Adobe Lightroom CC: Complete Photo Editing Course

1. Welcome Video: Welcome to the adobe light room chorus. Thank you so much for enrolling in this video. I just want to cover some of the different questions you might be wondering about this course. First, is this really the right course for you? Let me explain a little bit more about who we designed this course for. John and I came together to make this course for beginner to an intermediate photographers who might have a DSLR or mere lis camera that they've played around with. Maybe you're just shooting photos on your phone, but you want to make your photos look better. You see those photos and magazines and online that just are amazing. Most of those photos I would say 99.9% of those have been edited, and a lot of those have probably been edited in Adobe Light Room. So we want to help you take your normal not so amazing photos and make them look amazing. So for anyone that just loves photography, this is a great course for you. Now that you know a little bit more about who we created this course for, Why should you take this course from us? I know what is like to pick instructors or try to pick instructors and college, high school or just with an online course or YouTube tutorial. And I know how painful it can be to sit through a boring instructor. So we want to make sure that we are as engaging and excited about life term as possible so that you can get excited to. To this day, I've had over 200,000 students enroll in my courses, and most of him have enjoyed them. And Jon is a professional photographer who runs his own photo studio Together. We have years of digital photography and instruction experience, but most importantly, we just love photography. And we love seeing students of ours go through our courses and really achieve their dreams with the instruction that we give them. You may be wondering, Is this course going to be boring or not? If you're excited about this topic of photo editing and photography in general, this is going to be a great class for you. If you're only mildly interested, you might get bored fast. Does that make sense? But I think if you're excited about the tar fee you're going to want to binge watch these lessons just like you would a TV show that you're really excited about. And then, lastly, just a few quick tips for taking this course. We've included practice photos that you can download and edit along with us. In this lesson, we've included some downloadable Zip files that include all of my sample photos and all of John sample photos. Throughout the course, we kind of flip flops from section to section. All teach one. John will teach one. Sometimes we split up a section, but you'll be available to find the photos just with the photos that you download in this lesson. Also, we've added MP three audio files for all of the editing lessons, so that if you want to listen to the lessons on the go, or if you want to, just listen to them while you edit using light room. You can do that to those can be found in the next lesson. Adobe Light Room is always changing and growing. We're going to be teaching this with the latest adobe light room creative cloud version, and there's lots of different buttons and aspects of the course that we go through But there's a couple things that we skip over. For example, they have a maps tool, a way to organize your photos based off of the map of the globe. It's a cool feature, but it's not the best way to organize photos. So there's things like that we might skip over in this course. But if there's ever anything that we did skip over or we didn't go into as much detail about, let us know, we would be happy to either explain it further with the Q and A forum on the course or creating a completely new tutorial for you. Because if you're wondering about it, there's probably other people who also want to know about it, too. Please give us any feedback you can to help us make this a better course with all of our courses that I've ever created. I know it's not perfect in the beginning, and I depend on feedback from students like you to make it the best course that it can be. Thank you again for enrolling, and we'll see you in the next lessons. I hope you're excited because we sure are 2. Lightroom Crash Course - Edit Your First Video: Hey, Phil. Here in Welcome to this crash course lesson on editing a photo in Adobe Light Room. As I mentioned before, this is just a quick run through of how to edit a photo completely in adobe light room. In the following lessons, we're going to take a step back and go through every aspect that I'm going to show you in this lesson one step at a time. So let's get going. So when you're in Adobe Light room, you have these different modules. I'm in the library mode right now and you can see all of my photos to import photos. We can just click this import button and then find where we want to import photos from. I'm going to import this photo right here. Geneva statues. This is a park in Geneva that I visited a couple of summers ago. And when I'm ready to edit, I can click this developed tab and this gives us all the options for editing. I can open and close the different windows. Teoh, give me more room to edit if I want. Over here on the right side, I have all of my editing options and there's different tabs here that you can open and close to get different options for editing. The first thing I'm going to do is crop this photo. I'm going to click this button right here. This gives us the bounding box, which I can drag in or out. I could also click and move this image around, and so I'm just going to crop this in. And then just by dragging on the corner, I can rotate the image and I'm tryingto horizontally align it to this the bricks right here . I'm gonna undo that just by pressing control Z on my keyboard or command Z on my keyboard. If you're on a Mac and let me just actually, Reese, you can go back to the very beginning without any edits you've made but going to reset because I want to show you something very cool. So if I click crop again, I'm going to crop in gonna move it right here. There's a cool way to automatically level a photo to ah horizon or to a line in your photo . And that's with this little level tool right here. If I click this button right here, then go on top of my image and then just drag a line across the horizon or whatever I want to be level. It will automatically rotate the image to that point. Then, when you're happy with your crop, you can just press the return key or the done button in the bottom. Right. So for this photo, I want to make it kind of cool. So I'm going to drop down my basic tab. We have our white balance editing tools right here. The white balance is fairly good. I'm actually going to make this a black and white photo. So I'm going to skip down there to saturation down here. Then I'm going to play with the contrast and the exposure. I can control the entire exposure of the image right here with this slider. The entire contrast with this lighter. Or I can edit individual parts of the image the highlights shadows, whites, blacks with these sliders. So if I want to add more contrast, I can bring down the blacks and bring down the shadows and maybe bring up the whites a little bit. I wanna make this super contrast E. So I'm just going to make this a little bit extreme, but I think the way this photo is with the statues, it works well. If it's super contrast e, I can even bring up this contrast lighter a bit, maybe dropped exposure. Overall, I might go back to crop and just crop in just a little bit. So just to this top step right here, So we're in just a little bit more. Just return on my keyboard, make sure we're not cutting off that guy's head. The's next options are other ways that we can edit the exposure of different parts. This is the tone curve, and we're gonna be going over this in the future lessons. Really, the rest of these I'm not too much interested in. The only thing I might be interested in right now is the effects tab, and this has been yet ing so. If I want out of and yet I can out of. And yet by dragging down the slider and I might add just a little bit of a vignette, add some more feathering and let the highlights come through a little bit more. So I think that's pretty darn cool. Kind of scary, actually. There's lots of these other tools. We're gonna be going over in the class, but this is pretty cool. If I want o compare this to the original image. I can click this button right here, which is the comparison before, after, and then I can cycle through the before and after settings just by clicking through it. I think it's pretty cool. This is kind of an artsy pick. Maybe I would print and put up on the wall. Say, I'm happy with it. Let's export it if I go up here and go back to library the quickest way to export it Just by selecting that photo and clicking this export button or while I'm in the developed tab with my toolbar film strip down here and have the photos selected, I can just go up to file export or command shift E on a Mac or commit control shifty on a PC. I'm just going to say where I want these this save. So I'm going to just put it on my desktop again. We're going to cover all of this later, so I'm just gonna run through these. I'm gonna call this Geneva statues for file settings. I'm going to leave at J Peg quality 100. But I'm going to resize to fit and I'm going. I want the with to be 2000 pixels the height. I don't care what it is. Whatever the right aspect ratio is for having the with B 2000 pixels and the resolution 1 50 p p. I is good watermark. I'm not going to want a watermark. We're gonna learn all about that in this course. The rest these. I'm just going to leave as is going to click Export. It's going to export up here. Then if we go to our desktop and open Geneva statues, we have this edited image. Super cool. I think I am gonna post print this out. I've always loved this photo. I love this stature. I love this park. It means a lot to me a study abroad in Germany and was able to visit family in Switzerland . And then I took my wife back to Switzerland. And that's actually I proposed to her in Switzerland, not at this park, but in Sione, Switzerland, where my great grandfather is from. Actually, eso Yeah, Switzerland's a great place. And enough about that. Enough about me. This is the first photo that I edited in this course for you guys. Hopefully you get a rough idea about how easy it actually is to add it in Adobe Light room . From now on, we're going to break down all of the different aspects going from the program layout, importing organizing to all the basic editing features, explaining exactly what each of those are then going into some more advanced editing tools , followed by some techniques, more advanced techniques and walk throughs of our entire editing process. Thank you so much again for enjoying air enrolling in this class, and I hope you're enjoying this class so far, and we'll see you in another lesson by 3. Understand the Lightroom Layout: everyone fill here. You can't see me. I'm down in the bottom left corner of this video. I'm so excited to have you here and in this section of the course, we're going to be going over the basics of light room, the program layout, importing photos and organizing photos. Because it's so important for us to be smart in the ways that we organize our photos so that when we go back and edit our photos later, maybe even months, years down the road, we can easily find the photos that we want In this video. I'm going to go over the basic layout of light room so that you know how to navigate it. So first things first, Let's just start off with the top left. This isn't going to be how light room looks when you first open it, you won't have any photos that you've imported, but you can see here. I've already imported photos will be doing this in the next couple of lessons. So it's OK if you don't have any photos imported yet. Up at the top left, you have your file menu. This is standard for most applications. I'm using Adobe Light room. Creative cloud version 2015. The latest update and I'm on the Mac. It will look a little bit different on a PC, but I know Oh, Dobie is trying to make their applications look similar on Mac and PC. So up here you have your menu. You can get all kinds of things like importing, categorizing, organizing some edits. And a lot of this stuff will be doing right here, down here in the actual application itself. When there are things that we suggest you find from up here will let you know the next thing are our modules. So we have different rooms in light room and these do different things. So here. And if you don't see this menu up here at the top, right, you can click this little arrow and you can click it on and off. If you want to save more room and have more space for editing. We're in our library room right now, which is where we import and organize our photos. Next is our develop room, and this is where we actually edit our photos. And then these following rooms map, book, slideshow, print and Web are form or specific case scenarios where you can actually tagged photos on a map, and you can have an entire map of the globe of where you've taken your photos. You can create a book out of your photos. You can create slide shows, professional slide shows. You can print photos and set up how you want to put your photos, and you can also publish your photos directly to the Web via light room. We're going to be spending most of the time in this course in the library and development developed panels because, honestly, that's where I spend 99.999% of my time using Adobe Light Room Below. In library you have on the left are Navigator and some other options, and all these little windows dropped down by clicking the little arrow on the left on the left. When you have a photo selected, it will pop open in your navigator and I'll just jump quickly down on the bottom. This is your little toolbar that has all of your photos selected. If I change which one I have selected, notice how it changes up here in the navigator over on the left. These are different ways to catalog and organize. Our photos were going to be going over some different ways in the next couple of lessons. In the middle of this is the folder that you have open. So over on the left, you have different folders. As I mentioned collections folders, I don't see what's cats. Okay, this is a folder with all of our my cats. And when you open up those folders, they pop open over here on the right side of this window, and we're still in the library room, arm or metadata and options for our photos. We can see a HIST a gram. We can do some