The Ultimate Photography Course in Post-Processing & Editing

1. Intro Video - The Ultimate Photography Course in Post-Processing & Editing: Hi there. Welcome to the ultimate prosper, acing and editing course for beginners. My name is Ellis Fast, and I am a professional travel and adventure for Darfur, and I hope that you already to take your photos from this to this after my first successful course, the ultimate photography course for beginners, where recovered all the theoretical and technical aspects off photography. I am super excited to invite you on a brand new adventure where we will explore the other half off the whole that makes up with our fee, plus processing and editing. This course is designed beach and show you all of fundamental techniques and tools off Light Room and Photoshopped. Now I've divided discourse with three sections. The 1st 1 will explain how lights and works. The second month will explain how Photoshopped works and all of different techniques and tools that we will need. And in the third section that's where the actual bus processing and editing will come to happen and where we will go over various different photos, all from start to finish, applying all those different techniques and tools that we have learned in those previous lessons with every photo that we will come to edit in the third section. We will come to learn a whole variety of new skills and techniques that all together will come to make your okay looking photos into stunning and dramatic looking photographs that will take yours and everyone's breath away. Now I hope to see you soon as I, for one, can't wait to be your feature and to show you exactly what's in store for you. There's a lot of fun to be had in taking this course, so hop on boards and I'll see you soon. 2. WATCH THIS FIRST - How the Course Works: hi and welcome to the ultimate Prospero's ing and anything course for beginners. Super excited that you decided to embark. You're with me on this adventure, and I can't wait to show you all of the cool things that are waiting ahead of us. Before we do the into all of that, I just want to dimension a few small things about discourse to ensure that you will have the best experience. First of all, let me start off by saying that if throughout the course something is not 100% clear to you , or if you come to stumble upon any more questions on anything or bust crossing after the course, don't be afraid to ask me a question creating this course. I'm trying to do more than just these videos alone. I'm trying to be here for you as a teacher, so don't be shy. If you have any questions on editing or bus processing police, go ahead and as them, it might take me a day or two to come back at you, but I will assure you I will come to answer your questions. Secondly, if you don't already know how to operate your camera, correctly. If you don't know how to work with Aiso, temperature, shutter speed and all the other technical and theoretical aspects off your camera, I would highly recommend you to check out my other course. The ultimate photography courses for beginners or mere lifts cameras such as effort, your shutter speeds and so. But we will also cover various composition techniques, process of workflow and even touch upon the basics for bus processing and making. It has received a lot of great refuse. It's a very fun and engaging course, and it doesn't take like 10 hours long to to finish it. It goes down into the true essentials off all of theoretical and technical aspects that you need to know now. The reason why that I am mentioning this here in this scores is because boat editing, a bus, processing and knowing how to correctly operate your camera. Both of them go together. Both of them are needed to take good photos. The 1st 1 say it serves into knowing how to take a good photo on the spot, and the 2nd 1 this course serves into knowing how to edit your photos to make them afterwards look incredible boat. This courses boat, this one and the ultimate photography course for beginners served as a very strong based ground into photography. So if you don't already know all those theoretical and technical aspects, I highly recommend you to check and learn that first, unless, but not least now, I have already mentioned this in the intro video. But if for some reason you didn't watch it, let me just mention here one more time. I have divided the scores into tree sections. The first section we will come to see how life works the second section. We will come to see how 40 ship works and all the tools and techniques that we will need. And in the third section, that's where the actual anything and prosper acing will come to happen and where we'll go over various different photos, all from start to finish, applying all those different that needs and tools that we have learned in the other lessons and each voter that we will come to edit. We will also come to learn ah whole range of different techniques and tools. Now, if you already know how to work with lights room and for the shop you can effect jump straight through the third section. I could, however, still recommend you to check out the 1st 2 sections because you never know there might be still some some tricks and tips or tools and techniques that you don't know yet will benefit a lot in knowing. So it's entirely, however, up to you, I've created these scores in such a way that the freedom is completely yours Now for everyone who is very new to light from and photo shop. Be sure to check out the 1st 2 sections, of course, because they will explain very well how light room a photo shop work and will give you a good base grounds how to work with those two programs. Now I think I've done all my talking, at least so far. Thanks again for for taking the scores. I appreciate it a lots, and I'm very humbled that I can I can have you as a student, and I can share some off the knowledge that I have about photography. You I'm sure we'll both come to have some great funnier in this course, and without any further ado, let's get started 3. Section 1 - Histogram, The Quick Develop Mode, Keywording, Keyword List: So here we are in the first lesson and in Lightroom. And I'm going to explain to you all this steps here and what each one of them does. In the histogram, we can kind of see what's going on in the photo here. It's like a very quick and easy way and a more in detail way of seeing the things that are going on here in the photo. What I mean with that is if all these stones or more to the right side, we will have a more overexposed photo. If all the tourists would go more to the left side, we will have an underexposed photo. Here in this photo right now, you can see there are a lot more tones here, like there's one big peak here. And this is probably coming from the clouds here. We have a lot more information, go into the whites and highlights and in a bright areas in this photo, a lot also of tones in the mid tones. So let me just quickly show you how those stones will look like. If we would have an under exposed and an overexposed photo. If I would slide this here all the way to the left, you can see the don'ts are all moving to the left side because we're putting a lot more information into the darks. And you can see our photo is becoming darker. If we would slide is photo all the way to the right side now, you can see our photos becoming brighter and the tones are also going here to the right side. Histogram is a very helpful tool of showing you what's going on in your photo. Now in this histogram tab, we also have the rest of the information what happened in our photo. We have the ISO that we shut this photo with. The vocal lengths, the aperture, and the shutter speed. Handy information all your stored in the histogram. The quick develop mode is basically the develop module here, but just a quick version of it. You can increase the exposure like in a quick way to do it. Or you can add some clarity or vibrance cannot. You can explore a bit through it, but there's not much used to meet in using the quick development. Basically keyword, we can give keywords to our photos. Lightroom actually comes with already some presets with some keywords in it. So right now I have outdoor photography selected and we can see some outdoor photography keywords, landscape, spring, fall, macro, summer or winter. We can also have wedding, bright wedding party. I can set landscape to this photo because it is landscape. Flowers and plants. I could add actually two. But of course we can enter our own keywords in it. So I can put e.g. red because I'm wearing a red t-shirt over there. Now, if you go here to keyword lists, we can see first of all, the keywords that we've used on this photo here. And then here you can see all the photos that we have with that keyword on. I could click here or landscape. And if we click on the arrow here, and then we go here down to the grid view. Each photo that you select, the landscape keyword will then show up. Here. It's a way of filtering out certain photos. I guess if you are working with a lot of models, it can be helpful in giving each photo the keyword with that model or something. I don't find any real or not too much used to it For me at least because it's just like an extra thing that I have to do for me too much work and it's not really helpful in any way for me to finding my photos back. Again, I use different ways in locating and finding the photos that are ones. And I will explain this later in some other lessons how I do it and it's a much faster and quicker way for me. But again, this can definitely be something very helpful for some people. So explore a bit with it and see if it is helpful for you. Now that we're here in the grid view, let me just click on none. Having all these photos, we have some other ways of filtering out. Our photo is effect. 4. Section 1 - The Library Filter Tool and More About Metadata: Having all these photos, we have some other ways of filtering out. Our photo is in fact on top here. Right now we have none. But if we would go to metadata, you go down here, you can select a preset of filter, preset of how you want the fielder, your photos. So if we go to camera Info, right on top here, camera, we can go and filter each camera model. So I could click on an icon. And all the photos that I took with my neck and D 810 are showing here right now. And also we can go into lens, which lens we used. We can filter out all the photos that we took with that lens, the focal length, and the flesh state. Now, the cool thing is that we can customize this. Let's go to lens. And if I would go, let's say on the field with aperture and ISO here, and shutter speeds there. I can customize these steps. And if I want, I can click here on no filter. And I can save this as a preset. So I can save current. Yellow is files filter. Click on Create. And each time again, if we want to use that filter preset, which is go down here and click on that one, and this one will show up once again. So now we can filter out each photo that I took with f 1.8. Or I could filter out with a certain ISO that at Zurich or with a shutter speed. It's a pretty in-depth way of filtering out specific photos that you're looking for. Also, you can go to attributes to filter all photos with one rate starting that you gave, or with five rate starting on the color that you gave them. The color label, a red one, or let's say you want to look for green one. And also on the flags that you selected, a flag on them or the rejection flag. So that's also a way of going at filtering out some photos. And then also you can go to text. And you can just go here and type in landscape. And then those photos with all with landscape key wording will show up. But basically you could just go and click on here, which is an easier way. Actually, Let's go further on here with the next step, the metadata. The metadata is information that is stored within the file itself. So if I would go and right-click on this and go to Properties and then to details which is the inflammation of this photo. What's showing here is exactly what it's showing here too. This is the information that is stored within the file, within the photo itself. Now, the thing is, you can actually store your copyrights into your photo, into the file itself. The reason why that's a very good thing to do is because when you're sharing your photos on the internet and someone is downloading it and using it for himself without you actually wanting that person use it. Your copyrights are within the file, they're stored within the file. So you can claim that that photo is yours. And this is a very important thing to do. So let me show how you can do that. So you have to go here to presets. I already have made one copyright jellies files. And you can see here, all of this here is fill in because of that. But let's go down to edit Presets and scroll down to EPT, see copyrights. Now, I would suggest you to pause this video and write those things over the following things that I'm going to mention now. So right over copyrights and then the copyright symbol, your name. Obviously, all rights reserved. Also be sure to have this box checked on copyright status. Copyrighted Rights uses, usage terms, all rights reserved, no reproduction without prior permission. Copyright info, URL. If you have a website, you can write it there. If you don't, don't worry about it. Go down to the next one. Ept see creator, creator. Yellow is fast your name. And then create an e-mail. You can enter your e-mail their career website. Again, if you have a website, you can put it there and then go down to the last one here that we need to fill in EP DC status credit line, and just filling your name again. And if you have a company or your website, you can also fill it next to it and then source, once again, your name. So those three, EBD see copyright, EPT see creator. And EB disease status. Those three boxes fill them in with this information. So once that's done, you go to preset here. You click on it, click on Save Current Settings as new preset. In here. Name your preset as jellies, us. Copy rights. And let me just put two because I've done this already. And click on Create Preset, showing on top here and click on Done. Now, when we click on the preset here, this will load all into that file now, all into this photo. Right now, it's only this photo that has this metadata. So what we need to do is we need to select that photo, select that photo, and we need to synchronize that metadata with all the other photos in Lightroom catalog. Go on Shift and click on less photo so that you have all the photos selected that you want to synchronize the metadata. Now, go down here on sync metadata. Click on it. We will now this preset, we, from that photo that we have selected, we can now synchronize all of this by clicking on synchronous. And all of your photos will have this metadata. Now. Now there's one last thing, because each time that you will import new photos into Lightroom, they will not yet have that metadata. We can tell Lightroom to load this metadata preset each time when we are importing a photo. And the way to do that is to go down here to imports, click on it and go to apply during imports. Go down here. And by Metadata, select BLS far as copyrights, select that. And when we will come to import now, furrows, each photo that we import, that one will be applied. Now one more thing, because when we will be done, this will be done again, like we will have to select that again. What we can do is we can make a preset of this settings, all of those settings here. So we can make a preset, having that setting check done by going down here to Import Presets. And we click on None, and we click on Save current settings as new preset. So click on their religion was presets example. Click on Create. And you can see now import preset nearly as fast preset example. If you are doing this right now, while not importing any photos, you should import just one photo because if I will click on Cancel now, not having important any photos, lightroom will not remember it is, it's only when you will apply just one steady. We'll keep this preset. So if I will go and click on Cancel now, and I will go back to import. The input preset is not there anymore. Select it again, really fast preset example and just import. I don't know any, any photo, just a random photo. Let me just click here imports. Let it just important for a moment. And if I will go back now to import, you can see import preset. The preset stays now. 5. Section 1 - Sync Settings, Catalog, Folders, Collections, Publishing Services: First of all, the sync metadata, we already covered that. But the sync settings, it's a very, very useful button in Lightroom, and it works just the same as sync metadata only we're not sinking the metadata, but we're sinking the settings from the develop mode on the different changes that we made into a photo. I made some adjustments to this photo, right? Let's go back to the library mode. And let's say that I want to sync those exact same settings to another photo. Instead of having to go into that photo and trying to put those settings that way. Again, an easier way is by synchronizing those settings from that photo to this one. So you just select the photo that you want to sync those settings from. And then hit Control or Command and select the photo that you want to sing those settings tool. And then go down here to sync settings. And in this step, we can affect even choose what we want the synchronous over. So if you only want to sing the white balance or to color balance those changes that you made in color. You can check none off. Process version. This always has to be checked on. But you can go into color and you can sync, synchronize only the colors alone if you have made some adjustments on this photo as well. But you don't add on that one too. But you don't want to synchronize everything, but just the chorus alone. You can, you can do that, and that's with everything. But in this case, we can just check on, if we click on sync, you can see those exact same settings that we had that we made in that photo are now synchronized to this photo. Now, where this gets really handy or helpful is if we have more than just one photo that we want to sync the same setting stool. We can just make those settings and adjustments on just one photo lawn. And now we can go ahead with Shift. Click all the photo, all the photos where we want those settings synchronous too. And then just click on sync settings and then synchronize. Alright, so let's go over now to the left side and let's see what those steps over here do. This shows the current catalog that you're using and those photos in that catalog. And I'm going to talk a lot more about what exactly a catalog is later on. But for now, you just need to know that in this step, you can see your catalog that you're using and the photos in that catalog. In this Deb here, you can actually see the folders that you using in your catalog and where they are stored. So this is actually the folders where your original photos are stored and they are here on my hard drive. But if you have an external hard drive, you will be showing an external hard drive. And the places where these photos over here are stored. And if you actually want to see where exactly they are, you can just click on them. You can go right-click and then go to show in Explorer. This will show you where that map is stored on your hard drive or on your external hard drive. And you can do that also with a photo. You can just right click on the photo and go to show in Explorer. And it will show you the original place where that photo is stored. Now, let's say that accidentally you move that photo somewhere else away from the original place. Lightroom will show now an attention mark because it doesn't know where that photo is anymore. Now there are two ways of fixing this. And the first one is just by placing that photo back to its original place. You see the detention Margo's way or the other way of fixing that? Because sometimes it is your attention to actually move your photo to another location. And if that's the case, then you just need to update. You need to let Lightroom knows where that photo is now. So you just click on the attention Mark, you click or locate. And then you go to where you have placed that photo and you just click on Select. So you let Lightroom know where that photo is now n, that's the same. If you have a folder, Let's take this folder here showing Explorer. And if it is somewhere difference, Let's see this one. You fix it just the way as you do with the photos. You will now see that Lightroom. You will give this question mark because it doesn't know where that folder is. So again, you can just right-click on the folder, click on Find, missing folder. And then you go to where you have placed that folder and then select fuller or else you just replace that followed back to its original place. And all is fixed again. In the collections. You can actually, you can create collection sets. So e.g. if you would like to create a collection of all your landscape photos, another collection of all your portrait photos and articulation of volume wildlife photos. You can create that in here. Let's say that you want to create a collection, a landscape glacial. Then you click on the plus side, the plus sign, you click on Create Collection and you give the collection the name. Landscape will have this unchecked. You just want to have a collection on its own. And then click on Create. And now we have here an empty collection. And if we go to our folders, to our photos, let's just select the few landscapes. That's Alinsky. I'm going to do that one. So let's just select them and let's drag them to the collection folder. And when we go in this year now, you can see we have a collation of our landscapes. We can create Galatians in anything like in portraits, wildlife, like I said, you can create as many connections as you want. Another type of collections that you can make, E, smart collections. And these are different types of collections. If you click on the plus sign and create smart collection, what a smart collection is, it's basically you can give it rules. So let's say you want, well, let's leave. Rating is five stars. So when I would create this rating is five-stars, would, if I would create this collection now, every photo to my catalog that I've raised it with five stars will come to appear in that collection. Now we can make more rules by just clicking on the plus sign here. And let's say label color is green. So now I've added another rule on that collection set. So every photo, they're in my catalog that high afraid it would five-stars and if labeled with a green color, will now appear in that collection set. And you can keep making all these rules here and you can make some kind of a smart collection that could be useful. In here, you can connect Lightroom to a few services as Adobe Stock, Facebook, Flickr. You can basically, if you connect your Facebook with Lightroom, that you can just take this photo and you can drag it. And it will boost step further than on your timeline on Facebook. 6. Section 1 - Learn How to Import and Export your Photos, Keywording, Keyword List: The last two buttons over here, the Import button, if you want to import photos in Lightroom, first of all, connect your camera or your SD reader to Lightroom and then click on imports. And it's going to show now those photos from your SD cards, obviously. And here you're going to import those photos from your SD card into your Lightroom catalog. So I'm moving this from my SD reader or the SD cards, copying it to there. So I'm copying those files on my hard drive. Now, you don't have to do actually much. Normally Egypt after I think this is already checked on for everyone. But if it's not, I would have that once you import it and the import is done, Lightroom will automatically check your SD reader or your camera, so it's already safe to just remove it again. Just click on imports. That's it. Now Lightroom is just importing those photos. Now, the Export button, Let's say that we want to export this photo over here. So click on Export and you will have all these settings here. First of all, you can click on export to, and then you can choose where you want the export the file to. I would just have it on your desktop. And you can also choose, once it's exported, that it should place it in a folder or not. The file setting. Basically, if you want to have the highest amount of quality than you slide it through 100% quality, be sure to have the color space to sRGB and the image format on JPEG output sharpening, you could apply in general, if you are exporting it with the highest quality is, then this shouldn't be needed when I'm using the output sharpening, however, is when I'm trying to resize it and I'm needing to put the quality bid down. Then the output sharpening. We'll just add a little bit of extra sharpness to the photo because I'm trying to decrease it in other ways to get a smaller file size, bleak on exports. And your photo will go into the sub folder that you created. Or it will just get them to show on your desktop or wherever you choose that you want it to have it. One more thing, when you are exporting, you can in fact create presets IF year three User Presets. One is the high-quality JPEG, and the other one is with a watermark, also the high-quality JPEG. And then one is for WordPress where I'm, where I'm trying to decrease some of the file size to put it on my website to create a preset out of some setting, you make some adjustments and you click on Add, name, your presets. And you can choose in which Fuller I would just put in User Presets and create a. You can see now you have a preset. So each time you don't have to go through all those settings again, you can just click straightaway on that preset. Alright, we have just seen all of the steps in the library modes. Let's go over now to the develop modes. 7. Section 1 – Spot Removal, Graduated Filter, Radial Filter, Adjustment Brush: What we can do different here now in the histogram is we can show where the shadows are clipping or where the highlights are clipping. So if we will click on here, now in the shadows, There's nothing really clipping. But if we click on the highlights, you can see my highlights are clipping here in the clouds. Now, what that means is this information here is lost. If we would increase the blacks by turning to the left here you can see the blue here. This is all lost information in the shadow details now. So it's important to not have too much go into there because then we're gonna just losing retrieving information away. So let's reset that again. You can turn this off by just clicking on those arrows again. Next thing is we have some very, very handy tools in Lightroom here. And the first one is the crop tool. Drag from adopt. And you can crop the photo that you want. And if that's what you want to crop out, you just click on Done. If you want to reset all of this again, you just click on the Reset here, the straighten tool where you can draw a line to straighten your horizon. So you're going to have to make a straight line and then let go of it and then it will crop through there. The strain your horizon mostly when I want to straighten my horizon, I just click here on the top and you see all of those extra lines running through it. I just tried to like line one of those lines. And I tried to just look at the photo to just strain it through my eyes and by lining it up with one of those lines in here. You have the clone, any heal, heal, brush. It's more like a smarter tool than the clone brush with the clone brush, if you click, Lightroom will just clone something exactly from that photo or from this, the outer circle, that's where it took it from. It will just clone exactly that on there. Not do anything with the heel brush, will also cologne something, but it will try to blended better in. So right now, we would not see any kind of hard edge here. This seems like a lot better. So I can definitely recommend to use the heel brush instead of the Clone one. So the next thing that we have here is the red eye correction. Now, if you have any red eyes in a portrait that you shot, have the red dial into the eyes and you just click on it. And Lightroom will correct that this can be used both for humans and pets. Even. The next tool that we have is the graduated filter. And this tool at an extra tools are some pretty powerful tools in Lightroom. Now, the way to use this is we just click and drag down to create a graduated filter. Now, we can go in here and make some adjustments to this area alone. So let's say that we would like to bring the exposure down. We just bring the exposure down. And you can see we're only affecting that area alone. If you want to have a better perspective of which area exactly you're affecting, you just click down here on show selected mask overlay. And as you can see everywhere where there's red, that's where we are affecting the adjustment. Also, if you drag this one up, if you drag it more to dislike and closer, you're making the farrowing stronger. But if you're pulling it out, you're making the transaction a lot more softer and a very cool thing that we can do is e.g. you would say, you didn't want to have the tree effective, but you didn't want to have the sky affected. You can go down here to brush. And you can have a brush. And if you click on Alt, because right now there's a plus sign. We can even add some more of that effect if you want here. But if, let's say that you didn't want to have that effect on tree. You can click on Alt and you can paint that away on this area. So it's just now blight on here. But you can weigh areas where you didn't want it by hitting on the brush. The radial filter is very similar to the graduated filter. Only here you are creating a circle or. Oval. So we can drag and drop this anywhere we want. If we would increase the exposure or decrease it, you can see everything outside of the circle is now, has been decreased with exposure. We can also invert that if you want to have the effects inside of the circle, you click on Invert Mask. And now that effect is applied inside the mask. So if we want to have it outside, we just leave it unchecked. If you want to insert click on Invert Mask, exact same as the graduated filter. We can also take the brush here, and we could either add some more where it didn't affect it or we can remove some of those areas where we did not in fact wanted to have the effect on. The next tool is the brush tool. And with the brush tool, you can make individually, make adjustments on one spot or one object alone. So let's say that we just want to bring the exposure up in this tree here. We just put this control point down. We increase the exposure and we start painting here. And we are only affecting that where we are bending. You are kinda, kinda feels like you're some kind of a bean done when you're doing this, it's pretty cool. And also you can go down here to show selected mask overlay to see where exactly you are applying or where you are painting. A cool thing here is the auto mask. So let's remove this control point by hitting delete. If we click on auto mask, Lightroom will separate contrast and we'll be aware of the contrast difference. So if I would start painting now, I will not be too much outside of the lines. Now. I can go like very fast and not too much outside because Lightroom is being aware of the contrast difference. So let me explain here this settings of the brush, the size, well, that's the size of the brush that you can either increase by dragging the slider here or by just hitting the control, your scroll wheel, but just scrolling up and down the feathering. So to explain this, let me just put the exposure all the way up and let's put the feathering to then present. The feathering is the hardness of your brush. You can see this dot here is becoming, it's just one circle alone. Now, if we put the feathering up, there's this other circle appearing and we can just brush a lot more softer with it. The edges are much softer with the feathering more higher. So I always got to leave this to 60%. So the flow is actually the amount that you're letting out when you're painting. Because right now I am, I am painting with 14% of the flow. And each time that I go over it, it will get more and more and more until it actually hits 100%. But it's starting from 14. So if I would go out to 100%, I will let out 100%. Mostly I also keep the flow sort of low to kinda build up the effects and the density. That's actually how much you can set limits on how much you want to paint with the flow. Now, I can go to 100% with it. If I would set the density to 50, I can only go to 50 per cent. I can go to 100 per cent with it. At some point it will just stop. But I've put it to 100%. I could just keep going until I