirds. I would make sure my subject is along this line here. So maybe something like that, we'll do it. And I'm going to close the crop box. And that's the crop done or very simple. If I change my mind, I can click on the crop tool again. And you see it's non-destructive and I can make more adjustments, but I'm actually quite pleased with that. Now, I'm just going to do a very quick edits. I'm going to go to my presets and I'm going to apply this one here. This is one of the presets that I've actually purchased. And I'm just very quickly going to put that on, close that. And then I'm going to just darken the sky. Now you'll learn how to do all of this later on as we go through. But I'm just doing a rarely Quick Edits. And I'm gonna just put a bit more detail back into the sky. There you go. And then just close that. Now it looks so much different to the way it looked before. This was the original photograph. And I guess Gwen, you kinda take photographs. I know when I take them anyway, I've got a sort of an image and we had of how it should look. And say Lightroom just is greater than a because you can just go in and create something completely different, which I did with this shot here. I think it looks really good, doesn't it? Okay, Onto the next photograph then let's open the crop tool up. And this case I'm going to keep the original ratio. And there's so much detail in the shot, but I want to get rid of. So I'm going to drag this right down here. What I'm interested in is the stairway that takes your eye up to where the lady is and sort of roundabout there should do it. So I'm happy with that. I'm just close the crop box. This case, really Quick Edits. I'm just gonna go straight into black and y's. And then just have a little play with the Sutton's. Not in too drastic. Just saw is around about, there should do it. Maybe just lift the whites up a little bit. And that's just a really simple Edits, not complicated at all. When we think about it. The shot started like that. And it's perhaps a to shot that you'd throw away. But with the crop tool allows you to go in and create a whole new photograph, whole new composition. It's so powerful and it's perhaps a great place to start with the crop tool because at least you know, once you've cropped the image and you're happy with it, then you're good to go to precede with all the other edits. Okay, so have a go with the crop tool on some of your images and see you can create something completely different. And I'll see you in the next module. 4. Module 3 The Histogram: Now you may or may not be familiar with the histogram, but essentially it is a graphical representation of the blacks, shadows, mid tones, highlights, and whites within a photograph. Now we can easily use the histogram to see if the photograph is under or overexposed. Plus, as we make those adjustments to the exposure in Lightroom, we can monitor the histogram and keep an eye on the exposure and make suitable corrections. Now we're all works rather well. And you can either use the histogram itself to make the corrections or the sliders within the basic section. So let me show you how both of those work. So first let's take a look at the histogram and it lives just on the right-hand side, just here. And as I say, it's a graphical representation of your exposure. Now if I mouse over with it in the histogram, we can read those values as we go from left to right. So in the left-hand side, we start off with the blacks. Then we move across to the shadow areas. Then we have general exposure, and then we have highlights. And then far right, we have the whites. So like I say, it's a graphical representation of our exposure. And the shape can be anything. It can be absolutely anything. Now, in the case of this photograph, it's not too badly exposed because what we're looking for is a shape that goes from the left hand corner to the right hand corner. And indeed we have got that. If I come up to the top of the histogram and just mouse over the triangle. It will show me now in red on the screen where those highlights are being clipped. And if it goes to the other side and most over this other triangle, it will show me in blue where the shadows are being clipped. Now you can switch those triangles on and have that on display constantly. But I don't do that because I prefer to use my eye, but occasionally I might just mouse over where the triangle is. So let me show you what an under exposed photograph looks like then on the histogram. So if I just drag the exposure slider all the way to the left, that is an underexposed photograph. And you can see that all the information is now on the left-hand side where the blacks live. And there's no information on this right-hand side where the whites and the highlights live. Another mouse over the little triangle. It will show me all the blue areas where the shadows are indeed being clipped. Now let's drag the exposure slider all the way to the right. And now we're overexposed. Obviously. An all information is on the right-hand side where the whites and the highlights live. Mouseover. You can see all those clipped areas in red. Let's return it back to the center. Now, I've got a problem with this photograph that is over here. If I look on the histogram, I can see what was called a spike. So we have a spike here where there's information here, it's being pushed off this right-hand edge and we need to fix that. I actually know where the blown out highlights are on there on the hind legs of the dog. And if I just mouse over, the triangle, is indeed show me where that blown out area is. So I have two ways I can fix that. I can drag the slider or I can drag the histogram. Locate on the histogram where the highlights are, which is here. And I can just drag, click and drag within the histogram. And if you watch all that details come on back into the dog's hind legs. You can do it that way. So I'm just going to reset that. The other way to do it is to just drag the slider. So I'm just going to drag the highlights slider. And it's doing exactly the same thing. So it's up to you which way you want to do it. I tend to use the sliders. So that is looking pretty good. Now here's another tip that if you hold down the Alt or Option key, depending on what type of computer you have. Then start off with the blacks and drag the black slider as you're holding the Alt or Option key. The screen will go white. And I can see where my blacks are beginning to show through on the screen. And if I go to the left, I'm increasing the black areas, which I obviously don't want to do. So I'm just going to keep dragging until it just disappears. And that is my black point set. In this case it went off plus 25. Now can do the same with the whites. Press down the Alt or Option key, drag the slider. And my whites are common through just around about here. And that's my white set. And then the shadows I can kinda just my, I just maybe just put them there, not too bad. So that's kinda fixed yet the only thing I would say about it is the actual dog's face has now a bit dark. So I'm just quickly going to fix this. Now you're going to learn how to do masking later on. So I'm just gonna do this. I'm not going to really go through what I'm doing. I'm just going to paint the dog's face brighter. There you go. So easy. That is possibly just go down there as well. And have a think I've got that too stronger and back off a little bit. So probably around about there, we'll do then I can just close that down. So before and after, that's the way it looked. And just very simply by just correcting the exposure. I've gotten to that stage. Very easy, isn't it? Okay, so let's take a look at another photograph. So in this photograph, looking at the histogram, I can see we have a lot of shadow detail and blacks. I'm on a lot of highlight detail. Now there's nothing being clipped. However, I think the blacks and the shadows are too dark and I think the highlights are too bright. So we need to balance those and to get a much better result. So the first thing I'm gonna do is lift the shadows. So let's take them up to run a round about and about their thing. So we get a lot more detail now in this sort of area here. Now the highlights, let's take the highlights down and we'll bring in more detail in the sky. Maybe round about there. Let's lift the blacks as well. To round at around about there. Looks quite good, doesn't it? Now I'm also going to add a bit of contrast using the Dehaze tool. So I'm just going to apply a little tiny bit of that. Just, just takes away that solves a milky kind of locked to the shot and then add a little bit of vibrance. And that looks good to me. So that's started off looking like that. And as you can see, there's no detail in those dark areas. And the highlights, it just a bit too bright. But just with those basic corrections in the tone section has made a massive difference as name and that little bit of sorts of D Hayes and vibrance to it just brought the photograph to life, hasn't it? So once more at the before. That's the after. And if you look at the histogram, it's looking a lot more healthy, isn't it? Previously, if you remember, we had a lot of detail on the left and a lot of detail on the right and nothing much in the middle. And we'll fix that very simply just by dragging those sliders. So let's take a look at another photograph. So I think the first thing to do at this photograph is to crop it. So let me just quickly crop this shot and I kind of want it round about their summer subject is on this rule of thirds line. I'm also going to use the angle tool. So this is like a little spirit level. So I pick that off, come across into my image, and I just want to click and drag to where there is a horizontal line which is roundabout, there isn't it? I think that's fine. And then I can just close down the crop tool. So that's my starting point. I'm going to come across now into the tone area. And I'm going to click on the Alt or Option key depending on what computer you've got. And I'm going to drag the black slider. And my blacks are coming through around about there. So I'm gonna do that highlights. I'm just going to do by eye. And I think roughly around about there. And the whites a common through just around about there. Now it's very difficult with this shock because there's so much highlight going on. Now sometimes that is not enough and in this case isn't. Especially with the shop that's got a lot of highlights in like this one. So this is where the Dehaze tool comes in really handy. And I can drag this right across to round about there. And I kind of like that. Now, the lady skater is quickly becoming a silhouette, but I don't mind that because it looks quite good. Now I can actually just lift the shadows that torch. But I think that looks quite good so far. Now I can make this shot so much better by jumping into Photoshop. Now, I know what you're thinking. This is not a Photoshop class, but trust me, it is really easy and the two are linked. It's so simple to do. So let me show you how I'm gonna do it. Then I'm going to right-click anywhere inside the image. And I'm going to select Edit. In this case it's Photoshop beta. But any Photoshop will do. And love a little, think about it, and it will open that shot up in Photoshop. So here we are inside the Photoshop now, all I want to do is change the sky. And it's simple. You don't need to know how to use Photoshop. Just follow these simple steps. So I'm gonna go to Edit at the top drop-down menu and just select Sky Replacement. And a window will appear. And I can choose a specific sky. And there are many to choose from. The first one, it's given me is this one because I've used that previously on. I think that looks great. Now, you can choose any sky you want. You can add your own skies as well, but perhaps a bit too advanced for this class. But I'm gonna go back to the see the, where we don't want the blue skies. I want the spectacular. I want, Let's try this one. That's the one I want yet. Now there's a whole heap of buttons and sliders that you can move. But that's beyond the scope of this class. So I'm just going to leave it as it is, and I'm going to click on, Okay, we've got this lovely sky and all I'm gonna do then is an, all you have to do is just come up to the top of the image and just click on this little checkbox here. And when you do your prompted, do you want to save the image and just click yes. Or click Save. And it will reappear back inside of light room. Wanted to finish Save and it will reappear. So if I go back to Lightroom and there it is. There's the original photograph with the corrections that are made. And then here is the new one with the new sky. So let me just jump here and I'll just reset this shot. That's the way this shot started off before any corrections. And this is the way it looks now. It looks fantastic, doesn't it? So I couldn't resist adding this section in. And I know it's not about Photoshop, but I just wanted to show you how easy it is to jump from Lightroom to Photoshop to create something magical. And I think this shot rarely works now, doesn't it? Have fun adjusting the exposure in your photographs? And always keep an eye on the histogram. And then if you're feeling brave enough, jump across into Photoshop and maybe changed the sky on one of your photographs. Okay, I'll see you in the next module. 