quick developing if we have some presets. If we just have to do things like fixing white balance for a group of photos, we can do that right here without having to go over to the develop tab. You can add keywords. You can add other metadata, and this is stuff that you would add to your photo to help catalog. So when you're searching for photos later down on the road, if you use a tool like Adobe Bridge to catalog your files, you can just search for keywords. I can tag these photos as cat photos or specific cat named for my cat, Zohra and Shell A. Or I could tag it with specific lens type. Or actually, it already is. Catalog with specific lens types, you can see if you go to over to the metadata, you can see all of the things that it already knows about this photo cameras air so smart these days it's amazing. So it has the dimensions that has the exposure were set up. It has the lens focal length. It has the is. So we were using the flash if we used it, the camera model the lens were using. And we can even add comments below and then moving down below. We have our filmstrip panel down here that includes all of our photos that we have opened in this folder that we have opened. There's lots of ways that we're going to organize and rate these photos, but we'll hold off on that until the next lesson. I'm just gonna go jump over to the develop tab. So this is the new module where you actually edit your photos on the left. You have your navigator again you have different collections where you can open collections right in here. And also presets will talk about presets later. In this course below, you still have your film strip where you can select which photo you are editing and then over on the right, You have your editing tools. I'm gonna let John cover all of the basic editing tools in this course. But like everything you have panels you can open and close the panels with these arrows on the right side, The one thing that's different about light room than some other adobe products is you can't move things around. So I can't take this basic little window, move it around. I can't just delete it or get rid of it completely. It is there, and it is right in that position. And it's good because that's kind of the way they've set it up in the way that you actually edit a photo. It goes through the workflow of editing, So this is a basic overview of Adobe Light room. I hope this has really helped you understand a little bit more about how the program works . If this is the very first time you've opened light room, then I'm sure it's helped a little bit. If you have any questions, let us know. I would be happy to go in depth on other aspects. If there are things they're like, Wait, what? You skipped over that. I was looking at the library and you didn't go over that button down there. Don't worry, I would watch through, especially the rest of the lessons in this section, plus the next couple of sections before you worry too much because we'll be covering all of the key things you need to know. Thanks for watching, and we'll see you in the next lesson. 4. Importing Photos to Lightroom: in this lesson. We're going to be importing photos into adobe light room. So if this is the first time you're opening up adobe lie room, you won't have any photos like you see here with me. I have some photos of my cast, and I shot. So Yeah, I know. I like cats. I don't know if I'm weird or not, but I do like cats. I like dogs, though, too, And I can't wait to get a dog. But I do have a cat right now anyways, back to light room. So when we do want to import, the easiest way to do it is just going to your library module and then clicking this big import button right there. This will open up a viewer that opens up your files on your computer so you can see here over on the left that I have my source. And this is similar to on your computer. You have your main computer, you have other external hard drives that you have connected. So you want to find the file? Is that you want by just going into the menus for this one? I have some photos that I want you to downloads that you can practice with. So if I go to classes, these are all the classes, the home teaching or ab taught under light room and click sample photos. And when you click the actual folder itself, all of the photos will appear. If there are photos from here, we can make selections whether we want to even import voters or not. I know that a lot of times I'm on a photo shoot and I'm taking so many photos. I know I'm not going to want to actually important edit some of them. I know some of them are just bad. Sometimes I just make a mistake. The focus is off completely and it can't be fixed in light room, so I might not want that photo imported so I can actually uncheck the photos that I don't want to import. You can click this button right here to uncheck all and then go through the ones. If you only have a couple that you want to pick or press the checkoff, you can also view these larger if you need, so you can increase the size of the thumbnails. Or you can click this button down here on the bottom left. That says Luke View. And this means that we can see all of the individual photos, and you can press the arrow keys on your keyboard to go scan through them. So here in this sample photos folder, we have some photos from my trips to Europe, even my wedding. Just photos that I've shot around town and you can actually import these, download them and so you can follow along. So I encourage you to do that right now if you haven't done so already, and then when you're happy selecting all the photos, just click this import button. Now our photos air in our library, and we can go forward with editing them. But before we do that, I want to show you how you can quickly get back to this folder if you need to. One is by going to the catalogue, and you can see if I open up catalogue that previous import is selected or highlighted, and that's this import. So if we close light room and we open it up in a week or two and we want to edit this same exact folder, we can just click the previous import catalog. You can also see that has Kellogg's for all photos. All sync photos, different types of catalogs. There's also our folders. So if we drop down folders and we find our sample photos that we've imported folder than we confined this folder, the way folders is set up is this mirrors what's on our computer. So on my Mac, I have all imported all of these other folders we can see you know, night photos that I've shot, camping photos that I've shot engagement shoot, which was a shoot that my buddy shot for us in different folders. But a better way to organize is by creating a collection. And I'm going to show you how to do that in the next lesson. 5. Creating Collections in Lightroom: The best way to organize photos in Adobe Light Room, in my opinion, is to create collections, which you can see right above me. Collections are folders that you create with in light room, and the last lesson we saw that you can go back to this folder by going under folders or even catalog. But once you start importing a lot of different folders, this can be kind of confusing to find this exact specific group of photos so we can create a collection. The way we do that is by selecting the photos that we want to add to a collection. Or you don't even have to do that yet. Let me just select these top three, then under collections. I can just click this plus button over here and I'll say, create collection. I'll rename this and I'm gonna name this photos for light Room course I'm going to check, include selected photos and then click create Now in collections. You see that we have this photos for light room chorus folder, and it's easier to find then going through here, and it's also searchable, so if we have a bunch of collections, we can search through this catalog, but how do we add photos to this collection now that we have created it? One is by going to our previous import or to any photos that you want to add, selecting them and dragging them into this collection so you can just click and dragging and see if I let go. Now they're added. Now, if I select photos for a light room course, we have this collection selected. I go to my engagement photos. Then that's a different collection. You can also create smart collections. So if I press this plus button and I say create smart collection, then I rename it. I can add photos. Depending on a number of factors. We're going to learn how to add these factors in the next lessons. But I think you'll get the point where when I say you can add photos to a catalog based off of their rating so we can actually rate photos and light room from 1 to 5 stars and say A. We want to add a collection with created collection with all five star rated photos, Then we can create this collection. So if I call this five star photos and say create, then this will actually create a collection with all the photos that I've imported ever that have five stars or more. Now, I don't have all my photos on this version of light room, so I don't only have 349 5 star photos, and a lot of these are from my wedding. But this is a cool collection. We can also go to back to smart collection. You can base it off of different labeling what type of where it's from, what type of camera it is. So I could put all my Canon five D photos, all my Sony A seven s photos, any type of camera like that. We can choose all kinds of options and those air smart collections. We can also create folders or basically sub categories for our collections. So say we want to create a collection set, and then maybe this is ratings we say create. And now we can actually put this five star photos collection into ratings. And then if we want, we can just say, create smart collection, then say we say four star rating and then we'll actually change this from reigning is greater than or equal to two. Reading is four stars, and then we'll create it. So now we have 333 4 star photos and these air under this bigger ratings category. So that's how you create collections. And the next lessons were going to be going over some different ranking options, and these will help you understand how we can also do other labeling techniques to photos, which would then in turn, become a collection. Thanks for watching, and we'll see then. 6. Ranking Photos: before we actually edit photos. It's a good idea to do a little bit more organization and with photos, I like to rank my photos. So I'm actually going to import another folder just to show you my process. Because all of the photos that we imported in the last import with our sample photos those are all photos I want to use. But I want to show you how I would import a typical photo shoot folder. So I'm gonna go to my photos, find the folder that I want to import. This is actually just a little random photo shoot that I did just walking around the town around my neighborhood. I just shot some photos and some flowers, and I'm just going to select all of them. And I'm going to say import, and I just want to mention something to over here. Now that we know what a collection is when you import, you can actually check this ad to collection option. You can create a collection right here, or you can add to a collection you already have. And I think this is a smart way to automatically organize your photos. I'm going to say import. So now this is what I dio pretty easy. I will actually just open up these and full view mode just by clicking this button right here. And then I will just scroll through these. I'm using the arrow keys on my keyboard and then using the numbers on my keyboard 1 to 5. I can rank these photos so I'll probably go through these a couple times. But I typically personally, I will choose only the best of the best for a five great photos for okay, photos or good photos that I'll still at it as a three photos that aren't good. And I don't think I'm going to edit as twos and in photos that are just completely bad. I'll leave or I'll put at one. So this one, even though I could actually edit this one because it's a rod, I could drop the exposure, make it look good. I'm not too sure about this one. So I'm just gonna put it for a to for now. And you can see I'm just choosing on my keyboard. I could also go right here and give it a star rating right here. Or I could just do it on my keyboard. It's faster for me again. Here, overexposed. Gonna put it to this one is a little bit under exposed. And sometimes I like to see the next ones to see if I got a better angle. But I like this one. So I'm gonna put a four. This one I like, But I like this one a lot better. For some reason, I think my auto white balance is on, so I'm gonna put this one is a three. This one. You know what? Actually, I'm gonna keep this one. I'm gonna keep this one as a three. It's not great. This one. Um I'm just gonna put as a to I don't think I'm gonna edit that one. I like this one a little bit more. It's a little close up. Something to put it as a four. This one's kind of cool. Maybe I'll edit all put as a three. This one's a little bit wider. Kind of neat. Put as a 32 Then I walked back and we have this basil plan. We saw this pre Mantis little tiny thing. I only had my white lines on me, so it was kind of tough to get in there, get a sharp photo if we wanted to check if it was sharp or not. We can just actually move our mouths over our image. It's automatically the zoom tool, and I could zoom in. It zooms in, and I can move it around just by clicking and dragging. And then if I just click in one place, it zooms out. So I'm just gonna pick one of these toe at it, find one that I think is good. Not this one. That's one. That one's of one. That one's the one, and I'm just going to compare these two very quickly, maybe zoom in, see if this one's a little bit more in focus. I think it is. So I'm gonna put that one as a four, this one as one. So now I want to just show the photo that I've ranked higher than a three so that when I go into my edit module, I only have those ones available to do that. I can use these filtering options. So if I click this star rating right here, three, then it's showing me all of my images greater or equal to three stars instead of rain King photos with the five stars. You can just accept or reject photos, and you can do that with these flags right here. So let me go back unfiltered these or just click that button right there to get all my photos back. And maybe I just want to reject these, and I can just click this button right here to reject or press acts on my keyboard to reject and pee on my keyboard to pick So this one reject X reject X pick p pic peak Reject x picc p PICC