hit 100 per cent. 8. Section 1 – The Basic Panel, Tone Curves, the Powerful HSL Panel, and Split Toning: Alright, let's go over here to the basic panel. And the first slider here is to affect the temperature. So if we increase it, we increase worms. If we decrease it, we make our photo look more bluer or cooler. And the outer slider is to effect the things within our photo. The next slide is that we have here is the exposure one, and we've seen this a few times now already. But this is like the general brighteners that you affect in your photo. So if we go down, we effects, well, we make it generally all of it darker. If we go up, we make it brighter all of it. And by the way, if you want to put this back to zero, instead of dragging it to zero, you can just double click on it and it will reset on its own gun trust. You can say that your enchanting the darks and lights with guns rest where you're increasing it. And this can definitely help to make your photo more out. Don't overdo it. You might have been in. Don't make your photo look that much better when it. Just use it like a little bit to make your photo, maybe a little bit pop-out many photos. It's actually also very nice to decrease the contrast. Now, it's definitely not in this photo, but in some other photos that we're going to edit, I actually decrease the contrast in many photos that I added because it gives you a scan and more film is look to your photo, the highlights, that's where we decrease or increase the highlights, the shadows. That's for the shadows decrease, increase the whites. That's where we increase the whites or decrease the whites. And the Blake's, that's where we increase or decrease the Blake's clarity. It's similar to contrast, but like a smarter contrast, clarity only affects the midtones. It might seem when you add clarity that you're sharpening your photo, but technically you're not. You're just increasing the mid tones. A little bit of clarity can also give like an extra punch in your photo. The next two sliders, most people don't actually know the difference between them, the vibrance and saturation. So if I will put the vibrance all the way to 100%, let me put it back and let, let me put the saturation all the way to 100%. For many people, it's like, alright, both of them seem to do the same. They're both just increasing dollars saturation. It just increases every color. Vibrance is like a smart tool. Fibers will just affect the colors. We're just not that much color in it. So it's like a smart tool or even putting more color into areas where there's not enough or whether it's scholar lacking. So let's go over here to the tone curves. Don't curves you can use to fine tune more your settings that you did in the basic adjustments here with the highlights, the shadows, the whites and blacks. It's more like a fine-tuned way because you have more control actually in the tone curves, you can, first of all, adjust them just by clicking in them or you can go in here. This is basically just the same. It just kinda depends what you like more. And also, you can adjust the tone curves by dragging this control point into a photo. So you can take this and you can put it in here and you can drag and drop any will affect what it's reading in there. But where this gets more powerful is when we go down to here, where we can actually edit the bond curves themselves. So now we can make some curves, some points in it. And we can really going to bend this in any kind of way that we want. We can add as many those points as we want. If you want to delete those points, just right-click on it and delete control points. Or you can also right-click on it and you can click on flattened curve and then it will just flatten everything. You can also edit or affect different channels. Now it's affecting RGB, which is red, green, and blue. So it's affecting all of them at once. But you can just affect read. And if you drag down now, if you go down, you're affecting the reds and you can kinda effect in very specific areas. You can do that also with green, blue. So let's go on here to this panel here. First of all, you can see HSL dollar b in white, which is black and white. H and L stands for hue, saturation and luminance. Now, this step and this step are exactly the same. The layout is just different, but they do exactly the same. Mostly I use this layout for me. I find it a lot more of a better overview, but just know that those two tabs do exactly the same. Now, first of all, with you, we can change the colors of the yellow. The situation that's where we increase the color and luminance. That's the brightness of the color that we can increase or decrease. One extra thing that the age as l tab here has than the color dozens is we have this also control points and you can also anywhere where you can put it, it will affect that color. So you can see now we're affecting the blue. If I would go down here than we are affecting more yellow on here should be more like the greens. And we can see the slider. It's sliding there. I always use the color layout here. I individually go over each color and see what they all do and then see which one I like in the photo. And also here in the black and whites were still affecting in some way the colors. But we're just doing it in black and white now. That's the HSL panel here. Split toning is probably one of the most ignored panels in Lightroom, although it's a very powerful one because we can separately give a call to our highlights and to our shadows, and we can dramatically impact the mood in our photos through split toning. Now, the way this works is when we click on here. And right now we are affecting the highlights. We're giving a color to the highlights. And let's say that we want to make, we want to make it a little bit warmer as something we can or we can go and make it cooler. But we're putting a color into the highlights now. And using this slider over here, you can either decrease or increase the strength that we are applying into the color. This step here. And this panel is exactly like the color and the HSL. They both do the same, but they're just, you can choose what you prefer more. These, but they just do it the same as, so you can choose a color more here and then put the saturation maybe a little bit less. And then here in the shadows, we can affect just the shadows alone. The balance one is Scanner do. Here you can see to balance things more out. So it's kinda like fine tuning those scholars a little bit. Let's put it like something like that. But let's reset this again. Let's go on to the Detail panel here. 9. Section 1 – Detail, Lens Corrections, Transform, Effects, Camera Calibration: In the Detail panel, that's where you put more details through your photo and more sharpening. Now, let me first of all tell you that if you have a photo that is not in focus or not sharp, the detail panel will not make your photo. All of us are magically sharp again, you have to be sure that you've taken your photo already in-focus and sharp. The detail panel will just help you increase that sharpness, but it will not make an unfocused photo in focus. Again, that's something that you can fix. So we get in here in the detail panel and extra window. Here in this screen, I zoom in somewhere different than here. Here I would go into more of a finer item like me over there. And the amount that's where we can increase our sharpening and how much we want to apply. Now, don't overdo it is because you can see in here those little dots that are appearing, that's noise and we are breaking our photo now. So you should definitely not overdo it at and just like increased a little bit the radius that's kinda like the edges of your photo that you are increasing or decreasing. The details that's D role, the details that you're increasing everything and in a masking, masking illuminance, those two, That's where you can fine-tune things again and bring things back into balance with masking. If you hit Alt and you slide this up everywhere where there's whites, that's where all those settings that we have just made it into. The sharpening, That's where that will be applied on everywhere where it is blank. It will not be applied on there. And generally like we don't want any sharpening really in the sky. The sky didn't really have any sharpening applied to it. So we can kinda like fine tune and decide where are we just want to have all of those sharpening applied on. Let's say something like this. Luminance here we can reduce the noise. So let me just put the details and the sharpening. You can definitely see those Scanner little dots of noise in here with the luminance. We are flattening those out, but be aware because using it 100 per cent, we're also trading that for details. So we are in fact losing details in our photos. So never really use this too much. I would only use it maybe maximum two den or something, but I wouldn't go crazy extreme with it because then we're just losing detail. All of the other ones here wouldn't mind too much about them. There are also a way of reducing the noise and fine tuning things, but generally just masking and luminance dose two sliders, we will help you into balancing everything out. And I also have to say that I don't apply any sharpening in Lightroom in Photoshop. And we will come to see these into Photoshop section. Photoshop has a lot better tools of sharpening your photos. And I sharpen my photos in Photoshop because it has better tools and also because I can more individually apply sharpening to certain areas where I want sharpening on. Here. I'm kinda like sharpening generally everything, right with the masking. I of course can kinda shoes more or leave out where I don't want it, but still, I'm still affecting things here that I might not want to effect. If you are just loan editing in Lightroom, then definitely use this. But if you're also going on further in Photoshop, then I would say, don't use the detail too much. Sometimes I use it a little bit too. If there's like a lot of noisy my photo, I would put the luminous just a little bit to smooth that a little bit, but not much. And then I will go into Photoshop afterwards where I would use a better sharpening techniques to sharpen my photo. Alright, so the next step that we have here is the lens corrections. I would always have both remove chromatic aberration and enable profile corrections. Are always have them checked down. In many photos. You, you will see that there's this kind of weird color distortion like happening over here. You can see like there's some purple showing over there, which shouldn't really be there, right? If we click on Remove Chromatic Aberration, Lightroom will go and remove all that. And you can see it's all removed. If I click on that off again, it's back there. If I click on it again, it's all being removed. Definitely be sure to always have that on. Even if you think there's nothing really needed, it doesn't hurt to have it on Enable Profile Corrections. This we'll see it was not like a lot, but you can see here he can correct some distortion that your lens creates. So those two always have them checked on each photo. I fix a problem or make my photo better. Alright, the next panel here is the transform panel, the buttons over here. You can first of all, autocorrect your photo and you can just let Lightroom gonna guess what will be best to level up your photo here. Sometimes level, if you click on it, it will correctly. Level, the vertical will be correct. The vertical perspective and full rule, correct? Both the horizon and the vertical perspective. Alright, So going on next year to the effects in this year, we can create a vignette in our photo. So if we go to the left, we have a dark vignette. If we go to do the right side, that's where we really can make a white vignette. The mid point, that's where you can choose from, from where it starts, roundness. You can kinda create the shape. It, you've got to make it more round like this. And if I increase the feathering here, sorry, decrease it. You can see like this, it's a very route one. I like this is more like a square, going to an oval and then going all the way to run a circle. And the feathering, you're making things more softer this way. This is like just a very hard edge vignette. And here you are making it all softer and softer. With green, we can add green to our photo. If you want to make your photo look a bit more older, size is the size of the grain and the roughness is Ghana, how hard the grain is like right now. Pretty rough. It's very intense. And a model that's just how many grain that you want, the haze. Sometimes when you have a miss the photo, you can, you can actually correct the haze within this. Now, this is not a photo with any missed or something. But if there will be just going like up, you can take that dehaze away. In this step here if you're shooting Rob, I'm sure that when you were reviewing your photo on your LCD screen, it looked a lot more colorful than when you were putting it into Lightroom. Many times it looks like very kind of grayish more. Put that photo in Lightroom. But what actually happens is because when you are taking a photo and you're viewing it on your LCD screen in your camera, your camera will already oblige and boss process that photo, or at least it will post-process a preview of that that you're seeing on your LCD screen. And then when you're importing that photo into light room, it will remove all of those colors and all those adjustments that it meant into that preview. But you can go in here and you can bring back that picture profile by going to profile. And you could choose here between these different profiles, you can choose between Camera Landscape, Camera Neutral, Camera Portrait cameras, standard Camera Vivid. And here he actually bringing back in those profiles what you're seeing in your LCD screen. Now, of course, you can also go in here and minimally make a profile yourself or make some adjustments in their profile that you selected here. I just leave it to the default here. I just leave it to add up standards. And I sometimes use the shadows slider, the shadow slider here that brings some things into my shadows. For many photos, this looks pretty nice. Or sometimes it gets a little extra punch in my blues here and increase the saturation. 10. Section 1 – Presets, Snapshots, History, Collections, Copy and Paste Button: Alright, so let's go over now to the left side here. Presets are basically settings here, and you can save them into a preset. So if I will go and click on here, I'm loading this kind of settings and sometimes I going to scroll through them. Just not really to use them, but more organic to see in which way I could go with my photo. It's kind of like a quick way of just seeing all the possibilities of what you could do or to Ghana looks that you could go for. But of course we can create our own presets. First of all, you need to have some adjustments. So let's, I'm going to make just some crazy adjustment here. Just to show or something like that. If we go and click here on the plus sign preset name, we can add the crazy effects. In fuller. Let's choose User Presets and check all and then Create. And now in user resets, the crazy effects or any kind of reset that you make will appear in here. So if we click on, reset, the reset our photo again, and we click on the crazy effect that will automatically loads if there is some kind of a setting that you've made and that you felt like, wow, that looks pretty good. I would love to Ghana, save that to see how that could look on another photo. Then making a preset from it is a good thing to do. Movie style. Let's go like that. And let's create. And now we have another preset. So we have the crazy effect wherever the movie style. And we can go and apply this now to any kind of photo. Let's just take another one here. And if I would play the movie style or crazy effects, we can use this preset now on every photo. Let's jump now to snap shots. Let's say that you are editing your photo and you like what you did with it, but you still want to explore a little bit further with it, but you're afraid that you won't remember again how that setting, how disliked like you can just go here two snapshots then create a snapshot by clicking on the plus sign and you can give it a name or you can just keep it with the time and the date and click on Create. And now you can go on and edit further on, explore a little bit further into some other settings. And you also liked that one. You can also then again, make a snapshot from this. You can go ahead and kind of compare two, which kind of style you like more. The history. You can see all the adjustments that you made and you can go back in time and undo certain things. It keeps track of everything. The reset button, and you've already seen me use it a few times. There is a button does what it says. It resets everything, all the changes and adjustments that you've made. When you click on reset, it all goes back to the default settings of the photo. Now, if you accidentally pressed on the Reset button and it wasn't actually, you didn't actually want to do that. You can just go back to your history and just go one step back. And everything is all again, the previous button over here. So we've made all these adjustments here, right? We decrease the blacks a little bit, maybe increase the whites. I've done some things with the shadows, highlights the contrast. We've done all these settings here in this photo. If we will go in our library and we will go to another photo, Let's say this one, and we click on previous. What the previous button does is it applies the previous settings that we used in the other photo, we ablate now in this photo. So if I would go and make some adjustments in this photo, and I will go now to another photo. Well, let's say this one. And I will go on previous It's bring the previous settings that I applied for that I used in the previous photo to this one. So that's what those two buttons over here do. The last two buttons here, when I will explain to you what they will do, you will be like, alright, I feel like I've already seen a few functions to do the exact same with Gabby. We can copy all those settings here that we made, and we can copy that and paste that onto another photo. So let's go to this one. And if we click on based, we are basing all those settings onto this photo. The difference between copy and previous because you could say like where all the previous scanner does the same, right? And in a way it definitely does where you're making adjustments to this here. And then you go into another photo and you click on previous, you're just applying the previous settings from that photo onto this one. What you could do We copy that you can do with previous, is you can selectively select what you want the Gabi with previous, you're just applying everything. 11. Section 1 – How to Organize Your Photos Effectively: Workflow of how I organize my photos. If you want to use the same one, then it's very important that you have your camera, that you have the date and time and the year correctly set into your camera. So each time that you're taking a photo, that date, that time in the year will be written in the metadata of your photo. And when you will upload or imported into Lightroom, lightroom will read that and we'll create a map with the year that it reads when that photo was taken. Now let's import the rest of the photos here that I had on my SD cards. Alright, so we have everything here important now all the photos that were on the SD card, and you can see it categorized all of them already by the years that those photos were taken. So first of all, I organize my photos by the year. That's the first step. And then by the country. So in 2013, these photos were taken in Australia. So what I wanna do is I want to create a map in 2013 with Australia. And a way to do this is you can either right-click it, create folder inside 2013, or another way is clicking on the plus sign. And you can click on add sub folder and you can name it then Australia. Australia. And that folder is now, the empty folder is now here into 2013. Now, I will take this folder here, which is the day that those photos were taken. And I will just drag that into the Australia map. And you will get this moving files on disk because we are in fact moving those files on our computer into this map now. And of course I want to do that, so I click on move, and that is now here in Australia. And if we go to the 2013 folder, word stored on our computer, and I will click on that folder. You can see we have also that folder in Australia because the changes that you make here are also the changes that you will make your changing this here. So that's how I order my photos. I have a folder of the year. Then within a year, I have the countries that are within the countries. I just leave the dates. Let me just go over to 2014 year. And those photos were taken in Germany. I just create a folder inside 2014, Germany. And then I just drag and drop that. I click on Move and I put those photos into the Germany folder. Now, I also went in 2013 to New Zealand. I just create a map with New Zealand's. Then I would take the photos that I have. I would just take the dates when those photos were taken and I will just put them into the New Zealand fuller. And that's it. Making things more complicated. It's not always more efficient. So that's why for me, I tried to make it as easy as I can because it's more efficient for me. One less thing that I would say, if we're in a grid view, we can only see the photos now that are just went on a selected map. But we can't have all of them shown all at once. And what I would suggest if you would like to have that, and I definitely like to have like an overview of just all the photos in here. We have to create one lead full or one main folder, and we have to create those folders, make a sub four of them. So the way to do that is let's just go to where our followers are. And let's right-click. And let's create a new folder in there. And let's call it Lightroom photos. Now, let's just unclick that and click here on the plus sign and you click on Add Folder. Now, go to that place where you created that folder, which is in our picture form and Lightroom photo. Select that map, select folder, click on it. And now we'll go now into our Lightroom catalog. Now, let's take all those folders and let's just drag and drop them all into the Lightroom. Photos folder. And lighter will do its thing. And now if we will click on that top folder, all of the photos that we have are now in a grid view visible. And of course we can go in individually if we select the years CDOS, but if you want to go and see all of them at once, we now can do that by creating that one, the main folder, and creating all the years as a sub folder in that folder. So I can highly recommend you to do that because once your library of photos get scan along, it's sometimes just nice to browse through them instead of having to go through all of them. Each one individually. I like doing that lots. And also in the picture folder, it makes things more organized. You can just go here to the lighter photos that all the years or the maps. However, you are categorizing your folders here are all in just one main Fuller. 12. Section 1 – How to Rate & Label Your Photos, and How to Filter Through Them: Let me tell you how I rate my photos and how I select the ones that I want to edit. And also with that, I will show you how I locate my photos, not using the keyword def keyword lists, but the way how I do it, it, Let's go here into the 2013 and into the Australian. So first of all, of course I will go and double-click on the photo and go look to them. And mostly I always tried to. If I have further that I can alike would go and zoom in and see if it's sharp. And then if it is an alike the photo I put the flag speak because I picked that photo as a photo that I actually want to edit. I give it just a star rating, but the star ratings are just more feeling like, alright, I, this photo, I find it kind of like three stars. Like for me this is like a three-star can a photo that I have with this. And then I will go on to the next photo, would go and zoom in and see if it's sharp. And if it is sharp, then I select from alright, I pick it. And then I give it sort of kind of feeling. And then I sit like, alright, I find this is like four stars or something. Mostly I don't go that high, but I would also say like three stars. The next thing that I do, if I have set a flag and I've given it like some rating, I use the red color label for photos that I still have to edit. Now, let's say that we did already edit this photo. I use a green color label for photos that I have already edited. The purple color label. This I use when I have edited photo, but I still want to revision it. I still want to look at it the next day or I still want to leave it like for a couple of days not looking at it, then I give it a purple color. This are the three colors that I use. Now, let's say that I don't like this photo. I give it a rejection flake. Actually, when you press X, that's the shortcuts for rejection leg. And if you press on the B button, that's the shortcut for the white flight here. So I would press on the X and set that as a rejection. And if you go out here, you can see that Lightroom made that photo a little bit dim. And that's very helpful, honestly, because you can select are the ones that you don't like. It makes things more clearance as an overview. The way how I would filter my photos is very easy. By going to the attribute in the library filter, I will go to the attributes. And let's say that I want to filter out and I want to know all the photos that I still want to edit. I just go here to the color. I click on the red color and I can straightaway see like, alright, I still want to edit those photos. If I'm looking for all my finished photos, Our just unclick that and I will click on the green label and just have one finished photo here. And I would see all the finished photos that I have. Now at the moment there's, of course there's one. But once your library starts building up with a lot of photos, it's very quick and easy overview of all the photos that you've finished. And then of course, if I click on the purple one, I can see all the photos that I still had to revision. Again, I've just shared here to you how I categorize my photos and organize them and how I filter my photos. Now, this is honestly very personal for the worst workflow and work style, how I work, it might not be for the type of photography that you do, that this could be efficient. You can have just now a good understanding of the possibilities of how you could create your own workflow, and how you can create your own structure, and how you can filter out your own photos. You've seen all the options, and now it's just about picking one and not making it too complex and using all of them. Oh yeah, one thing, of course, the flex with the rejection flake and those are actually photos that I want to delete off my hard drive. So afterwards, when I'm done through everything, I just go and select those photos. And I will just click on bleeds. And Lightroom will either ask me to remove it from the catalog, but then a photos will still be on your hard drive or to delete them from disk and deleting them from the disk is while removing them from your computer. And obviously, that's what I want. Those photos with rejection flag or photos that I don't want anymore. So I just click on Delete from disk. Now, be very sure. I mean, you can still dig them out of your bin. But once you click on this, those photos will go and be thrown off your hard drive. So I just want to click on that. So be sure that you want to delete them actually. 13. Section 1 – In-Depth Explanation of the Catalog and the Various Options: In the Detail panel, that's where you put more details through your photo and more sharpening. Now, let me first of all tell you that if you have a photo that is not in focus or not sharp, the detail panel will not make your photo. All of us are magically sharp again, you have to be sure that you've taken your photo already in-focus and sharp. The detail panel will just help you increase that sharpness, but it will not make an unfocused photo in focus. Again, that's something that you can fix. So we get in here in the detail panel and extra window. Here in this screen, I zoom in somewhere different than here. Here I would go into more of a finer item like me over there. And the amount that's where we can increase our sharpening and how much we want to apply. Now, don't overdo it is because you can see in here those little dots that are appearing, that's noise and we are breaking our photo now. So you should definitely not overdo it at and just like increased a little bit the radius that's kinda like the edges of your photo that you are increasing or decreasing. The details that's D role, the details that you're increasing everything and in a masking, masking illuminance, those two, That's where you can fine-tune things again and bring things back into balance with masking. If you hit Alt and you slide this up everywhere where there's whites, that's where all those settings that we have just made it into. The sharpening, That's where that will be applied on everywhere where it is blank. It will not be applied on there. And generally like we don't want any sharpening really in the sky. The sky didn't really have any sharpening applied to it. So we can kinda like fine tune and decide where are we just want to have all of those sharpening applied on. Let's say something like this. Luminance here we can reduce the noise. So let me just put the details and the sharpening. You can definitely see those Scanner little dots of noise in here with the luminance. We are flattening those out, but be aware because using it 100 per cent, we're also trading that for details. So we are in fact losing details in our photos. So never really use this too much. I would only use it maybe maximum two den or something, but I wouldn't go crazy extreme with it because then we're just losing detail. All of the other ones here wouldn't mind too much about them. There are also a way of reducing the noise and fine tuning things, but generally just masking and luminance dose two sliders, we will help you into balancing everything out. And I also have to say that I don't apply any sharpening in Lightroom in Photoshop. And we will come to see these into Photoshop section. Photoshop has a lot better tools of sharpening your photos. And I sharpen my photos in Photoshop because it has better tools and also because I can more individually apply sharpening to certain areas where I want sharpening on. Here. I'm kinda like sharpening generally everything, right with the masking. I of course can kinda shoes more or leave out where I don't want it, but still, I'm still affecting things here that I might not want to effect. If you are just loan editing in Lightroom, then definitely use this. But if you're also going on further in Photoshop, then I would say, don't use the detail too much. Sometimes I use it a little bit too. If there's like a lot of noisy my photo, I would put the luminous just a little bit to smooth that a little bit, but not much. And then I will go into Photoshop afterwards where I would use a better sharpening techniques to sharpen my photo. Alright, so the next step that we have here is the lens corrections. I would always have both remove chromatic aberration and enable profile corrections. Are always have them checked down. In many photos. You, you will see that there's this kind of weird color distortion like happening over here. You can see like there's some purple showing over there, which shouldn't really be there, right? If we click on Remove Chromatic Aberration, Lightroom will go and remove all that. And you can see it's all removed. If I click on that off again, it's back there. If I click on it again, it's all being removed. Definitely be sure to always have that on. Even if you think there's nothing really needed, it doesn't hurt to have it on Enable Profile Corrections. This we'll see it was not like a lot, but you can see here he can correct some distortion that your lens creates. So those two always have them checked on each photo. I fix a problem or make my photo better. Alright, the next panel here is the transform panel, the buttons over here. You can first of all, autocorrect your photo and you can just let Lightroom gonna guess what will be best to level up your photo here. Sometimes level, if you click on it, it will correctly. Level, the vertical will be correct. The vertical perspective and full rule, correct? Both the horizon and the vertical perspective. Alright, So going on next year to the effects in this year, we can create a vignette in our photo. So if we go to the left, we have a dark vignette. If we go to do the right side, that's where we really can make a white vignette. The mid point, that's where you can choose from, from where it starts, roundness. You can kinda create the shape. It, you've got to make it more round like this. And if I increase the feathering here, sorry, decrease it. You can see like this, it's a very route one. I like this is more like a square, going to an oval and then going all the way to run a circle. And the feathering, you're making things more softer this way. This is like just a very hard edge vignette. And here you are making it all softer and softer. With green, we can add green to our photo. If you want to make your photo look a bit more older, size is the size of the grain and the roughness is Ghana, how hard the grain is like right now. Pretty rough. It's very intense. And a model that's just how many grain that you want, the haze. Sometimes when you have a miss the photo, you can, you can actually correct the haze within this. Now, this is not a photo with any missed or something. But if there will be just going like up, you can take that dehaze away. In this step here if you're shooting Rob, I'm sure that when you were reviewing your photo on your LCD screen, it looked a lot more colorful than when you were putting it into Lightroom. Many times it looks like very kind of grayish more. Put that photo in Lightroom. But what actually happens is because when you are taking a photo and you're viewing it on your LCD screen in your camera, your camera will already oblige and boss process that photo, or at least it will post-process a preview of that that you're seeing on your LCD screen. And then when you're importing that photo into light room, it will remove all of those colors and all those adjustments that it meant into that preview. But you can go in here and you can bring back that picture profile by going to profile. And you could choose here between these different profiles, you can choose between Camera Landscape, Camera Neutral, Camera Portrait cameras, standard Camera Vivid. And here he actually bringing back in those profiles what you're seeing in your LCD screen. Now, of course, you can also go in here and minimally make a profile yourself or make some adjustments in their profile that you selected here. I just leave it to the default here. I just leave it to add up standards. And I sometimes use the shadows slider, the shadow slider here that brings some things into my shadows. For many photos, this looks pretty nice. Or sometimes it gets a little extra punch in my blues here and increase the saturation. 