5. Module 4 White Balance: So just what is white balance, while simply explained, every location, be it indoors or outdoors, has a specific colour temperature measured in degrees kelvin. Now your camera has a bunch of presets onto the white balance button, allowing you to select a suitable option. Sunny day, cloudy day, fluorescent lights, etc. plus, you can dial in a specific temperature and even set a custom white balance using a gray card. Sounds complicated. Well, in most cases the auto white balance is the best option allowing the cameras are decide. Now think of white balance as a method of achieving the correct colours. An incorrect white balance can produce a very unpleasing photograph, especially with skin tones. Now once inside Lightroom, you can then correct or adjust the White Balance to suit. Plus adjusting the white balance in certain photographs can help you to warm or shot or cool or shot. So let's take a look then, how all that lot works. This photograph has an incorrect white balance. Now you can clearly see that because it has a horrible blue cast, the wrong white balance with selected the photograph was taken. Now I took this photograph and deliberately selected the wrong white balance. Now it's a raw photograph. And the great thing about Raw photograph is it doesn't bake in the white balance setting. So I can retrospectively change the white balance. So let me show you what I mean. If I go across to the basic set of tools, White Balance leaves just here. Let's the first source of option that you have. Now, if I expand this little menu here, drop this down. You can see I have access to all the white balance settings that you find, typically on a DSLR or mirrorless camera. So let me just pop it to auto and show you what happens. Fabulous. It's fix the white balance just in one-click. Really simple, isn't it? Now let me show you what happens with a JPEG then. This two has the incorrect white balance. But when I dropped down the same little menu, I don't have the same options. I just have auto and cross them. So that's the difference. Rarely, you can still correct the white balance, but it's much easier to do it using a raw photograph. Let's take a look at another one then. This is another Raw photograph with the incorrect white balance. But I want to show you how you can correct the white balance in a different way. So I'm going to use this little Eyedropper here, and I'm going to put it on the end of your mouse and drag it across. I'm what I've included in this photograph is a color checker picker, which is this device here. And in the center is neutral gray. And the eye dropper is prompt me to pick a target neutral colour. And of course this neutral gray is the perfect thing to select. So when I mouseover in that area, we can see the red, green, and blue regions. For that particular gray strip. We have 44.9 read 53.5 green, and 77.3 of blue. So obviously it's gotten much too much blue. Now all I need to do is pick this as my sample targets on all have to do is just click on it. And when I do, it's fixed the white balance. Now I'm gonna go across, unpick the eyedropper tool again and come back into the image and just hover over this gray area. Now when we look at those values, we have read 52.1, green 52 point to, and blue 52 point to suit their almost perfectly matched RV. Now it'd be ideal to do with all 50% 52.2 or 0.1 is close enough for me. I can just put the little eyedropper tool back. So we're just reset the image then back to where it was. And just explore these other options I have in the dropdown so we could see what also did at several look at daylight. Slightly, the slight changes isn't a cloudy boosting the colour. There isn't a shade that's pushed in the color. Again. Tungsten is gonna be awful because that's where it was shot in 100 tungsten light. Fluorescent. Again, it's not quite right. So what you can do is you can kinda go through there because one of these little Presets might just do the job for you on, I think, shade, know it's a bit too yellow, isn't it? Let's see. Cloudy. Cloudy is quite good, isn't it? And also is very similar. I think I would go for cloudy. But obviously in this photograph, I would just pick the eyedropper and just put onto this neutral gray area. But have a lot of play around. Now, obviously, you're only going to get these options if you shoot in RAW and JPEG, you're not going to get those options. Now you've got the two sliders as well, and you can just manually adjust the White Balance. And this is where you can sort of achieve some really great creative effects by cool and a shot or warmness shot. So over pull to the left, I'm going to cool the shot at the pole to the right. I'm going to warm the shot. Now we'll look at some other photographs where I use this to great effect. So let's take a look at another photograph then So here's a photograph captured in the Mersey tunnel in Liverpool. And clearly the white balance is incorrect. And I know that because the lining of the tunnel is actually white and the whole images horrible yellow cast. So let's jump across then to the white balance section in dropdown menu down. And I'm just going to simply click on also. And let's see what it does. And that is much better, isn't it? So let's look at what it looked like previously with the yellow cast. And you can see by just changing it to also, it looks like this. Now of course I can play around with that. I can click on the eyedropper tool and select a neutral colour. So let me just select this area here and see what that does. Now it's a lot cooler, isn't it? I don't think it's as good. Now the whites are indeed wise, but I think it's too cool. So let's go back to Auto. And it has got a cast slightly, but I prefer it and it still looks white or white and off I'd say, I'm happy with that. So what we're gonna do with this now is make some corrections and show you what the finished result looks like. So I'm going to adjust the exposure. So let's start with the blacks. And I'm going to put my finger on the Alt or Option key, just to lose blacks disappear. Let's have a look at the whites. And the whites. A bit difficult because we have this sort of area of strip lighting. Let me just take down the highlights and take it down to around about there. Then I can lift the whites than, let's say up to about bringing them all to round about there. And then the shadows, I'm just going to lift them up slightly as well, possibly to round about the K. I'm happy with that. But one thing I'm not happy with is I just zoom in. There's a lot of noise now, the images and pin sharp as well. But please forgive me for that puts her It's a bit noisy, isn't it? So I'm going to introduce you to another tool. And it's the detail tool. I'm just going to pop down there and I'm just going to apply some de-noise. So let me just click on this little button here. What Lightroom is going to do is analyze the photograph and do its best to reduce the noise. So I'm going to drag this inside up to the lady's face just so you can see what it's doing around about the and it will work its magic. And it will indeed, it's unbelievable, isn't it? Take all that noise out? Now I've got it sets off 100%, but you can vary that. I'm going to leave it 100 and I'm going to click on enhance. Now when I click on enhance, its going to create a new DNG. So it's going to create a new copy of this with the noise reduction applied and it takes a bit of time. So I'll probably speed this part of the video. Click here. And you can see appear in the top left-hand corner, the progress bar. It takes a minute or so to do it, but it's well-worth the weight. So I'll speed this up and I'll see you in a minute and we'll take a look at the finished results. So they have it then the noise as been reduced, if not completely eliminated and it looks a lot better, doesn't it? So I'm just going to jump up here. What we're trying to do is sharpen this image. Then again in the same detail window we have the option to sharpen. I'm going to put my finger on the Option key, and that will be the old KVL on a PC. I'm going to drag the mask slider on. All I'm interested in is the edges, because that's what I want to sharpen just the edges. So around about there. And then I can lift the sharpener and you're going to be careful that you're not going to introduce more noise back into the shot. So something round about the its sharp. It's done a good job. But you've got, remember I'm zoomed in quite a lot there. So when a zoom back out, that is the finished result. And it looks fabulous, doesn't it? So I'm gonna zoom in there again. Just drag that down and then go to the previous shot. And you can see the difference. And you can see how much noise was in the shot. And as I say, jumping across to the fixed image, that noise is just completely gone, has no, which is amazing, isn't it? So let's take a look at how we start at then I'll have this image data. It started off life looking like that. And it's finished looking like that. And predominantly most of that was done with the White Balance tool. And as I say, using the detail section, you can eliminate the noise and add a bit of sharpening. And I think that's looks wonderful. Now the last little feature I might do on there is just add a little post crop vignette and let's see what that looks like. So just darken the outside slightly. There you go. Looks wonderful. Let's take a look at before. That's the before. And that's the after. Okay. Let's take a look at one last photograph. So this photograph was captured using auto white balance on my camera. And you can see there's a lot of different light sources within the image. So we use an auto white balance was the way to go in this particular case, of course, I always know that I can jump into Lightroom and adjust the white balance. But let's first start us off then by just correct and the exposure. So jumping into the basic tools, first thing we're gonna do is lift the exposure. They have to be very careful that you don't overdo it with this particular slider. But somewhere around about there now can always go back to that and I think it needs readjusting. Let's take a look where the blacks are. Then. I'm putting my finger on the Option or Alt key. And I'm just going to lift up the black slightly. And then the whites can be difficult because we have all those highlights. So I'm going to drop the highlights quite a lot all the way down to say around about there. So I can get all this detail back over here and then just try and lift the shadows. Then I get a bit more detail in this boat here. And then the whites. Again, very difficult because we've got all those blown up, blowing output, the really bright lights aren't they? So let's just lift that up a little bit. So roughly around above that. That's a good starting point. And let us just boost the vibrance as well a fair bit. So now, after doing all that, I can see that it's quite a purple image and I like that. So I'm going to emphasize that with the temp and tint sliders. So I'm going to drag the temperature slider to the left and roughly to roundabout. Roundabout there looks good, doesn't it? Then the tint slider, Let's see if we take it across to there, but now it's gone a bit too rare, doesn't it? Source around about there, does it? Let me just play around with that a bit more. Yeah. I kinda like that. I think that looks really good, doesn't it? I'm going to pop in some dehaze as well. So that's what the dehaze added. Double-click to take that off and try contrasts instead. Either works really good, doesn't it? Okay, so I've sort of emphasize that sort of bluey purple look that was there in the sky. But I've really emphasized it more by using the temperature and tint sliders. So that's a before. And that's an after. That's completely different, isn't it? So much better? Now as I always say, it's non-destructive. So maybe I lifted the exposure bit too much so I can drop that back down. Try lifting the shadows a bit more. Just keep playing around with it until you're happy with it. But I think that looks fab doesn't. It? Started off looking like that. And as I say, doing the basic source of exposure corrections and then playing around with the white balance. I gotta to look like that. So have a little go on some of your shots then. I think you may be surprised at how bad the white balance is on some your shots perhaps. But try all those little options. Try that. If you to Raw shot, try to retrospectively change the white balance setting, have a little go with the eyedropper tool and then have a little girl manually bipolar and the sliders. And I'll see you in the next module. 