p Pick P Reject X Reject eggs Reject X inject X pick P. So now if I want to just see photos that I have accepted, I can filter for picks or I could filter for rejects and you can choose multiple. So if I just want to see rejects and just like the reject fly right here, I see both rejects and picks. I can do that. You don't want to see rejects or the pics plus the photos that I have not actually flagged . I can check that, and then the last way is with labels. So if I want to. I could label these photos. Say we want to set a label color of green, and this really is up to you. You can choose what your labels mean. Maybe green for me means nature photos. I just like multiple. Good. Is that label color pick green. Then I pick green down here. I can see off my green label photos from all of my photos. As you can see, I don't use the labeling that much at all. Really? I mainly use ranking, but that it is available for you. If you want to do that, I'm just gonna go back to my previous import to see all and then set my filter to just three or above. Now, when I go over to my develop tab, all of these air here and I can still go back and see all the photos if I want or just filter for the ones that I have selected instead of going to the loo viewer, it's full screen. You can just go to the thumbnail view and now you can see that you have all of these attributes up here. We have our rating, our flags and our colors And so now we can just go in here and add our color label or not down here, I still have my custom filter on, so I'd have to turn that off to be able to see it. But that's a quick way to add a label or rating or flag to any photos. Thanks for watching in the next lesson will be learning how to do some face tagging in light room. 7. Face Tagging: and back here in light room in our photos for light room course collection. And we're going to do some face tagging so similar to how Facebook can recognize people's faces and automatically tagged them with whoever it is. Light room tries to do the same thing. So when you have a collection selected, you can just press this people button down here, you'll see that it will start detecting faces in the filmstrip. So whatever photos you have down here in your film strip, it will start detecting those faces. So this is awesome and selected some of the faces from these statues. I forget who these were. These were like ancient philosophers. You'll also notice that it has already asked me, Oh, is this Isabel because I've created a profile for Isabel before? For some other photos. I've also done my own face, but apparently my face is changed and you can see that light room doesn't do an amazing job . I would say that Facebook actually does batter. You can see you hear it doesn't know who I am, even though I've created profile for myself. But when it does, let's just start with if it doesn't know who I am. Let's start with Christian down here cause I've never could've profile for him. We can do is just type in Christians name or whoever's name pressed the return key on your keyboard or enter. Here's Monica. So I'm gonna go in here and see Look at something funny happened after a while it recognized me and asked me, Is this Phil? So I'm just going to click that check back. But in same for Isabel, Check Mark. And for here I'm just going to start typing in my name. And then when I see my name, I'm just going to click that name or press enter on my keyboard. Now you can see we have name people in unnamed people. These are people that we haven't tagged yet, And if we don't want to tie them, we can just click these ex parte boxes. And then the name people are all up here and then within this collection, if we want to see all photos of Phil, I can just double click this Phil and it shows me the photos of me. And then if I want to go in and edit, I can go in and edit, and you can see now our faces are tagged and with the person. And if we go to these next ones, and some of them actually weren't tagged. But here we have is a bone, Phil. So let's go to this one. So if I want to tag this one, I can draw this face region box by just clicking this button, drawing it over my face and typing in my name. And same for is about. I can type in Isabel, Select Isabel. Same for this one. Even though it's not my face. I do want this categorize with me and is about so now. The cool thing is, if we go back to our catalogue and we say all photographs, then we just like people. It will show all the name people we've created profiles for. So if we go to fill it will look and find all of the photos that I have tagged with my name for same with is both. We'll go and find all of the photos where Isabel is tagged. Then you can go and add it. Those specific photos awesome Now weaken tag people's faces. We confined those people specifically and edit those photos. It's just another way to organize your photos in Adobe Light Room. Thanks for watching this lesson. This concludes this section of the course, and in the next section, John, my co instructor, is going to dive right into it, editing with the develop module in Adobe Light Room. Thank you so much for watching, and we'll see you a little bit later. I'll be following up that section with a specific section on adjustment layers and then exporting and saving your photos from light room. Thanks and have a great day. 8. Editing Your Images - in 5 Minutes!: and I hope you're excited right now. We're gonna go over how to edit your images in light room. If you're anything like me, it's gonna be 90% of what you do and what you need to know in light room. It'll tell you how to adjust almost everything you want in your image, and it will show you some functions that aren't even so obvious in the menus. Unfortunately, I think you're gonna get most of what you need during this module, So please stick with me. By the time you're done, you'll be able to adjust your image about any way you can think of. What I'm gonna do now is in the next four minutes give you a brief down and dirty of all the functions and in the lessons that follow will go over each one in detail. So please join me on those two. Let's get started in the basic panel. We've got exposure and all these menus you can simply click and slide right and left to increase and decrease them. Contrast is going to move your lights and darks further away. And exposure will make universal adjustments to brighten and dark in your image. You can click and drag on your temps slider and on your tent slider attempt if you want to make it warmer or cooler tent. If you want to correct for a color cast, use this to correct images. This for creative control really down here. Highlights shadows. Whites and blacks lets you push those parts of the image, the brights and the darks further closer together in a little bit more refined with and contrast id down here. Clarity, clarity bumps up your mid tone. Contrast. Vibrance is a delicate way to increase the saturation of your image, and saturation is the sledgehammer that adjust all of it at once. Whoa at the basics. If you click, are we get to the crop panel now. Here we can change the angle by clicking and dragging or clicking and measuring angles. You can hit return and you're done. If you hit are again. It's nondestructive, so we can go right back and click and drag in the middle toe. Adjust where it is. Click and drag on the edges to adjust how much it is All right, hit, return when we're done. That's basics, and that's crops so Let's go tone curve tone curve gives you this handy curve, which lets you push down and pull up parts of the image. Here's the dark parts. Here is the bright parts. It's also got these presets medium contrast, linear and strong contrast, and it will show you where it's at, and it'll let you custom click and drag goes. Of course, there's other options. If you click here that you can adjust the region's separately hue, saturation. Luminous is a great way. We're making great time. By the way, we're totally gonna get through this to do Hugh Saturation and Luminant All in these three tabs. What does take saturation for a moment? If you want to make our greens greener in the grass, we can just click and drag up here. Or we can click on this bullseye, hover over the green color, click and drag up, and you see it makes those adjustments. We can also go into the hue and do the same thing. If we want to make the greens, click the bull's eye, we go. If we want to make the greens a bit yellow er or injure, and you can see it's pulling some of the other colors, and it makes those adjustments. We could click and drag these sliders or click and drag over here, or just enter values as well. All right, split tone split tone lets us adjust the highlights, and let's adjust the hue of the shadow separately, commonly used to bring the shadows bluer. Bring the saturation of that adjustment up and make the highlights warmer and bring the saturation up balanced lets you decide if you want to favor the shadows or the highlight color correction. Moving down detail All right detail lets us sharpen the image. This is the amount of sharpening, and the radius, if you push to the left, makes it a softer sharpen for portrait's into the right. Makes it a harsher sharp in detail. Lets you refine that and masking controls. How much you see of that. If you click the option or all key and you make that adjustment, you can see with more detail exactly what's happening. It's a great feature. Noise reduction lets you control the luminant on the color noise. If you wanna have less or more details, less or more contrast, you can just click and drag same with details and smoothness. Here, lens correction is a great tool. Just click. Enable profile corrections and it'll automatically adjust for your lens, which is fantastic. If you look under effects. You can look at the amount of grain de hazing and highlight by clicking and dragging here. And then we're gonna make my times. You got to keep going. Camera calibration down here. These your cameras, uh, different calibrations and profile. So you can select from Adobe Standard to any one of these. And now you're images look like they did in your camera, which is one of my favorite adjustments from here. You can further refine those profiles there. That's it. Under five minutes. Everything you need to know about how you can develop an edit, your images. Next lessons will be in detail for each one of those. I hope that was helpful. I can't wait to see in the next lesson, So let's get started digging into these details 9. Crop and Rotate: you know, I had it wanted taken image that's got a crooked horizon or vertical line that's off. Or maybe I just should have reframed it differently, but didn't when I took the picture. Now those are all great reasons to use the crop and straighten tool, and I'll show you everything you need to know about that now. So in a W light room with your image selected down here on the bottom, you're gonna just click are and you'll notice that all of a sudden you got a whole bunch of features and we'll go through him in detail now. So you understand everything you need to know about this future in light room so you'll see on the right. First of all, here, that crop and straighten came up, and that allows us to select aspect ratios, said the angle and then constraint image. But it also gives us thes handles and features right inside. The image itself will go over both of them. Now the first thing I'll point out about this future is some of the crop features, so it's got these corners and I can drag click on any one of them and drag it crop the image horizontally, vertically or both at the same time. The other thing I can do is by going inside the image you'll see. I've got those two carpenter squares. I can click and drag and release, and once you're there, you can obviously click and rotate around so you can get the image just how you want. The other thing you can do right here in the image without even having to go to the dialogue box is to go outside my house outside the image and you'll see that arrow that's got to arrows about a 90 degree angle looks like, and you can click and drag to rotate the image and you'll see that while I'm doing it, I've got this great grid line. So if I wanted to get that line vertical, I could have just clicked and dragged down until that was lined up vertically. Now, when I release the grid goes away, I want to point out a quick feature about that, though I prefer to keep it an auto, which is how it behaves right there. But if you click always, you'll notice that right here, going horizontally and vertically across the image. There's a rule of thirds line guide, and if I rotate the image again, I get that helpful guide here, and I really sit, and I get the rule of thirds guide there, not a big fan of that. You can also go to show no guides by going to never. And once that happens, I got nothing. Again, I prefer. And I think the most useful way to use this feature in a w light room is to use an auto mode where it will show me a grid when I want it, which is when I'm rotating an image. When I release, it'll go away so I won't be distracted by it. So that's how you can use the features that are available here without going to the dialogue box. But next up, let's go into the crop in straitened dialog box over here. Now we'll reset the image by clicking reset so we can start with the fresh image and we'll just go down the order here, done the list. Now I can again click on that dialogue box, and I've got my standard crop future, but I can also click over here on this aspect. And once I've clicked there, I've locked the aspect of the image that when I click and drag on a corner, the aspect of the image, which would be the with the ratio of the wished with to the height remains constant, one of things that the little confusing is. As I scroll down, you noticed that it flipped on me there. Well, it turned out that the ratio is the same, right? The image just the ratio is just flipped from the with to the height. A little confusing but right. It's tall and skinny, and here it's wide and short, but that the ratios are still the same. Honestly, I never used this feature to flip the ratio, but if you're gonna crop for a print and you want just a certain area, you might find it helpful. Ah, click reset. You'll notice that when I click here, I also have an option to select standard print sizes and also standard sizes for other application like video. Once I've clicked, those say, one by one. If I'm doing some social media work, I can click and drag, and the image will still allow me to adjust it but it will always maintain the original aspect ratio. So even if I move it around or if I just click the height, it'll automatically adjust the with. So it's always one by one. I recommend that you stay with standard aspect ratios, particularly because normally your images air going to be a Siris of images, and you want some continuity unless you're making a deliberate creative choice. Always keep in mind print sizes, too, in case you're gonna make prints later on, which is why these features in the aspect ratio are so helpful. Next up, let's talk about the angle so I can click on the slider, and if I drag left and right, it's gonna be adjusting the angles again. The grids come back to help guide. Make some visually aligning that vertical line, which I think looks good right there. 