14. Section 1 – How to Import a Catalog to Another Computer, How to Merge two Catalogs: Now, one less thing about catalogs. Let's say that you have a brand new laptop and you've been using the current laptop the whole time in editing your photos in Lightroom on there. But you want to go and start using the brand new laptop yours, you will have to move those photos to your new laptop. Of course, if you want to go and use them, they're just moving the photos alone will remove all of those things. Here are all the edits that you've made in Lightroom, and all of the flags and ratings and labels that you've gave it. It will it will not be in there when you import just the photos alone in Lightroom. That's because you're not importing the catalog from the other computer where you've made all those adjustments on and where that information is stored them. So if you want to move your photos from one computer to another, let me show you what you need to do. I've had a lot of trouble with is actually I've messed is a lot of thumbs up or not in a way that I've deleted photos or something, but just that I've ended up with duplicates and then I had to go and delete all those in. But in fact, it's very, very easy to do it. So I'm going to just show you the tree things that you need, the tree files that you need. So let's go to the folder where we have our photos stored that we want to import over. And that's the Lightroom photos that map. We want to move that over to another computer. So first of all, have that one. So let's just copy that on our desktop. Let's put that here. The next thing that we need is we need to go into the Lightroom photo and we need the deadlock that we're using here. So go into the catalog folder and the catalog that we're using here. If you don't know, you can see up here the catalog that Lightroom has opened and this is the catalog to so we need that folder. So let's copy that nap as well. And let's close that. And this are the two things that you need. Those two things we need to transfer over on our USB stick and then put it into our new computer. So let's say that we have just move this now onto our new computer. So you either have like no photos on there. That's the first case. Then we just go to File and we go to import from another catalog. Click on there. And then go and select that catalog, which is catalog to choose. And then you can see here all of those photos. And then we just go and click on imports. And then those photos are being imported into our new catalog onto our new computer. And here we go. And everything is just as it was before. Now, obviously, we don't want those folders just on our desktop, so let's just go and move them into the Lightroom folder here. You might have to close Lightroom for that. So let's just put the catalog folder into the catalogs and the Lightroom photos. I just copy them so they're still there. Let's just delete that one then. Another scenario could be that you want to merge two catalogs together. So in this laptop you have Lightroom and you have some photos on there. But you have another laptop and your flights Lightroom on there as well. And you want to merge the catalog from this laptop onto your laptop into Lightroom there. And you want to merge that catalog together. The way to do it that is very simple. It's very easy as well. And you need the same the exact same files. You need, the catalog itself that you want to move over, then the photos that you have on the computer that you want to move that are in this catalog. So dose to followers, have them again on your USB. And let's say that we have transferred them now here onto our other computer, you just go to File and you go to import from another catalog. You locate the good luck which is here on our desktop. And now you go to the catalog file. You select catalog, and then choose our photos from that catalog, appear there. Actually a few things that we can do with the photos because I think on default it's just on file handling any photos to calloc without moving. I think on default it's on that. But the best thing, and this, by the way, it will add those photos to this new catalog. Beauty will leave those photos over there untouched. If we go to this setting here, copying you photos to a new location and imports, we will copy these photos. And when we imported them, we will move those photos to another folder so we can all ready select the folder that we want. So I would go and copy that Fuller to the picture for where we have our photos. If you want another one, you just go and click here on choose. You could choose another folder, but in this case we just leave it to the pictures to that folder. So once all that's done, you just click on imports. And Lightroom will go and import those photos and merge those two catalogs together very, very smoothly. And so here you can see that we have these new folder now into our catalog. And if we go and locate that folder on your computer on a hard drive, we can see this folder gut move now to the pictures. So now you basically you can just go ahead and delete those files. Because if we go to two pictures, you can see the folder is in here. And the good luck. We don't need this anymore either because that's now merged together with our catalog that we have open here. So you can just go ahead and click on Delete. And we have just successfully merged two catalogs together. And you've seen now two scenarios on how to do that. So there you go. I hope you enjoyed this lesson. Let's go on to the next lesson. 15. Lightroom Shortcuts: So Lightroom comes with a lot of shortcuts and mastering those shortcuts will increase your workflow tremendously. I'm going to go and explain you a few very handy and useful shortcuts that I use a lot and are my favorite ones. And I have also attached documents in this course that you can download. And in that sheet, I wrote down all of those handy shortcuts, download it. It's either printed out or have it on your computer and have it like next to you and learn them while you are going through Lightroom. Let's start here with the shortcuts. Hitting the Tab button, we will remove the side panels here, the left and the right one. So tap. We remove those two panels here, hitting the shift plus depth, we will remove the site panels and the top and a bottom panel here. So Shift tab. You can see side panels, top and bottom panel removed and hitting Shift and tap again. We'll make them appear. Again. Hitting de Button year, we'll make the toolbar appear or disappear. So here d, and we removed the toolbar, now hit it again, D. And we make that appear again. And by the way, those shortcuts, because we're in the Library module now are exactly the same. They will do exactly the same in the develop module. So let's go back to the Library module. So if we are in the library module and we have a photo selected hitting D, We opened that photo into the develop module. So hitting D in the Library module. We open that photo into the develop module. And if we are in the develop module, hitting G will bring us back to the Library module into the view. G stands for grid view. So d, we open our photo e to the develop module hitting G. We bring that, we go back here to the grid view. If we press on e, we open that photo into the loop view. So let's go back to the Grid view. Hitting G, hitting C. The C button is for compare. If we hit that, the cyclic photo that we have that will go and compare to the photo next to it. If you only select that photo alone and you hit C, then it will compare to the photo next to it. Sometimes it works like in this case now, if I hit C, Those are the two same photos but just differently edited. But if I will be on this one here and I would hit C, that would not make too much sense, right? So sometimes you might have to end. Let's take this photo here. You have that photo and you want to compare it to that photo. You have to hit control for Windows or Command 0 for Mac, and then click on that one. Although the photo that you want to compare that photo to, and then he'd see to compare it to that photo. So let's go back hitting the G to the Grid View. And next on, if we hit n, this will open the survey modes. Now, if you just have one photo is like the survey mode doesn't do its function having one photo, the survey mode. So you need to have multiple photos selected for the survey mode. So let's select three photos here, and let's hit N. And you can see now the survey mode opens all those photo and gifts, kinda like an overview for us. And we could even hit the Tab button here to get a better overview. And this is a very bunch and actually way you shot a photoshoot with a, with a model. And you have like 20 photos of that photo shoot that you have to compare it to each other. In the survey mode, you can lay them all next to each other and you can kinda click away the ones that you don't like. So I would say like this one I don't like too much to compare it to the other ones. So I click here on the x and that one goes away. Now it doesn't remove it or something, it doesn't delete it out of Lightroom, it just removes it out of the survey modes. Also in the survey mode, you can set a flag or you can send a rejection flag, or you can give it a color label, or you can also give it a star rating. So let's go back to the Grid View and let's bring back those side petals hitting the depth. When we hit L. Once we dim the lights, right, you can still see like a little bit of the site panels here. If we press it again with him out everything. But we're just seeing the photos in there. So let's press L again and we go out of it. So pressing one, pressing L once will limit just little bit. Pressing it again will deem out everything. And pressing it a third time will bring us back. Let's select the photo by hitting E in here. You can also do that. So if you press L once, twice, it's kinda nice to see, you know, kinda have an overview of what your photo looks without all the other distractions going on by the side. Hitting the F button will give us a full screen of the photo, which is also a very cool thing. And then if you press on the arrows, you can scroll through your photos. Kinda see in fullscreen what is going on and how you like it in full screen. So let's hit again. So let's take this photo here. If we press the V button, this will turn the photo instantly to black and white. So let's press V and it will turn into black and white. And if you want to bring those colors back, press V again and it will bring those colors back again. It's like a very nice button to have if you want to see where you're going through your photos in a grid view. And you're gonna like going through your photos and you're like, Well, let's see what that loose in black and white, you just hit V and it will turn it on to black and whites. The next shortcut is actually a very handy shortcut that I use lots if you hit Control or Commands plus E, and I'm not going to do it now. But what this will do is it will open that selected photo into Photoshop. If you're also going to work with Photoshop, this is like a incredible handy shortcut. Just hitting Control or Command plus E will open that selected photo straight into Photoshop. Hitting the B will bring up the white flag. Hitting the x, we'll set the rejection flag. So B is for the white flag, x is for the rejection flag. The numbers one to five are for the star rating. So this will be very severe complaining, but one is to give it one rating, two for 234545 stars. And if you hit the zero, you will reset it back again to zero. The six to nine, those numbers are forgiving a color label your photo. So six is four, read, seven is for yellow, green, and so on to the next dollar. There's one more shortcut that I want to show you and that is hitting Control or commands and then the slash sign. And this will open the library shortcuts, because there's a lot more shortcuts to Lightroom that I've just showed you. And they can all be found within the library. Shortcuts have a look through them. There might be some shortcuts that I have not mentioned that you actually by unhelpful. But I've taken a look through them too. And the one that I explained to you now are really the ones that are the most helpful and handy shortcuts to know. 16. Section 1 – How to Create Panorama Photos in Lightroom: In this lesson here I'm going to show you how to create a panorama and an HDR photo in Lightroom. It's not very complex at all to do in Lightroom. Now, let's jump straight into it and let's start with how to create a panorama. Minimally, you need, of course, to photos to create a panorama, but you can go up to as many as you want. So here in this example, we're going to use Still photos and stitch them together into one big panorama photo. Now, what I always do when I'm selecting the photos out there that weren't stitched together in a panorama. I rate them and that's kind of like the numbering that I'm giving them. So that's like the first photo and that's like the second photo. And then I can put them into a group, which you can do. You can put photos into a group. So if I were to click this now down, It's like into that group here. You could do that by just clicking on those two photos, Control or commands. And then right-clicking and going into stacking, group into stack. And so you have them like into a stack now, you obviously don't have to do it. It's not going to make the panorama look better or anything. It's just going to make it easier for you to find the photos that you want to stitch together. There are a few things that you might have to do first because you can see looking at this photo here and the other photo, the exposure is very different, right? This one is more going to the overexposed, and this one is more going to the other exposed photo. So if we stitch those two photos together, we'll have a little bit of a weird photo. Now, what we wanna do is we want to match the exposure from this photo into that photo. We have to go into the develop module and have the photo here selected that you want the match the exposure. And click on here. And this is from the Library module adept. And just select the outer photo. Here's why it's easy to kind of have them sorted out. So this is the first one. This is the second one. If there will be a lot more photos in this folder, It's kind of like E is just located and where they are, the panorama photos that you want to stitch together. Select those two photos. You go down here in Settings and you go to match total exposures. And just click on that. And you can see if we go to the other photo, we match that exposure. Lightroom automatically read this exposure and match that exposure into this photo. Now, another thing, because sometimes the white balance might be different in this one than in this one. In this case, the white balance is exactly the same. You want to match that as well. Otherwise you're going to have also one photo and the other photo that you're stitching together, they will look different into a complete Florida and actually trying to create. So you want to match that as well. And the way they do that is by clicking here on the referred view. And we have this photo here that we have selected here and drag and drop a photo from the film strip to set the reference photo. So now we want to set a reference photo. So we just go down here and we drag and drop the one photo that we also want to create a panorama wit. And he didn't here we can make some more room. The active one, that's the one that we're editing. So if we're changing and the first one is the one that we use as a reversed bought it. So that's the one that we actually want to match the white balance weight. So in that way you have like an overview here you can see like how close you're coming to matching the wide Belgians into the other photo. Now, if that all is done, uh, you have corrected the exposure and white balance. The weight to stitch two or more photos into a panorama in Lightroom is very, very simple. Just go ahead and click the two or the more photos that you have. Click them on, right-click on it and go to Photo Merge banner Rama, and click on that. And now Lightroom is going to build a preview of that panorama. So here is the preview that we have and we have some projections that we can create our panorama. Now, I would say just go through all three of them. I can see which one looks best on this panorama. I'm gonna go with respective for this photo. And we can have the auto crop unchecked or checked on and you are auto crop will already crop off the white of the canvas here and will crop that away already. Boundary warp, you can feel some more of the canvas. Warping it. You see fixing some more parts. But of course you might end up with some distortions if you're going too much over, because we're gonna like bending things a little bit, but a little bit of it would actually work fine. And then let's auto crop the rest of it. And let's click on Merge. And that's really all there is to it and creating a panorama in Lightroom. It's, like I said, it's very, very easy to do. So once Lightroom created panorama, we can go and see that we have the panorama here. And I will just give it like an extra rating, like three ratings. So that's like the final one. And the cool thing is that this is still a raw file. It's a DNG, which is a raw file as well. So we can go still in the develop module and edit it as a raw file. We still have all the information here from the two photos. Now, we can go bring the highlights down, but so vibrancy in there, which is maybe too much, but we still have all the information is still wet in there. Now, you can see in this photo that the sky is very overexposed. And that happens of course, because I wanted to have the foreground here correctly exposed. The sky is completely overexposed because of that. Now, I could definitely go into the graduated filter and maybe see if I can bring some exposure down to kind of bring that information a little bit. But yeah, this doesn't really look too good in here. That information is pretty much unless it's too overblown in there. Now, let me show you the finished photo that I have of it. And let me go into full screen. You can see the sky is beautifully exposed and foregrounds is also beautifully exposed. Everything is correctly exposed compared to this photo where the sky is just overexposed, but the foreground is correctly exposed to how I did this. I took one correct exposed photo, one overexposed photo, and one underexposed photo. And I merged them together in Lightroom into an HDR photo. And what you're doing basically is you're gathering all the information from the over and under incorrect exposed photo and you're creating one photo from that. And that way you can have a correct exposed photo in the sky and incorrect exposed photo here in the foregrounds. And I did exactly that with this one too. And then I just took those two and I merge them together into a panorama. And that's how I ended up with a correctly exposed photo like this one. Now before I'm going to go and show you how to create HDR photos. Let me just give you a few tips in how to create a panorama photo in the field when you're taking the photo itself. Let me first of all tell you dads, I don't use Lightroom for creating panoramas. I use Photoshop for them. And in the Photoshop section, I will come to show you how to create a panorama in there and old tools available because they are way more and way better. The reason why I'm already showing you how to do it here is first of all, if you're only using Lightroom, then you know how to do in Lightroom. And it's like I said, we're building steps up here. So you already know now what a panorama is. M plus the following tips that I'm gonna give you will also teach you some more about how to take good panoramas. 17. Section 1 - Field Tips to Take Better Panorama Photos: One of the first steps that I would give to you is to shoot in manual mode. And 90% of the time, I shoot in aperture priority, and I would say most professional photographer shooting that mode. But one of the times that I would switch over to manual mode is for creating a panorama photo. And the reason why is if you're shooting you one of the priority modes, your light meter will adjust itself the whole time. So each frame that you're taking your light meter rule, try to read the light that is happening in the scene. Air will expose itself to how much light it needs in that photo. And in manual mode, you will not do that. Your light meter will not do anything. It will just completely listen to you. And that's very helpful if you don't want to do all the work in Lightroom or in Photoshop correcting the exposures in there. Now, you don't per se have to shoot in manual mode. Actually, there is also an exposure lock button on each DSLR and mirrorless camera. The thing is just, you can just press that down and then it doesn't really matter that you're shooting in aperture priority or any other priority modes. Light meter will not adjust itself when you're framing for another scene. The thing is just that you need to remind yourself. The Press down that button. And in men will note you don't have to remind yourself of that anymore. So it's kinda like, well, what you find the most easiest if you got to know yourself that you might forget that now and then, then maybe just use the manual mode. But if the manual mode is a little bit not working for you, then use the exposure lock button. Another tip here is set your lens in manual mode. Now, this is very important. And the reason why if you shoot in automatic focus and you would frame here for this shot and you're focusing more in the far distance while that will be in focus. And this will be a little bit more blurry. If you will go up here and you would focus more in here, then this will be more in focus, but the far back will be blurry. So if you will go and stitch those two photos together, you will, just as with light meter, end up with two very different things in focus. Now, if you put your lens in manual modes, your lens will not adjust itself. That's just again, with light meter. It will not adjust itself. So it will just do what you put into and it will take that photo if you have problems with mentally setting your focus. Something that I do many times is I framed the first shot that are wonderful, the panorama. And I half-breeds down the shutter button with the lens still in automatic focus. And then I just switch it off my camera, but the scene in focus, and then I just switched it off in an adult really have to adjust my camera anymore and then I just go on and frame for the other shots. Next step is use a tripod. Now, you don t per se need to dry, but you can take panoramas handled as well. But obviously, using a dry part will give better results and will make things a lot easier. Now, this step here is very important for creating successful panoramas. Be sure to overlap in 30% with the other photo that you want to stitch together into a panorama. Because basically when Lightroom or Photoshop is trying to stitch your photos into a panorama, it is reading off from the other photo where you can stitch things together. But if there's not enough information that is also on the other photo than it will not result always in a correctly stitch together panorama. 18. Section 1 – How to Create HDR Photos in Lightroom: Let's go and see now how we create HER photos in Lightroom. I've already explained a little bit when we were going over how to create a panorama photo, what an HDR photo is. But I'm sure that it happened to you that you wanted to have your foreground well exposed and that the sky, the background was completely blown out now. And I'm sure it also happened the opposite, that the background, the sky was beautifully exposed, but here the phone foreground is completely underexposed. Now the way to go and fix that is by merging those two into an HDR photo. Now, commonly, HDR photos are out of three photos, and that is an overexposed photo, a normal exposed photo, and an underexposed photo. You can in fact just use the underexposed, overexposed photo. You can just use two files as well to create an HDR photo. But you're just giving light drew more information here by having three photos to create an HDR photo width. Now, the way to go and create an HDR photo is just like a panorama photo. Very simple. So let's just select that first photo and then shift click to the end photo. And also here, as with panorama, I number my photos 123 and I put them into a stack, stacking group into stack. And like I said, you don't have to do this. This is just something that I always do because it just gives me a nice overview of everything. So let's go and select the photos that we want to merge together. Right-click on it, go to Photo Merge and click on HDR. So here we just merged our photo now together in an HDR. And well, it doesn't look like there's much really happened right now. While we merge that together, we're into the develop module and we start pulling on some adjustments. You will see there will be a big difference. Now let's go over the options here. How to align? I would have that she's checked on. There might happen a little bit of slight movements. Auto align. We'll just auto align those three photos while it will align them. So that's nice to have checked on Auto Zone. It will already give you like some kind of a starting points of the HDR. I don't really have that checked on DOS thing. Let's first of all just check on, show the ghosting overlay where we can see some of the fixes that Lightroom live. Now, Diego's thing, it might happen and you can see why it's doing some D ghosting here. That there might be some different movements in one of the photos. And Diigo, single Ghana figs that with low, medium, high, we can kinda set how much we want Lightroom to try to fix that D ghosting. In general, I would try to set it as low as you can go with. And the reason why is because you might end up with some weird distortions in your photo. So just set either none or low, or the amount that you need, but don't overdo it because there might have been some weird distortions. Let's go and click on Merge. Alright, so once you've done your waiting for Lightroom to create your HDR photo. We can see it here. And let me also give this now four-stars and let's go into the develop module. Let me just show you now what we can do here with the sky. So if we would just bring the highlights down, you can see we are completely pulling back or pulling out now a well exposed sky. And now we can go and just make some other adjustments in the shadows. Tried to expose this now also a bit better in the blacks. Well, and contrast and vibrance or something. Maybe a little bit of temperature. Anyway, I'm not going to go and fine-tune all this, but I'm just trying to show you that we have a lot more information to work with. Now we can pull out a lot more shadow information and make this well exposed. And we have a lot more information into the whites and highlights ample this completely out. Because if I will now use a graduated filter and would put down like some of the exposure on that graduated filter. You can see we can even take all this information out of that. So there we go. That's how you can create an HDR photo in Lightroom. Now, just as with panoramas, let me also give you a few tips on taking better HER photos. But let me start first of all, by addressing how you can create bracketing exposures with your camera. 19. Section 1 – How to Take Bracketing Photos & Field Tips to Take Better HDR Photos: So for those who don't know how to shoot multiple photos with different exposures. Many cameras have a bracketing function which allows you to set different exposures. All you have to do is press down the shutter button afterwards and let your camera do its thing. Now, if your camera doesn't have a bracketing option, no stress at all, you can simply use the exposure composition button and you just dial one exposure step up, one exposure stopped down and have one normal exposed photo. So the first step you that I will give in taking better HDR photos is using a tripod. Now also just as a panorama, you don't effect neat one. You couldn't just take HDR photos handheld, but obviously, using a tripod will results in way better results. The chairs that gives you have to take multiple exposures. The chance that you will move a little bit while taking those different exposures is pretty high. So there will be some shakiness in your photo and using a tripod will just, without a doubt, 100% will result in way better HDR photos. So the next step that I will give you is know when to use HDR. Hdr doesn't look great on everything. In general. It doesn't look nice on people or animals. There are some photos of some portraits with some old people where there are some HER techniques applied on it. And that can look nice. But in general, it looks horrible on people or on animals. Hdr works best, or landscapes, or in architecture, photos or man-made objects as a car or a Blaine, when you're taking photos for a board threads, yeah, it doesn't look too great on people or animals. The last step here that I would give, don't overdo it. Now, I would say go on Google and type in HDR overdue. And you will see a whole range of images of ACR photos that are just overdone because you have so much information into one file now, you can pull things to the extremes, but it's very easy to do that honestly. So be sure to not overdo it. And I would definitely suggest you to go to Google, check HDR overdue, and look how to not do it. Now, I'm not saying if that's the style that you actually like. I'm not saying that you shouldn't do that, but it doesn't look very natural anymore. Alright, so here we just have seen now how to create panoramas and HDR photos in light room. And one thing that I want to add to all of this I've already said is about panoramas. Also, just as with HDR, I don't create them in Lightroom. Any effects. Hdri use digital blending, which is HDR, but it's the manual way of blending photos together. But you can only do that in Photoshop. In Photoshop, they're just better tools and more techniques into having better results. And Lightroom has limited options in doing that. In the second section, the Photoshop section, that's where I will also gum to go over panoramas and digital blending and tell you all the techniques and tools in how to do that in Photoshop. 