6. Module 5 Lens Correction & Transform: Most photographs have a certain amount of distortion and vignetting depending on what Lens has been used. Now as the front of the glass element of a lens is curved, it will produce a slight bulge in your photograph, known as barrel distortion. This effect is far more noticeable in Wide angle lenses. Also, some lenses can create a darker area around the edges of the photograph. Now this is known as vignetting. Now we can simply fix both using Lightroom. Now also using the Transform tool, we can correct perspective to make sure the uprights are vertical and the horizons are horizontal and level. I'm doing all these things can drastically improve your photographs. So let me show you how the both work. This particular photograph was captured with a fisheye lens and I thought it'd be a great example to show you how the Lens Correction tool works. Now with have been a fisheye lens, everything is distorted. Now that was the lock I was going for. But as I say, it's an extreme case and it's ideal to show you how this Lens Correction tool works. Let's pop across and take a look at lifts just here. And I'm going to expand the window. And we've got two options. We have Remove Chromatic Aberration, and we have the Enable Profile Corrections wishes for the lens. But let's take a look at the first one. What is chromatic aberration? What it's like a purple fringe and that can appear on the set enlightened conditions. So if I just zoom in to the top here, hopefully you can see it. There is a purple line just here on the edge. Now if I check the box, Remove Chromatic Aberration, that should disappear. And there you go. It more or less has disappeared as not. Now this particular photograph has not got a lot of chromatic aberration in it, but it's always worth taking a look and if you see any purple fringe and then that's the tool that's gonna get rid of it. What really interested in is the profile corrections for the lens. So at the moment, as you can see, it's quite distorted. And that's because the front of a fisheye lens is very round. And to give you that 180 field of view. Now my check this box, watch what happens. All those curved lines are now straight. It's amazing, isn't it? What Lightroom has done is it's red, the photograph, it's looked at the data that's attached to it. And it's discovered that the photograph was captured with a Nikon camera. And as you can see here, a nick on fisheye lens. Now if I expand this menu, you'll see whole bunch of different lenses. You could actually change the lens and, and pick one for yourself. But in this case, Lightroom has done a great job of locating which particular lens it was and it's attached to profile to it. And it's giving me those straight lines. So let's take a look at another photograph. And we're going to move across to the Lens Corrections and the chromatic aberration has already checked. Let's enable the profile correction and see what happens. Absolutely nothing. And that's because I need to, in this case, select the Lens Profile. I know this was shot on a Fuji cameras. So I'm going to click here. And I can then pick the profile from here. But it's already done it for me. It was a foodie 100 camera that I shot this width. So that's quite clever, isn't it? What did it do then let's switch it on and off and we can see it's removed, that barrel distortion, as you can see there. On the other thing that's done is with the front of a lens being curved, it can introduce a darker area around the outside of the photograph, like I mentioned area. And that's called a vignette. And I've, I just click here, you'll see that the outer edges go lighter. And it's kinda remove that vignette. That's really cool, isn't it? It's a good starting point anyway. Now I'm going to close this down. I'm going to introduce you to the transform tool. I'm going to expand that. And what I can see here is these metal posts are kind of angled inwards. They're not vertical and it's kinda ruined. And the shot just so you can play around with these presets here. And most of the time, the Presets are the ones that you should use. You can manually adjust using the sliders, but I always find that the Presets work really well. So let's try Auto and see what it does. And straight away is fixed the uprights and it's a much better photograph, isn't it? I can try vertical. It's not as good as a result. So as I say, you play around with them and also as always, the place to start just to see what it does. And that is fixed at Perfect. So let's see it before and after with this photograph, it looked like that the angles are all wrong and I just think we've got that dark vignette it area around the outside. And just applying that Lens Correction. And then switch into the Transform tool select and also it's fixed our uprights as well. We can go on from there then and carry on editing that photograph Let's take a look then at another shot. So in this photograph, you can see that the angle of the buildings is completely wrong, isn't it? So let's go through the usual procedure and I'm gonna go to Lens Corrections first. And again, chromatic aberrations already switched on. So I'm going to enable the profile corrections. And nothing's happened. And again, because this was shot with a Fuji Camera, I'm going to have to select the Fujifilm. And you can see that barrel distortion disappear. So on and off with that, you can see where it's done. And I'm going to close this window and go to the transform and just simply click on also on its fixed the shot. Now it's worth adding to achieve this upright log. Lightroom has indeed cropped into the image. So just be mindful of that. If I just switch this off. If you watch up my perhaps will appear in the top left-hand corner. Is crop and some of the image. But does that really matter? No, It's fine. Now let's try a vertical instead. And then just switch between Auto and vertical. And I think vertical works better in this particular case. So as I say, it's a case of playing around with these presets here. And if you feel adventurous, try some of the sliders as well. But that now I could go on and carry on editing that shot. All very easy, isn't it? Let's take a look at another photograph then. It's this one here. So again, let's go to Lens Corrections. And again, this was shot with Fuji Camera. So the AAC, the barrel distortion disappearing and that dark vignette it area around the outside. Let's go to the Transform and I'm going to try and Auto. Because we can see that the perspective of the building is kind of angling upwards. And again, if you haven't held your camera level. So what's gonna happen? So let's try also. And also is done a pretty good job, isn't it? So we can now go to the crop tool and create something a little bit different than I'm going to pop select a one-to-one square image and maybe drag that around above. Except that. And then I can carry on editing that photograph. Let's just apply a little preset to this then. Let's go for T max, maybe, maybe that one. Let's go for TMax. Don't worry, because we're going to look at Presets, common up purely, something like that or do have a look here. Let's drop my blacks and make it a bit more contrasty. Something like that. Maybe the a D Hayes as well. It's good to take some of the dehaze out a bit too much, isn't it? So perhaps add a post crop vignette as well. Little sausage, just darker area around the outside. A bit too much, isn't it? Round about the locker effects later on, so don't worry. But something like that would do just as a quick edit. Now, let's take a look then before I use the Lens Correction and the Transform, it looked like that. As I say, just by making those corrections and Transform and the image, it looks like that. There's 1 million different ways I could edit that, but that's just a quick edit just to show you how you can take something like that and then start to bring it to life. A little play around with both Lens Correction and the Transform tool on some of your shots. And our catch up with you in the next module. 7. Module 6 Content Aware Remove: The world is beautiful and everything is perfectly placed. Well, apart from those distracting little details and our photographs, wouldn't it be great if we could simply remove those little details? While of course we can inside of Lightroom by simply using the content aware remove tool. I would lightroom does a fabulous job of banishing unwanted items from your photograph. And when the task gets a little too tough, we can always pop across into Photoshop, but more on that later. So let's remove some unwanted details. So in an earlier module we looked at Auto Tone. So let me just apply some Auto Tone to this photograph and I'll show you why I never use it. So I'm going to click on Auto Tone just here. And that's where it comes back with. I'm not happy with that. So I'm going to undo that. Perpetuate was now show you how making the adjustments yourself as so much better. So I click on the Alt or option so I can see where the blacks are, bringing the whites up a little bit. Let's drop some of the highlights, some of the shadows. And then using the White Balance tool, I can really warm this shot off to somewhere around about their supplier bit of contrast with the dehaze. And let's add a bit of vibrance. Now that looks so much better than the version that the Auto tone produced. That is why I never use it rarely. As I said earlier though in the module, you can use it as a starting point. But I'm sure you're gonna be a lot better than that. So here we go. Let's jump into the Transform tool as well. And let's select also just to straighten up those vesicles and that looks a lot better, doesn't it? And then Lens Correction, and let's remove the chromatic aberration. And let's enable the profile correction as well. Let's just remove some of that barrel distortion. Let's go back to Transform. And I just want to try a vertical and see if that's better than Auto. Now also was better. Okay, Now I'm ready to remove some things that I don't want in the shot. So to remove items that you don't want in your shot, we use this tool just here. Let's have a click on it. It's just on this little toolbar. And it gives us three options. We have the Content Aware, Remove, we have the healing tool, and we have the clone tool. The one I'm going to select is this one, which is the Content Aware Remove. And you can see now I have a circle on the end of my cursor. And I can make that bigger or smaller with the square bracket keys. And I can change the opacity as well, but I want to leave the opacity on 100. Now what I want to do is remove these metal sorts of wires from this line enclosure. What I want to do is make it look like it's a proper jungle shot. That's the plan anyway. So all you have to do is click and drag. And the Content Aware Tool is absolutely brilliant. If I do this, swatch what happens? And it will have a little think about and I'm going to release it now. And let's see what happens. And it's gone. It's fantastic that isn't it? Come across here, get rid of that one. Then let's try this one here as well. It's one faintness one, but it's worth taking notes. Let's get rid of that one. Marvelous, isn't it? I'm gonna do all of these and I'll speed this part of the video up. So now I've taken away those lines. We have indeed still got this source of mesh fence at the top. So the only way to do that rarely is to crop the image. So I'm gonna do that. Let's yet make sure the padlock is on locked. Bring this down to about there. That's probably too much detail there as well. Just make sure we get all the lion in bringing this across a little bit as well. And I think that should do it. And they go, we've got two lines in the jungle. And it looks great, doesn't it? So if we wanted to give the image a bit more of a jungle feel, I think there's a bit too much green in the photograph. So one of the things I can do is pop across to the HSL tool. So let me just expand on what we have is hue, saturation and luminance. Hue is the color. Saturation is how strong the colour is Luminances how bright the color is. Now we can just adjust the colors by sliding the sliders. Or we can use this tool here. So it says here adjust hue by dragging in the photo. So I'm going to get that on the end of my cursor. There is there. Navigate to where there's some green. And then I can just pull upwards or downwards. So if I pull downwards, I've taken a lot of that green out and it's gone to a more yellow color, which I think is more suitable for a jungle shot. So that is what I'm going to do. And that's just a simple thing. That's the HSL hue, saturation and luminance. How that looks great, doesn't it normally go back to the basic? Maybe put a bit more saturation in, just a touch. A bit more vibrance, maybe. There you go. See it before and after. That's the