2.94 degrees. I can release it, and my image should be roughly vertical now if I want to be a little more precise, and this is the way that I used to straighten tool that I can click on the ruler and then I can simply click on the top of this vertical line and then on the bottom of it. And once I release it, it's given me 3.22 So it turns off that I think I was a little off when I used that slider , which is normally the case. That's why I like to use this ruler, which I just did under the straighten tool there. There is one other way that can be helpful sometimes, but I find is a little inaccurate when I want it to be accurate. It's this auto button now. In this case, when I click it, it does a pretty good job. 2.47 I think that's pretty close to vertical here. I think actually, it's probably rotating a little to the left. Too much still, in my mind, that line is vertical when it's right here. Eso three point away at that time so you can see that the auto will get us close. It usually works better when there's a real clearer line that's going across the horizon. Honestly, I don't use it very much, cause it's not super accurate. But if I'm just in a hurry and want to kind of straighten it out while I'm doing, Um, or important adjustment somewhere else, I might use it. There's a final button down here that you can click and constrain the image. You've noticed that this whole time the crop has never, even if I click and try to drag it outside of the original dimensions of the image, it won't do it. And that's all that this function is ensuring. Honestly, Light Room does that by default with pictures like this, so I wouldn't worry about that too much. Let's go ahead and make that final crop so I can straighten it out here by using the ruler and selecting the edge. I can then hit return, and I believe we have a vertical line, which is what we wanted the whole time. Now there could be other reasons for you to use the crop and straighten tool in the next image. Here, you can see that, as is most common for images, I've got ah, horizon, that sort of slipping off the page to the left. Not a great scenario. Now. I shoot portrait's all the time, and there's so many things to worry about, from lighting to smiles, expressions and backgrounds. It's really hard to line up exactly to get your horizon straight. So I find myself doing this all the time. I can hit the R key and again I can click and drag outside the image tow line. It what I think is perfectly close there. I'll reset it to show you the other way that I can do this. I can click the ruler. Now, let me give you a quick tip here. If you select a small bit of the horizon just a a few degrees or ah, small portion there. The distance between the lines was very close together. You know, I think that looks pretty good, but I tend not to do that. I think a more accurate way to do it when you've got a long horizon here is to go across the whole image of possible. You're pretty close to it because I can see a few degrees a lot better over this greater distance than I can when I'm just working with shorter distance like we had the first time . So you can see I've got a good straight horizon there. I'll reset. So we'll take a look at what the auto feature does. I Click Auto, and in this case, you can see it's done. A pretty good job matter. Fact will leave it that way and just click done. Now we've got a straight horizon. There's another way or reason you might want to use crop in straitened tools, which is maybe a creative choice. So in this great picture of Ah pond, that's got a water lily and a concrete structure here. Maybe I want to make this top line straight. I can click the our future and we'll write it. Let's try it with a 1 to 1 aspect ratio. Okay, I can go ahead and click the ruler and select the top two points here and what my new image will be. Now that looks OK, but there's a problem with waterlily. It's outside of it now, and that's really not what I want. The two images the two parts of this image that are really important, really, that concrete structure in the water lily. So you saw that just by clicking and dragging, I'm able to slide. This image and light room is really smart here, right? It's not re sizing anything. It's not bumping this off the image It's just sort of sliding the image with the way that I want the crop to work, and that looks pretty good to me. I'll reset it and show you may be one other way. We could have done that, which would be to select the 1 to 1 crump rotate to use our grid lines, rotate, rotate their good, and I can slide it from their hit return. And I've got an image that's really tight on the two elements of this image that are interesting to may Now may be the final reason that you would want to use the crop in straitened feature is because you've got a distracting element like this one. Unfortunately in your image, sometimes its just unavoidable. So I can hit the R key. And here's what I'm gonna try. This time is I'm just gonna take this line created by this distracting element, and there it is. Now my crop and straighten has done that for me, and I want this beast in this boy's face in the image and you can see that I can't quite get there until I took it and I just clicked and dragged it up to get what I've got there. But I think if I actually clicked the shift key and drag that corner in see, that's allowed me to go up and get a little bit more. Have this face in the expression. By doing that, of course, I've lost a bit of the bottom down here. In my mind, that's an acceptable tradeoff in less than ideal circumstances, like we're in right here, all right, that's everything. I think you need to know about the crop and straighten tool. Next up gonna be talking about something just is important that I use all the time as well . It's going to be the tone dialog box within the basic features of adobe like room that allows you to make some of the best corrections, I think and all of the application. So let's get started 10. Tone: All right, let's talk about tone. And when you think tone really think exposure, there's a lot more to it. Have you ever taken image that was too dark or too bright? I just don't have any depth to it. Well, that's really a problem with the tone of your image. Let's talk about all the functions in a W light room that relate to tone real quick, and then we're gonna go in a more detailed look at each one. So let's start with a quick overview. You can see that we have our image here of this turtle, and we've got a couple adjustments in tone. I'm gonna walk you through The first, which I almost never use, is the auto adjustment. Now auto adjustment is going to make adjustments to all of these parts of tone, which are exposure. Contrast highlights shadows, whites and blacks as it thinks best. The problem with auto is that it really has got no idea what you're trying to do with your picture, and it has no way to get you there so you can see I really don't like the corrections auto made in this case, which is why I personally don't use it. Which brings us to the first great way to undo the changes you've made in town. You just double click on the word tone, and what you'll see is everything goes back to the way it waas really helpful, All right, so now that we know that auto isn't the way to move in tone in adobe light room, let's see what ISS exposure helps us move the brightness up by clicking and dragging to the right or down, making it darker by clicking and dragging to the left. Let's go ahead and reset. That contrast allows us to push the brights in the dark's further away, adding some more drama and death to our image by clicking and dragging to the right there to increase the contrast or by going to the left to decrease it. Highlights allow us to adjust the brightest parts of the image well, almost the brightest parts. We can click and drag to the right to make the bright parts brighter and to the left to make the bright parts darker. Shadows allow us to adjust some of the darker areas of the image by clicking and dragging to the right and again to the left, and you can see what happens to the image as it makes it brighter and darker in the dark parts of the image in the last two. Here, whites and blacks are the whitest and the darkest parts of the image. So by clicking and dragging, we can go all the way up and make the brightest parts of the image very, very bright or to the left and make the brightest parts of the image darker. The blacks are the darkest parliament that we can either raise or lower in terms of their exposure. Let's go ahead and reset everything. So that's a basic overview of what's available to you in tone. Well, that's really not going to get us a whole lot until we understand what each one of those adjustments doesn't. How you should be using him. So let's get started talking about that. The first thing I want you to notice, and we really need to understand is actually not anything to do with those exposure or adjustments at all. It's got to do with this up here in the upper right part of your screen, in light room under hissed a gram, which you can hide or you can display by clicking on the triangle. And I always work if it displayed. So please do that in a W light room. If you don't already, you'll be able to see our hissed a gram. Ah hissed a gram at its most basic, and we'll talk about more details about what it is later on. But at its most basic, all you need to really understand is that hissed. A gram is a visual representation off how brighter, darker picture is. So you can see here that this picture is a little bit dark, which is how I like it. Turtles bright, most everything else that was pretty dark. And you can see that that grey outline is tall and kind of to the left now, by slim plea switch images here. This is a very bright image, and you can see that the hissed a gram has now shifted way to the right, meaning it's bright right. That grey outline has a lot of area to the right, and not much to the left. Now we'll switch back here to the dark image, and again everything has shifted. Left now? Briefly. If you already know that about a history, you might not know that those outlines you see behind it are showing us the blues, greens and the reds and the overlays of those colors, so that as we make adjustments to say, the temperature or 10 it will also change the history. Graham. You may also not realize that when you mouse over different parts of the history Graham, it'll display for you where the blacks are shadows, exposure highlights and the whites and you can see because it's made those areas of the history gram lighter gray than the rest of the background of the history. Graham, which can be a really wonderful feature. And let me tell you why, right so you can make adjustments down here. But most people don't realize that you can also make adjustments right up here in the history am. So if I want to just bring my shadows up, I can click and dragged the right and look my imaged and the history Graham changed. I could do the same thing here in the exposure section. I can click and drag or in the highlights, click and drag and you can see that clicking and dragging in the history. Graham has made adjustments down here in the tone curve and to the image itself, which I think is a wonderful future. Let's go ahead and reset all those adjustments real quick so I can show you how to make them down here in the tone section as well. Now let's deal with this image so very few times does an image come on my camera, where I just love it at the get go. But this image, unfortunately, is kind of close to that. So I'm going to show you maybe some just minor adjustments to this one, and then we'll go look at that other one here in a second so you can see how it works on two different images. So as much as I do like this image, I will say that some of the parts of the turtle are a bit too dark, particular like around the neck, where it goes to almost all black. Now I know it doesn't go all black, because as I go to the history, Graham and I hover over the show shadow clipping box. I can click on that triangle and you see that nothing has changed in the picture. But now if I were to click and drag the blacks to bring them down, do you see that blue that just came over the image? Now those blacks have gone from having information to not having information, cause they're just totally black. Now, if I were to click that triangle again, you see that they go away. You know, I can either hover over that triangle and see them, in which case they'll come and they'll go. Or I can click and hold and in which case, they stay there. It's a really helpful feature, but we don't necessarily want to push our blacks that far down, of course. So with this image, the blacks, some of the areas that aren't all the way black but are still very dark. I don't have enough detail to my eye, so I want to bring those up a little bit so I could do that two ways. The first is I can go into the blacks here in the history Graham and click and drag and just bring that up a little bit now. By hitting the forward slash, I can look at the before and the after. Not much difference there, so maybe I'll go into the shadows. Click and drag that a little bit to the right as well. Now let's check the before in the after. Still not enough. So it's click and drag one more time. Ah, there that did it. We saw the shift in the history. Graham. Here's the before, and here's the after and we can see that I get just a little bit more detail in the shadows and now in those areas in the neck where there was details and texture in the skin that I couldn't see before. I'm lucky that I can now, which is great. So that might be all we want to do with this image. But before we leave it, I do want explain a little bit about contrast. So we mentioned. That contrast tends to add some drama to images, and you can see that this pictures already got great contrast because it's got areas here that