20. Section 1 – Optimize your Catalog, Camera Raw Cache, and Graphic Processor: In this lesson here, I'm going to show you how to optimize the speed and performance in Lightroom. Plus there's also a few other additional things that are very good to know about Lightroom. And let's start here first of all on how to backup your catalog. I'll default Lightroom does this automatically, but there are a few settings. And if Lightroom for some reason doesn't do it automatically, let me jump and show you where you can find those settings. So we go here to Edit, and we go down to catalog settings. Now, down here, you can see backup, backup catalog, and then you can read once a week when exiting Lightroom. So once a week, this is a setting that IF once a week when I exit Lightroom, lightroom will asked me and I will show you just in a minute how that would look like to back up the catalog. And I would highly recommend you to each time when that shows to do that. Because while you're backing up your catalog, but there are there's something else that Lightroom dust at the same time as well. Now, let me show you because you can choose you could choose once a week, once a month, once a day, or every time Lightroom exits. So let's just click on every time Lightroom exits to show you what will happen now. So just click on. Okay, Let me exit Lightroom. Now again, I would honestly have this just once a week, which will be more than enough. You can see here backup folder, where you can choose where you want Lightroom to backup your catalog and on defaults while the default setting is fine. But if you choose or if you'd like to have it somewhere else, you can pick another location by this here. So first of all, light-skinned, We'll do three things now. It will back up your catalog, which is great. It will store it here. But also it will test integrally before backing up and optimize catalog after backing up. So those two things will help run Lightroom a lot smoother once you've done them. First of all, test it rigorously. Basically what Lightroom does, it goes through your catalog and checks for any corrupted files. So, you know, definitely have that checked on optimized catalog, however, that is where lightroom will optimize your catalog. Lightroom will be able to read your catalog much easier. You're just putting things back in order for Lightroom through your catalog much faster. So definitely go and have those two things checked up. And then just click on Backup. And there you go and have it on once a week and a default. I do think it does that, but when this shows up, when you're exiting lives room, then don't just go and click, click that away. It's a very good thing to do. So just go ahead and click on Backup. The next step here that I have on increasing the speed in Lightroom, built one-to-one previews. Now, I have already touched upon this in a previous lesson. But if you've not watched that lesson, let me just quickly explain again one-to-one previous R and let me also show you how to build one-to-one previous upon importing. So I'm sure you've noticed when you go to a photo, you click on it and you zoom in that it is loading. Because what it is doing right now is building. Or it's loading a one-to-one preview because we're now zooming into one-to-one. Now, if you really want to edit your photo, is this can be kind of annoying because you have to weight each time again, for that preview to be built by Lightroom. You can infect already, have those previews builds, so you don't have to wait each time for Lightroom to load. And the way to do that upon importing is you click on imports. And by file handling, you can see build previews. And at the moment it's set on minimum. If you click on it and you go to one-to-one, and you go ahead and import your photos. Those photos are being built with a one-to-one previews. So when you go and zoom in, you don't have to wait at all for the photo, the render over Lightroom to render that one-to-one preview. It is already built. So you could just fastly go to all your photos without having to wait all the time. Now, if you have already photos in your catalog that you want to make or that you want to build a one-to-one preview on as well. It's very easy to do that. You just select the photo or select the range of photos that you want by just shift click and you go down here to Library. If you go here to previews, you can click on Build one-to-one previews. And then later, we'll go ahead and create a one-to-one previous from this. Now, you can also discard those one-to-one previews, PQRS. The thing is building one-to-one previews takes a lot more storage on your hard drive, then just building minimum previews. That's why in general, I only built one-to-one previous photos that I'm needing to edit at the moment. But the rest I only import with just the minimum good setting to have checked on. Because shear you can always go after you're done and discard the one-to-one previews. But the chairs that you might forget that it's pretty high, easier setting where Elijah will automatically discard this one-to-one previews after x amount of time is if you go here to Edit, you go to catalog settings. If you go to File Handling, you can see here automatically discard one-to-one previews after one week, after one day, after dirty days. I do think on default it is set on after 30 days. You can set on after one week. Because generally, I think after one week, I'm pretty much done after what we because I've made those previous on them because I'm definitely going to work on them. I don't have to think about this anymore to remove those one-to-one previews because Lightroom will already automatically do that for me. In order for Lightroom to read the information of raw file, it needs to access that file information and that file information is temporarily stored in something called Camera Raw gets going here to Edit. And then down here to preferences. Up here in file handling, you go down here and you can see camera rock edge settings. Now by default, Lightroom has this OH, 1 gb, which is not a lot. Bump this up to 10 gb. And basically you allow Lightroom to read more in the camera or catch. This can definitely improve the performance of Lightroom. Now, don't overdo this. If you go too much, this could actually do more harm than good actually because you're just asking a lot more of your hard drive. So just bump this up for 1 gb to ten gigabyte and they should do a lot good Lightroom. The next step here that I have. And for this, we go back into edit, into Preferences and go to performance this time. Now in here you can see use Graphic Processor. Now, what I would suggest is just check this on restart Lightroom. And this could either improve the performance of Lightroom or you can just make lives from buggy. So just restart Lightroom. Have that checked on. And the effects are only in the developed module. So in the Library module, this doesn't really do anything on that. It's in the develop module that you could either see some improvements of performance or that Lightroom just stars being weird and bugging. If that is the case, then just check that off again. But just go ahead and check it out. Go into Develop module and go to your photos and do a little bit of your edits and see if it is actually improving the performance of Lightroom. If you have a fast video card, then checking this on shooting facts, improve the performance of Lightroom. 21. Section 1 – Smart Previews Explained & How to Build Them: Let me Dean through smart previews right now because they could first of all improve the performance. You're editing your photos in the develop module a lot. But there's another function to smart previews. And let me explain that first before I dig into how smart previous can improve the process of editing in the developed module, you can see here are original photo. What this means right now, we are editing the original photo, or at least a preview of the original photo. If we click on that, you can see built a smart preview for this photo. You can also have some information on here. Now, let's just build a smart preview. And you can see one smart preview was built now in year. You can see original smart preview from this photo. We have right now the original, but we also have the smart preview. So to explain what smart previews are, weekend, let me just go and locate this photo shows an explorer. So the photo that we're editing right here is this one which smart previews. I could remove the original file, but still go and edit that photo in the developed module because I created a smart preview from it. So we could keep on editing our photos without actually needing your original files. Let me just go and remove this photo here. And let's go back in Lightroom. And you can see now that it's switched over to smart preview. So right now we have the smart preview here, but we can still go ahead in the develop module and we can go and still do our edits. In this photo, you see we still have all this and we can still go ahead and do our edits here. Now the reason why that could be very handy is when you are traveling, so well, let me first of all just put the smart preview, the original file back here. You can just see that live Zoom automatically updates this again and also the edits that we've done. So if we remove the original file, the edits that were done in a smart preview, and we put the original file back again, lateral will automatically come to update our original file to all the edits. We don't have to go and redo them again. Lightroom will synchronize them together with the original. Now, if you're traveling, creating smart previews could be very, very handy because you don't have to transfer over all this big raw files onto your external hard drive. You can just create smart previews from a selected range of furloughs just by selecting all of them and just clicking on this side now and just clicking on that, we can build smart previews from those photos, transferring those smart previews over on our external hard drive and traveling with them can be very handy because we don't have to transfer all these big files. Now there are a few things that you can do with smart previews. I can't open the smart preview into Photoshop, e.g. I. Need the original photo for them. Also, I cannot make HDR photos with smart previews. I also need the original photo for them. Also, a panorama. You cannot make that a smart preview. What you can do with a smart preview is just in the develop module and the metadata changes. If you set a flag or star rating, you can do all those things. Now to show you where the smart previews are located. They are in fact located in your catalog. So you go down to where you have your catalog on your hard drive. On default, it should be in the pictures folder. And you go down to Lightroom and you see catalogs and click on here. And you can see this catalog here, the ultimate boss processing and editing course catalog. And if you have more catalogs and you don't know which one you have to choose. You just go here and you can see on top here the current catalog that we're using, which is in fact this one. You're about to go and travel and you want to move those smart previews onto your external hard drive so you can move those files onto your laptop so you can go and travel. Way to do it is very, very easy. You just go and take the catalog, copy that copy onto your external hard drive. So we have that map in here on our laptop. We just go into Lightroom and we go now and just load that catalog. So we go to Open catalog and we go where we have stored that which is on our desktop, which is here. This is the fuller. We double-click on it and we click and open this file here. And we just go and open that catalog and relaunch Lightroom. With this catalog, we have to relaunch Lightroom for that. So we just click on it. Lateral will go and relaunch. And the photos that you have created a smart preview from will now be available to edit on. So you could just go and edit and do all your things. Once you're done, Let's say that you are back from your trip, go and take this file here. You can just go and replace it. You can just go and delete this. And we just take our Fuller here and we'll just play that back and opening Lightroom now, those smart previews, those areas that we've done on those smart views on our other laptop will now Lightroom will just synchronized dose adjustments that we've made with the original files. Let me come now to the boy and how they could in fact also optimize the performance on your desktop, having them. 22. Section 1 - How Smart Previews can Optimize the Performance Speed in Lightroom: Smart previews day because they use a smaller preview size into Develop module, we can edit off faster with it. Now we don't have to go and remove the original file and take it offline or something. We could in fact go here up to edit. We go to Preferences. And in performance, you can see use smart previews instead of originals for image editing. And then also this will allow increased performance, but may display decreased quality while editing. Final output will remain full size quality. So what that means is the smart previews, the quality of the preview, because the file is also smaller, the quality of the preview will be a little bit less than the original preview. But if you export the file, it will actually use the high-quality of the original file. So it's not like it will decrease in quality or anything. So upon having this checked on you, smart previous step, original for image editing, and we click on OK. And you might have to restart Lightroom for that. If we go to the develop module and we start editing, we are in fact using the smart previews. So we go to develop this should definitely increase the performance. Be aware that also building smart previews, they do take also extra disk space, not a lot, but if you go and make from all your 10,000 photos in your catalog, smart previews definitely builds up. Definitely builds up and it will become a lot. Oh yeah. And if you ever want to delete your smart previews, select all the photos in your whole catalog that you have. And then you can see here all the photos that are made as a smart preview and all the photos that are not as smart preview. And now you can just go and click on it. You can say discard three smart previews. And then Lightroom will just go and discard those smart previews. Less steep that I will give you here is be sure to optimize your hard drive, right? At least have about 30% of your hard drive free of space. Because if you're using 90% of your hard drive, the performance of Lightroom will, will drop down a lot. So if Lightroom is very slow for you and your hard drive is very full, reason why is because of your hard drive, tried to free some space up from your hard drive, you will dramatically see an increase in performance and speed in Lightroom. So there we go. These steps will definitely help you improve the performance speed of light room. If Lightroom is working very fine for you than maybe apply a few of them, but you definitely don't have to go and do all of them. But if Lightroom is walking or running very slow in your computer or laptop, go and apply those steps and you will see an improvement of speeds and performance in Lightroom. 23. Section 2 - How Layers & Layer Masks Work: welcome here to the second section off the course. And in this section we're going to go and explore Photoshopped. I just want to say that if you're jumping into the courses now because you have skipped the first section, then I just want to say welcome here to this section and much fun here learning about photo shop. Now, if you're if you gain from the first section your progress all the way you now here to the second section, then I want to say congrats to you. You've done a pretty amazing job and I hope you've come to learn a lot in the first section about life room. And I hope that you're ready here now to learn more about photo shop. Now, in this lesson, we're gonna go and touch a bond, the basics off Photoshopped and the tools that we will need to edit photos. Let's jump into photo shop and let me start off by explaining layers and layer masks because layers and layer masks are what photo shop works around. You will use them all the time. Your photo shop and I will explain to you the basic around where layer and the layer mask IHS and the difference between them. And don't be afraid if it doesn't make sense too much yet it can be definitely a bit confusing or unclear in the beginning. But in 1/3 section, well, you will start editing our photos. You will come to see me use layers. A layer masks all the time and you will also start understanding more and better what exactly they do and what they are for. Let me explain. What a layer ISS Right here. We could see a blue layer and here at the right side, we can see layer one, which is a red layer layer to which is a blue layer. Now, the best way to explain layers. You could see them as a piece of paper. Right here we have the reds layer. That's the bottom piece of paper. And we have the blue piece of paper there. That layer we have just put that on top of it. So right now we can only see the blue layer. We can always see the blue piece of paper because the red one is at the bottom. It is there, but we just can't see it right now because it's just covering the blue paper, discovering the red paper completely. But if we will click here on this I, which will reveal and un reveal you could see the reds layer appearing. Right, So it is there. If we click on that, I again we're putting that piece of paper back on. Now, if I would take your razor tool and we're gonna touch upon all the stools in a minute and I will go and guts with my razor tool to it, you can see we are actually we're cutting True that blue piece of paper and the red piece of paper is now revealing. So that's basically how layers work. So if I would drag this the red layer on top, you could see now that the red layer is on top. And if I would take my razor tool now, you could see the blue layer appearing because we're cutting through it. Now we have three layers on top, and again you could see this or explain this through the piece of paper. We have the red piece of paper, the blue piece of paper, and then all the way all its off. We have the green layer to Greenpeace of favor. Now, if I would take my a razor tool and select degree layer and I would go and guts, we are now gutting until the blue paper. Now, if I would select the blue layer here and let me just go a little bit more here on the green one if I would select the blue layer and I will now with my razor to it. Where do you think we're going to? We're cutting to the layer under needed. So then the red layer will appear. Now let me go and touch upon what layer masks are and what they are for this year, our new layers. And when we were working with the razor tool, we wanted to reveal some of the red layer. Here we are infect working destructively because right here you can see we are in fact, damaging our layer. We don't want to do this because we're damaging our original file here using layer masks, we can in fact work none destructively in photo shop and leave our original file untouched , but still do edits on it. So let me show you how to do that creating a layer mask is very simply done by hitting here , down here on the square with a circle in it, you will see now a white mask appear and that's a layer mask. Now we have to slag debts. We have to select that the work on the layer mask and here, the color slick and whites. They are very important colors. We need to use the brush tool for this, and a brush tool is over here. Or we could use be for the shortcut for the brush tool. And again, I will go into those stools in a minute and also touched upon shortcuts and everything. That's not a lesson. We need to use the brush tool, the work on later masks, and we need color set to black and white and in default. It is set on black and white. If you've been playing around and you've got some weird colors going on, you can just press on the which will reset those scholars. It's the shortcut for setting the wide and a blank color again. Now what you need to remember. ISS White reveals black gold seals so white reveals black heights. If I will paint now with black in this mass Now we are infect hiding away the blue. We are effect hiding away from this mask your the effects If we want to bring that back again hitting the X which will switch it over and out the white We can reveal that misc again you could see so hitting X black concede going seals re hides. We hide the blue now and with the X on whites, we reveal the blue. Now you can see here let's make a face from it Her You can see here that we are making those adjustments on the mask and if we look here on the layer, it's completely untouched. Nothing happened to it. But here on the mask, you could see the smiling face. And if you eat all you click on it, you could see exactly those adjustments that you've made on there. So we are working none destructively when we are using layer masks on the layer 24. Section 2 - Tools in Photoshop: Now let me go over here and show you some off tools that we have in photo shop and ones that we will come use for editing photos. And I'm just giving you hear a base understanding of what they do. If this, like a real first time that you were seeing light, true mental, the tools available, some of them will not make a lot of sense. Maybe at first. But we will come to work a lot more with those stools all individually. And I will come to explain them a lot more in depth within those lessons. I'm just giving you here now. Kind of, ah, base understanding off the tools that we will come views the first stool here is the move. Dual. And with the move to well, you can move things. So if we go here to this layer, we can just move this layer now our rounds. So what? The move. Still, you give off these down here we have the elliptical marquee tool, and if you click on it, you can open up some other shapes. And what this does we? We can make a selection from that with the stool, so if we just drag it and we make now like a circle. We have a selection here, and a lot of times you will come to see me use this a lot to make a vignette in a photo. Also, if you're making a selection, but you're not happy where you started, you could just click on the escape button and then you can start over again. And if you wanna have, like, a straight circle, because now you kind of like it's a little hard hitting the shift. We'll make that completely straight. So heating shift while you're dragging it will just hold the shape of a circle. Now, down here we have the loss. O'Toole and with lots of dual, it's also to make selections. But you we could just gotta drag a lot. So are on something, and we can kind of make a shape, and then it will make insulation from that. Here we have the quick selection tool with the quick selection to we could make a quick selection. So let's say that the blue here is the sky. Now we have year two grounds and we want to make a selection from the sky hitting the quick selection tool. We can make a selection from that very easily. It's for the shop is calculating the country's between them and separating them. So you can see Now we have made a selection from this and if we at we want ATM or you could see photo shop is very smartly seeing the country's between two and making a selection alone from the sky. Here, here we have the crop tool where you can crop your photo with it. It's like we have in light room, too corrupt, too. If you ah wanna cancel it, you just go down here to do this sign a Daniel again slip Or if you wanna have this crop that you just click here on the yes sign and then he will make that crop for you. So next on we have the eyedropper and what this dust and let me just being a couple off colors here with the eyedropper, we can read that dollar. So if we go now down here, that was already like that. But if we go down here and you can see it now being selected over there, let's go to read and it will be selected now in there on to the blue. Now, if you go into the brush tool hitting the Alz, you couldn't have the shortcut for sampling a color. But this only works in the brush tool. So heating Alz we are selecting that color and we can go and quickly already color with that saying that. You see, we're sampling the color with simple tool. So the next tool here that we have is the spot healing brush. And if we right click on those actions here and that's for all of them, there will come. Ah whole range off. Other options open Now I'm only digging into just a few off them the ones that we will kind of need the most. But there is a whole lesson in the photo shop section touching upon the retouching in photos and all the tools to make re touches in a photo and that where we will come to explore in depth all those other tools here and some other tools as well for retouching a photo Now in here, I'm just going to show you the spot healing tool. We can just remove some spots. So if we just paint it. Then Lygia will calculate in reading what would be best fit in here on the red. So probably it will go and replace it now with some blue. And as you could see, a did replace it with some glue. L let me just do a before and after. So he healed that now and fixed it by replacing blew on it. Now, like I said, we will come to explore those stools a lot more in depth on photos where they actually will make a lot more sense to use on. Let me explain the brush tool because there are a few things here, a few settings, your capacity flow and that if we right click having the brush tool, we also have size and Hartness let me start off by explaining sites and the Hartness off the brush tool. Now, first of all, we can increasing degrees of size, but just rice right clicking and going here to size. On that, we increase or decrease the brush size. Now this is a very clumsy way of doing it. An easier way is hitting the off button and then just right, clicking and dragging to right side, we will increase the brush and if we directed left site, we will decrease it. So that's a much better way than just right clicking and go in here. So that is also right. Click track to the rights to increase directed left to decrease. Now with that, if we had all dry click and we were dragged that words we will increase the hardness of the brush And if we go up, we will increase decrease the hardness of the brush. So again, if we drag now down we increase the Hartness drank off Decrease the hardness So about that the hardness sees the hardness off the brush. So let me heat the white color here Let's decrease the brush here and let me go to 100% off hardness and let me just make year. Now this you could see it's very strong If I would go all the way to zero and I would do it Now you can see we have a very soft brush Now the lower is the stuff, there are brush will be and the higher this the harder are brush will be 25. Section 2 - Opacity & Flow, Dodge and Burn Tool, History, Blend Modes: Now, let's go hear about opacity and flow. Let me just make a line now with 100% opacity and let me make one with 10% opacity. You can almost see it, right? So opacity is the amount that we're letting out of our Ben. So right now we're just letting out 10% off the whole 100% because there is some. But if we would put it down again and we would go over, you could see its guilty harder. If we take our pent up and we go down again, you're becoming more. But each time we have to effect take our mouths off and then click on it again for it to increase four D flow. Let me show you with 100% and then percents, the difference here would flow is that it's building up. We don't have to put our pent up and down flow GIs builds up if you You see, we don't have to put it up. It just builds up all the way to 100% now. And this could be very, very good for building up like some shadow effects in a photo because you can credibly build up the effect without having to go up and down all the time. It just slowly builds up. You could see it like we're slowly building it up, and we can kind of like, just very, very cool anything with it with the flow. So that is those two opacity flow. The brush tool is definitely to let you will be using the most in photo shop. It will become your best friends or try to make it your best friend as we will need a lots in photo shop. Next up, we have the clone stamp tool and with the cloned stem tool, we can clone what we are sampling. So we have to hit the cult, and then you can see this year coming up. And now we have to click on what we want. A sample. So let me sample, you know, Eretz and, as you can see and let me make my brush a little bit bigger, if I would start painting now, you could see like a little Red Cross coming there. And that's where we are, in effect gaining from because if I will go all the way over it, well, we're now being from the blue. But now we are training again here directs cloning that over. So the cloned stem tool is to clone something. In here we have thes bucket where we can feel our layer with another color if we like. But also in here we have Grady in tool. And here we can make some pretty cool effects, actually, with it And in a photo shop section here, there's gonna be a lesson on some sun whites techniques, and one of them will effect involves using the radiant tool and that we can make, you know, weaken gonna drag this. And we can make now one off those patterns here. In that lesson, we're gonna touch very deep into how to use it. And what exactly? Thus more the Dodge tool In the burn tool we touch, you make things lighter. So if I would use it now, 100 is a lot. But let's use those 60. You could see we're making things lighter so we can make you know the life coming from the sun. There more out of it, then. That's what the Dutch tool and the burn tool as excess. We are actually burning and we're making things darker. You can see here we're making the shadows darker. Now, this are two very good tools. Once you're kind of done to kind of draw out mawr sunlight effects or to put the shadows mawr in depths into your photo with them. So we're going to be using them. And also I will show you a few nondestructive tools because we can't really undo this once we have done it. But we will come to do that in other lessons. Next on, we have the Ben Tool, and this is also to make a selection. But mawr, you know, weaken more, draw like straight lines with it. It's very good. If you want to kind of make a selection out off the house or something, it's guilt. Yeah, still, to make some selections with it, this is effect the history off all the changes that we have made so we can go back all the way now to our lovely face, but only up to a certain amount. After a while, they were gonna disappear. Now I will go and tell you in another lesson. If you want to make your history longer or shorter how to do that? But the history That is definitely a very helpful one. If you kind of did something wrong and you just want to go and jump back to it, you can just undo or redo it through the History Dept. The adjustments here, this step We will be using a lots for editing photos, because here we confine all the adjustments to edit our photos with. Now I'm gonna go and dig into all of them. While we are editing photos, the layers steer well. That's where we will come to find our layers and be working on them and are layer masks. And in here, the sign for layer masks, which is a good one to know on the Hoffman cookie. This is for the adjustments, but that's just the exact ones that are over here and then this year, east to make an empty layer. And then, of course, the trash can Here. If you want to go and remove that layer, you can just hit, deletes or you could just drag it and put it into here. Now this Icahn as well is for copying a layer. So let's say that we want to copy this layer here. If we drag it down to here, we are in effect, making a copy off that layer blend. Moz can be found within here explaining blend modes. Basically, if we go down here, we have all these different blend modes. And if we hit another one, let's say screen. You could see our photos looking different because it makes our layer interacts differently using different blend modes. So the normal one, it will just look normal. But if we will go to multiply, you could see our layer is in directing now. Different if we switch over to another. Blend modes they all hours to do some very creative work and creative edits in our photos and in the third section. That's where we would really come to work with them. And you will come to see how powerful blend modes are infect and how drastically they can change the looks of our photos. So