way it came in. And that's the way it looks now. It's so much better, isn't it? Now I think I've already done it with the HSL. So I'm gonna go back and I can just make it a little change there. Don't want it to yellow. And that looks great, doesn't it? So you would never think now that the two lines we're in an enclosure. And I'm all done by using that content aware remove tool. So let's take a look at another photograph that. So in this photograph we have the classic lamppost emerging from the top of somebody's head problem that we've all done it. So we're gonna use the content aware remove tool to remove the lamppost. And it's very simple. So in a pop across here, locate it on the toolbar, and then just simply select it. So I need to zoom into the image. Once you've got a particular tool on the end of your mouse, you've lost the ability to zoom in. It's going to make the brush a little bit bigger. Do you lost the ability to zoom in? So one of the things you can do is use Command or Control. So hold that down and then just hit the plus key. And you will indeed zoom in a number of times to zoom in. Then if you press the spacebar, it tends to a hand. And you can click and drag the image to where you want it to be. So I am going to indeed press Command. I'm plus one more time just to zoom in. Now the brushes miles too big. So I'm going to use the square bracket keys to make it smaller. And then I can start to remove the lamppost. Let me just start to paint around here. And let's get rid of all that first. Okay, make the brush size a bit smaller. And then go to try and get this part down here. Let's see where it does now. It's getting there. We just call it can get the top of the hair. That is not too bad as it matches the other side. So I'm happy with that. Now I'm going to use the command minus in this case. So Command or Control minus, just to zoom out a bit, finger on the Space bar. And then I'm gonna make the brush size a bit bigger. So now I can just simply paint the rest of the lamppost out all the way up to their and across. Lightroom will analyze the situation. And indeed, just completely take down post out. I'm going to put the tool away. And then I can zoom full screen. That looks great, doesn't it? You'd never know that lamppost was there? No. I've spotted a little problem. So I'm just going to open the tool again. I'm gonna go to the bottom here where it says tool overlay. And I'm going to switch on always. And you can see where I've made the corrections now. And you can access these corrections or delete them. You can select one, delete it wherever. But watch this. Earlier on, I must have made a mistake here. So I'm going to click on that to make it active. And then I'm going to hit Backspace. And then you go disappeared. So let me switch this to overlay off. Then. I'm going to zoom in Over here. So to do that, just Command or Control plus use the space bar. I just want to show you the power then, because we did a really easy thing there with the sky. Just be unwise. But let me just show you the power of this tool and this Content Aware to this brick here, this air brake on the wall. Let's try and remove that. And let me show you how clever it all is then. So I'm going to paint over the on. Let's see what lightroom does with that. On that It's amazing, isn't? It? Is absolutely amazing moderators. Now I'm used to this kind of thing in Photoshop, but to have it in Lightroom is amazing. So let's just get rid of that air break. I don't really want to get rid of these bricks. Bots want to show you the power of being able to do that. And that should just disappear as well. Blended in its midst a little bit there, but you get the idea. Let's see, we can do something really complicated. Then let's save it can remove this person of peer than at to see how clever it is then. So she's got a bit of a shadow as well. Let's see what it does. The, The tantalizing and see a little bit because it's often a distance. It doesn't matter too much, but it's not that good. But it's still impressive. Let's see this lady here who sit and have an olecranon mobile phone. I think it's not going to be able to do this, but let's see. This looks like it could be a job for Photoshop. Now it's not too bad, does it? That is not too bad at all. If you don't happy with it. This is where you can go to switch on the little nodes, click on it, and then delete it when we can have another little attempt to fix them. So let's just try that again. I'm want to zoom in this time. Use the space bar just to drag that across and make the brush size smaller. See the can be more accurate. We need that taken out there don't meet. And let's see what it does now on a face just that a tablet, a look. That's not too bad as it is not too bad at all. That's just turn off the tool overlay, then zoom out. That's amazing. Isn't it? Going to put the tool away? And then just go full screen. So that's fabulous, isn't it? Now there's no doubt that to do heavyweight removal of objects and items from a photograph, that Photoshop does a much better job. But it's greater thing that Lightroom has advanced that much that we have the content aware remove tool at our disposal is not as powerful as Photoshop, but it's fantastic. Let's take a look at it before and after with this shaft then actually started off in color with a lamppost. Criminals, top of the guys had a couple of sorts of people, often the distance. And then using that removal tool, Content Aware removal tool, we managed to do that and it's being converted to black and white as well. So it's great, isn't it? Traveler a play around on some of your photographs? And I say I only showed you them removal tool, that is the clone tool and the heal tool. But I thought the content aware removal tool was just an often this module to get you going. Ok, and I'll see you in the next module. 8. Module 7 Masking Part 1: So what you do if you only want to make adjustments to a certain area of a photograph, change the colour of an object or darken the highlights in the sky, for instance, while local edits, as we call them, can be made by creating a mask. Now we simply select the area we want to adjust by creating this mask. Now there are ways to do this, plus we can even use Ai technology to select people, subjects, the background, the sky, and so on. Once selected, we can use almost the same editing tools that we use for our global edits. But now they only be applied to the masked area, allowing us to make those specific changes. It's all quite amazing. Now there's a lot to discover. So over the next four modules, let me show you how to use masks with some exciting examples. So the mask tool can be found on this tool strip here, and it's the far right icon. Just click on it. This new window will open and we have various options. Now the first set of options are generated. So we have a subject, a sky, and a background, and they are AI generated. And I'll show you how they work shortly. Then below that we have objects brush, linear gradient, radial gradients, and also arrange option here. And then below that, AI will actually analyze the photograph to take a look to see if there's a person in the photograph as well. Which is pretty clever. So let's start there then. If I just mouse over, it, selected the person. And as you can see, on and off you go, It's indeed found the person. If I click on the little icon of the person, I can be specific. And for instance, just select clothes. So it's not selecting his face now, or it could just select facial skin. And you can create a mask of any of those are the entire person. So in this case, I'm going to create a mask of the entire person. Just need to click here where it says create masks. When I do that, this new flyer window appears and I have a mask of the person and it has an overlay in green. Now you can change the color to wherever you want. I'm going to leave it as green. You can also switch it on and off. So I can make adjustments now just to that area. And as you can see, as well as this fly-out menu appearing, we've now got access to a whole new bunch of tools that are just specific to the masked area. The container. As you can see, all the tools that you'd find in the basic set of tools. And also we've got the care of adjustment there as well. And even the detail and sharpness, which is pretty good, isn't it? We have all of those and we add grain as well effects. So all of those live there. And that is just specific to that certain mask. Now, if I come up here and click on Create New mask, I can, for instance, select the sky. So let me do that. Instantly. Lightroom has detected where the sky is. That's amazing, isn't it? So ideally you should rename these subject, sky, etc. but just for quickness, I'm not going to do that. So now I can make adjustments just to the sky, which is pretty cool, isn't it? Now I'm going to create another mask. This time, I'm going to select Object. Want to do that? I have a brush now at the end of my mouse. And just for PFK-1, I'm just going to select this area here. So just just the part of the park bench. And let's see what lightroom does it save? It indeed finds that area. So it's going to analyze the rapid wasn't I couldn't even finish the sentence. So it's found that area. Now it has made a little mistake because it's included some of the pavement. Which brings me back to this option here. So we look at this new mask that I've created. I can actually subtract from that mask now, which is what I'm going to do. So just click on what do you want to subtract width and in this case a brush. And I can pop across to here now I could zoom in. I'm just for speed. I'm just going to take that area away though. There you go. And I can make adjustments to just that area. Okay, so that's the way in theory works. Now the best way for you to learn how to use the masks is to watch me edit and some photographs. So in this module and in the upcoming modules, that is what I'm gonna do. I'm going to add a series of photographs and you can watch how it's done. So let's jump into the first photograph then. In this photograph for what I want to do is I want to change the colour of the scooter And I wanted to change the metal colour to a more sort of bluish aluminum or aluminum if you're watching in America. So more bluish color to it. I want to put a light emitting from the headlamp of the scooter as well. So that's the plan and we're gonna do all that with masks. So let's jump in then and I'll show you how. So let's open the mask panel. And I'm going to opt to select this object. So I'm going to discover where the subject is now it's done it really quickly. And it's done that because the object in this case is a huge Scooter That's dominate the photograph, so it was easy to find. So I'm going to rename the mask. So I'm just going to double-click on it. Now, analyzing the mask, I can see that it's made some mistakes. It's included some of the motorcycle behind and it's also included a bit of the pavement here. We need to remove that them to do that. Click on the mask. You can see I have two options. I can add or subtract from that mask. And then this case, I'm going to click on subtract. And I'm going to use a brush to do that. I'm going to switch on the Auto Mask just here. Now what that does, it finds edges really well. So you'll see I can be quite rough in making this selection. So let Lightroom discover the edges. So it's like if you remember when you were a child of new colour and things in and you have to stick to the lines. Well, Lightroom with the Auto Mask on does a great job of locate and those lines that you get, so on that ours also want this tyros. So again, Auto Mask is doing a pretty good job there. So on out there, I also want this bit up here. Now, once you've sorted your happy with that, I can actually turn off the Auto Mask because I don't really need it if it isn't sorts of interfering with my mask. So these areas are nowhere near the mask, so that's fine, isn't it? That's pretty good. And also what I want to do as well is just subtract from here because I'm going to put a light in a little bit later. Okay, So that's cool. Now it's also missed some parts as well as Sosa do that. I'm now going to click on Add. And I'm going to add with the brush and the bits it's missed or here. So I'm going to switch the Auto Mask back on and just paint in the wing mirror. I'm just here as well. It's missed the handlebars, isn't it? So I'm just going to paint that in there. I could zoom in and be super accurate, but that will do. So. I'm happy with that mask now. I can now start to make adjustments. Now we have an overlay switched on at the moment. I can switch that on and off on also. We can change the colour of that overlay as well. And I think I mentioned that previously, but green is fine. In this case, it doesn't really matter. Now you need a switch, the overlay off and start making the adjustments. Or if you leave it switch down and you start