all the way up in exposure very bright, but still have enough detail and then areas that are very, very dark. So you've got a really wide range of contrast right? Ah, big gamut of exposures, which is really helpful. But if I wanted to increase the exposure, I could click here and drag to the right. And you see what happened to the history Graham is that it took those mid tones and it pushed them towards shadow and highlight. I think some or drum enough I goto left. You can see that it compressed that history and brought everything towards the center because it took the shadows and blacks highlights and whites, and it pushed them down towards the Midtown's. So that's all contrast is really doing, and you can completely do that manually is a matter of fact, right? I can take the highlights and bring him up. I can take the whites and bring him up, take the shadows and push him down the blacks and push him down. And you see that in many ways I've accomplished something similar, although a little more extreme when I do it manually there. So that's what contrast does. You don't want to use a little bit of contrast, but I prefer to do things manually down here in the highlights shadows, whites and blacks area. So I hope that shows you using this dark image, how you can use the hissed a gram to understand your exposure, and then how to make those adjustments in your image using the tone dialogue. Let's go to the second image and take a look at what we do here now. In this case, I've actually made an exposure adjustment so we could see what happened in the history. Graham previously. Let me undo that. This is a great image and probably doesn't need a whole lot of touching up, either. But let's say, for example, that we wanted a bit more contrast, which I might want to in this case, because you can see the hissed. A gram is pretty centered, right? So if I select contrast and maybe bump it up a little bit, say, plus 15 that look at the before and the after, it does look a bit better to me, particularly look at the face before and after. I think that's nice and accomplishes what I'm looking for, but I can also go in here and maybe bring the highlights down a little bit. Now there's an issue with that that you may have just noticed if my mouse over this triangle to the right, that'll show me highlight clipping now because I pushed the shot of the highlights down. I mean, just that again backed where it waas. You'll notice that, actually, we've got highlight clipping, meaning that's pure white right there. So when I pushed it down, right, the highlight clipping doesn't show anymore. But the colors look weird, right? There was really no color for a w like room to work with here. So as I pushed highlights down, right, it just sort of looks off to me. And that's really what happens when you've got those highlights clipped is there's no information there for light room to work with. You've exceeded the dynamic range that was available to you. So we'll go ahead and turn that off because now we know we've got a bit of a problem with highlight clipping, which we kind of could see because we've got some very bright and very dark parts of this image. Nonetheless, I do like contrast, being boosted a little bit, and we could probably deal with maybe a little bit more shadow. Now, I'm not gonna use any more contrast because the contrast is pushing those brights even brighter, and we know that we don't want to go any further with that because of the highlight clipping that we already saw. But I might want to take my blacks down a little bit. A swell Now, if I click before and after, you'll see that we have a subtle but really nice adjustment there to get a good image tuned up even a little bit more. All right. I hope that helps you understand tone in the basic section of Adobe Light Room. It's so important, and probably one of the most valuable tools for beginning photographer tohave. Let me leave you with one final little bit more advanced tip is well, that you can use to really fine tune the contrast of your image before we go on to the next lesson. So if you hit option or Ault, depending on if you're a PC or Mac, you can adjust any one of these whites blacks etcetera. And, as you say, bring your whites up. What's happening? Is it showing you where you're getting clipping? Same thing with blacks as you click and drag those images that are showing up that aren't white are getting pushed down to where there's a loss of the shadows. The same thing is true. If you go to the highlights, for example, in drag, right or if you go to shadows and again, click option or all and drag left, you're seeing where you're losing detail in the highlights in the shadows. Now let me tell you how I like to use. That is a little bit more of an advanced trick and how to use tone better on an image that doesn't have highlight clipping problems to start with as this image does, what I would do is I would go in, I would click option, and then I would click and drag whites, right? And so, in this case will kind of start out where hopefully a good images is less clipping. That's been about a click it and drag until I just started to get some. And in this case we know that we can't do that cause we've got those issues really identified. And then I would do the same in black, right? So Blackwood would have started here, and I would just push it down until I got maybe just a tiny bit of clipping in the blacks. That's a way to ensure that you've got a full tonal range from all the way to white all the way to black, maybe just teeniest bit of clipping, right? So it's a great advanced technique, few to improve the dynamic range. Really, that contrast of the image in a W light room Now I hope that's been helpful with next segment that we're gonna work on is probably, you know, in order of importance we did cropping, which is what's in the picture. And then we did tone, which is the exposure in the contrast. Next up, we're going to white balance because I'm here to tell you if you're white, balance is messed up. You have a real hard time enjoying that picture, but also it provides you a lot of great creative opportunities. So let's get started looking at white balance right now. 11. White Balance Adjustments: images that are super yellow or super blue when they're meant to be true. Colors are the worst. It just doesn't look right. And everybody knows it, especially if you're shooting for clients. And that's one of the best things about a W light room. Is there such great ways to fix it right in light room? Super quick? That's we're gonna do now. In this lesson, you learn how to get perfect white balance. I don't even show you a tool that you can buy that will let you get it every time without having to guess. So let's get started. First thing I want to do is show you exactly how to select a white balance. So in this image, I've adjusted it over here for shade, as if you had set that white balance in your camera to shade. You can, of course, also click here and pick any number of these Ashot auto daylight cloudy shade, tongue stone and all that's happening is it's adjusting the temp in the tent, so we'll go back to cloudy Here, perhaps so cloudy has selected 6500 and plus 10. Now. You may have slipped that in your camera, in which case you could go to as shot. And that's how it would look also. But for this demonstration, we're gonna go back to cloudy. All right, so here's the image that you've got. And as you can see, it's a number of white painted wood slats where the sun is coming through and an umbrella leaning against the side. Well, if you hit the w key, we're gonna come up with this great eye dropper, and that I drop her simply lets you mouse over any part of the image that should be a neutral color. And if you click it, you see that it? We went to custom now, and this temp intent changed. What you want to do is get the right temp intent for your picture. If you've got someone in there and you're trying to get accurate rendition for skin tones, or maybe you're shooting a landscape or portrait and you want to just make sure that you've got the details correct. Maybe it's inside of a building, and you want a white room to be perfectly white. There's any number of good reasons to adjust your white balance. So were in the white balance function with our eyedropper selected, I just want to point out two things real quick. The first is that if I click this show loop, you'll see this pick a target neutral icon and dialogue box just popped up right in the middle of the screen. And that's really helpful because it's showing me what I'm using to select, right? I don't have to guess at what light room Miss sampling. It's showing me the pixels that it's actually sampling to come up with white balance for a neutral color. I almost always use it, and I'd recommend you use it as well so that you're just more in control of your white balance. The next thing that you see here is auto dismiss. So if I click auto dismiss, what will happen is when I select my white balance point, I sample it by clicking. You see that the loop went away. That means that I can go back to zooming in and zooming out with the click of a button or anything else that I'd like to do next. If I hit W again, I can uncheck auto dismiss, And now, when I select a white balance. I keep getting to pick, continuing to go around the image and getting the white balance that I think is best. I actually don't use this feature. I tend to click auto dismiss for the reasons that I'll show you in a moment. I really only pick one white balance point. But if you're kind of searching around an image, it's nice to have auto dismiss off so you don't have to keep clicking on the W button. The other thing I want to point out is that in the upper left here, where the Navigator is, which again we can hide and display by clicking on the triangle, you'll see a preview just by scrolling over different parts of the image of what it would look like if you clicked it again. Very helpful feature toe watch as you try to figure out the white balance for your image. So let's go ahead and pick White balance shall way. You're going on a neutral color, and so I'll go to a spot that I think is a nice, neutral great, which should be pretty easy with the way this image is lined up. I'll go ahead and click it, and you'll see that it made some subtle adjustments over here to the temp in the tent. This looks pretty good to me, but remember, I could make creative adjustments. Here is well, now. Temp allows me to make some great adjustments that can be creative. For example, in this particular image, I might slide it way to the left, getting a super blue and cool image if that's artistically what I wanted to have happen. Maybe what I want to do is make it really warm, as if the sun was right outside and setting so beautifully casting golden light everywhere . So the temp adjustments slider here by clicking and dragging. Or, of course, you can click over here and ah, scroll up and down. What you've clicked in that number to make adjustments as well can be used for corrective or can be used for creative adjustments. But if I go down to tent and I click and drag to the right, I don't know that I would do that to get that super magenta color to an image creatively or green. To be honest, both kind of looks sort of creepy, and so I'd probably just go back, select a good white balance and then adjust the temp because 10 is really for corrective. Not so much for kind of creative adjustments to your images, in my opinion. But with that said, Let's move on to another image, and it's actually almost the same image. What I do is I put a color checker passport. It's a device you can purchase from X ray, no affiliation with them, but they make the best, in my opinion, tools for getting accurate color. So you can see here that if I let me zoom in so you can see, but better perhaps so if I zoom in here on the top row, these two blocks that have notches in them are actually for selecting a white balance. So if I just click on that click and let's go to auto dismiss and this is why I usually turn out or dismissed on click that I auto, dismiss it and you can see that now it's made the adjustments here to get may perfectly true. White balance temp intent. So every image I take and I use there is going to give me perfect color. Now you can do a great card as well. They're affordable and fantastic tools there really made for this kind of adjustment. Now let's go ahead and assume that we don't have one of those tools, though. Here's the next image that we've got. And it's an image of Iraq and kind of a gravel garden so we can click W. And then we can go over into our image and scrolled around taking a look at the preview in the Navigator and this looks nice to me, so I'll go ahead and click it and you can see that we haven't image. That may looks pretty true. Now I can click w again. And maybe this time I want to, you know, maybe make creative adjustment and make it warmer, right? And so I've got a good white balance, meaning my tent is good and I'm just gonna pull on, make it warmer. Or if I wanted Teoh, I could come in select a different spot here and again. It's cool it down a lot. It's like w over here and you can see that I'll turn auto dismissed off when I'm in this kind of environment so that I can continue if I wanted to just to click around the image right, selecting different spots and seeing in my main window how it looks. Let's go ahead and stick with that now. To undo these, you can go back up and simply select as shot. And that's how you can use white balance color cards and different spots in your image to see your loop and to make great selections so you get perfect color. I hope that helps and stick around for the next lesson because it's just a useful. 