this are some off the basic tools and the basics off photo shop. Now, in the rest of the lessons here in a photo shop section, we will come to explore door stools, much more in depth, many of them deserve their own lesson because they're so in depth. So let's go now on to the next lesson where we will come to explore those stools more in Dept. 26. Section 2 - Handy Shortcuts in Photoshop: in this lesson here, I'm going to show you some very handy shortcuts in photo shop. Now, just as a debt would like a room, I have attached a pdf file onto the course here that you could just download or print outs . And all those handy shortcuts are just written all nicely on their knowing those short cuts will improve and increase the speed that you're able to work me photo shop. Ah, lots. So let's jump straight into it. The first short got that we have here and let me just zoom in is the H, and all the short cuts are attached to something that makes sense, actually. So the H stands for hands and we get the hand tool here, and the head tool just allows us to go ahead and move around in our photo. The next one is the B, which stands for brush. Next on, we have the E, which stands for a razor. So again, that is E for a razor with the zits button that's too short. Gut Ford zoom. Next on, we have the J, and that is for the spot healing brush. So to J for the spot healing brush. Then on we have the s, which is for the stamp tool. Next on with control or commence plus the we enable the transfer tool which allows us to transfer our image here so that its control bless the very any short gut. Next on, we have Lusso tool and that we enable with the l button with the l button, we enable the less O Toole. Next on we have control or command was G, which allows us to group or layers or any adjustment layers. So let me just quickly guppy those layers here and would control recommends. We could just check on or select those layers that we won the group and then hitting control or commands. Blessed the G will put that into a group. Next, all we have the shortcut D, which will reset the collar stoop blake and white again. And if you start working with layer masks, uh, black and white will be two collars that you will use a lot, so it's just heating. The deep will reset that again, which is very handy when your world working with dollars and onto that with the X button, we can switch Iran's the black and white so hitting X we could switch the white one that we're using the white goal right now and then heating X. Again. We could switch again to Blake on top. Here we have capacity and flow. We can change that by clicking on it and dragging is down. That's one way of doing that and would flow just the same weaken, increasing beakers it that way. Easier way of doing it is by hitting 10 So one we hit 10% 20 weeks, 20% and so on, and then zero is 100%. Now, if you want to make, let's say, 11 from that, you just double hits one and you make 11. If you want to make tell from that, you just heat 12 and that will make 12 of it. If you want to make 15 15 you just hit it like fast effort. Shudder. And then, if you want to go back to other just breasts on the zero button for flow, we hit shift, plus the numbers, you know, shift Bless one will make its 10% shift. Blessed 30 will make it 30 and shift plus zero will make it 100 and just also with a best capacity. As I said, if you shift and and double that one, ah, you will make 11. If you want to self one to you, press it faster of after each other. So shift, plus the number. So next on hitting the F button weaken cycle between some screen modes, so hitting F one once will do something like this year. Hitting F twice will make it all black around, so it's kind of like a nice way. If you want to look at your foot of a little bit on hitting, F again will bring us back in two. Well, with all our steps here hitting detect button, this will remove these sites battles here. If you ever need to do that, heating the depth button will make them disappear and appear again. So let's say that we have been working here a little bit here to here to here to here to, but about that last one, you you're not happy about it. You can hit control plus sets or command for Make Plus Zet, and it will undo one step. If you hit it again, you will redo it so you can kind of use it. Also, if you just want to compare something, you you make a little bit of adjustment there and you just want to see, like, does that fit? Does that black spot there fit nicely on the bush? There you could just see control or command Plus set and just got to see like yeah, looks better without it. Right? So that's just undoing one step or redoing it again. Now, if you want to keep going, you hit control or commands, uh, plus cult and then set. And if you press on set now, he will undo all the steps until he can't go any farther. So next on here are a few shortcuts on layers and layer masks, creating a stem visible layer, hitting control or commands. Blessed all two plus shift plus e l m. It would be that again. Control Old shift E will make a stamp visible. Layer off all those adjustments. Let's just put a mask on here getting control. Plus the I will inverts the mask so control Plus I will invert the mask. Very handy shortcut as well to know that now emerging layers control or comments plus E and having the selected layers and then eating control Plus E will merge them down. So this are short guns that I use often. Now, if you want to g o and because there are so many shortcuts, if you want to go and have a look true, all the shortcuts hitting control shifts Alz Bless Gay will open the keyboard shortcuts and men use in here. You can go and see all the short cuts for file. You know, you just open it up and you could see the shortcuts here. And if you want, you can even make another shortcut from it. So just ever go and read through them. See, there's something else that you find handy to know as a short cut. 27. Section 2 - High Pass Sharpening Filter and How to Create Actions in Photoshop: welcome here to the next lesson in this lesson. Here I'm going to show you two sharpening techniques and to blurring techniques to apply higher photos. Let me repeat something here that I've mentioned in Light From Section as well you cannot make with this sharpening techniques unsure up photo sharp If your photo if take and if that is out of focus, sharpening techniques will not fix that. This techniques will just at like an extra punch off sharpness to your photos. But they have to be sharp, first of all, So that's just to say, Be sure that when you are in the fuel taking your photos, be sure to review them. You know, zooming to your LCD screen with zooming glass with the plus sign so you can zoom into your photo at 100%. And be sure that your photo is in focus. Now having that set, let's move now to the first sharpening technique, which is the high best and the high pass. I only use on a few specific areas in my photos that I really wanna pop out a blanket on the whole photo. It also creates a lot of noise, so I don't use that technique to apply it on my whole photo. I just used a very specific areas, like on a portrait on giving Maura Bunch on the lips or or on the eyes. Or here in this photo are Woods. Use it here on the house or maybe on a few areas in the mountains to kind of make temple. So that is what I would use the high pass sharpening technique for now, creating it. Let's say that we are hearing the adjustments and that we have bean editing our photos a little bit. Let's just do a few things and story. We will come to cover all those adjustments in the third section. We have here some adjustments going on because it's mostly afterwards that you want to go and apply those sharpening techniques on your photo. Once you've made your adjustments to your photo. So what we need to do is hit control or commands, plus salt plus shift plus E, and this will make a stamp visible layer and basically what a stem visible layer is. Steph Usable layer just makes a new layer with all those adjustments on it, So if I would uncheck this. Now, if I click this on it off, I'm hiding the adjustment now. Right in this stamp visible layer here, all if I will go on unchecked Now, all of them. All those adjustments are now made into that layer. So make a stand visible layer hitting control off shift E. Now what we need to do is we need to decelerate that layer by heating control or command shift. Bless you. And now we just decelerated that and afterwards we have to go here on it's up to filter, go down to other and you can see here high pass. And we get this image here now. And you could see that some off the edges are a bit more out there. A bit more out. If we would increase the radius, we could see it's pumping out a lot more. Now you don't want to go that far. Mostly, you just gotta want to have it that it's just gonna peering out. But this guy very from photo the photo, of course. And how much you want apply on it. But for here, I would just go with 2.9 here we just click. OK, And now our photo looks just weird, right? What we need to do next to make our photo look as normal again he's go down here to to blend modes, click on it and go to overly and click on that. And you can see our photo is now back to normal. And if it would zoom in here now and I would just click this off and on, you could see dramatically. How much more are photo? Just got Sharpen up. Now, obviously, you don't want to create all those things all the time again, right? What I'm gonna teach you now is how to create an action. And with an action weekend, we can save this pretty much. But we need to record those steps into how we created that, and then we could create an action out of it. So let me just go and deletes the high pass filter for now. And for me, I f you, my toolbar, the actions. If you don't have it here than just go down here to window and locate actions and click on it now to create an action, we have default actions, but they're not really that great. honestly, but I would say Go and create your own actions Euro map with your own actions. I have year police files actions, and the way to do that is going down here to this map and just name you're said to your name and then anxious. And we didn't that fuller just click on it. And what we're gonna do now is we have to click on this new action here and we're gonna call It's high best set in Belize. Fast actions. And if you want to give it a function key, you can even do it at so that you just press F two, for example, to make that action happen. So let's click on records you can see. Now it's recording, So let's go and do just the exact same same things as we did before. Let's go click on control. L also shift E to make a stamp visible layer and you can see by the high pass merch visible . That action just got recorded. Now let's go and hit the next step that we did control shift you to be separated and something that I actually forgot to mention in the first time that we did this, we can create a smart object from our high best. What smart objects allow us to do the first time? You know, when we created the high Best once it's greater. We can't really adjust the radius. And if we wanted to have it a little bit more of a sharpening, we have to redo everything again, right? Creating a smart object actually allows us to go into those adjustments again and change the sharpening. Now let me create it and I will show you in action. So just go to the layer here, right click on it and go to convert to smart object which is also recorded here. Now the next thing we have to go to filter just go into water on a high pass and in here now weaken G O and Big Radius, which now, because of the smart object, once we have done everything, we can go back and adjust that again. So let's just leave that on the same of life. And let's go and change our blending mode now, too overlay. And there we go. Now we just click here on the stop sign and we have now all those actions here. Just click on high pass and click on plate And there we go. Let me explain or show you the smart object now, So you know, we have Here are high bests, but down here we have smart filters and you could see here High Bess If I would double click on that, it really affect Load the high best filter again and we could go and adjust it now. So let's say that we're now one having to life. We could just go and not having to redo all those steps again. Apply that so smart objects we will come to use them in one of the blurring techniques as well, because they are very, very handy. So let me go now and remove the high pass filter that we have created and let me run the action that we have made to show you. So just take all of that just put into it again, or dress skin and we go here down to actions and we select high best and we click on play and photo shop is now loading all those steps again. And you could see it is applying all those steps now. And there we go. We have the high pass filter by a touch of a button here. I would definitely recommend you to do that. If you don't each day, I want to go and redo all those steps over again. 28. Section 2 - Smart Sharpen Technique, Tilt-Shift & Gaussian Blur Filter: I told you that I don't use the high pass fielder on my whole photo right now. What we can see is it is appliance everywhere right now. Wait to just use it on specific areas east by adding a layer mask on it. So we have the high pass filter here, knowledge is go and click on the layer mask and now we have a layer mask on it. What we have to do is we have the inverts that mask and we do that by heating control or commands, plus I. And now you can see a black mask. And now you can also see are the high pass filter is not applied anymore, right? What we do now is by taking our brush tool by hitting beat and selecting whites, we can go and start painting here. And you could see now that we are painting that sharpness back, but just on specific areas that we want So you can see let me just and we do that. So we are just applying it now on specific areas. And I'm not gonna do this old photo, but you get the point. What? I mean, we have to go at invert or mask, do black and then go and hit whites with or brush and then go and paint Where exactly you want that effect to apply on? So let me go and show you now The second sharpening technique called smart sharpen. Now I used this technique mawr for Scharping Everything in my photo or at least more things than I then I would do with this high pass fielder. And the smart shopping tool is really a smart tool. He is amore finer way off putting details in in your photo. Let's great first a copy off our backgrounds. Let's make a smart object from it s so radically gonna go to convert to smart object And now we go to filter and we go to, uh, sharpened and then to smart sharpen. Now he would get the smart sharpened panel And here you can see the amounts is obviously the amount off sharpening that we're applying on it the radius ease the sharpening the thickness off the edges that you are increasing and then reduce noise. You could in fact, reduce some noise with the smart shopping tool. Remove. I would just leave his own lens blur. Now you could also go to motion blur If, for example, that will be some motion happening in your photo, you could effect kind of fix it with putting the angle here where demotion is coming from. But I will go and just leave it a lens blur Now. You can also go into shadows and highlights and go and add some sharpening into the shadows and highlights more individually. But I just use here demand radius and reduced noise. I just use them. So let's go and click on. OK, let's zoom in here a little bit and let me make that invisible invisible again. You can see that we have put some details, some extra sharpening here into our photo. So this word to sharpening techniques that I use a lot and that you will come to see me use in third section when we are editing photos. Next thing that I want to show you now is some blurry techniques because, um, blinds and blurriness to a photo can really give it some kind of depths and could give it really some cool effects. I'm going to start by showing you the tilt shift blurry technique we g o and create at by first of all, copying our bank around here and by going and creating a smart object from it. So rightly gun it. Gobert too smart objects. Now we g o up here to filter. Now we go to Blur Gallery and down here you can see tilt shift. Let's go and click on that Now the tilt shift he gives blurriness on a top on and on the bottom. Now you can see here the circle If we go and increase that we increased the blurriness off our photo and obviously, if we decrease it, we decrease the blurriness. Let me just go and do it a little bit here more. You could kind of just got how d blurriness kind of fates in and outs. So if you go more up, it's stronger. If you drag it down, you can see kind of faith s'more smoothly together. And that's also here as well. And then, of course, here you can gonna set the range for where the blurriness kind of starts. So let's go and do something like this year, and then we can just go and click on OK over a year now. Also here, let's say that you did not really want to have the blurriness. Too much year we can put a layer mask on here by just selecting it and clear you don't let your mask. And in this case, we don't really want to invert it right. We just want to keep it like this. But now we want to switch, do our black dollar, the brush. And we could put the capacity like to 40% a little bit more less. And then we can just start brushing away here from where we don't want the effect actually moving on now to the less blurred dignity that I wanna show to you. And that is the Goshen blur for here. Also, we go and just copy making cover off our backgrounds, and the Goshen Blur will apply on the whole photo. But we will also go and invert the mask to a black mask and the guardian blur ISMM, or if you just want to specifically put some blurriness on some specific areas. So let's go and create the smart object from it. And let's go up here to filter. Let's go down to blur And in here, Goshen, Blair. And here, the radius. That's, you know, the months of blurring is that we're giving to our photo. Let's just put it on seven and weekly gone. Okay? And well, you could see that we have the blurriness now on our whole photo Right now, we obviously don't want that. So we go and create a layer mask on there. And like I said, we control or command splice. I threw Invert that layer and now heating the brush going to the whites weekend and go apply some blurriness on specific areas would say we want some blurriness over here. Or that we wanted some over here in the backgrounds we owe Weaken Dio and to that now, just anywhere in the photo, just very individually or specifically where we want that to apply on. So there we g o We have just now seen some sharpening Teoh ekes Use your photo and some cool blurring techniques to apply all your photo as well 29. Section 2 - Spot Healing Brush, Healing Brush, Clone Stamp Tooll: photo shop comes with a lot of very powerful reducing tools. We're going to touch upon some really cool things here in this lesson, so you're able to g o and correct and do. The fix is in your photos as needed. Let's start off with the spot. Healing brush and spot healing brush can be found here on this patch, or the shortcut for that is the J. Let's start here because if you right click on it, we have spot healing brush healing brush, and then you have patched to come from the wear move toe I tool. Now we're gonna touch here upon this spot healing brush tool and the healing brush. Let's start here with spot healing brush and let me just zoom in here on this lovely lady and let's go ahead and remove here. This little bump and it's done very easily, just zooming, and you make it big enough that it covers the adult here and just click on it and Photoshopped will go and fix that. That's the spot healing brush tool. That's to kind of fix like this kind of dots very easily. Now we have here on self type. We have proximity match, create texture and content aware proximity. Match with this and this probably the one that I use the most proximity match and content aware those two proximity match when you use it. Photo shop will actually g o a. Use actual pixels from the photo and will go and blend them together to fix that spot. So content aware uses image content close to the law of the image. And I would say, if you have trouble fixing adult or spot or something that just try to switch between content aware to proximity match and the same if you have trouble with proximity match, try to just switch over to content aware because sometimes the other kind of techniques that are being used by photo shop in them might have bad results. Also, one thing on this many times you know when you are fixing a spot, but he does a horrible job right now. It does really good job there, but if he does a horrible job just using it like twice like right now, it just doesn't look too great. Right on may be making a living smaller like this looks already a little bit better, right? So sometimes just using it a few times, just like right Right now. Just pretty good. You actually give photo shop another chance to go and calculate better pixel or something. And then if the proximity doesn't work it, I'll just go a switch over to come from nowhere and that good effects have better results as well. And switching between them. I do mostly if it doesn't work. Let's just switch over to another photo here so I can show you better. I'll assume in here to the letters here with the healing brush. What we're doing, we have to sample from a location in our photo, and then we're gonna brush over it. And then Photoshopped will come to fix those things hitting Alz. We get this little circle year and that's the sampler. And so we want to fix this year, right? So we're gonna sample close to here, So let's just go and sample over here. And let's just make this a little bit smaller and you could see we are. In fact, if I make this bigger now, you can see we are effect. Cloning is if I would go and in sample from here, you can see the zero now appearing, But let's go over here and let's go and paint this in and I'm not gonna do it all the way. But just until you can seek honor like, you see, we're like, very nicely fixing that. But each time we have to sample again from here around it to go and fix it. But and you could see with a little cross, that's where we actually are paining from At the moment, you can see now we're all fixing is very, very nicely. And if I would just do before and after we in a fast way, we gotta made the zero disappear pretty well. And if we would zoom outs you would not really note, is that right? De clone stamp tool. And you can use the short God s for that. The way to use this and I will explain just in a minute the difference now between the healing brush and a clone stamp tool heating, Ault, lnc zero. Or let's take five. Now you can see we are also got being what we sampled, right? The difference now between the clone stamp tool and the healing brush is that with the close stem tool? We're just copying what we just sampled from and with the healing brush. What Photoshopped dust. It will actually come and blends in the pixels together. So we got a blend smoothly into one with the clothes stem tool. Photoshopped doesn't do that. It just dissed completely. Copies what? It what you assembled from. And in that way it can be useful if you want to recreate or create something in your photo . So if I would say I want to another of those boxes a year So if I want to do that, I could just completely clone it over by sampling that. And now if I start painting, you could see where just one other percent painting another container here now, right? We could just make, like, another role there, completely cloning over what we're sampling. Now let me gil and learn you a very powerful re tuition technique called frequency separation and in frequency separation weaken. Go and smooth out the skin off our model while still maintaining the texture off it. We need to g o and make two copies off our layer, so make a copy and Let's go and rename them one too low free when see and one too high frequency. The high frequency is for the texture and low is for the skin. What we need to do next? Yes, we select the low frequency. 30. Section 2 - How to Retouch for Flawless Skin with the Frequency Separation: the high frequency is for the texture and low is for the skin. What we need to do next. Yes, we select the low frequency, and we need to put some Goshen blur on it because we want to smooth skin now out. So let's go here to filter. Let's go to blur and go here to Goshen Blur and let's just go and select phase of leave and what what you want to do now East. You you want to smooth out the skin, so we want to make those blemishes almost invisible. Now don't overdo it that it's completely just blurriness. You still want to see some texture, but, like barely so I would say, like about six is pretty fine over here. And of course, this will difference. This number will different for your photo because everyone's skin these difference. So we go and click on OK and we have just put the low frequency. Now we've just made that part now. So next on for the high frequency select the later and we need to go to image and go to apply image. Click on there and in here layer. We want to go and set that too Low frequency blending modes. We want to go and click on that and go and said that UN. Subtract now you need to put scale to two and offset toe 1 2/8 to 182. This our calculations that well, I've not made up or something someone has made that to create this year. So scale to offset 1 to 8. And now we go and click on OK, and what we have now is a photo that looks weird and where you could see some chocolates coming out and then just the footed as blurry. That's good. If that's the case, let's get now with the high frequency. We need to go to the blending modes and change that. So from normal, we go here now to linear lights and let's make a group off them now off the high frequency , a low frequency by just selecting control and then control, plus the G to make group. And if I would make this visible now unvisited that you will see that you will just be the same. Now, if that's the gauge, then you've done the right things. Do you full of the right steps. So our photo just looks exactly the scene. Now let me go and show you how the low frequency and how the high frequency work and how this frequency separation thing works now. So let's zoom in here and we want a smooth in this skinny or now, because we have all this, we have some blemishes here. Want to smooth in the skin a bit. So we do that by the low frequency, that's where smoothing the skin. So select that later and we take the less of a tool now, which you can find it on here. Or you could just see the shortcut l for that. And we're gonna make now a selection, Uh, what we want to smooth out and you can kind of make a big kind of selection. So let's take this year. Let's make that selection. And on here we're gonna go and apply Dodge and learn I want it. So we go to filter Blur. Gosh, gambler. And let's not just see how did you make this nicely? Smoother. Ah, and the numbers also will very in Depends on each photo here. I'm going to go with just 11 and I'm gonna do a fume or and then I'm gonna show you before and after, So you will actually see that we are really smoothing the skin. So let's go and smooth this part over years. Well, And by the way, if you don't always want to go, you know, up to feel their blur and God Schindler, you could actually make a short guts. And the way to go and create a shortcut of it is by going to edits and by going to keyboard shortcuts and in here go to filter and then just go down until you find the gosh humbler and then you can set it a shortcut. I have fear multiple a shift plus control was G. It makes these faster. So let's go and apply some here too. All right, on your will. And let's just see on her cheeks, select. That's no insulation would select him as well. You can. I want to see for spots that you wanna well, that you want to soften out or that you want to smooth out, right? Let me go and zoom out now and show you a before and after now so you can see you can definitely see that the skin got a lot smoother, right? If you look at this area here, you could see got a lot smoother if you look into the cheek. Got a lot smoother, too, and her nose got a lot smoother as well. So that's really what you do with little frequency. You go and make a selection off the bar that you want to make smoother and that you had Goshen blur on it, and it smooths out the skin really amazingly. Now let's go and use the high frequency and the high frequency you can make. You could make some texture, corrections and many times for under the ice. This is a big or some pretty good results, using the high frequency there and to use the high frequency we need to go to the stamp tool. So go and click on stem cell or click on the S and be sure that you have sample on current layer. So we're using the texture off this layer and not off any of the other ones below. So have that own current layer, and let's just zoom a little bit in and let's take cloning stem Sul and let's sample over here because we want to fix that over here a little bit. Let me just, uh, kind of heater, I So let me just redo that. All right, let's do that. Also with the other. I was just going too smoothly. Go over there. All right. Uh, let's also fix a little bit over here and let me just show you a quick before and after of that. So as you can see, we made texture. We fixed it a lot better here and over here, too, if I show you before and after, looks way, way better. Also, our skin, because of the low frequency, looks way smoother. Now this Ghana techniques just seeing them for the first time. It's like holy. It's like a lot to take. I definitely get that. And that's why in the third section, we're going to go and use that technique again. It's many things here in the course. Don't worry too much if if at the moment you kind of feel overwhelmed, just many of the things you will come to see again in the third section, where we will go and apply them while we are editing photos. So the next tool that we're going to see here is a liquefying tool, and the liquefying to is a very powerful tool in Photoshopped that allows you to pull and push pixels in a photo. Now let me just say something first, Hear about the liquefying tool and even about all the retorting techniques that we have seen so far. You can definitely go and change the person with them drastically. I'm just giving this as a warning to you because you can overdo it very easily with those techniques. So let's just go and jump now into here and let's go and explore the liquefying tool. Now I'm gonna go and make a guppy here so you can see your before and after off the changes that we've done because I would say a shoulder we could like pulled out a little bit off or down and her arm a little bit in and her legs here. We could also push that a little bit in there, and we can all do that with liquefying too. Now the late, refined tool is located by going to filter ends in here, you see liquefy, So let's go and click on that 31. Section 2 - Body Shaping in Adobe Photoshop with the Liquify Tool: Now the liquefying tool is located by going to filter, and in here you see liquefy. So let's go and click on that. And let me just explain a few of those sliders here. Size is obviously the size off the brush here, the pressure on 100% which is lots. It's har march. It will push. If I would put the pressure on 100% you will Bush a lot, right? If I will put this on 10% E would not push that much, So that's the pressure. So try to have this note that high. The density is kind of like the feathering I kind of just and it's on 50%. But the density it will bush less on the sites than it would in the insight Now in here. The 1st 1 is for warp tool, which is in fact the tool that allows us to push and pull the pixels in a photo with the reconstruct tool, we can go and read, construct those changes that we have made, which is very handy. Next we have on the freeze mascot tool I would just will allow us to do is we can draw a mask around the area. So let's say, you know, let me draw a mask around here. Now, if we will go to the four warp tool, we would not change anything where the red mask is on. So it's a good way to kind of leave the rest on touch and just touched upon the things that you want to move. If you want to go and remove the mask, you just go troll, mask tool, which is like a razor for removing the A mask Here. Now let me ggo and lowered a shoulder here over the just gotta show ume or how our discount looks on in action. So I would yo and freeze some of the bars here that I don't want to move. So about this year, I will