making adjustments, the overlay will just switch itself off anyway. So I'll show you that way first I think the color, then I'm going to adjust the temperature. And I'm going to take it towards the blue and round about their should do it. And I'm going to apply a bit of green and as well. So sores around about there. Now via switch that on and off. You have a little eyeball here. You can see what it's done. So that's off and that's all. It looks. It looks a bit more exciting, doesn't it? Now it's also a bit dark as well. So I want to lift the shadows up. I'm not going to lift it up by too much, but I'd say maybe around about there. That looks quite good, doesn't it? So the next thing to do then is the actual lamp inside the headlights. To do that, I'm going to create another mask. So up here I'm just going to click on Create New mask. And I'm going to do that with a radial gradient. So this is a new one. I'm going to just come over to the center of that lamp and I'm just going to drag outwards and it's created a mask just here. So the next thing to do then is to change the colour of that area to make it look like it's, let alone, I'm going to drag that up quite a lot to round about there. And maybe increase the saturation as well. A fair bit. And then the exposure as well, making a little bit brighter. See something around about there is quite good, isn't it? So for switch that on and off. It looks great, doesn't it? So we've got a little headlamp. Now. I'd like to adjust the background. Let me just rename this first. I want to do with the background is make it match the adjustments that have made to the scooter. To do that, then I'm going to create a new mask layer. And I'm just going to simply select background. And it's done it a pretty good job as now a chord. And I showed a suppose just with the brush, subtract some areas. So I don't really want this. I don't think it would make that much difference to be honest, because it's only going to be very subtle what I do. But in keeping with showing you how to use masks, it's only fair that I do that. So I'm just going to take those little bits off there. Okay, so that's the mask selected on all I'm gonna do is change the color noted. Do that. I'm going to use the temp like I did with the scooter, but in this case, some slightly different values. So something like that. Maybe quite a bit of green or think something like that. And I might brighten it up slightly as well, but not not much, just a tiny little bit. Something round about the should do it. Okay. So if a switch that on and off, you've got that sort of gray background. There's nothing wrong with it. But I think we just add them, the green and the blue. It just sorts of matches what's happened to the scooter. Okay, So that's it with masks on this. I think I'm happy with that. So once you're happy, you can close it down just by clicking on the icon again. And that's the edit completed. Now let's take a look at before and after that. So it started off looking like that. They know it's a decent photograph. But as I say, just by making those adjustments using masks, it looks like that. That looks great, doesn't it? Now, in the spirit of full disclosure, I just want to show you how the photograph originally started and you'd be quite shocked actually, started life looking like that. I've used Photoshop and specifically the new AI tools to simply remove stuff like this watermark here, these little bits of water and the people and basically anything that takes the eye away from the subject like this little bit Alyssa here, I just basically tidy the photograph. Or now in a module coming up later, I'll show you exactly how it did that and it's super easy. And I know it's in Photoshop, but believe me, it's really simple to do. And it was worth it because we've taken the image from the way originally was right through to this finished version. Now mask and has done the heavy lifting to create this great image. Bought. It is improved greatly by removing those sorts of on-site Leone unwanted items that were in the shot. And as I say in a module coming up, I will show you exactly how I did that, okay, onwards to the next photograph, and I'll see you in the next module. 9. Module 8 Masking Part 2: Okay, So Part two of the masking tutorial. Now in this module, I'm going to show you how to create a mask using colour range. Now by doing this, I can select a specific colour and then change it to a completely new colour. So let's jump in them and I'll show you how to use the color range mask. The main thing I want to do in this photograph is change the colour of the car and want to take it from yellow to green. Now I also want to brighten up the occupants of the car as well because they're in the shade RV. I might do a bit work on the wheels as well and change the background color. So let's jump right in and I'll show you how I am going to do that. So with the mask panel open, first thing I'm going to do is select the brush. Now, have a brush on the end of my mouse. And I need to brighten up these areas so I'm going to just zoom in. So that's Command or Control plus, isn't it? Then I'm going to use the space bar to just move across to where the occupants are. So all I'm simply going to do now is lift the shadows. So let's lift the shadows to around about 50%, something like that. Then I can start painting in where the occupants are. And lo and behold, they become nice and bright and I'm going to make sure the Auto Mask is switched on, which it is, because that will find the edges and make sure don't spill out onto the background. So something like that. Now what I can do is just pop the overlay on to save of missed any and a half. So I can just do that, makes sure all of that is included. And I'm going to suit the overlay off. And I'm just going to put the tool away for a second just so I can zoom out. I think I've brightened up a little bit too much. So I'm going to right-click on the mask panel, make sure that's active. And then I can just decrease that slightly. So something around about there looks a bit better, doesn't it? Okay. Now, I'll rename this occupants. Then we can move on then to change the colour of the car. So do that, we need to create a new mask. So I'm going to pop up here and create a new mask. But this time I'm gonna go for a colour range, which is this one here. I'm going to select that. When you do that, you get little eyedropper on the end of your mouse. So I want to select a good proportion of this yellow color. If I just click on one area, it would just sample that specific yellow color. But as you can see, there's a number of different shades. The best way to do it is to click and drag. And I will select probably about that much. And then just release the mouse and let's see what it does. And it's created a really good mask. I'm going to change the colour of that so you can see it a bit better. Okay? So one of the things we can do is if we think it's missed some of the car or some other color, we can refine the mask. So let's have a little look at that then. So what I'm going to do this, I'm going to zoom in to this brake caliper just here. And I'm just going to change the color back to green. I think it's around about there. That'll do you can see there's still some of the car color that it's missed. So I looked around and various places you can see it hasn't quite got all of the car selected. And this is where you can use the refine mask tool. They go, I've just expanded the area slightly. What you gotta be careful of with that though, is that it hasn't taken any of the background and I'm just going to put that back to pink. Then I'm going to zoom out. And let's just have a little look. Now included. Some of the background has no it does that you can just subtract with the brush, make sure you're Auto Mask is switched off. And then just a nice big sweep and brush. Just to take out anything. We just put the density in the flower. I'm and I don't think it included too much more it did at the top. Yeah. There's quite a bit there isn't there. So you can just make sure you've got it's just the car or just the object that you're changing the color of. Now if refund the mass to include more of the car, the other way of doing it, what has just been to add to the mask with a brush. So either works, but I just thought I'd show you that. Now I can set about changing the color of the car. So to do that, I'm going to pop across here to the color box. I'm just going to click on it. And I want to select a color. And let's see, let's go for something like Around about there should do it. I'm happy with that. We haven't D change the colour, but I just want to vary the color slightly. So I'm want to change the temperature. And then I'm going to drop that to round about St. roundabout there should do it. Then lastly, I think I'll apply little bit of contrast to that as well. So let's see an on and off then with that color. There you go. Like that. And it's now like that. Now I've noticed a lot of problem that I've noticed that if you look at the occupants, they are indeed change in color. So let's just do that. So you can see it's taken us when I refine the mask gets included parts of the occupants. So what I'm gonna do is I'm going to subtract from that mask with a brush. And I'm just going to put the color back into the occupants. You've always got to keep an eye on what's happened. There wasn't a massive problem. But you do have to make sure you sort of locking all the time. So that looks pretty good, doesn't it? Let me just rename this then. We're just going to call this car. And it did say that I would brighten up. The wheels, are not too sure whether they need to vaccinate, but let's just have a little girl to do that. I'm going to use a radial gradient. And I'm just going to get more or less to the center of the wheel. Something like that will do. Click on the mask and I'm going to add to it with another radial gradients and just round about their should do it. And then I'm just going to lift the shadows tiny bit, but don't anymore than that. I think that looks great. Okay, and I'll just rename this mask. We'll call it wheels. Lastly, I think I need to just change the colour of the background. So let's create a new mask. And I'm just going to click on select background and let's see what it does. A pretty good isn't it? I'm happy with that. So what I'm gonna do is just change again the temperature and the tint. So I'm just going to cool it and I'm going to take it to say, I don't know, look a little play around with this needs to be more of a teal TB green color, doesn't it? That looks good. Then we want to go for that. And then I'll just rename the background. That kind of completes all the mask and then or does it because I can see inside here, it's missed the boat of the background. So I want to add to that with a brush, makes sure the Auto Mask is switched on. An ideally I should zoom in, but I'm not going to don't want to take up too much time. Do we need to save the day? Go look. I've just included that and it hasn't spilled anywhere because I'd the Auto Mask selected. And if you go around the car and just make sure it has got everything included. But that looks pretty good, I think. So. I'm gonna put the tool away when I close the mask down. And there you go. Now, a couple more things. Let's try some effects. Then. I'm going to add some grain, the shot to take it away from Logan to digital. So something like that. That's too much, isn't it? Let's just back it off a little bit. That looks quite good, doesn't it? And the roughness maybe take the roughness down a bit and maybe just a little bit of post crop vignette and just to darken the outside slightly. Not too much, maybe roundabout there. That'll do it. Okay, so that's a quick edit using masks to change the colour of the car and the background. And if you have a look at our before and that's where it looked like before. So the car was yellow and the occupants for quite dark. The whole thing doesn't pop as they say. But just making those adjustments using the mask. It looks like that. Now I was lucky enough to capture this photograph jar. And one of my photography classes, as was teaching a bunch of people how to photograph a moving subject. If you wanna know more about that, you can watch my fundamentals of photography class, or if you live in the northwest of England, common join one of my classes. Okay, So have a little go on. One of your photographs or indeed download this one and change it to a completely different color. It's up to you behalf font, whichever you do. And I'll catch up with you in the next module where we continue our little discovery of masks. See you soon. 10. Module 9 Masking Part 3: In part three of the masking tutorial, I'm going to show you how Lightroom uses AI to create a mask. Ai allows you to quickly create a mask of the sky, the background or objects. It can also locate people and then create masks of just the