12. Clarity, Vibrance and Saturation: have you ever looked at an image and wondered how they made it look so dreamy or how it was so harsh and punching? Well, the answer lies in presence, which is clarity, vibrance and saturation, which is what we're gonna look at now. Awesome. Well, look at this image first, and we're to take a look A clarity. So again, we're still in the basic module here off light room who scrolled down. And now I've got presence, which is really where you're creative and artistic control start. It's in the basic mode, but it's probably a little bit more advanced than basic, So clarity is really a mid tones. Contrast adjustment. What does that mean? If we look up here again at our history Graham, which we talked about in the previous lesson, you'll see that again. It's broken up into black shadows. And then this exposure, which is your mid tones and this mid tones exposure, right? Same thing here. So your mid tones is where this adjustment is gonna work and increasing the contrast member just kind of pushes your lights and darks further to both ends, makes your lights little lighter in your dark little bit darker. Let's take a look at what that looks like. You're So if I take clarity, watch the history grams. I pushed to the right. You see that kind of getting pushed apart a little bit and watches. I pushed to the left how it compresses into the middle of a little bit. That's all clarity is. So have you noticed what happens to the pictures? So if I go all the way to the left at minus 200 for clarity, it's got that sort of dreamy, painterly look as if done by, you know, a painter trying to capture the mood of something. It's really nice and could be a great effect and all the way to the right, really harsh and can achieve kind of a grungy hard look to an image just with adjusting one slider. So in this particular image, right, it's kind of a dreamy setting. Horses, mountain skies, clouds. I would want to push left, probably not too much, but I'll give it about minus 29 minus 30 here, which is a good amount. We've taken the edge off and you can see from the before and the after that it's added just a hint of kind of dreamy softness to some of those mid tones. Next up, let's take a look of vibrance now. Vibrance and saturation are related, but different vibrance allows you to adjust sort of the intensity of the colors, but only those colors that aren't really saturated already. So think of it as like saturation. Calm down. A low key version of saturation were not so much in danger of blowing at your colors and making it look on natural, which is why it's so popular. And I tend to use it over saturation almost all the time, so you can see that as I push vibrance up a little bit, I tend to get a little bit better pop out of my colors without going overboard. So let me show you overboard and let me show U minus 100 and you can see that at minus 100 . It's not black and white, right, cause remember, it's not dealing with all the colors, just so sort of clothes that aren't all the way or close to being saturated. So bring it back to maybe for this image plus 10. Now let me show you the difference when I move saturation all the way, the left. Now we're black and white. It's got all the colors in there. And when I go all the way to the right, you know we're up there. It's very, very saturated. But we can make kind of global adjustments to all the colors, making them more intense by sliding to the right or more subdued by sliding to the left. I'll bring it back to zero in this case, and I'm happy with the way the image looks. We've adjust the clarity down to give it a dreamy look and the vibrance up just a bit to make the colors a little more lively. Now let's take a look at the next image where will use them any opposite sort of a way. So in this image, I've got a great metal torch. It's got wonderful, sort of harsh look and feel to it, and it's got some great contrast and edges. So in this case, it wouldn't make that much sense for me to take clarity and slide it to the left, which again gives it sort of a dreamy, painterly look. It doesn't work with this image But what does work with this images? As I click and drag to the right, here's the before and after and you can see I really get that kind of harsh metallic look out of it. Which would This picture looks really nice vibrance. If I move it up a bit, I can get that flame a little bit more intense, press it down a little bit to make it look like almost a black and white with that flame really sort of standing out and me actually like that. So maybe I'll go down minus 15 for vibrance here. And what that does for me is it really makes that flame, which has got intense colors, stand out a little bit more in the image because everything is dropped back just a tiny bit again with saturation, we can push that up to bring all the colors up in intensity and move it down so that they're more muted in subdued colors. In this case, will continue to live it zero. So that's how you can use presence to adjust your clarity, vibrance and saturation to take creative control of your pictures and really achieve the kind of look that you're in for? All right, We're getting crazy. Now stick around. We're going to do the tone curve. Next. You're not gonna want to miss it. 13. Tone Curve: I know I know what you're thinking. Why in the world are we going overtone again? Well, it's because Adobe gave you more creative control than you realize. So before we went over tone in the basic tab, and it's important for you to understand what we did there. So please go back if you haven't seen that already, because we're gonna build on that now must you got to take real creative control over that tone and produce some really kind of interesting looks and push your images as far as you want to. So let's get started. We're to talk about tone curve now and how to use it in all of its different ways. The first thing we'll do is we'll just go ahead and said it the linear down here, which is the default, how it normally comes and when a point. Some things out to you. This is really the first mode, and it will be how tone curve opens up. You can click to hide, click to expand. You'll notice that it's broken up into regions, shadows, darks, lights and highlights. And here's records interesting is you now get to adjust which each one of those images are by clicking and dragging on the slider. And once you've done that, you can go into, say, highlights and you can bring it down. But here's the interesting thing. If I really defined these highlights to be darker, it will re apply those adjustments, and you can see that all happening in the history Graham on the top of the screen. I can then, you know, re define what I call lights, and then I can make a light adjustment, which will be applied to my image. And when I adjust this zone, I'm now applying that adjustment across that zone, and the same thing goes down here for darks and shadows. I can go ahead and redefine what those areas are and the adjustments I want to make. I can also go up and move those owns. Now. This isn't point controlled zone control here. Let's go ahead and reset all that by double clicking on the highlights, lights, darks and shadows, and I show you the second way you can do it, which is pretty cool, too. Go to this bull's eye and click it. Then if you go into your image, you can see that it's selecting the areas that you're working in. Let's say I want to push the center of the flower up. I click and drag up and notice that it's made that adjustment for me. That zone has been pushed up. Let's say I want to push the darks in the wood here down. Just click and drag down and look, the wood got pushed down for me. Now I've got an image. If I look at the before and after that has a lot of pop in contrast, and it just by clicking the parts I wanted brighter and the parts I wanted darker and then moving Moran. That's the second way you can use tone curves in a pretty great way to adjust your image. Let's go ahead and reset all that and take a look at the next way somebody. DoubleClick highlights lights, darks and shadows on back to the original image. Now the next thing I can do is kind of let it do the contrast and exposure adjustment for me by going into medium contrast, and here it's just pushed down my shadows and pushed up my highlights a bit. But if I want a little bit more contrast in that I can just click strong contrast in it. Auto applies that adjustment for me, which is pretty cool. It doesn't have as much control is the way I showed you a second ago, but in a pinch, it could get your great image. Let's go ahead and adjust all that back to linear. And here's where it starts to get really crazy. Click down on this box in the bottom, right? That's a point on a graph, it says clicked at a point curve. Once I've clicked that Look what I've got now I don't have those owns any more on the bottom. Now I have really is my tone curve and this cross hair. Now I can do the same thing I did before. I can click on this bull's eye, click on the Bulls eye here, bring it into the picture, and I can click and drag up. And now it's just a point. It's no longer a zone, and I can click here, click and drag and bring it down. That's just given me a little bit more of a smooth curve, not defined by the zones that we had in the precinct previous version and honestly, a great way to work on your images. The interesting thing is, I can now go in here and add more points. And each one of these points is going to make sort of the deflection. And the way that the contrast has worked be a little bit more unique. I can push it really extreme in either direction by just simply adding one point in manipulating around. I personally think that images are best when you don't do this too much and you create kind of a gentle s to bring the contrast up just the right amount. If you want to delete a point, just control click delete control point control, Click Delete control point and you can see that as we delete those control points. The image is readjusting that tone curve appropriately. Now, that's not the only way you can use this. You see the channels down here? We're really going to take it up a notch, right? So here we can look at just say the reds. And if I want to bring the Reds down in the shadows and up in the highlights, I just did it What's important to understand here is we're not talking about making the Reds brighter or darker. Were actually talking about adding and removing read from our image. Right? So what I mean is, if I push this way up, the Reds aren't darker. I'm adding red to the highlights and to the whites there. I don't want to do that in this case, and maybe what I would like to do is take a look at, say, the blues also and make it bluer in the shadows and less blue in the highlights. Now that's a look. I don't like it necessarily for this picture, but it is a look, so I can delete thes control points. If I want Teoh go back into the Red Channel rights, you can undo all this. It's all completely nondestructive afterward about ruining your image, and that's how you can bring it back right there so that we have applied all of the adjustments to our red green blue channels here. Still, but those individual color channels aren't there anymore. It's an interesting way you can look at, say, adding a little bit of coolness to your shadows are a little bit of warmth to the brighter images of your image. In this case, I really don't need it for this particular image. But let's go ahead and take a look at the next image, which is over here, Brick and would you can see it's already got some kind of funky colors going on. And in this case, let's just go right into the Reds. Let's bring the Reds up in the highlights. Let's bring him down in the shadows little bit. And then we go into, say, the blues and let's add blues to the shadows and take him out of the highlights. So here's your before and here's your after and you could see that we've just made this a little bit more of a stylized image, which is pretty nice. Of course, we can go in and make all the same sort of standard adjustments if we want to. To push down in the darker is an up in the light areas, and now we're starting to really get a stylized image before and after. And so what you can see is this is kind of harsh and extreme, but it gives you real creative control over how you work your images. Now the other thing that can give you great creative control and be really interesting issue saturation and luminous it to sell, which is what we're gonna look at next. So stay with me as we get started on that super important module of Adobe Light Room. 14. HSL: have you ever wanted to selectively adjust the sky to say, make it a little bluer or darker? Maybe the grass was a little bit too dark and you wanted to brighten it up and make it maybe a little punch here. Well, that's exactly what the age of cell Panelist designed to make. Easy for you to do in light room. We're gonna go over everything you need to know about the H S L panel not Let's get started . So you can see here that if I scroll down from basic and tone curve, I get the h of cell panel, which allows me, in a nutshell, to adjust a huge saturation and luminous of my image based on the color that's there to start with. So as an example, let's go and start with luminess, right? We can do it one of two ways. We can go down to the Blue Channel here, say, if I want to make my skies darker, I can click and drag to the left and you'll notice before and after that. My skies that simply and quickly are now darker. Let's go ahead and reset that and I'll show you a different way. Maybe even a better way to do it. If I click on the adjust luminous by dragging in the photo Little bull's eye here, I then get this cross hair and bullseye. I can go up to the blues that I'm interested in click, drag and pull down. And sure enough, you'll see that the aqua and the blue were adjusted to give me an even more refined approach to adjusting the luminess in that image. Now let's say in this particular image that the grand were too dark, not uncommon for the blues to be too bright and the grants to be too dark. So we can just go in here and click and drag on one of the leaves of the tree and bring it up. Um, let's see how we did before and after, and you can see that certainly we have brightened up those leaves a bit, so that's how you can use the luminous function. But there's also a hue function here and in the hue function. I can say if I want to take my reds toe orange a little bit and it's not a whole lot of reds here, but you can see a subtle shift there. Or maybe I want to make my blue sky a little bit more green, not saying I would want to in this particular bridge or a little bit more blue, which maybe is what I'd like to dio. And let's say that the greens wanted to be a bit on the greener side. Right here is the yellow were signed. And here by clicking and dragging, we could go to the Green Side. And, of course, if we use our bull's eye here, we can go in and make those same adjustments by clicking and dragging so before and after a non adjusted thank you as well. But it doesn't end there. And honestly, I'm not the biggest fan of messing with the hue unless it's for a very specific purpose, which probably won't happen very often. More often than not, you'll be better off using the saturation slider. So in this case, I'm just gonna go ahead and click on the Bulls eye, make sure it's still active, which it is there, and I'm gonna click and drag on the sky