go a freeze, and then I will go and take the four walk tool and be sure that you have a big one gets. You wanna gonna move mawr big souls than just If you have a very small one, you're just moving a few pixels, right? But if you kind of trying to lower something, uh, it's best to go and have a bigger brush could say, You can kind of move them all smoothly altogether down. So let's just go and push this now in words, Bridges to overhears well and let me with the mask. Let me remove over here some of the mess because you could see we are effects, not moving the diesels over there. And well, that has to come with the rest of the shoulder. Of course, too, because now this looks a little bit weird. So let's just go and reconstructs a little bit here. And let's just push that a little bit more down just trying to fix this year first. All right, let's just put a little bit even out to, and now we can go and make it delivered bigger and push them all at once. Now live it more down. Uh, once you see. So was there a little bit more down? And I think that's about get and down here on preview, you could see a preview over before and after. This kind of shows you how the stools work, but, you know, it takes a little bit of time trying to perfect. It definitely could take up to a few minutes now, one more thing you're about to liquefying tool. You can also in photo shop here specifically already go in, select an area that you want to use the liquefying tool on. So we take the less o. Toole and let's go and make a selection here off the shoulder that we wanted to pull down. Ellen may be sure to include that Bart over there. No to and by making that selection and then going to filter and then going to, um liquefying we are now just loading that selection in liquefying to this very handy, because now we just have that one barred alone. The work on and the rest is even already masked out by Photoshopped. So here we've now just come to see the incredible RETWEETING tools off photo shop, and we've come to see now are better and, uh, well, more in depth tour on what they are and the power off what they contain. And in the third section, well, that's where we've come to use them, a lots and where you will come to see them more fluently in action. All and one listing that I want to say as well. Isamu tuition could take a lot of time. You can really take a lot of time trying to perfect something. Now. What I wanna at with that is you don't always have to go and try Perfected, perfected because many times it's very hard and very time consuming. Try to have in mind that you should try to aim to make it as believable as possible, because the two a day is that when you zoom out because it's it happened so many times that I'm working on a photo when I'm zoomed in and I'm trying to fix something in there and I'm trying to really perfect it. But then we you zoom outs, you don't really see it, and that happens a lot. Just when you assume out it should look believable. It doesn't have to be completely perfect with that. Let's move now to the next lesson 32. Section 2 - How to Load Brush Packs & How to Create Your own Snowflake Brush: welcome here to the next lesson, and in this lesson, we're gonna go and learn how to create our own brush, one that willow hours to create snowflakes and another one that will allow us to create stars in a photo. There are thousands off brushes, all for different purposes, some that allow you to create dust honors that even will help you to make I a licious for the ice or leaves or clouds, I would say Go and have a look on Google and just typing brush backs for photo shop and you will find thousands off very cool brush bags that you can go and use in a photo shop. And let me just quickly show you if you have downloaded a brush back how to go and load that into photo shop. So let's go here into a photo shop. So well, that's the photo where we're going to go and apply it. Some snow flakes. Um, now to go on a load of brush back, you just right click, uh, and having the brush selected, Of course. You right click and you see this little gear here. You just go and click on that and now Ugo to load brushes and when you have downloaded the brush, just go where you have dollar on. So maybe your desktop, or maybe no download fuller and it just go and load that brush and you will go and find your brush, then all the way at the bottom. But there are thousands off different brushes. They're very cool. And here in this listen, we're going to go and learn how to create two very cool brushes. So let's go and start with snowflakes. So the first thing that we want to do to create our own brush is we need to make a new documents and we do that by hitting control or command. Plus 10. It doesn't have to be a big one. So I would just say, Go on five, hundreds to five hundreds and then just go and click on Creates and what we need to do put the Hartness to 100%. So a small dot in the left corner and the bigger dots you're down below and the dot here is kinda not completely black black, so you can just go to the bucket eater. You could just gonna feel that in with the black color. I will show you in a minute why we are doing this. Because right now, it might not make a lot of sense, but in a minute it will make sense. So we need to make now a brush from this new documents. And we do that by going to edits and go and click on the fine brush preset. So now you can see here we are, in fact, making a preset from this year. We're making out our own brush from it. So let's go and name that snow flakes and click on Rights or okay. And if we go now to our photo and we dig our brush hitting the beef, we have already that selected. Now, now, off course, if I would go around, this does not look like snowflakes, right? This just two dots just going around. What we need to do now is customize our brush. So we need to go now in our brush settings. And we do that by going to window and then heating brush. So the first thing that we want to enable go to brush tip shape and let's increased spacing too, to about 40. Let's go and hit 40 here. Eso We're making the dots a little bit more space spacious from each other. Now let's go and enable shape dynamics and increase size Jeter all the way to 100%. And you could see when we do that on the preview a year, our preview is changing and you can see we are getting some kind of shape already. Right angle, jitter, gyo and put that all the way to 100% to. And we're kind of like just now more random izing the patterns off the dots here, rottenness Jeter, Go and put that up to abouts 95 that's kind of like we're changing the shape out off the roundness. So go and put that to, let's say, 90 minimum a roundness. I would increase that to 85 so we're gonna bringing some Rounding is back again 80 five. And if it will go and brush now, the veterans are already got him or going more random arounds, and it's the ardent look a little bit like snowflakes, or at least limit better already. Now let's go and click on scattering and have boat excess. Have that checked on and bring the scattering all the way up to, let's say about like nine hundreds. So let's bring that up to there and in transform, go and have opacity Geter. Go on, Have that checked on all the way to 100% as well. So that is it. What we need to do next is of course, save this because if we will go and on clicthat now, well, we have to start over again. So go down here, click on there and let's just now go and safe snowflake course we could do that. And if we going out down here, we have in fact, the snowflake brush that we've just created. And then in here we also have the other one where we didn't do all those changes, which we could, in fact go. And the leads if we just right, click on it and click on the league brush. So, yes, now how we want to go in starts, ease. We want to go and creates an empty layer. And let's go and make our snowflakes look whites and let's make first because now we're going to make some depth first and in the second. Once we have created the snowflakes in here and we have created the depth, then we're going to go and throw them into more real life looking snowflakes. Snowflakes that we're gonna create now are all the way in the bank over here. So obviously our brush doesn't have to be very big for that balance, skill and make some snowflakes on. We could just go and being a little bit here all way over it and definitely kind of from in the back with trees. So that's my first layer. That's like the snowflakes all the way in the back ground. So obviously they are gonna be smaller rights because the next layer that we're going to create, So let's go and click on that one. We're gonna make the second snowflakes falling closer to the lens this time 33. Section 2 - How to Make Realistic Looking Snowflakes in Photoshop: Let's go and make now our next brought, uh, snowflakes war Already it would be bigger now, so I would sort of stop you with this. So that is our seconds layer off snowflakes. And now I want to create 1/3 1 which is the snowflakes that are falling to close a student lens. So let's go and create one more Anthee layer. Here. Let's increase our brush size even more. Ive wallah. You see what we have done right? If I would just go and make that invisible student were first created, the snowflakes all the way that are happening all the way in the backgrounds. And like I said, they are obviously smaller because they're further away. Then we have gone and created the second layer, which are falling midway from the lens. And then we created the snowflakes, falling all the way closest to lens. So let's go and make the first two layers here in visible for a moment. And let's focus on this one here. What we want to do is we want to apply guardian blur on this to make it a little bit more blurry and take off the hard edges. So Let's go up to Fielder and let's go, do blur and to guardian blur. Now let's Gol and kind of look, You definitely don't want to overdo them, because then you just make them disappear. So about 13 I would say is get now. Let's go and make the second layer here visible and let's go to filter, Blur and God Schindler and make let's make them also a bit more blurry. And here for them I'm actually like 15. Looks like a pretty good one. Eso I'm going to select 50 here, So let's select that now. Let's go and enable or made the last layer here when 1/3 layer here visible Let's go back to blur, Goshen, Blur and let's see and actually effect. I'm going to make them more blurry than the ones happening in the backgrounds. Just like 34. 34. Loose looks pretty cool. So I'm gonna go and hit on. Okay, there. This looks quite a lot more night like real snowflakes. Right now, we're going to go and do one more thing and we're gonna put some motion into the snowflakes . Now, I'm just going to do that on the second and 1/3 layer. Let's go to filter, uh, to blur and go to motion Blur. And in here we can put motion. Now the angle here, we're going to see the word sporting. That's where the snow is falling. And obviously the snow is falling Falling mawr to that way rights or that would make more sense to become position here. So I will put like a minds 45 for this photo. But you have to see for your photo off course and with the distance here, if I would put that all the way. Uh, because we could see if we would put that up more, you could see the snow already gonna falling down. Right? Uh, so let's puts a little bit off motion in here. Um, something about like 100 year I would go for and click on. OK, let's do it at us. Well, with the third layer here, let's go to blur to motion blur. And let's see how much looks broke your here. And I'm sort of going for 110 for this. What we can do, you know that there could definitely be some more snow in here so we could in fact go and just got B that the layer here with snow face that we want them for me, the middle one. I kind of want to drag some or snowflakes out of them so we could go and drag that down and make a copy of that having that governor Now that layer selected, gaining control plus D. We can gill and move those snowflakes around and we could even go and and position are made them live bickmore larger, so they look difference. So let's go and try to blend that a little bit nicely in here. I'll kind of like put something like this or so. Let's go and select that so that they apply a few more snowflakes in there and I will copy just the second layer one more time. And I would move some or over here as well. Well, it's just made him a little bit bigger bends. It was hit. Oh, gay on that, too. If you don't want those snowflakes over there, we can just easily remove them by hitting the E 40 a razor tool. And let's just make all of them invisible. And let's just look at the first layer here and see where we don't want the snowflakes to come on. So it zoom a little bit in and let's hit the e for a razor. And I don't really let me put that to 100 capacity. I don't want to do one show over there and over here, So let's just brush that off and that looks okay. Let's go and check on the second layer, Which looks to me. Okay, let's go to the copy of the second layer on that. Looks okay to me too. Uh, layer to copy the other one looks all right. See you later. Tree looks can. Okay, so maybe I could just paid enough here a little bit, but looks right to, but you could easily dio and just remove the snowflakes much more easier than if you will be real cinema flexi effect. So let's go and check all of those things on again. And I would have probably applied a bit more snowflakes over here. But you get how it works and how we create the brush and how we create these snowflakes too . Realistic looking snowflakes 34. Section 2 - How to Create your own Star Brush to Make Realistic Stars in Your Photos: Let's go now and learn how to create this star brush in photo shop and we start the exact same way as we did with snowflakes. We creates a new document first so it control or commends plus the and to create a new documents. And also here have the wit on 500 the heights on five hundreds actually can create. So for the stars were also going to create two dots but quite small ones, actually compared to the snowflakes. So let's go and creates a small doll here in the left corner. Let's try that just one more time and let's create an even smaller one in the top right corner. Now let me just take the bucket to feel that more in with some Bleck This But you can see these are quite smaller dots than snowflake once and now we go into and it's and we also go and define brush preset. So click on that and for this we're going to go and name it, starve brush and click on Ok, and now we can go into our photo here. So the same thing we have to do now as well we have to go and customize our brush. So we go and do that by going to window and going to brush what we want to do. First East, we want to go and check on shape dynamics and increase the size Jeter all the way to 100% with the angle jitter the exact same all the way to 100% scattering. Have that checked on us well, and be sure to have bought access on. And let's increase the scattering to about Ah, 3 18 the gowns. Let's bring that up as well and the gallons will just It will just make Mawr stars, as you can see here in the preview now, I wouldn't go and bring that all the way up, but I would just kind of go up to six. Transform or transfer and the opacity jitter. Let's go and bring it up to about 49 that's basically going to make some of the stars more visible than the other ones. That's all the settings. And now go a click here and let's save that as well as, ah, brush. Let's click on OK, if we rightfully now we have next to our brush star brush that we started with our final star brush now so we can go ahead and delete that 1st 1 So, yes, we don't. Okay. And if I will go and paint now you can see we have infects some stars appearing now, just as we did with snowflakes. We're going to go and create a new layer and empty one, and also here I'm going to go and do it in tree different steps. So we're going to start with some very small ones and let me kill and creates a second layer. Let me increase. He brushed here now another layer here and even bigger stars. Now let me just already g o and remove the stars where I don't want them. So let's just make those first through layers invisible. Let's stay the razor tool here. Let me just go and brush that off from the tree here. Let's do it out with the second layer as well. The third layer now the final touch year that we wanted to do to our star species. We want to give them some glow, and a way to do that is by going selecting the layer here with just like the other ones off first selecting layer here and go into the F X down here and then going through blending options. What you can do as well is just double depth here on layer, and then you open up to see the menu, whatever you prefer. And let's go down here to outer glow and let's select that. Let's go and select the color here, and this will vary it from any gonna sky, right? So it will be more kind of a bluish color that I want to go to. Um, I would go maybe for something bluish like this. It's like, Okay, and we want to go and increase the opacity through 100% the size. Let's go and increase that a swell to nine. So let's go and click on OK, let me just assuming a little bit. You can see there's like an extract glow around it now, which is with the other ones. It doesn't have that yet, So not let's go on a blind at on there, too. And let's just double click on that. Let's go to our outer glow and we could just go ahead and apply the same one. Let's click on okay and let's do that with less layer just the same. Double click on it and auto Kyllo and let's go and click on OK And we could, in fact also go and apply a blur on the stars. But staying, uh, layer the third layer here and let's go to Filter Blur and we could put a guardian blur on it now, obviously not much at all, but just a little bit, because the stars are never that sharp where you're taking a photo, of course. So you gotta one of learning a little bit dough. Solicit going gay for that and let's Gol and blurred the outer layer as well. Goshen Blur. Let me just make the other two invisible first. So Guardian blur. Let's go and make that a living more blurry, too. We gonna gate and the last one here, Let's go and make some blurriness in there to Goshen blurred on Let's just do like 3.6 and a less thing that I will go and do is put a little bit of motion in the stars because the stars are never going to be asked perfectly in focus as here would photo shop, right? So there's always, like, a little bit of motion going on in them. And the way that we do that is by going to filter, blur and then motion blur. Now for this, we obviously we don't want like that much, right? But we just want to go and have, like, a little little bit. So let's just see. Um, I would probably be like about six. Let's go. And here, okay. And I'm gonna go and apply the same gonna motion blur on the honor to hear a swell up here . We're just a blind, the same filled er with the same effect. So let's go. Anything there and let's go up to the other one now and Kilic Builder Motion blur. So there we go. We have just now seen how to create two brushes out of nothing. Also, like I said in the beginning, go and have looked on Google and check for some free brush backs because there are thousands off different things. Like what we have created now they are very handy to create, like an extra crying a depth to your photos, like here with the stars and with snow flakes 35. Section 2 - Learn How to Create a Sunlight Effect in a Photo: in this lesson. Here I am going to teach you four different sunlight techniques. Ah, one of them use the sunlight. Flare under one is a sunset technique. Another one. Ease sunlight race. And then we have a general sun lights effect. And let's go and start with the general sunlight effect. First, we have this beautiful coconuts, which I took in Vietnam. So the way that we want to start is by taking the elliptical marquee tool which is right up here and the feathering the chance that this will just be zero is quite high. Let me just put it on zero. And with the elliptical marquee, we want to make a selection where we want the sunlight effective your own. We want to go and make it somewhere over here and probably a bit more. Allah means amounts. Let's stay that again, prelim or somewhere like this. Now we have here the selection, and now we're gonna work a little bit with some adjustments already. So let's go to the adjustment that it's like you and saturation and just click on it. And if we would increase this, we can in fact see that we are making something happening there now. I told you that I put the feathering to zero because a chance that for you it will be on zero. It's quite high. You could see what it does, right? It is giving a very strong feathering, right? This is not very nice. We want very much softer feathering that it's Mawr more flowing a smoother over everything . So go to feathering and put that to thousands. So just 100 So we have thousands now Let's just go and do at over. So let's remove the adjustment. Now let's go up to the mark Key tool again. Let's just make that selection here again and G o now bag to adjustments and click on you and separation. And if we would drag that now up, you could see the effect is much more subtle. We don't have that hard edge. Now, here. You can see that now there are a few things that we want to do. Now we want to make this look realistic, right? We want to go and change the blending moat off our layer. So go here to normal. Click on it and we're gonna play with a few different blending modes. So let's check overly, let's see out, out loose. And in the meantime, you can go and play with the separation. Put it a little bit off. Go play with you where you can go any and change the color. I would just situation. You just increased the color. We'd lightness. You can make it brighter, which we both want to play with. Those tree sliders here overlay. Yeah. Ah, let's shake screen. Let's just play a little bit with it. Maybe the light is a living more down. Let's see what kind of color we want to put on it. Let me just make that invisible, invisible screen could infect sort of work. Let's go and check soft light. Let's just made up visible and invisible. Let's put the lighting is a bit more off consideration that could work to, so I am going to go way It's screen Alice put separation out up and let's just gonna go and look now for something that kind of looks good with lighting. Live it. Let's see before and after. So that looks all right. We can gol and move this adjustment. In fact, if we go here to the move to weaken dio and thicket And you can see we are now dragging that, uh, effect around so we can go and put it mawr where we want and let's go and see where this lives better on. So somewhere over here what we also conduce to help you with this east weekend click on control or command plus T for transform tool. Be sure, of course, to have the layers selected. So control plus t for the transfer to you can go and direct this effects the adjustment a little bit more outs You can even go and move it up and down So I will go and put it somewhere more like this and click on the yes sign over there. So that's a very simple sun lights effect. Now what we can do to make it a little bit more realistic, But we can copy this layer here by just taking it and dragged me down here to the layer here. So we have now a copy off that layer and we can go and change the blending boat now to a different one, and I will go for soft light in this case and in here we can also go. And just now, the contrast. Let's just go and move it. A little bit of runs and let's go and increase some off the lightness out with display here with d U. And with separation. Well, it's just greatly seat without looks. And let's kill a gun control plus Kimanthi, Ghana Stretched is a little bit out. I moved a little bit through here. Now, as we know with layers, we have the possibility to go and take our brush and kind of pains on areas where we don't want that effective beer on. So go and he'd be for the shortcut for the brush and let's go and make this layer here invisible. Let's just go and work on the first layer that we created and let's got to go and Spain a little bit where we don't want that effects to appear on. Be sure to have it on the blank color and your capacity. I would put very lowly on 20 and let's go and paint here a little bit. And let's make the outer layer now visible and the other one invisible, eh? Let's see how much we are affecting with that, let me maybe guilt and changed a little bit off the separation, and you make that a little bit more orangey. So let's go and see where we don't want to have that. And be sure, of course, that your painting in the layer let's put them both on now. Now, in general, I would say, this is, you know, the sunlight effect. It's got strong ish. Still what we can do this. We could go to opacity and we can go and click on it. And if we drag it down, we are decreasing the capacity off the effects. So let's play a little bit with that and let's put a little bit more down. I will go to 74 for the 1st 1 Let's like the other one now into a big sack. Same for that. And let's put that a little more to 50. Solans Group does, too. So this here is just a quick before and after off these sun lights effect that we just created very easily by just two layers, and you have to know this photo is unedited. So right now it's kind of flat looking to photo because I've not really drawn out of the shadows and everything in here 36. Section 2 - Learn How to Create Sunlight Rays in a Photo: And this here is one of those kind of photos that's just bagging to have some sun rays coming out of those trees here. We got like, the sun here behind shining a little bit down here, true the trees. But we the following that need that we're gonna learn we could bring out those again a son race a lot, A lot stronger, how we're going to start you with this Sun Rays East we are, if they're gonna go and create also a customized brush. And we've already seen now how to do that. So we're already a bit familiarized with that. So just click on the B for brush. Now, we don't for this one have to create a new documents. We just go and take our brush here and go up to window and go to brush in here. What we want to do is we want to go to shape dynamics and click and drag the size cheater all the way up to 100% if the minimum diameter ease somewhere on another percentage, go and dragged it up to zero because we want to have that out. Zero. Now let's go and click on scattering and skittering skater. First of all, have boat access, have that checked on and scatter itself. Go and drag all the way up to well to 1000 years, all the way to the maximum, and you can see we are scattering everything apart. Next, let's go to the brush tip shape, and you might want to put this spacing. You wanna might, you know, space those little dots here a little bit. Iran's Let's just stay in the brush here and let me do a few thoughts already and let's go and put the spacing a little bit more up. So we get space, those thoughts a bit more toe 80 and that's it. Now we obviously want to go and save this year as a brush presets, and a way to do that is by clicking down here on this little icon and let's call it Sun Lights Race and I'm putting it to their because already, half one and click on OK, and now if we click, we right click and we go here into where all brushes are weaken G O and see now all the way our new son Life rate brush so we have that selected. Now let's just click all this off. And if we go on brush, we have some cool that's flying around, which is get because this bull, if they become our son race now the way we want to go and starts eased by creating an empty layer. So go down here to this icon to create an empty layer. And we want to simple here, some off the color that is going on here and we go, we'll be sure to have in the brush being the brush. And then if you click on also, you have the simpler here. And let's simple here a color coming, you know, nice. A nice color here from the sun. And I'm gonna want to go with that orange color here that's gonna like heating on the tree . So let's zoom out now. And what we want to do is we take our brush. Act is also it like the snowflakes. We're gonna go and make multiple layers. So one got a small one, and then another one, a bigger one with bigger son race coming out of it. So for this one, I'm going to go with a smaller one. And I'm just gonna paint from here down below. Uh, end from here from here. I would just deliver around there, Do a little bit of them over there. Years will from here. Sue, uh, from here Down Sue. So now we have just a whole range of dots flying around, which doesn't look like anything at all rights. What we want to do is we want to go to Filter, and we want to g o to blur and go to Radio Blur in here. What we want to do is we want to bring the amounts all the way to 100%. And we have here blur method. We have spin and zoom. Now we don't want spin, but we want to go to zoom now. We don't want to go and hit in the middle, but we can move this box here and we want to move that box from where the sun is coming, which is from here. So now you can see like, this preview here is an exact sample off what is going to happen and click on. OK. And next thing what we want to do is we want to change the blending mode. Let's go and see which looks better here many times, screen overly soft lights and linger. Light could effect look very nice to and in this case, linear like dust looks looks pretty nice. But let's go and shake screen as well, which loose where you find so color. Dutch doesn't look bad eater. Yeah, actually, Call or Dodge looks pretty nice. Overlay is a little bit darker, I think colored dot She is a nice one to have here, and I'm just gonna leave this now and let me just made that invisible and let's create another empty layer and let's create some or some race but some bigger ones in this time. And let's just maybe that's a bit too big, though. Let's just go over here own from here down and some here to down, Uh, I'm not gonna make that many from this year, so we go up to filter and we can just go and load the same effect the same fielder here by just clicking here on the top 37. Section 2 - How to Blend Sunlight Rays More Realistic in Your Photo: and let's as well ago and change the blending mode of this layer here. So let's go up here on normal and let me also make the first layer visible because, you know, we could also go straight away for color dodge here on the second layer. But sometimes mixing another blending mode together with the other one that we had could in fact be nice. So let me experiment here with soft lights. Let me go and check overlay. Let's see Screen weeks looks, you know better. And it's also just check color Dutch, which we have down here. So screen is a bit warmer than color. Dutch. I might infect Go for overlay because it's giving a bit. Mawr makes a little bit more dramatic over here, so I like overly now. Let me make this invisible. And the thing what we want to do is we want to also create some blur onto those light rays here, just take some of the hard edges off them. So let's go up to Fielder. Let's go up to blur and go to Goshen Blur. Now you obviously don't work much, so I would just buy, like 1.5 and you can hardly maybe see it, but it is just taking some off those hard edges off. So just click on. OK, let's do that as well with the outer layer. So let's just go to Fielder and just go on top here on Goshen Blur. Let's go now and position our son race a big better because they're okay. But over here they could be a little bit more blended in. So I'm just gonna make that 1st 1 invisible and let's take the 1st 1 and let me zoom a liver doubts and let's sit control or command plus T for transfer tool and we can go and gonna move is a little bit more. So let's move that more to their Ellis click. Yes, Allen's to do the exact same for the other one, which does in fact look fine to me. But let's just see let's build a little bit more up. The next thing that we want to Dewey's we want to go and blends are sun rays better into our photo because you can see over here that well, this doesn't look like to realistic honestly, so we want to go and blend that a bit mawr into our photo, and we could, in fact, just the e for a razor. Put ah, rapacity down and go and change that way, as I have thought in the stars and with Snowflake that needs what we created that brush. But that's a destructive way of doing it in here. We render want to go in a nun destructive way, so we do that by creating a mask, a layer mask onto our layer. So half the layer here selected and click here on the layer mask, and we have now a layer mask yer. So if we hit the B for the brush and we have our color set on the blank color, we can go and we'll definitely be sure to. Right click hands have a different brush, the just the standard brush, and now we can go and blend this better in together. So let's zoom in here because this year is definitely too hard. Let's take the brush and let's set the opacity to 20%. And let's just being here to blend that a little bit more nicer in. All right, so let's move over to the next layer here and let's just will go and click down here at a layer mask on it. Now let's make the other one invisible. And let's see, we're disease hating where we don't want it. And honestly, this is pretty. Find me now. This is probably a little bit too much, but weaken g o into If we have the layers selected, we could go and bring your basset e a little bit down. And I would you fag bring the capacity over the the second layer here, a little bit more down. Let's bring it just to about 20 and let's see, with our first layer, the first layer, I would just keep up. So that is a very religious group them together. Let's click on control bliss cheap and let me just show you that is a way to create some race into our photo. We can also now g o and change the U and the separation off those son race. So let's make one of them invisible again. And just half one layer selected a click on control or command. Bless you. And here the U incineration that will go and appear on, and we changed the you in here do a different color. It's not changing tremendously a lot, but it's changing a little bit here. As you can see over here, it's getting a little bit darker and let's made a little darker and situation. Let's just bring not only made up and let's click on a right balance due to seem with the other layer was just like on patrol, plus you. And let's see if we can also affect that a little bit. And let's spring. There's a little bit more to the bluer sites ls click on. OK, and there we go. Very easy way off, making some sun race appear into our photo. 