skin, hair or clothing. It's pretty amazing. So let me show you how it works. So with this photograph of what I want to do is just make it a bit more vibrant. And I'm not really happy with the magenta cast in the clouds. So I'm going to create a couple of masks just to fix that problem. This building here is the very famous live the building in Liverpool. And it's looking a bit dull and a big contrasty. So I want to have a little look at that. The water as well, the river mercy. I just want to change the color slightly. So let's jump in. Then. The first thing we'll do is just select the sky. So I'm going to Ai, do that for me. And the goats done a pretty good job. And it may well have taken some of the building as well. So I'm just going to subtract from that with a brush. I'm going to turn the Auto Mask off. And I'm just going to it's mainly the clock that I'm interested in there. That's fine for me. So what want to do is take some of the highlights down first. So let's just remove some of the highlights. And then we're going to change the color. So I'm going to cool the sky. It's going to round about their thing and then the tint as well. So I'm just changing the color of the sky slightly to what I think looks better. Something like that. I want to increase the saturation as well a fair bit. So I'm happy with that colour. But what I'm gonna do now, it's come down to the bottom and I'm just going to adjust the texture and make those clouds a bit softer round about the and the dehaze as well. I'm just going to dehaze it slightly. To say round about. I'm just doing, There you go. Like that. So let's look at it before. So that's the way it looked before. I made adjustments and that's the way it looks now than I think the sky looks a lot better, doesn't it? So the next thing is to look at then is the buildings. But first of all, let's rename the layer. So to select the buildings, am going to create a new mask. And I'm gonna go for this option here, which is select objects. And when to do that, I have this brush on the end of the mouse. And the buildings that I'm interested in are these guys here. So let me just make a selection and see what Ai makes of this. So source around about the should do it. So I'm just clicking and dragging and Peyton over that area. And then when I let it go, Let's see what happens. And that ideal, but it's exactly what I wanted. So what I want to do is then I want to brighten that area and just have a little look at the colors. So I'm going to come up here and I'm going to lift the shadows. So just to touch up to roundabout, roundabout there should do it. And then I want to boost the saturation. I think around about there. And then I'm going to drop the contrasts which will take away that sort of harshness because I think it's just a little bit too harsh. So sores around about there. Looks quite good. So let's see it before and after. So that's where it did look like. That's kinda darker, isn't it? In a bit gloomy. And then just with that little adjustment, it's just brighten the whole area or doesn't it? And that looks really good. So let's rename this. Okay, The next thing to do then is the water. So need to create a new mask for that. So the one I'm going to go for here then is the linear gradient. And then I'm going to come across into the image and place the cross-sale roughly here, and then drag upwards. And then if I put my finger on the Shift key as a do it, it will make sure that that line stays completely horizontal. So now I've got a selection made of the water. I just want to make some adjustments then. And again, I'm going to take the highlights down a thing because they were just a little bit too bright. Then I need to change the color a bit. Um, let's see. Let's take the temperature down to something that looks a bit bluer. Maybe something ground above the And then the tint as well so we can add a bit more green into it. Don't add too much, maybe roughly there. And the clarity, I'm just going to soften that as well around about there. That's just soften the war so little bit, so all those little peaks of the waves or looks a little bit too sharp to me. That completes the edits of that. Now it wasn't drastic. But if I come up here, then we have a look and I switch all the masks off. So that's the way the image stars at then and it's kind of, I don't know, I didn't like a magenta cast and the clouds, like I mentioned. The main subject of this shot as the live of buildings and they look a bit dull and just brighten and everything go up and adding a bit of vibrance in selected areas. It looks like that and it looks so much better, doesn't it? I can just put that to the way. And that's that one done. In that example. You got to see a couple of extra ways to create masks, the sky and the linear gradient, for instance, and the object selection as well. So have a little go on one of your photographs and let's jump onto the next one. This is a photograph captured in my studio. And what want to fix on it is the dark area on this side of the face and possibly a couple of other adjustments. But, but let's start there. So Lightroom Ai already detected that is a person in the shot and have a mouse over this little icon, you can see it's done a great job of doing that. However, I don't want all of Steven. I just need part of the face. So if I click on the little icon, it will split the areas up into separate little masks that I can create. Which is quite funny, isn't it? But the one I'm interested in is facial skin. So I'm going to click on that. And then I'll just simply need to click here to create the mask. So now I'm ready to make the adjustments. So I'm going to lift the shadows. And as I drag it, you'll see his face becoming brighter. And I think roughly around about, there should do it. Now I also want to change the colour of the skin as well. And so do that and what to use the tint. I'm just going to take it away from being to read basically. And I'm just going to drop it to roundabout, roundabout there. And the saturation as well. I'm just going to drop that, but not by much, just a little bit because it's a little bit too saturated. So that's quite good. Now I want to soften the skin now. And to do that when I come down here and I'm going to drop the texture. And I'm going to drop that until it looks quite good. At C, round about there looks quite nice. And the clarity as well. I'm gonna try and just take some of the clarity hours as well. So sort of roundabout there should do it. That looks really good, doesn't it? So we have a look at it before and after. So that's where it did look like these in the shadows. And that's what it looks like now it's so much better, isn't it? So I'm going to create a new mask. I'm going to select people again. Then click on the little icon. What I want to do is just select the whites of the eyes. So I'm going to click on here and then create mask. Now I don't want both eyes. I just want the one. So I want to subtract from that with a brush and just get rid of that. We just want that I in. And then all I'm going to do is lift the exposure just on that side at only a bit. You can go really silly. You don't want it to match the other side because it's still in the shadow. So I think somewhere around above the should do it. It's only subtle, but I think that works. So that's that one done. The next thing I want to look at then is the hair. So a need to create a new mask and select people again. Click on the little icon. And this time I'm going to go for her, which is just here. And then click on Create Mask. What I wanted to do here then is just lightened the hair slightly so the exposure, I'm going to take up a little bit. Not too much, just back that off a little bit. Let's see roundabout there and then just maybe lift the shadows up a little bit as well. Let's have a look. Not too much, maybe around about there. I'm not sure do it. So that's that one done. And I say it's only subtle, but it all adds to it. So there'll before and after on there. You can see just looks so much better, doesn't it? The last thing I'm gonna do is because this area on this side is in shadow. I'm going to put a linear gradient here and just darken this side. So let's do that then. So create a new mask. Go for linear gradient, and then click about here, and then just drag to the left. Put my finger on the Shift key, it's going to constrain it to a vertical line. Then I'm going to drop the exposure in that area to round about its try about one somewhere around about there. Now it looks really harsh, doesn't know. What I'm gonna do is come over here bottom left-hand. And where it says show edit pins. I'm going to put on always just for now. So you can see we have the line where the gradient ends and the other two lines are where the graduation takes place. So I can make that graduation a lot smoother. So if I just come over here and I'm just going to put this to Auto. That just means when I mouse out of the image over here, they'll disappear. So how does that look? I think that might be a bit too much shadow on Steven's face, so I can just pull that across. Maybe it needs to be graduated a bit more. Pulled across a bit more at C. That's looking good, isn't it? So I'm happy with that. That kind of completes that source of edits. I'm just going to turn the pins off and then put the tool away. And let's see a before and after then. The whole thing started off looking like that. And then it now looks like that. Last thing I'm going to do on this then is just to put in a bit of grain. Um, no, not too much. Maybe just soften that grain down of it. There you go. That's that's the completed version. And as I said, that was the before and that's the after. It's only sold, isn't it? But it makes a huge difference those little changes. And you find when you add a photographs, there was little changes all add up to me. The difference between a photograph that you don't like, what you do. One more photograph to edit. And I will do that in the next module. So I'll see you shortly. 11. Module 10 Masking Part 4: In this final part of the masking section, I'm going to show you how to edit a portrait using AI to create masks. Now by doing this, I can create separate edits for the hair, the lips, the skin, etcetera, given the portrait a complete makeover to create a whole new look. So let me show you how. So with this photograph, I'm gonna give Sophie a complete makeover. Now she doesn't need a cause she's absolutely stolen. But I want to make it more of a high-end magazine style photograph. So let's make a start then. So I want to open my mask window and I'm going to select people. And there's only one person then it's Sophie, want to click on it. And the first thing I want to make an adjustment to is her. So I'll just check that box and then hit Create Mask. And then I want to make some changes to the color over her. And I'm gonna do that with the temperature. So I want to lift the temperature. Let's say I want to make it more brown. So I'm going to go to round about there. I'm just putting that extra color in. And then the tint as well, drag it more towards that red color. That looks quite good. And then I'm just going to soften it as well now to do that and when to use the clarity. And I'm going to drop that until I think it looks good. And I think round above there is quite good. Now what you can do if you think you've gone too strong, you have this preset slider here. So I can drag that to make it more of an effect or less of an effect. And you can see the way it start that's with no effect at all. I can just drag that and bring it bring it into where I think it should be. I think roughly around about there. Looks quite good. So that's the hair don't. Now I should rename the masked ball. I want to keep this nice and fast. So, um, but yeah, when you do, make sure you rename all the mask layers, okay, the next thing to do is the skin. So I'm going to create a new mask. And I'm going to select people again. Select Sophie. And then I want the facial skin and the body skin. And then I'm just going to click on Create Mask. Then what I wanna do here is just change the color slightly. So I'm going to cool it slightly, only a touch. And then the tints as well take it away from red. So maybe somewhere around about there should do it. K. Now I want to soften the skin. So I'm gonna go down to texture. And I'm going to drop that a fair bit. And it's really going to soften that skin. Now you can go really, really crazy with it. That is unbelievably soft. You want your images to look realistic. So I think that is much too much. So I'm going to put it round about their should do it. Okay, now let's pop up here because I think a need for introduce a bit of contrast. I'm not much. Again, you gotta be careful. So round about there. Possibly drop some of the highlights, the face. So maybe round above there. And then the exposure a slight bit. And I'll be very careful with the exposure. And I'm going