and increase. You can see the slider adjusting to the right of the screen there, the saturation that's in the sky. And if I look before and after, look what a huge difference that's made. It's just the sky is now more saturated. But let's say I want to do the green of the trees again. I can click and drag that up a bit. And before and after, I've got almost completely different looking and feeling image here, where I've been able to adjust the skies, luminant, hue and saturation all with a few simple clicks of a button. Let's go ahead and take a look how we might use this in a portrait next So I'll go ahead and select this portrait image. And again we've got this H S l functions, you saturation and limits. And this is actually really nice image. But maybe I want to go into a loom in its on, and I want to just selected this image, the sky, and bring it down even more. Or maybe I want to select this guy and bring it up so that it's all blown out on white or down. So it's very dark blue. The next thing I can do is maybe take a look at the saturation of the sky and bump that up touches well. Now here's where in a portrait. So that's still kind of landscape. E short of stuff, which a lot of times, Dr Portrait is indeed a combination of a landscape and a portrait kind of put together their cause. You've got nature and people all in one. But let's say that, um, for example, this shirt, maybe this shirt isn't quite what you wanted it to be. So I can click here that I can pull down or up to adjust that to more of a green, right? So before and after what you can see is that blue is now a bit green, but maybe I want to do that, even over here with this purple shirt, for whatever reasons, like click there and drag down. Or maybe that's even better and drag up. So look in the purple shirt before and after has changed a bit. Now, of course, we've cast a bit of a color cast across the lit tiles here, which is a bit of problematic because that's probably not what you would want to do. So hue saturation eliminates might not be the best tool when you're trying to make adjustments for one particular part of an image, and you've got a very big image with a lot of color gamut within it, right? So if you got a lot of colors in the image, it's gonna make that adjustment over all of them, which is why I tend to stay. If I use a chair, sell it all. I tend to use it for the luminous function and first say that the blues the sky because typically there's not a lot of blues and the skin tones. And unless you're subjects were wearing blue, you can get away with something like that fairly easily. So there's one more Tampere will talk about, and it's simply the all tab. And what you can say seeing the all tab is that it just gives you all the functions at once and again. You can just go and click here next to the bull's eye that you want to adjust right. That way, you can get to any particular adjustment without having to go through and click on the huge saturation and luminant. Here. You can use this in landscapes in order to get bluer skies greener grasses or adjust the saturation. And you'll probably be pretty good to do that because, you know, those blues and greens are probably pretty universally in the skies and in the grass, which is prime my recommendation on how to use this tool, not for portrait. So you have to be careful because, as we saw here, yes, I can adjust, say, the color and the hue of these shirts. But it does adjust other things in the image that are still important. May like the tiles in the foreground, and probably it bled over a little bit to the skin tones I would imagine. So that's DHS cell function within Adobe Light Room. And that's how you can use it to adjust hue, saturation and luminess in any picture quickly and easily. Next up, we're gonna be going over in the next tab down here, split toning. You're not gonna want to miss it, so let's get started with that right now. 15. Split Tone: one of the most creative adjustments you can make your image quickly and easily is adjusting the highlights in the shadows independently. The best way to do that is using the split toning future in Adobe Light Room. In this lesson, we're gonna go over everything you need to know about split toning, so we have our image open here and you can see are Split Tony panel. It allows us a few really helpful features. First, I want to point out that it's broken by highlights and shadows top and bottom here, and they offer you the same functions. So if you understand one, you'll understand the other. The only difference is that highlights will apply the adjustment in the highlights only and shadows will applied in the shadows only. And that's why they call it split. Toning is they're splitting the adjustments based on the tone. If you have any questions about tone, be sure to go back and check out the tone and tone curve lesson we did previously. Okay, so let's say in this particular image, I want to make the hue in the highlights warmer, more yellow. I can just click and drag Q over the yellow that I can click and drag saturation over to the point that I wanted to be at. Now. If that's not the best way for you to do it, perhaps what you can do is hold down the option or all key, and then you can slide it over till it looks very, very warm and then release it. Now you still have to bring your saturation up to whatever you think is appropriate. But by clicking option or Ault and dragging the hue slider, it'll give you a preview at 100% saturation. So that say, if I want to make some subtle adjustments now, I can click and I can drag and I can see exactly where the right spot is. And when I release, it applies at just the level that I've asked you to do it at. The final thing I want to point out here is that this little dialog box, which shows a swatch of color, can simply be clicked. And now you've got the ability to have presets here. Say I want to warm up, warm up even more by one click of a button just by clicking the eyedropper over this watch of colors they've given me. Or I can go down into this panel, which shows me all the colors available, and I can simply click, hold and rotate around here, search for the color that I want. No, actually, I kind of like that color. And what happens is when you move left to right, you'll change the hue, right? And you notice the saturation is not changing much when I do that. And if I move up to down, I'm not changing Hue. I'm changing the saturation. So that's another way that you can get a really great adjustment. And I like it right there. Which actually might be the best way to do it in general is to simply use this dialog box here because it gives you so many adjustments all at the same time. Now I'll do the same thing with shadows by clicking on that swatch spring up this dialog box and then I want to really focus in on the shadows down here underneath the boat and maybe just suddenly make them a bit Ballou are maybe take a look at the before after and that looks fine to me. Maybe I want a warm it up a little bit more in the highlights here. So let's go back in. Now that I've made that first adjustment there, that looks nice. Close it down before and after. That looks great. Now, one of the other things I want to point out before we move to our next image is the balance slider right here. If I click and drag to the left, it will favor the shadow correction. And if I click and drag to the right, it will favor the highlight correction. And you can tell that because as I drag to the right becomes much warmer dragged, the left becomes cooler, right? So you're telling it which one to kind of let bleed over into the other with this balance slider. Now I hope that that helps you understand how to do it for landscapes that's took it. Take a look at a different kind of picture entirely here of this wonderful red tomato. So this red tomato let's reset everything here yet we're good and let's say for the highlights here we wanted Teoh give this kind of a stylized look to it and make the whole image a bit red, right? We just go right up there, select we want. And again, by going down, we decrease the hue and by clicking and dragging I'm sorry. The saturation. And by clicking and dragging and moving up, we increase the saturation. And we want to really push this image. So we're gonna leave it right there and then we'll take a look at the shadows and we'll see if we don't want to. Maybe green the shadows of just a little bit. Okay, great. So we have a red green image, but now we need to balance it out. If I wanted it to favor the shadow adjustment, I click and drag the left and you can see it's starting to really bleed over that green. And if I click and drag to the right, it's gonna bleed over those reds. I kind of wanted to be a very red image. Maybe not white that much. So we'll go plus 24 there. Now you can see before and after the highlights definitely have a red tint, and there's a bit of green down here. You can see in the shadowy areas of the picture before and after So that's how we can quickly make those adjustments using the split toning panel, both landscapes and also images that have a subject like a tomato. Of course, you can do this with people also, in which case you'd probably want to warm up the highlights and cool down the shadows, which is the most common way you're probably gonna wind up using this tool. Now I hope that helps you. And I hope you stick around for the next lesson because it's detail and we're gonna talk over some of the most important part of getting the details of your image that you really want, so I can't wait to see you there. 16. Details Panel - Sharpening: a sharp images, something the love. And so in this video, we're gonna talk about how to get great sharpening in your images using Adobe Light Room. Let's go ahead and get started. Okay, so on the right panel here, you'll go down to detail and open it up, and I first want Explain how you can navigate this panel bust because it can be just a little confusing. Maybe so. Let's go over it. The first thing I want to point out is this handy dandy bullseye with the rectangle in the middle of it. It's as a just detail zoom area by clicking and photo. So let's go ahead and we'll click on that. And what you notice is that now we have this cross hair that shows up in our image and as removed the cross hair. The box on the right corresponds to where it's pointing so you can see I'm pointing at the right at the right eye, and I'm seeing the right eye in the loop, which is the 1 to 1 view of that area now. That's important because when we're working with sharpening, we're talking about working with the fine details, which are really best viewed Wonder one. So I'd recommend that going to transition to left eye here that it goes to that in the details panel over there showing it to me at 11 And so what you'll notice is that everywhere I scroll the flower here, it's following along with me in 1 to 1 there so I can check where the details gonna be. Now here's how you want to use this is you want to zoom into the spot of the image that you want to be the really of the sharpest invest and you want it. Just click there. And so let's say it's this this right I as I'm looking at the image, her left eye, I can click there, and now you notice that I can scroll around and do whatever I like here. And I can even go ahead and move the image Iran here by clicking and dragging. And it doesn't change over here to the right where that right eye her left eye is still showing All right. The other thing, you can dio if you want to adjust it furthers. You can click and drag over here in the 1 to 1 preview window, and you can move that around a pretty cool feature. So that's the way you can save yourself a lot of time when you're doing sharpening just by navigating better, let's get into the actual functions of the now of the sharpening functions here, the tool it is. So we're going to sharpening and you'll see that we've got again these familiar sliders. At this point, they give us amount, radius detail and masking. Now what I want to do is show you how to use these in both portrait's and in sort of landscape slash architectural work, which will look in next cause. You can use them differently in both settings and explain how all right, so the first thing is amount, which is pretty straightforward. Drag it higher that is further to the right. You get more sharpening, drag it to the left. You get less sharpening my scroll down here so you can see that 1 to 1 dragged right. More sharpening drinks, the less left less sharpening. Now you can see that it's pretty unappealing and ill advised many cases to drag it all the way up to 150 decks. Look at the image is really getting messed up now. This isn't the highest resolution image, but generally speaking, you don't want to overdo sharpening. If you can notice at the 1 to 1 level that you're doing sharpening, you kind of want to get. It's like just to that point and not a whole lot further. It's not the kind of thing you want to do to an image that's gonna be displayed very small , and you can still notice that it's been done. It should be a subtle adjustment or else it'll look unnatural, which is the best way to kill an image, in my opinion. So that's a mountain. I want to point out one thing that if you all to click, of course, it gives you the reset sharpening their. But if I click and drag now, what your notice is that it shows me a black and white overlay I release. It goes back to color, and this will hold true that you can click that Ault Key or Option key there on the Mac, and you can click and drag and it will show you a preview. The same goes for radius detail and masking, click and drag where you're holding down that option button and it's gonna give you that black and white overlay. And all that's doing is simply allowing you to focus on what's actually happening. This sharpening your actually doing so can be a really helpful tool to make better choices . Okay, let's go ahead and reset all of this and we're just gonna apply, I say, for the purposes of this lecture will go up a bit. Heist. You can see what's happening. Got a 45 now. You might not be able to see it so much here. But you see it 1 to 1. We're getting a good view of what's happening now. Let's first talk about Radius Radius after we even applied an amount. Now we're gonna find Tune how that amount is applied within the image, and I'm sorry if that's confusing, but I hope to make it clear right now. Radius talks about where the sharpening is happening. So on the pixels, if I slide out here to the right, the location that that sharpening is happening is way out towards the end, those pixels. So