38. Section 2 - Learn How to Create a Sunset Effect in a Photo: moving on, we will learn how degrade a nice sunset effect in voter shop and we will go and start down here to the Ukrainian tool And maybe the paint bucket might be there. But we need the Grady int tool and we are going to create now our own Grady int justice with a brush. We can make a preset off that So we just have to do it once. We just have to set it once and then we get to go for always. So we go on top here having degrading tool selected. Let's click on that. So this year is the sunset effect that we want to create. So go and select here one of the great ian fillers and click here down on the left arrow. You could double click on it and you get the color bigger Now, here on the left side, we want to set that all the way to white. So be quiet and click on OK, here on the right side we want to sit Ah, red color and you could just click it once doing kickback. Click on color s well and let's said that to a red color about this and let's click on OK, now in here in the middle. We want to have also an arrow so you could just double click on it and then another one will appear. And let's just click on that as well. And here we want to create. We want to set a nice orange. So let's speak about this kind of orange, which looks got a nice and let's click on OK, and we want to go and drag here the left arrow a little bit to the right side. So let's just take that. Let's trade it a little bit to the right site and with the middle won't we don't want drag that a little bit to the right side as well about this. And let me just a discolor here, direct one and let's made up a little bit more lighter about this kind of car, and now we want to go and save this, obviously, so we don't have to recreate it all the time again. First of all, we can name it, so let's name its sunsets effects and then we can go and click on new and written Now we clicked on it we have here the sunset effects click on OK, and we have that here selected Now, now on top here we have a couple off possibilities. Now, obviously for the sun, which is rounds we want to have around one. So we click here on this one, which creates now a nice run circle. What we want to do, first of all, is we want to create a new layer. So going down here and click on layer, we want to drag this now and then drop it to create our son. And of course, the bigger you make it, the bigger it will be, right, So we don't want it like enormously bake. So let's go by this. So that's fine. Be sure to have it around in the middle, because what we need to do next is we're gonna mask this outs, and the way to do that is we go to the mark key tool here, the electrical Marquis and a nice little thing here that I'm gonna teach you now You could you know, you can select it going from year and then trying to find, like, a form right to go around it, which is gonna it will take a few tries. A very easy way to mask these out is just go into the middle. Don't do anything yet. Hit Alz and then kill it down and the circle will appear from where you click down. Now this still like going like that. If you click a shift at the same time, you will keep that form. So this way we can select out nicely our son. So let's just go and created a little bit like this year. We still want to read in there, too. And because we have put the feathering to a thousands, if I would make this in a mask now, let me just do that. We could see year. It's very, very you know you can. You can hardly see the sun now. So what we need to do? Yes, we need to go and put the feathering down. So let's just create a new layer here. Let's just put this down again and let's take the marquee tool and put the feathering 20 And now let's go here in the middle. Klingon cults plus shifts so it holds. And if we create now, we go down here having that selection and we click here. We make a mask off that and we have this nice round circle now, which is in fact, our son. You want to go and change the blending mode now? So go to blending to normal Alice. Desperate screen. Let's test weight overlay. No, let's see soft lights. No, let's see. No, uh, Let's see. Linear lights. If I could find it. Linear lights here I would select Eater screen or heart lights, which is over here. But let's go with screen for now. So let's take screen. Let's make the blending mode to screen and let's because now there's some very hard edges over here. We want to put some blur on there, so let's go here up to filter go to Blur, they go to Goshen Blur and let's drag is up. And let's see now until it is kinda going a little bit more smoother out so you can go pretty high with that infect. And I won't go about 180 tree for that. So actually going OK, and if we with the move to we can go and move this anywhere around now and this looks a little bit more like a sun set, right? Obviously again, you want to place it somewhere where it makes sense. Putting it over here doesn't make its much sense as putting it over here because the sun Maura peer from there. So let's put it more here getting control plus T. We have the transfer tool, and with the transfer tool, we're going to go and drag these little more outs and even more. It's making the living more smaller and let's see where we gonna place that. But let's drag this a lot more outs. Something like that. Let's click on the Yes sign we want to go and take Our brush now will be, and we want to blend this sunset effect mawr nicely into our photo, as we did with all the other effects. And in here I would also take capacity 20 and go on brush. You know a little bit of that away, and we can also you go and heat on control or commendable issue. Be sure to have the layer over here selected and not the mask, and we can also go now and still changed the lightness, the saturation and even you off our son so we can correct it a little bit more and saturation. We could. Well, we could play a little bit with that, too. Lightness. We could play with that as well. But let's put that just living like that. So let's look OK now. As I said, I would have spent a lot more time perfecting this, because here it doesn't look too great yet, but you get the points off how it is done. And in the third section we're going to explore way mawr in depth, supplying a sunset effect like this and where are really affected all the time into perfecting it as best as I can. But in here I'm just showing you the techniques so you know how it's done. But in the third section you will see just how you could perfected a lot mawr into blending it in altogether more with the whole photo. So it does look more like a riel sunset effect 39. Section 2 - How to Create a Lens Flare in a Photo: we want to go and put a nice sun flare effect because the sun is coming from here. And it's kind of like, you know, like beating up a little bit. And it will be very cool that, like a sun flare effect come out of there. So the way to starts we want to create a new layer and we want to make that layer like so click on control plus deletes. And you are, in fact applying the color what is selected here. Now, Now go up to filter go to render. And here you could find lens flare. So click on that. And here you have a little preview off the lens flare weaken, Position it where we want to have it and we wanna have it from down here. So let's, you know, take it about here. You can also choose the brightness. You could make it brighter. You can pick it into a crazy explosion of lights which will not do. Ah, let's gonna put that to living like this and you can also lights lends type. So, uh, this little bit of different sun flare effects movie prime, which is some weirdness, but let's just take 52 tree hundreds millimeter. And let's say that over here, let's click on OK, now here we have this less flare rights and our photo under its So the next thing one what we need to do is we need to change our blending modes. And again, you're seeing some more of the possibilities that blending more. It's half. So we need to change our blending moat to scream. So click on that. And here we have our lens flare appearing and our photo coming treat, too. Now we want to add a layer mask to it so we can effect go and paint this year away. So have the layer selected and click your on layer misc. And with a black brush, now weaken G o and paint where we don't want it like here, the daughter over there. I don't want it on their nose. So just being that all the way off now the edges here are quite hard, right? So we want to put some blur on there to make it a little bit more softer, and we do that by going to filter going to blur. End's going through Goshen Blur and in here. That's well, let's go and see what looks appropriate for our blur. And the mistake that I'm making here is that I have slept my Meskhi. So we need a slate. Here are layer with the filter blur God Schindler now 180 Tree. It's way too much. So let's just see here how much we once I am about going to seven, which is all right, So let's click on, OK, a great thing we What we can do now as well is we can click on Control plus D to have the transfer tool and we we can now go and, you know, transform a little bit more sunset effect about This is good. All right? Yes. Now again, this is unedited photo. So the colors year I would effect made him a lot warmer because now it's unedited photo. We have not applied any coloring or ending to it. The lens flare looks gun ridiculous to me in this photo because it just doesn't fit. Really. In the third section, you will really come to see also how working with colors really changes the mood into your photo and where we are editing there we will work a lot with dollars now. Also, here we can go a click on control, plus you and we need to slight the lens flare. So control, plus you. And here we can also go and change the U the separation and the lightness. Now I am not going to do anything really too much with it. But we can make some small adjustments mawr into blending everything more, more nicely into our photo. And let me just do it before and after. And this is very bright over here. Also, over here it's quite bright, but we have very easily just made a lens flare into our photo. 40. Section 2 - How to Stich Photos Together to Create a Panorama: welcome here. In the next lesson off the photo shop section. In this lesson here, I'm gonna show you how to stage photos together in photo shop in the light room section. We have also seen there was also a lesson on panoramas in general, I would say I would always use photo shopped to create my panoramas with because it's just much more powerful. They're much more tools in it. There are two ways how to imports the photos that you want to stitch together into photo shop, and the 1st 1 is true light room. So let's jump here into light room and you just select the photos that you want. So you just go and click on one and then click on control and I click on the other ones that you needs. In this case, it's just two photos, and you're right. Click on either one of them. You right click on it. And if you go to edits in and then you go down here to emerge to Panorama in photo shop. If you click on that, those two photos will open up in photo shop and you will start stitching them together in a Panorama. The next way is to imported directly from photo shop. So the way to do dad is you go, you're up to file and you go down to automates and then you go to photo merch and click on it. And in here you have to go and click on browse and you have to go and select the photos that you want to stitch together. So we just go and select the photos that you want to stitch together. You click on OK, and then they are loaded in here. So the 1st 1 to lay out the 1st 1 is the auto won. I would suggest to kind of start with the auto one and then go through the other ones and just check which one might look better. But in general, the auto one does a good job, but I would still suggest just make a few other ones. Just go to perspective, cylindrical and go to all the other ones and just see which one will work the best. Now in here we have a blend images together, which you want to have checked on, so photo shop is blending them nicely together. Vignette removal Sometimes you have some disorder in some vignette distortions. Some blackness right around the corners of the photo having vignette removal on Photoshopped will go and fix that Jim Medical Disorder in correction. Having that checked on, it's like a lens correction. Photoshopped will go and correct some lens distortions in there and then we have content aware filled France parent areas. Now I will just make an example of how it looks without content aware fill transparent areas on and I waited Check down. So this is here now how it looks with photo shop trying to feel the continent in here and roll. First of all, the auto function didn't work. Photoshopped didn't do a really great job on it because it's pretty rounded up here, which we can fix, though, and also the content aware it didn't do a really good job in here. However, on the other parts, it did some pretty good jobs here, like over here, it had to fix it to now. I also made one where it didn't do the content aware. So in this one here it looks a lot more straighter, right? It still looks a little weird, but we can fix it a lot easier than this one over here. Now, you can also see that we have here the white of the canvas. So we have to crop that out with the result that our photo will sort of become smaller right in here. You can see in the sky for the shop wins and go and fix that pretty nicely just over here. You didn't do such a good job, but we can, in fact exact a lot easier with just the healing brush or to clone stem Tool. We can easily go and fix that. Also here with snow. And here he did a very good job, like right here. There's nothing on it, right? And here it did. It did a pretty good job, though, so But this is just to show that the content aware it feels it pretty good at times and many times I always said that checked on for the first try and just see how well the results are and like you can see here a very good job in general. Now let's move here to the photo where I didn't add the content where Phil, let's mentally go now and see how we can go and figs that here in photo shop. So first of all, we're gonna make this a little bit more straight. We go to decry Uptil here, going into the top corner and let's make this a little bit more straighter. So that's about of this year. And I will also crop now a little bit off areas that I don't want. So I wanted about this year this I want about here and let's Group is a little bit in as well. So it's about this to me. Seems like very nicely. And I feel okay. I made it a little bit too much like that. So dislikes get, let's click on. Yes, we just now have those transparent areas here in the corners that we want the fix and we can fix them pretty easily. Now what do you want to first is we want to create a stem visible layer off this year. So we go and click on patrol all shift plus E to create a stamp visible layer over here. So the first part that I want to fix here is in the left corner and we're gonna use the spot healing brush for this. So it zooming here and let's go to the spot healing brush on the patch here and in healing brush. Eso not to spot healing brush, but I mean the healing brush where you can also click on the J for the short cut off that So it's just click on all now to tell Photoshopped where it needs to sample from. And we want that close by. Of course, l just start painting here. 41. Section 2- Fixing Incorrect Stitching: So all in all, we made this here appear disappear pretty nicely. So you follow Click now and make this invisible and visible again. We have done a pretty fests, you know, very fastly we have filled that gap in here. I could also go to the clone stamp tool hitting the S because now we're just gonna cologne , then photo shop is not going to go and blend that pixels together. We're just gonna clo from one location. And I would always have the capacity a little bit low if you wanna tried to smoothly blend things to get him and we can go and fix year a liberal. That whiteness and some of those colors over you do not look really good here on its up. So about this. So it forward. Zoom out now and you will look here on the left corner. We have made that very, very nicely together using the healing brush and the clone stamp tool. So let me make that invisible and visible again. Now, here on the right corner, I would do the exact same. I would just go and he j for the healing brush. Uh, go end sample and this one will be a lot faster. And he doesn't really good job right now. Uh, yeah, that's that looks honestly very, very good. Maybe here looks a little bit weird. So he the clone stamp tool to go and blend that a little bit nicer to get her all. And this looks very good. If we go in zoom outs, click Invisible, invisible. So let's killed down here and fix Discordant Now here, which we can also just dio and the healing brush. And he did a very nice job here. This looks a little bit that there we go very nicely. Very well done. So less parts or well here. We also have a little bit of this now here I would do something different and I would infect warp out of photo here and the way we do that ease by going here to the wreck Tickler, marquee tool. We can make a selection here, so let's make a selection of this part here. And if we kill the gun control or commands blessed e and just having this and just moving it out a little bit, we can in fact, just very nicely fixed that so let's click on. Yes, I'm there and let's also go and make a little selection here. Bigger. We can control plus t and just drag that down and click on yes. So we can now, of course, still see, Here's some hard edges because of this election that we have made him because of retracted down. Now we can easily fix that by just going to our layer and adding a layer mask on it. So just click on that and half the brush selected heavy down black and then just go in here and let's go and bring some off the original back. And let's smoothing that out again. And there we go. We have created fixed that very nicely. So let's just made a invisible and visible over here. I would use now sort of the combination of both of them. I would use the healing brush to figure this over here, and then I would also just they free transform tool and just pull that a little bit more down. And then, with the cloned stem tool, I will go and make those little corrections. Teoh make it all look nicely. So let me go and do that now, Over here. So let's hit Alz and assemble over here. Do be sure because you're switching now between your layer mask and your layer. If I would sample now, nothing will happen. So if this is the case for you, as you're and you're like, all right, what? Nothing is happening now. It's because you're in effect. You have the layer mask selected, so be sure to have the layer selected, because now we're working on the layer. 42. Section 2 - Rectangular Marquee Tool, Healing Brush, Clone Stamp Tool: let me guilt now and go over here. Take the wreck tickler, marquee tool. And we can let's just make a selection over here. Now What I will do is he'd control for a Steve for the transform to. But if we right click on it, we can also go down here to a warp. And I want to go and work now a little bit. So we are kind of stretching out, but we're warping our photo, so it still has to make a little bit sense, of course. Ah, but we can use this now warp a little bit. Keep it like that. Once were busily bit more down. Click. Yes, and we have to do it is in sort of in small parts. Let's go and correct. It's already a little bit over here. Let's go and play a little bit now with the cloned stem tool. And now it's really about just trying to blend all those things more nicely together. Selecting from the snow from another part. Now weaken with the clothes with the healing brush, we can try to heal some different patterns now in here. As you can see, we are now trying to heal those things more nicely. To feel that empty hole in here that we have made. This looks pretty good. I mean, if I would assume our to make that invisible invisible. We have done a pretty amazing job, I think. Let me. But the lighting off year off. Let me just put it like that. We have done a pretty amazing drop off fixing all those transparent areas here. And we have fused the healing brush tool for that. The close them tool for that the trans from two for that and you warp tool. For that, he Photoshopped did a horrible job with the content aware. Then I will go and mentally big stores areas like that and after a while, once you start mastering those stools, you can go very fastly. 43. Section 2 - How to Match Total Exposures: they're too problems. That pretty much can happen in creating panoramas, one of them that the exposure form photo and the other photo is different. And the other problem is that the color is a little different than in the other one. So the way the duties and high half explain this in the light room section with panoramas and HDR. But I just want explain it one more time here. If we go, we have to be in the develop module for this. And we clicked down on your for these arrow up. And we have the stool bar here now off the library module and we select the photos off the panorama. So we have this one and just click on control or command on the other photos. But be sure the photo that you want to take the exposure from is mainly selected. And then we go up here to settings and you could see match total exposures. Now, the other photo that we have, I've made the exposure a lot darker here, so we will see a difference. And the other photo is the kind of exposure that we want. So you will come to see here in the seconds where we click on match exposures that this will change now. So go to settings match total exposures and you could see it just changed fo click on it. It matched the exposure off this photo. So this is very, very easy way off matching the exposure and it's very important to do that. Otherwise you're better. Rama will look very, very weird. You have one dark area, one bride area. So be sure to imagine exposures in all your photos, the match, the colors. We have to do that in a photo shop and weaken Do that even after we stitch the photo together, which is pretty amazing to me. So from here on one, she have matched the exposures and you've made all the adjustments in the develop module that you just have all the photos Select that you want to creating a panorama, you rightly gonna and we just go and add. It's in merge to Panorama, a photo shop, and in here you can see, however, that here it is a bit more warmer and here it's a bit more bluer. So we have a difference off color here. Now you want to go and correct that. So how weaken g o and fix this now is by going to image and go to adjustments now in here If we go to match color, If you click on Match Scholar here, we select the source. So we want to have one of the pieces selected as a source where we want to take from. And the layer is theater photo that we want to give it to. So and you can already see because on the preview, if I click on preview off and on, you could already see it's now Greta easily like all the same. We have matched the color now very nicely, and now we could just click on OK, and you could see it did a very nicely job. 44. Section 2 - The Difference Between HDR and Digital Blending: So let me. First of all, start off by explaining the difference between HDR and digital blending boat HDR and digital blending requires the same gun away. Off working u boat need more than one exposure because you're blending boat of the exposures together so boat HDR and digital blending are the same. In that aspect, you need one normal exposed photo, one under exposed photo and one overexposed photo or you just need more than just one exposure and then blend them together. So that's the same go. The difference now between HDR and digital blending is the little blending is mentally blending the exposures together. HDR. You will need a software like here in light room or you have another software called Photo Matics with aged yard. The software is blending those two photos together Orders three or US Fife or the X amount of photos that you have. The software is blending them to get him all you can do east you confined xun you confined to and mawr the exposures and everything like we have seen in the light from section in the panoramas and HDR we have seen there how would light room? We're just we're starting. The photos that we want to blend together into an HDR and a light room is just doing all that for us. It's not giving us the opportunity or the possibility. I mean for selecting exactly where we want to go and blend those exposures together. So that's the difference between HDR and digital blending. Now let's jump here into light room and let's see the tree photos that we're gonna blend together in photo shop. So we have here on under exposed photo. The next one is a normal exposed photo, and then the 3rd 1 is an overexposed photo and we want to go and expose them together. And the result will be this a nicely, well exposed photo boat in the sky and here in the foreground with sunlight effect that we have created, we can then go and create something like this out of that. Here is the sunset effect that we have learned in the sidelights techniques. Listen, we want starts by selecting the photos, so just steak, select one and then shift plus click on the last one that you want to take and if you right click on either one of them and you go to edit in and you click on open as layers in photo shop. Light room will open. Now those three photos in photo shop and we'll put them as layers under each other, so just go and click on open as layers in photo shop. 45. Section 2 - Learn the Powerful Digital Blending Technique - Luminosity Masks: I will put them as layers on their each shutter, so just go and click on open as layers in photo shop. There are more than just one digital blending technique to go on, blend our photos together. I'm going to show you the most powerful one, and that's luminosity masks. I could go a di chew all the other ones, too. But well, it's better to just know the best one possible and really mastered that one instead of learn all the other ones to how we make luminosity. Masks is done in the channels here, so you have layers, bats and channels in here. We have to make a whole range of luminescent masks, so we have to make each luminosity masks for targeting the bride areas. All the bright areas luminosity masks for the dark areas and then also luminosity masks for the mid tones. The mid areas here. This takes literally about 20 or dirty minutes, creating all those masks, and I could go and show you how to create them. The thing is, it's just not practical to go and do that. So here is a very great solution. It's a plugging, and it's called the easy panel and 100% free. And it's here. I have it here and with just one click of a button, create luminosity masks. We creates the masks, all hearing the channels, and we can do that on any photo. Eso I would recommend you Dogo and download the easy Bennell. It's 100% for free, and it will show you in a minute how to do it. It's very easy dough, but let me also explain if you've never heard of a blooding, and you're like, What is a plugging the way to describe a blogging? So let's say you have a smartphone, right? And let's say that photo shop is the smartphone. So your smartphone on your smartphone, you have all those functions here in a photo shop. Your you have all those functions, but you could download APS are your smartphone to kind expanse. The whole experience of everything APs that are dedicated to doing something in Photoshopped blood ings are the exact same or very similar to that. So the easy panel is like an application. It it's like it has its function and he can expand photo shop, and they're a lot off different plug ins, and I have attached documents. Pdf file here to the course where I wrote down some great recommendations off plug ins to can expand your experience or the possibilities in 40 shop. Now, how to download the easy panel Very easy. We go to Google, just search in Google easy panel and then maybe blooding and then click. And it is the top one. The easy battle for photo shop. So what you need to do to get the easy Bennell is you have to enter your email address. So let me just put an email address here and that you get the easy battle sense to your inbox now. Like I said, Thies is 100% for free. So we get this email then and he would just need to click on Click Here to confirm your subscription. And if you click on that, we get to another page. This is just built that you have subscribed to the newsletter and we get now another email . And in that email, the easy battle iss. So here you can see link to the easy Bennell. So just click on that one, and here you can have download easy battle. Now, within the file itself, there are tutorials in a boat for Mac and vote for Windows on how to install it. It's very oil explains. It's very straightforward, and it doesn't take too much time. And once it's installed, you don't have to do anything anymore. It's there forever unless you go and have a new computer. Now, if you followed all the steps and you have put the plugging into the right map and you follow, it's the tutorial you need to reset. Just exit photo shop if you were still in it and the next time that you open it. If you go here to window and you go to extensions, you will now hear, See the extensions, the Blufgan. So you will now see the easy Bennell and so click on it and the easy panel will hear appear on it. And I would just put it next to here on this toolbar because it's good panel. So we have the easy panel dollars now, and we haven't in photo shop. We have our tree layers in photo shop as well. Let's start now and actually start using digital blending here. We First of all, how we want to start is we wanna arrange our layers here. The bottom one is the normal exposed photo. That's kind of the basic grounds, and then how you want to put the other to the over exposed one and the under exports one doesn't matter really too much. You could also go and make the top ones now invisible and let's already add a layer mask on them, and this is just practical already. So let's add a layer mask and let's add another layer mask and let's invert them so he'd control or commends. Bless. I inverts control plus commands. Blessed. I have to invert the other one. Once we have made the selection with the luminosity masks. We already have the layer mask in there, and we can start painting where we want. Let's now go to the easy panel and let's just simply click on create luminosity masks. But be sure to do all this year first and then click on create luminosity myth. So let's do it at, and this will take just a few seconds or a few minutes to betting on