to drop it to around about there. Let's see a bit more and more. There you go. Round about there. So let's see before and after. That's the before. That's the after. And it's a nice lock, isn't it? Nice, Dewey skin as they call it. So we're ready to move on to the next part. That would be the lips. So I'm going to create a new mask. And again, select people. Select Sophie, then just go straight to the lips and then create mask. And this is where you can go wild. I'm not a makeup expert by any means. So let just see if I can change the color that I wanted to just darken the lips slightly, not too much. And then temperature methods just play around. And I think it'd be taken, try and take it more towards red maybe. So let's take it up to round about the and the tint off as well, more towards red. Um, let's see, somewhere around about the, It's very red at the moment as the and the saturation. Let's leave that for now. And let's just dial back that fact now I can increase it and that's much to read, isn't it? That's without and then I can start bringing it in on I think roughly round about there is ideal. So that's what I'm going to go for. Amendments, non-destructive. So Godot has changed my mind And drop it down at any stage, but something that's somewhere around about there. Again, you should rarely rename the mask, but you can do that guardian. Okay, So that is that one done. Now, let's introduce some shadow area in the cheekbones. That's the next thing I'm gonna do. And to do that, I'm going to create a new mask and I'm going to use a brush. So select the brush and I'm going to drop the exposure to around about there. Now you don't want to be really subtle with this. So minus oh, 0.10, it is hardly anything. And the flow and the density, and we're gonna put them at, around about there. And then come across into here. The main thing about this is that we have the feather at 100. And then I'm just going to paint in here where I think the shadow of a cheekbone should be roughly around about the modes. One very sort listener. Let's switch it off and on. You can see it's just common through there as though it's make this a little bit smaller. Just imagine where that shadow is going to be. So sores around about there, maybe a bit around there as well. But you can play around with it until you think it looks good. So kind of roundabout there. Let me just check again. That should do it. Then I'm going to put some shine in. Sosa do that, I'm going to create another mask and select a brush. And in this case though, I'm going to lift the exposure and I'm going to pop that off to round about the and, and I'm just going to paint in there and it's just going to put a lighter area just there. Let's just check that. Yeah. And I can probably back that off just a little bit as well. Okay. That looks quite good, doesn't it? Let's go back to the darker area and maybe just dial up back at torch and then jump up to the highlighted area. And let me just say it was braces that somewhere around about there. Let's just a matter of jumping between the two until you're happy with what you can see, sort of roundabout there. And I think that is fine. So that's the little source of shadow and highlight area on. The last thing to do would be to add a vignette around the outside. So do that, I'm going to create a new mask. And I'm going to select the radial gradient. And I'm going to zoom out for this. I'll show you why in a second. So want to drag that? And I'm going to come over to the bottom left again and I'm gonna put the pins on so we can see where that is. And I'm going to drag this over here. And then we can change the angle with this pen at the bottom here. Because the light's coming from that direction, isn't it? Then we need to make it a bit bigger. Move across to just to case and messing around with they probably want the fall off to be a bit greater than that. So I can drag this in like that. So currently you can see that what is gonna be affected is the inside of that mask. And I needed to be obviously on the outside. So these three little pins here, I just dropped them down. And what I want to do is just invert the mask. So now I'm only affecting the outside. And then what I'm gonna do is just simply dropped the exposure. Before I do, I'll just turn these little pins off over here. And now I'll drop the exposure. What I'm really doing is putting that vignetting, which is totally taken your eye to where Sophie is. Around about there. Now I've put the pins back on. It can move and rotate it. Possibly have it around about the turn them off. I think that's that's that's it. That's done. So I'm gonna put the mask tool away. Let's just go back to full screen. And that's the edit finished. So let's take a look at it before I applied all those adjustments with the mask, it looked like that now it's still a great shot. There's nothing wrong with it. But I think with those adjustments, it takes it to that professional level, doesn't it? And it looks great. So have a little go on some of your shots then. And I think that covers all the little things I wanted to show you in masks. Now I do have a Skillshare class just devoted to masks. So if you want to know more, you can pop across and watch that. And I'll catch up you in the next module. 12. Module 11 Presets and Snapshots: Applying presets is a quick way to achieve a desired look. And you can even decrease or increase its effect. Now, this allows you to fine tune the effect to position that you're happy with. Now of course, you can use presets as a starting off point and then make the adjustments to the exposure and colours, etc. to make your own. Now Lightroom comes with a selection of very good Presets. And of course you can import presets that you've purchased. Now I also like to take advantage of Snapshots, which allows me to compare the effect of any number of presets added to the same photograph, and then I can make the final choice. So let's take a look at them both then. Presets and Snapshots. So I'm going to apply a preset to this photograph book before I do want to crop the image just to make it look a bit more interesting. So using the crop tool, I'm going to lead the original ratio and I'm just going to start dragging in much better composition. So I think somewhere around about there. Maybe just lift that or Pytorch and I think that should do it. So I'm just going to close the tool. That's a much more interesting photograph, isn't it? So the Presets then live over here. I'm just going to expand the window and you can see how many Presets I have. A lot of these come bundled with Lightroom, and I've also added my own. So what I'm gonna do is apply one of my favorite Presets. Now, as you know, there are countless numbers of presets that you can purchase, plus you can create your own. It's limitless, isn't it? And one thing I'd say is whatever preset that you apply, it isn't necessarily 100% going to work on your photograph. So you do have to play around with it and I'll show you what I mean when I apply a preset to this photograph. The one I'm gonna go for is this act to Chrome IE 100. But before we do, just know that you can kinda mouseover. Each preset on it will change and update to show you what the effects are going to be. But I think I like this one the best. So I want to click on that. Once you click on it, it's applied then to that photograph. The great thing is that we have an amount slider which lives just here. So I can increase or decrease the effect of that preset. Let me just do that than ever take up to 200. It doesn't really work, does it? But that's just showing you an extreme case. It did default 100. And of course, all the other ways left-hand side, it's now applying zero per cent of that preset. So I want to drag this up to where I think it looks nice. And I think roundabout there. It looks like. So I'm going to close this down then this particular panel, just so you can see the image of it bigger. And then go across into the basic set of tools. And all these Saturn's or what the preset has applied. So to create that lock, all these settings have been changed. Now, this is where it might not look good on your photograph. And this is where you can kind of change then and fine tune it on. What I want to do on this one is dropped the highlights because it looks a little too bright. So I'm going to drop the highlights to round about the and the shadows. I'm going to lift the shadows. Now again. It's different for every photograph. So every photographs different, isn't it? So but this works with this particular shot anyway, I think the whites are okay. And the blacks, I'm going to drop the blacks just to get a login a bit more contrasty, let's try something a bit strong, something like that. And the vibrance and saturation rise. I don't like the fact that it's boosted the saturation. I much prefer vibrance. So I'm just going to increase the vibrance to roundabout there. And then finally I'm just going to add some post crop vignetting, which is in the effects section here. And I'm just going to drag the amount to about, let's see, ran about 21 should do it. So it just put that darker area around the outside and that should do it. So let's see a before and after then. So this is the before and it's looking quite milky, isn't it? And I don't know, it doesn't, doesn't seem to be alive, does it? But after adding a preset and the post crop vignette, it looks like that. It looks a lot better, doesn't it? So by all means, you can start with the preset, then make the adjustments. Or as you've seen throughout the class, you can just make the adjustments manually yourself. It's entirely up to you, but Presets can be useful Let's take a look at another example then. What I like to do is create a number of versions of the same photograph. And I also like to turn photographs too black and whites as well. I love black and white shots. I do love color as well. But I'd say I don't know if there's a greater majority of my photographs that I convert to black and white. So what I want to share with this photograph then is how I convert to black and white. How will make several versions on how I compare the different versions to decide which one I liked the best. No, I do this by creating snapshots. So let me show you how I do that. Then. I'm going to expand this panel here. And Snapshots live just here. Expand this little window. You can see there's currently no Snapshots because I haven't created any yet. So what you do is you click on the little plus icon and then this little dialog box appears. And if you remember our previously edited this photograph, so I'm gonna name this snapshot first edits, and then just hit create. So I've now got my first snapshot. So I'm gonna do now is show you a very quick way of converting to black and white. And I want to show you how you do with the preset. But I'm going to show you, first of all how you do it with the basic set of tools. So I'm just going to come across here, expand the basic window. And then you can see here we've got treatment and we've got colour and we've got black and white. So I'm going to just simply click on black and white. And it will turn the image to black and white. There you go. Now I'm going to turn it back to color because I want you to watch this back into colour. And we can see that in our HSL just here, it's indeed in colour. So when I make the switch to black and white, HSL has now turned to black and white. Let me expand this little window. You can see that the black and white shot is made up of these colors. Because of course you've got a color monitor. So it's got a lot of color information in there. It's just that it's been turned to black and white. So let me just show you that example of that then. If I pulled the red slider to the left, I'm going to darken anything that's red. And in this case is the lips, isn't it? So I can make some adjustments here. I'm maybe we'll just darken the lips. Now skin is generally orange. So if I went to the left-hand side, I would darken the skin. Now we don't want to darken it by too much, but maybe something like that should do it. And I think there's a lot of yellow in the hair. So I can make the hair have highlights. As you can see, it's only sought listener. So that's a very quick and easy way to make a black and white shot. So I'm going to jump across here again to my Snapshots. Click on the little plus icon. And in this case, I'm going to call this basic black and white and just hit create. So I've now got to Snapshots. I can go back to the first edits, which is the color version. And I've now got the basic black and whites as well. So I'm gonna do now is click on the first edits. Then I'm going to open my presets. I'm going to locate portrait's black and white, which are here. And then I want to choose one of these. Now, I think the one I'm going to go for is this PB over eight. And I'm going to click on that. Now again, remember we've got the amount