your computer. Once you've done that, you can see we have here this election in our photo that we could just click this away and you could just unclip this selection by heating control or comment. Plus the That's the de Select that selection if we would go now from layer spats through channels here first, we just only had the RGB red, green and blue. But now you can see we have all these other ones. Here we have the brights brighter, bright tree, right 456 and only the darks. And now we have the mid tones. So if we mentally had to do this, we have to go and create all those masks ourselves, which it takes a lot of work. So just easy Battle with one click just did all that. And here if I would just click on the brights one and then go down to brights to each time again we're Mawr and more specifically, heating the bride's area were more and more going to them so bright three is even mawr were more and more masking out the dark areas here, Right, four more and more specifically bright five bright six And then if we go over the dark you know we don't have The bright areas now is selected. We have the dark area selected each time or dark, too. More specifically to dark areas. Dark tree, dark four dark five each time, more and more to the dark areas. And then we also have the mid tones. You can see we're hitting the meat, though it's now each time more and more hitting the meat does each time we're going up. If this is the first time that you're ever hearing something about this, you're probably like whoa, like I know, I know it might be a little bit confusing and everything, but you will all make more and more and more sense and let me start bringing some more sensitive to this. The way this works, luminosity masks is we will make a selection. Now we are going to make a selection over the bride's areas, and the dark area will just be untouched. And what we have to do is just simply look at which one from 1 to 6 is star getting the brights that we need. So if we start with one, this is obviously not enough bride to already better bright tree that that could do infect bright for will be to as well. Bright Fife is too much because we're also targeting the clouds here now. And we are when we will go and made that selection and we will start painting here. The dark parts will not reveal, so I would go down limit to tree or maybe 24 Let's see, let's go here with four, um, for now and hit control or commands and then just left mouse. Click on that. Luminosity masks and you can see now a selection appearing here. We have just now made a selection, and if we go back to our layers 46. Section 2 - Blending Exposures with the Luminosity Masks : And if we go back to our layers and we go to the first layer here and we go to our layer mask canal because we've done that and go to your brush and heavy on whites, obviously and your capacity, well, you can have that 100. And if we start painting now, we are bringing back from that layer our sky. And the great thing is now if we start painting over here, we are not affecting that area because we have masked that out. So we can just easily just go on paints very smoothly out here. E felt What now? Go here over a delay or mask. And I would just hit on ALTs. You click on that, You can see we are each time or, um or the more we're painting over it, bringing the sky here from our under exposed photo more and more, we're blending that now together. So let's just keep on painting here until all of that is pretty much gun. And you can see we're not hitting anything here because we have masked that out with those luminosity masks. So we have made is pretty much all the way right now and the sky clouds here. That's because we have also, um Well, we hated some off the there was some darkness. See the clouds over there? So we also gonna masked them, so we're not really affecting them too much. So that's why maybe the bright treat could have been good. Now, of course, here there is some bright in here on the mountains there because they are appearing back. If we could just switch back to the black and we could just easily kind of being the military back if we did not want to have them in there. But all in all, we have pretty much hit all the areas now. And if we would just switch over to the photo here and plus also, if you are painting here because you don't have to go into the mask, the layer mask itself. Of course, you can just do that in here, but hitting control or command plus the H will just hide d mask. If you click a control plus h again, it will show it again. So control plus h will hides the mask and you can see we have very nicely, very smoothly made that sky appear into our photo we have nationally blended in together in here there might be some were areas which we just have to face by the brush and then going to the black again and maybe go into a lower opacity. I just got a blending that a little bit together, sometimes those edges to look a little bit weird. But just having the black brush and with lower opacity as like 40 that I'm using here Now we're gonna making it all in this and good again. So let's do that. So let's zoom out a little bit. We can also always lower the opacity. If, for some reason you want to have that a little bit less, you can always lower that a little bit. Now let's go on Ellen's do the exact same with the over exposed photo Ellis. Blend that into areas where we want now here in the photo. I want some of the from the overexpose photo. I want some of it here if I would just inferred that mask again to make our layer here visible. It's very, very bright, though, so it might look definitely weird with such a bright overexposed photo once we start painting a little bit in, but I will show you how to correct that. Let's invert that again and let's go to our channels and let's go now through the darks. And let's look for a nice area, a nice selected area off the doors that we once and let's just Scott. It's cruel to him and I would say What This Maybe? Let's try dark four. So we hit control or commands and then just click on it to make that selection and let's jump back into her layers and let's click on the layer mask now to hide this election just they don't control. Plus H. Let's go here on our white brush and start painting. And this dust looked very weird rights. But let's just start painting a little bit more. We might infect, have to go a little bit higher now it is Obviously this looks very weird, right? But if we go to the capacity and lower that down a little bit, we are bringing some off those highlights bag. But just not that crazy effect. Now I might have to g o and take another luminosity mask. This might happen, so we just we could take the layer mask your and we can just drag it down into the trash can and just click on delete. Be sure if you have to redo that The click on control, plus the de Select the selection because still, even though you hide it, it's still there. So let's just make any Liam asked. Let's invert that and let's go. You two are channels and let's try a dark tree, so control click on it and let's go through layers, a layer mask, click or control plus H to hide that and let's try here, let's try this. Maybe we'll lower opacity of our brush. So it definitely might happen that you have to change between other luminosity mask and try that one again or something, because this one does give better results. Now let's just take our black brush. Let's lower our opacity off the brush to blend things a bit more smoothly, and let's just brush some off those of those spots where we did not want it too much. Once the blending is done, you can just hit control fault Shift plus E to make a stamp visible layer out of it. And now we have just merged all those mess or all those layers together. Still have them here? No, but we have merged them now into one master photo. And from Iran, we can just go into the adjustments. And now we can just make our adjustments to our photo so we can go and and, you know, but some some real form into the photo and make it afterwards into something that looks like this photo here. 47. Section 2 - How to Optimize Adobe Photoshop for Better Performance: just as we did in the light from section in this lesson here, I'm going to show you a few things that you could do toe optimize photo shop and to make it run faster. The first thing that we want to do. Yes, we want to go up to edits and go all the way down to preferences. And in a year we have performance and click on. There we go here to memory usage standards. This will be set on 70%. So this is the amount of RAM that photo shop is using from your computer. Now steadily. Like I said, it's 70% but you can You can increase this and I would because this will dramatically improve a lot of things in photo shop. So I would bump is up to 75%. And that's for the standard computer. 75%. It will improve things. Definitely if you have a lot mawr available. Ram, I have fear in my computer eight gigabyte a friend, which is the minimum amount of ram that Photoshopped requires to run smoothly. But if you have a lot more than you can bump this up even to I don't know to 80 or 90 for something, but see, because what you're doing you are s key Photoshopped to use a lot more ramp long photo shop . But it will slow down other programs And if you use too much, then it will slow down the whole computer. So over doing this to 100% will not per se results in better performance, so use it to 75 for if you have standard, like eight gigabyte from. But if you have a lot more that you can also use a lot more so that you can definitely bump it up And each time I would say increasing with 5% and then just click on OK, you definitely want to click on a cave and an exit photo shop and then go back and see if it runs smoother. Bunt steadily. 75% will do a lot better next year, too. Graphic processor settings Just leaving you will be arrived for most computers. But if Photoshopped runs extremely slow, you can You could check this off and basically photo shop. There will be just some some tools that you're using. Well, look reader than if you would have this chick down. The next thing here that we have is the history states, and this is just right down here. Now this is on default set to 50 which is way too much. Now the history states is here in the history. Each time that we do an edit or some adjustments, Photoshopped will save that step. And so each time we can kind of go back in history to those steps that we have done before And Photoshopped real safe 50 older steps, which is a lot. And it does take up a lot of the performance speed off photo shop. So decreasing this 2 to 15 steps that you can go back will dramatically change the performance speed off photo shop. When you're editing your photos, you have to know we are anything non destructively because we're learning to work with layer masks. So basically, we don't need the history that much because we can each time go into our layer, miss and I'll do. Or we do what we have done on the adjustment there. So the history stop per se something that we need that much especially not 50. So city down to 15. Next thing that we can do to increase the performance off photo shop ease by turning the fund preview off and we do it is by going to type and here fund preview size on default. This is on medium. But if you turn into none, this will in fact increase the performance off photo shop. Now, of course, if you do one day want to go through the funds, then you can just click on medium again, and they you can have here the examples once again when we are editing our photo. We are we are working with layers and adjustment layers. We have our background. We might have a copy off the backgrounds. We might have some adjustments on it that we have applied's Ah, and you know, some or and I'm just doing some really random stuff here now. And, you know, we have all those adjustments on here, but each one of them thus increased the file size off this document in photo shop. And each time we ATM or um, or Photoshopped will come to slow down more and more because it's becoming bigger and bigger. This file here is where merchandise down those layers is an important thing to do and to merge layers together. You just click on the the 1st 1 or the one that you wanna have and keep shifts. And then the the last one that you want to merge together and in control or command Bless E and all those adjustments are now merged together into one layer. They're all in here now. Now, if you kind of merged it together and you're like, Oh, correct, I like there's something I still want to do right away and just see if control or command Plus these, it's to just undo it at one step. But after a while, you can anymore. So at some point you have to be happy with what you've done to Merson down together. This might be a very obvious one for some people, but a less obvious one for some other people because you just haven't thought about it or something. Be sure to have any bank rounds programs there enough. For example, if your Internets like if your Web browser open while you're editing your photos and you have some water map open in here, those things stay. Do take Ram from your computer and also any other programs running in the backgrounds. Like here. I have flux open. Try to accident. Try to close them because they are all taking ram from your computer or he are Have Dr Open . Just quit. That photo shop is using a lot of ram from your computer. And the more programs that you can close the mawr, you can let photo shop. Use that rim. Next, Be sure to have your latest video driver up to date. Now, if you have no idea how to update your video driver or where you can find what be your driver you have for whatever. I will put down a link here in this video like right now and just go to that article here. And it will explain very, very easily where you could find the manufacturer off your video driver and also where to go and install it. But having your video driver up to date docile, blocking the performance off photo shop and also helps a lot that photo shop doesn't crash or something too many times. The last thing that I would add that you can do to improve the performance off photo shop. Like I said in the beginning, somewhere you need eight gigabytes. The required to use voter ship kind of smoothly is a gigabyte. If you are buying a new laptop than, be sure to have at least one with a you goodbye orm. Or if you have a desktop and you can put more RAM in, it's adding more ram to your computer will dramatically 100% improved the performance speed off photo shop. So here were just some tips. Improving the performance speeds off photo shop. I hope they help you. This where there are many, many more small things that you could do. But this are just kind of the view of the bigger things that Wilmore have a big impact on improving the speed off voter shop. So I do hope that they help you. 48. Welcome to Section 3 - Learn to Edit Your Photos Like a Pro: Welcome to the third section. I have to say, I'm very impressed that you've made it all the way to here. Now, if you've just shown it in there, I'm just very glad that you've joined in here in this section, here in the third section, here is where the actual editing, a bus processing will happen in the first and the second section. That's where we've learned all those techniques and tools here in the third section, that's where we're gonna go and apply them really. So we're gonna take photos from start to finish. We're going to use all those tools and techniques. But of course we're also going to learn a whole range of new techniques and tools on each photo that we're editing. So in the end, your toolbox of tools and techniques will just be incredible. Big. I'm going to take my time with each photo because we're really going to think from the start into Lightroom and then take them into Photoshop and really apply all the adjustments and everything. And I'm really going to try to make the photo as best as I can. And one less thing that I want to add here is each photo that I'm editing, you don't have to go and edit your photos the exact same way as I do. The thing what I'm just doing is I'm showing you the adjustments. I'm showing you the possibilities. I'm showing you the tools and techniques. I'm not asking you to go and edit your photos the same exact way as I do. That's not the point of this. The point is that you just, I mean, you definitely might take some things that you like what I do, of course. But the point is that you just go when we're editing those photos, just look how I edit. And I want you to really think about it, what I'm doing. And I want you to really say to yourself like, alright, I like this, what is doing? But I don't like that. I would do that differently and I would do this and this differently. So try to really be an observer here. Tried to really see what I'm doing and try to really think about what you would do differently. So that's the whole point now, with this editing and post-processing here in the third section, I'm showing you at all. But you have to go and think as an individual yourself of what you would do to create your own style. And having just all that said, let's go and jump into the third section. Let's start editing a bus processing or photos. 49. Editing in Lightroom – Basic & HSL Panel: Here we are. In the third section. You have gum and incredible. Long way. If you've started from the first section, the second section, and now to dirt section, you've come to see so much information, so many things here, their section now we're going to get all of those things that we've learned in the Lightroom section and Photoshop section, we're going to see all of those things again, but now we're actually going to really apply them in editing and post-processing a photo. If you're just joined in here in the third section, then I just want to say, welcome. I hope you are ready to learn some cool things here to edit a bus process your photos. Each photo that we are editing has some kind of a reason, a purpose of why we're editing that, to learn some specific, that nice and the touch upon some specific tools. So in this photo here, I just want to go and cover some very Ghana all around the techniques and tools. So let's jump here into Lightroom. Now, we're going to edit these two photos here. And what we're gonna do is we're going to blend them together. And the reason why is because I took this photo here at a shutter speed of 80 because I wanted my friend here to be in focus. But I kinda wanted to have the kind of magical smooth effect that we have here. But in order for this to do, we needed a longer exposure of 1/5 seconds. So we're going to blend those two photos together. And it's very easy to do. But that's for your Photoshop here in Lightroom right now, we're going to bring out the most information that we can from those two photos. Mostly always rate my photos. So this is the first this is second photo, and then I can stack them into a group. We'll just right-click on either one of them. And we go to stacking, group into stacking. And I always put a red label as we've seen in the workflow lesson of Lightroom. I always label them, read for the ones that I want to edit, green for the ones that are finished, and purple for the ones that I want to revision. So here That's why they are both rents, because I want to edit them. So let's go here into the develop module. We can just either click on here or hit the D developed. I wanted to start here with the lens correction. I always check on Remove Chromatic Aberration, Enable Profile Corrections. We're correcting the sum over the lenses origins and you can already see that it did do some changes. And then we go here into the Basic panel. So let's see. I might bring up the exposure because we are more in our histogram leading to a darker underexposed photo. So let me just play here with the exposure and C. I want to give it like a little, little bit more warmer. Let's just decrease that a little bit more. And then let's see. So a little bit of a greener dense. The contrast many times putting it down can look at some pretty cool mat result. But here I might just add a little bit of contrast to the photo, like about six. The highlights, Let's see. Don't want to overdo them. I kinda want to just put them a little bit down. And like I said, and I want to just want to repeat it again, but Lightroom for me is just to draw out the most information of everything. That's why I wanted to put the exposure a little bit more up to have the most information from this photo. That's why I want to have the shadows nicely. Because I want to have the most information of the shadows. So let's put the shadows a little bit down. The whites. Let's try to put them a little bit more up. The blacks. See, Mike, we've kind of put them a little bit more to clarity. I don't use much, but just like maybe three or four. Not too much. Vibrance and saturation, I don't use. And the reason why is because I go down here to the HSL panel and I individually go through those scalars. The vibrance you just affecting every color here, right? You're effecting them all at once. Hsl, you are as well doing the vibrant, but you're just separately going through each color. And I like to do this a lot more. You're doing the coloring more manually with the HSL. And the color and the HSL panel, they are like I've already went through. They are just the same. They're just a different overview, but I like to use just the color here. So let's go and let's just play with the luminance, which is the brightness of the colors. Let's play with you and see if we can put some cool thing with that. A little bit down. And this iteration, Let's maybe see not too much, there's not too much kind of a red colors in here. Orange, there will definitely be some orange in here. And that's also from the rocks. I might afterwards, once we're done with everything else that we're doing, I might go back to the color here. In camera calibration, the blue primary, bumping this a little bit up, it does give a lot of times have very nice effect honestly. He kind of reaches a lot of the colors. You don't have photos. So I do want to increase a little bit. Let's see, Let's just go through the basic pen a little bit more. Maybe. Maybe I do want to put the highlights a little bit more. But all of that thus looked pretty good. We have more of a well exposed photo now. And let's just go. And maybe in the yellow, I kinda want to do a little bit of changes here. Because I just feel like we have a lot of really green green now. I do want to decrease it a little bit, gives more like someone different kinds of colors through it all now, right? Now let's just play with the greens and a little bit to increase the luminance a little bit maybe. I don't know, I just iteration. That looks pretty good to me. Now, the other photo that we are editing is just the same. So I don't have to go and do all those changes and adjustments that we've just made into this photo here, what I can do is we just go to the library and just have that one selected that you've made all those adjustments to. Click on Control or Command to select the other photo and just go here to sync settings. And let's click on that. Now. Let's check, also have all the settings here checked on, and let's just click on Synchronize. This will be now just synchronized over to this photo with pretty much the same things. Now, I just want my friend to be well exposed. Let's see just with the highlights. That looks great. With the exposure, I could maybe do a little bit. And because I took this photo and an ISO of thousand 600, or there might be some, some grain here in this photo. So I might go and like you see, there are definitely some grain here. So let me just go to detail. 50. Detail, Split Toning, Camera Calibration: So let me just go to detail. And let's just click on the masking. And let's just nice to try to just mask some things out here. And let's click on the luminance. And I will just increase that with them. The illuminance don't overdo it because then you are trading details for that, for smoothing this all out. So I don't really try to overuse it, but just try to see that it's like removing some of the green and everything. And they would masking just hit Alt and click on it to get this kind of view here. If you're gonna go a little bit true it to smooth out those things just where the widest, that's where the sharpening year of Photoshop lightroom is being applied and all where the black is, that's where it's gone away. So it's just more of the edges that we want. It's pretty good many times, once you're done with the coloring and doing the adjustments, seeing here the go and just maybe go to the toilet for a moment or just go for a walk and just stepping away from it, from it all just for a few minutes and then coming back to it all, you just have like a fresh look on product, look upon all this. So that's why it's very good when you're editing to take multiple breaks, and especially when you're doing the coloring. I might go into the color here though, and to put yellows even a bit more stronger, Let's just play with you here. Because I want to have it more than the greens are sort of gamete, little bit more out. Let's just see what the orange yeah, I would say that's pretty good. The split toning, I do use many times as well. And let's just sit a little luckier because maybe there is some cool thing that we can do it with the split toning with a little bit of a warmer one. Let's just decrease that a little bit. Will be cool. And we're doing these edits. You don't have to go all the way to 100% because that's just a crazy effect. But having more like a subtle effect of 6% in it makes things a lot more realistic. So let me just add a little bit of orange in there. Now let's go into the shadows. And I would go for a little bit of a greenish color, but very subtle, like five or something of it. So maybe less. Just go here into this, the highlights again. Let's put a little bit less do in the shadows. We can put some kind of a thin in there too. And let's just see. Because this does give some very cool effects to L. Let me just do a little bit more here now. It looks very nice. Greens. I would go more this side. And also very subtle though. Like just five. Sure. If you're making some adjustments to one photo and you are working with another photo that you want to blend together, that they, that they match, right? So let's just synchronize that again. And both photos are done and are ready to go to the next phase, which is Photoshop. So let's open that. So the way to do that is we just go to the Grid View, we just hit the G. Or we can also, if you are in the develop module, you can also just open this tab here by clicking on the arrow and then just having the photos here, selecting that you want to have, control Plus Command to select them. Right-click on it, and then you can click on, edit in, and then edit in Photoshop. Now, in this case, because we want to blend those two photos together, we want to open them as layers in Photoshop. But if you're just editing one photo, you just click on edit in Adobe Photoshop. And that one photo will open in Photoshop. So here we are in Photoshop. Let me first of all already started by saying something. If you open your photos into Lightroom and you keep Lightroom open while you are in Photoshop. And let's say that we have done some editing here on her photo. And I'm just going to overdo it very much Now. Let's make that darker. If you click on Exit while you are in Photoshop and you still have Lightroom open. You click on Exit, new click on save changes to the Arab Photoshop document. That photo with all those adjustments will be here now as a separate file, it's automatically being brought into Lightroom, which is a very handy thing. In this case, I want to have those two photos into Photoshop, but I am going to exit Lightroom because lightroom does he use rem and Photoshop will be running a lot slower. And this doublet here on this laptop, it doesn't have that much RAM that I have on my desktop. So that's why I'm going to close Lightroom. But for you it might be as well that your computer, your laptop is not that fast. Clicking on exit of Lightroom and then having Photoshop open, then you have to actually go and import the photo. So we have now here our photo open in Photoshop again, and let's just exit Lightroom. Now, if we would be doing our edits, you know, let's make some weird thing here again. And we will click on Exit. Photoshop will always automatically ask if you want to save it or not, which you obviously, if you have done your edits, you do want to do that, right? So you just click on Yes. If we go now into Lightroom, that file will not be there because ledger will just not updated like it does when you have Photoshop open and Lightroom. 51. Editing in Photoshop – Saving Your File, Auto-Align Layers, Cloning: Where we were last time and then just click on imports. So you just want to go into the file or the folder where your photos are stored on your computer. On default, for maxim, for BC, you will be in your pictures folder. So for most people would be here. But if you have put your photos somewhere else that are in your catalog, then you have to go to there. And then you can easily see the ones that are already imported in your catalog and the ones that are nuts. And in here we can see R1 photo and we can just click on uncheck all. And that's the one that we have just edited in Photoshop. So we just go and click on that one and we just click on Import. And then that one will just end up here on the top. And we can just move that then to the photo one folder where Alice just delete that folder then removed. So that will be in our photo, one older. So in many ways it's a lot easier where you have Lightroom open and your Photoshop open while you're working in Photoshop. Because when you exit, Lightroom will automatically already just going to import that into Lightroom. Alice now go and actually edit them. What we wanted to start first with is, so I feel like those two photos are not completely a line. And we can we can align them very easily. Just click on the first one and just like the other one by just hitting Control and go to Edit. And on, auto align layers. And then just have auto on because photoshop does a very good job on. It kinda runs through all the other ones here and then just sees which one works the best. So now we want to blend my friend in this photo here. Also. We want to remove the people hiding here in the bushes. We want to remove them. And I also, I find this this bar erode the bridge gallon distracting. And also the just the wire that the scanner just sticking there. I want to remove that too. Let's add a mask layer, mask onto our top layer here, Let's hit the B for brush. And we now can just smoothly go and paint him in. And this is very easy one to do. So you can just paint a mean. We've aligned our photo, so that's great. We can also see now if we just increase the opacity or decrease it a little bit, where rest of his body needs to come. Alright? Also the shadow, of course. The shadows here on his hands. We do need as well. Those shadows don't think we have really. Alright, we have them. And we have just very easily successfully blended him in to the photo that we want it. So that's great. And now we don't need the outer layer anymore. We just needed that layer for the purpose of having him. So I want to make a stamp visible layer out of this by hitting Control Alt Shift E. This will make a stamp visible layer. So we can just make those invisible. Actually, we have just, we have now one photo on its hole where he is in a where the nice effect of the water is in. There are not two different photos now anymore. That's our base photo. So that's just like the background photo that many times photoshop has. And we can just go back grounds and we can put this little safety lock on there. And that just means that we can't edit this photo. So let's just make a copy of that photo and, and click on that safety lock. And here we can now just go and do all of the rest of the adjustments. But in case we ever have to go back to the original one, it's on here, it's down there. The rest of that wanna do is I want to remove the tree. People here. We have went through those tools already in the Photoshop section. If you have not watched them, I can definitely recommend you to watch the tuition lesson where we go into Healing Brush, Spot Healing Brush, the stamp visible. So let's just use a combination of the closed stem tool and the Healing Brush. So to fix this here, now, let's see. And I want to start with the clone stamp tool and you opacity. Let's have that on, let's say 70. Let's clone here hitting Alt. And let's just start, you know, colonial little bit in here. So this to me looks more than fine. Like this is pretty much blended very well in let's just do a before an