slider. So I'm going to reset this. I'm going to drop it down slightly to about there. Again, I can make an adjustment over here in the black and white mix section. Maybe just darken the lips because I think they've gone a little bit too light. So I can now make a snapshot of this version and never come across here. Just going to close that, click on my little plus icon and the Snapshots. And this one was Pb 08. Simply type the N and I have that version created. So I'm gonna go back to the first edits because I'll show you another way. Back to our first Edit. And then I'm going to go back to my presets. And I'm going to close this one down and go to my Kodak film Presets. And this time I'm going to use the T max 3200, which is this one here. I really liked that fact It's got a lot of grain in it. Of course I've got the slider so I can back it off or make it stronger. But I think I'll leave it there. So I'll just close this preset window and then click on the plus icon for my snapshots. On this one is TMax 3200. And then just hit create. So I've got another snapshot. Then I'm gonna go back to the first edits because I want to make one more version. This time. I'm going to close this down and I'm going to locate the Auto retro And I'm gonna go for AR O3. Now, this particular preset will not allow me to change the amount of the effect of the preset. You'll find that occasionally. It's just unfortunate, but not every preset will allow you to use the preset amount slider, but that's okay. I'm going to close this down and I'm going to create a snapshot of this. And it was a are O3. And just hit Create. So now if we look in the Presets, I have the first edit. Any of the ARO three. I have the basic black and white, which has achieved just using the basic set of tools. I have PBO eight, which is a portrayed preset, and the T max 3200. I can whizzed through them and see which one I liked the best. Now this particular photograph, it looks to me that the grain is a bit too strong. So the precesses applied a lot of grain cross to the effects preset. I can see it is quite a lot axon, isn't it? 58. So I can reduce that, take it down and maybe take the roughness down a bit as well. So something like that, maybe just increase it. But if I'm happy with it, what I have to do, this is really important, is come back over to Snapshots. And because it is the T max 3200, if I just right-click over that snapshot, I have to update with current settings. Always remember to do that because if you don't do it and you move on to a different snapshot than the previous edit that you've just created won't be applied. So let me just go to AR O3 for instance. I'm just going to zoom in to that. And then I'm going to apply some grain to this them. Let's see something like maybe a bit more. So I'll just zoom out and yeah, I like that effect. So again, just make sure because this was the ARO three, I'm just going to right-click and up-to-date with current sentence. So I often do this that because I'm unsure. I do love the color version. I do love to first add it to be fair. But I think I prefer the AR3. It just looks more as if it's been shot with a film cameras as the basic black and white, which has just achieved using the basic tools is okay. I think PBO eight is a little bit better. Now I might think that has skin is a bit pale. So I can come across to the black and white sentence. And using the orange slider, just darken the skin. Apps to round about the and then of course wants to do that. I need to come over here. Okay, PBO eight, and then just update the current sentence. And then finally we got the TMax 3200. So I would then just jump between all those Snapshots and land on one that I prefer above the others. This case, I think I like the AR O3. So that would be the one I would go with. The great thing is in that snapshot folder now are all the other versions. And I can jump to that whenever I want. But as I say, I think this was the one I would probably go for in this case. Have FUN with Presets and Snapshots. Honestly, you'll find that Snapshots comes in really handy because let's face it, there is an infinite amount of ways that you can edit your photograph. And quite often you can edit a photograph. Walkaway, go and have a cup of tea, answer a telephone call or whatever, come back to your computer and you don't like what you've done. So that happens quite often, 2 kt, the joy of Edit. And I suppose if it was easy and it was a one, click fixes everything, it wouldn't be as interested in, would it? Like I say, half phone with Presets and Snapshots. And I will see you in the next module. 13. Module 12 Quick Edits in Photoshop: Now although this whole class has covered how to edit in Lightroom, I want to show you how simple it is to jump from Lightroom into Photoshop to create further edits. Now, edits perhaps Lightroom can't handle Removing larger unwanted details from your photograph, for instance. Then once the edit is complete in Photoshop, It's very simple to just simply save it and it will reappear back in Lightroom. Now we're all works very seamlessly. Now, as this is the final module, I would like to ask you to please leave a review. Now I've looked what in the class together and I really hope that you've enjoyed watching it. And your review really will help others have the confidence to take the class. So many thanks in advance. Okay, back to the final module. And let's take a look how and why we jump from Lightroom to Photoshop. So in an earlier module, I use masks to create this finished result. I did show you that the photograph originally started its life looking like this. We have random people in the shot and we have some serious amount of distraction go on, on, on the floor. And it does take away from the overall look at the photograph. So I'm going to remove those unwanted items in Photoshop. And it's very simple as not to be worried about. Really easy. When all I'm gonna do is right-click anywhere in the image. And I'm just going to select Editing. And it's Adobe Photoshop beta. Now, depending on when you're watching this tutorial, it may have found its way into the full blown version of Photoshop. But chances are if you've got Lightroom Classic, then you've got Photoshop Beta as well. So I'm just going to click here and it will launch inside of Photoshop Beta. So here it is then in Photoshop. And I'm just going to zoom in to this area here. On the tool that you're looking for is this one here. It's just called this little fly-out menu. It's called the remove tool. I'm just going to select that. And that's all you really need to know. I need to make the brush bigger. In this case. I'm just going to use the square bracket keys to do that. So, so far all you need to know was the name of the tool, which was the remove tool, and the square bracket keys to make the brush size bigger. That's all you need. Because now I'm going to paint over this area and you'll see it magically disappear. So let's start there. And it will analyze the photograph and AI will determine what to replace that. Well, as the site, I didn't even finish the sentence and it had done it. So let's come down here and see what it tells with that path as well. It's brilliant, isn't it? And it's left the shadow in of the tire, which I think is amazing. This white area here is a little bit distracting, isn't it? So I'm going to try and remove that as well. Now it's made a little error there. So I'm just going to undo that Command or Control Z because I needed to be a little bit more accurate with how I paint in. I'm just gonna be a bit more controlled about where I'm painting. Sometimes you can get away with being a bit rough, but I think in this case it needed to be a little bit more precise. Now I can make the brush size smaller again. Wanted to be super accurate. I should zoom in really, but just for speed, I'm just going to do that. Let's see what it does now. That's better, isn't it? So if you take your time and kinda zoom in and stuff, you'll get a better result. But I'm also conscious that I want to show you things quickly and not spend too long. But you get the general idea, don't you? You can just get rid of stuff dead easy. Let loyal patches. They are simple to get rid of. I would basically work my way around the photograph and just get rid of everything that I think is distract them to the eye. You'd be amazed that just getting rid of tiny little marks on the pavements like like in this particular photograph. The difference that makes okay, so I'm not gonna do it all. You get the general idea. It's so easy. And as I say, if you're accurate enough, it will affect the actual subject. As you could see, the piece of rubbish needs to go, doesn't it? Lit up. You can do as much or as little as you like. Maybe. I might want to get rid of that, for instance. I just think it's amazing the way it does it. Now let's get rid of this. Person is wandering past and I'm just going to paint, they're not stacked gone. And as I said earlier, that if you are super accurate with him, the way you paint on, you're gonna get better results. And I'm being really quick here. Just so you get a general idea. Sometimes when you're eye isn't being taken over. So this area, you won't really notice that it's gone a bit more sheep, it isn't too bad. Actually, I don't mind that at all. And if I was being really picky, I could write them to switch the zoom tool. And that's just the letters add. If you press the letters add, then I'm going to pick the tool backup, the remove tool, and a square bracket keys to make that a bit smaller. I could paint over here. I don't know what type of job it's going to make it there. I don't even really think it needed hippo in the spirit of showing you what you can achieve. I'm just going to try and it might make a bit of a messy, I don't know. Let's see what it does. And it's pretty good, isn't it? So I could carry on remove and all the things from the shot that I think need to be taken out. But once I'm happy, all I need to do is just come up here onto this bar here and just close the photograph down. Click on this little checkbox and then says, Do you want to save? And I'm going to say, yes, please save the shot. And it's gonna go right back into Lightroom. So if I open Lightroom or it's already there waiting for me. So Let's take a look. That's the way it looked previously, about 5 min ago. And that's the way it looks now. All very simple. And I'm sure you can do that and it's well-worth doing. So let's take a look at another photograph then. I'll love this photograph. I love the way the lady is looking directly to the camera and a partner is looking the opposite direction. And the both sorts of God, the faces copped in the hands. Obviously, I don't argument or something. I don't know, but I'd really like it. Now I took this through the shop window. So wouldn't it be nice if it didn't have this Lateran on the photograph, which is the name of the shop. So of course, using Photoshop, we can get rid of that. So I'm going to right-click and just select Edits in Photoshop beta. And it will open up in Photoshop. Here is how am I going to get rid of that? While exactly the same way that got rid of all the letter and things and the watermark in the previous scooter photograph. I'm just going to select this tool up here. It's the remove tool, if you remember. And I'm going to zoom in, I want to press the letter Zed because that will allow me to be able to zoom in, click and drag and the space bar. But like you can in Lightroom, press the spacebar and you can just move with the little hand tool. So reselect this little remove tool and let's see what it does then. I'm going to just make the brush a bit bigger using the square bracket keys. And I'm just going to do it a letter at a time. So I'm going to just drag across the letter T and let's see where it does. Has a little think about it, analyze it and it's gone. Let's try the E. See what it does. Okay. Now I'm gonna do the rest of the lessor's and I'll speed this little part of that's pretty amazing, isn't it? When I often feel like a magician when I do that? Because I can't believe how it can do that. It's amazing, isn't it? And then like we did before, I'm just going to click on the little checkbox, appear in the corner and select Save. And that's gonna go right back into light room. And there is already waiting for me in Lightroom. So if we look at the previous version then had the Lateran, that Latin is rarely distracting, isn't it? As I say, just by taking it across and using the remove tool, it's gone. How simple as that and so worth doing, isn't it? So don't be afraid of Photoshop. And as I say, you can rewind this video, can you as many times you want and just see how easy it is to do basically. Okay, I think that's enough. Photoshop for this whole class. Photoshop is a huge program. But if you just use it, as I say, just to remove unwanted things in your photograph can tell a much better story.