I'm getting a really punchy hard edge which can be nice when you're talking about buildings or structures that have punchy hard edges but not great. And portrait's normally in portrait. You're gonna want to keep it very low to the left, which means the sharp innings happening kind of in the center to give a softer appearance. And you don't want sharp lines on faces because of things like you know, wrinkles and of other imperfections and blemishes that you might see generally soft, smooth pork stir, which want to go after. So don't overdo radius and portrait, please. And so you usually want to keep the radio small, meaning the sharpening his happened toward the center. And I'll just maybe demonstrate here in the image in the larger view on the left here that just look at the hat now at a small radius versus at a larger radius. Maybe I need to zoom in a bit more few to see it here, just by clicking their large radius. Three small radius, right? So I've not changed the amount of sharpening. I'm changing where the sharpening is happening here, where it slid to the right again. It's happening at the edges, giving punchy, hard edges which is why the hat looks more detailed to the left happening in the center, which gives it a softer appearance, though the amount of sharpening hasn't changed now again, the reason that's important here is because of the way it would look in a portrait. You don't wanna have the Scharping way at the ends here, sliding to the right because it looks unnatural. You want more toe left with softer yet still adding a bit of sharpness. And you can see that if I click the option key again and I do that same maneuver if I slide to the right, look at how punching those lines are in the hat. If I slide to the left, look how much more subtle that is when I make that adjustment. And that's the way that you want to use that option. Click and drag to make better choices for Scharping. Okay, I can release that and go to details now No. One, a click option and slide the detail slider so you can see both with 1 to 1 and at the whole image level. What's happening and what you'll notice is that it's bringing out some of the subtle textures, textures and what you can think of the detail. Slider is as a bit of a fine tuning of the radius. It's like a good spouse or partner. They'll take what you've done and maybe just help you make it a little bit better, right? Think of detail as that kind of gentle helper. So you confined to in the larger adjustments you've done with Radius, an amount the last thing will be masking and masking is where we get to sort of the selective or creative choices of the image. Right? So option Click, and I'll use masking here to show you what's happening when I slide it to the last. Nothing is being mask, and it's gonna be applied throughout the entire images sharpening. But as I slide to the right, you notice that I can just start to selectively apply that sharpening to just those certain parts of the image. Now, actually, that looks kind of cool to me, sort of like an abstract negative painting drawing thing, maybe something that my five year old would do, but she's maybe not quite that good, but I'll give her credit for it just today. All right, so I can release it here and I can do it before and after, and you'll see that it's hard to see looking at the full image, but we conceive it better at 1 to 1. The corrections I've made here in this portrait and let me just go over one more time how I've done that. I've applied the amount I've set the radius to the left because it's a portrait and I wanted to be a bit smoother. I've fine tuned it with the detail, and I've used masking to really just sort of apply that sharpening here because you don't want to apply a whole bunch of shopping to a blurry background in a portrait, because then you start to get this weird, blurry background that's dull but sharp all at the same time, right? It's like toe left, and it's subtle. But you know, you can tell that it's making a bit of a difference. So you want to be masking that out and really just focusing on the areas of your portrait where you want it, and masking is a great way to do that. Okay, enough of that. Let's talk about a little bit of architectural work. Perhaps. And let me zoom out here so that we can see the full image, Thank you very much. And here we've got a different style of sharpening entirely right. The last picture portrait sharpening. We wanted it to be kind of a soft and towards the center of the pixels sharpening. But here we're going to go for a hard, punchy lines sharpening right. And so we can again apply the amount of sharpening were doing. And maybe we should select a different area. Perhaps we want to look at really the brick here in the wall. Eso we'll go ahead and click there, which will lock it in over here at 1 to 1, which is very helpful. Now we're gonna work, and we've already applied. So let's reapply the amounts. We can see it there on the brick wall, so we'll go ahead and apply up to say, like, 47. Well, again, apply maybe a little bit more than is prudent, but I want to make sure you can see this for this lecture. Next up. The radius. Right. We talked before that The radius for this sort of stuff can be a bit punchier towards the edges. All slide it up and I'll do the option. Click and drag so you can see what that looks like. Right? Here's where is to the left. Here's where it is to the right and look at one toe, one the detail it makes to bring out the textures of that wall. And again. That's why you might want the radius a bit bigger when you're doing this sort of thing to bring out those textures. Next up will look at the detail slider here, and I can again find tuned to sort of get the textures just the way I want and release. Let me give you a quick before and after, before and after to see what it looks like. Next up will be masking an option. Click there, and I can see that may be right about here. I'm really applying this, sharpening to the edges and lines of the image so I can click and release, give you a before and after to appreciate it there, Zoom in again, give you another before and after, before and after. You can really see there, the textures popping out and for a shot like this. We've got walls and details. That's what we want to go after. We don't want them. It's check texture and detail in a portrait. So I hope that shows you how you can use sharpening the amount radius detail and masking functions within that to get the right kind of sharpening for both portrait's and for buildings and landscapes, that sort of thing. Right now, I want you to stick around for the next lesson because I'm gonna break up this particular panel here details and we're gonna go over. Next is noise reduction, which could be an amazingly wonderful adjustment in tool if you're working with stuff that has a lot of noise, like night or high eso images, maybe even weddings or indoor shots when it's not the brightest out. So we're gonna talk about how to do both Luminant and noise reduction next, so let's get started 17. Remove Noise from Images: all right. If you've ever done photography at night, you know how frustrating it can be when you come back with an image that was so wonderful when you're out there but shows up just all full of noise and weird little pixels everywhere that are kind of crazy colors. And in this lesson, I'm gonna tell you exactly what you need to know about noise and noise Removal is that you remove the right kind. You don't mess up your image in the process. So let's go ahead and get started. What you can see here is that within the detail panel, we previously went over sharpening, but they've got a second half of it, which is sort of the opposite of sharpening. And that's noise reduction. I say that because noise reduction comes at a bit of a cost. If you want to reduce noise, there's no free lunch in a w light room. You're gonna have to pay for it with a bit of detail. So that's why I say sharpening and noise reduction are kind of flip sides of the same coin . Now. With that said, right, noise reduction generally works by making things average out So if we average out the pixels in an area which reduces the noise, it'll also reduce a bit of the sharpness. And that's why they're kind of flip sides of the same coin. Okay, that's the bad news. The good news is, is that it can really make a big difference if you do it right. But to understand how to do it right when he didn't know the difference between the luminous and color noise reduction. So what is noise noises? As we look at this image, there's a bunch of pixels that kind of look off. This guy should be blue, but it's like blue with a bunch of grey mixed in, and we can zoom in and taken even closer. Look, right, that's not house guys, Really. Look, that's how noise and pictures looks. And so we kind of know what noise is just by looking at it, we can observe it. There's some here in the moon. There's some here in the sky. There's certainly some over here in the dark of the image, but there's two kinds of noise, right? Most of the noise that we have in our images, I believe, is luminous noise and not color noise. No luminous noise is when it's kind of all the same color, but sort of like a grayish tone is off a little bit, right? There's just kind of it's all kind of blue, blue, purple e, but it's not all the same color. The same color would be no noise, but here it's like a just a kind of a random mix of things confusing. I know color noise is when it's totally different colors. It's It's supposed to be one color, but it's not. It's like a bunch, different colors mixed in, and that usually doesn't happen. Usually it's Luminant noise, where it's all close to the same color but has some variations in the color from noise. And that's aluminum noise. So a little confusing. But I hope I can demonstrate for you here. So noise reduction panel. Lew Minutes I can click and slide up and look at what just happened to the image. Holy cow! It just got rid of the Luminant noise. Now there may be a bit of color noise here. Let's see if we can do anything about that by clicking and sliding to the right now you can see that was very subtle. Let me slide it to the left and noticed. There's a little bit of kind of a yellow tint to some of the pixels here that when I slide to the right and I started all the way to the right, those have gone away a bit now now, especially if I drag the details slider to the left in the smoothness slider till to the right, that's even more pronounced. So here's without it and here's with it. It's right in this area. And that yellow just went away because we know there's no yellow in the night sky and so does Adobe Light room, so it knows to average those out. Gone. Now let me bring luminous way back down again. That's Luminant noise, Okay? And this is color noise. Is that color that's coming and going as I move this slider. Most of the noise in this image we can see is from luminous noise, not from color noise, Which is why I'm saying if you're gonna worry about one and we already know that noise reduction comes across a cost, look at the moon here before. Look at the detail on the moon and after, Right? We're definitely losing some detail because noise reduction is sort of the flip side of sharpening its averaging those out. So you really want to work on what's most important, which I think is luminous noise reduction. So okay, lets reset these things and talk about how to use these now that we know what the to kind of noises are, and we know how we can adjust them using the noise reduction function. All right, so luminous again. We can apply the luminous noise reduction by clicking and sliding on its slider. If we slide to the left, will retain some or the details, which again means, of course, we'll have a little bit more that noise, and we can click and slide that slider to the right to retain mawr of the detail. And so this is more detailed. This is less detail, in case it just messed it up. I don't know less detail to the left, more detail to the writing, her image, which means if you have less detail, you have less noise. If you have more detail, you got more noise. Now contrast. If we go to the right. It's a subtle adjustment that will allow us to retain some of the contrast, which means less of the pixels are averaged out. Which means you have mawr detail and a bit more noise. And a bit more contrast is, well, right. So it's kind of a finer adjustment you can see is that I go all the way to the extremes here. It doesn't make that big of an adjustment, just retains a bit of the contrast in the image. But if I go to details and I slide that to the left, you can see it's it's a much more significant adjustment than contrast Waas. And of course, the amount that we're applying is very significant here as well. So what do you probably want to do is bring it up to you know, something that's reasonable, given the sharpness of your image will be a 20 here. We're gonna want to retain some detail, and we are going to be there and retain some of that contrast in the image. So here's before and after, and we'll go zoomed in here before and after to see how that adjustment is settled. Good, I think, and Then again, we can go to maybe just a bit of color and the detail slider works the same way. Slide to the right to retain details, slide it to the left to sacrifice detail. Slide the smoothness letter to the right to smooth out those color and differences into the left to have a less smooth noise reduction if you have more smooth, less detail. Okay, so again, everything comes at a cost. The more of these applaud the more of these adjustments you apply, the more you're sacrificing, sharpness, sharpening, which we just went over a moment ago. So that's in this image. Let's take a look at this one as well, just so we can see how we might work with it and where the noises click. Over here, we've got a lot of color and a lot of noise, which makes it a great example. Again, we can go ahead and click and drag on the Luminant noise reduction, and then we can maintain an adequate amount of detail. In contrast, in the image, let me give you a before and after so that I can show you that we've removed a lot of the luminant noise, but I want to give you a warning and show you why I'm warning you about the color noise reduction. Remember again, it's just looking for pixels that are nearby that have different colors, and it's gonna even them out. And look what happens when I apply the color reduction here. This red, which really wasn't noise. It was part of the spray paint just turned a bit more yellow, right? So I'm I'm at an extreme here. I've kept detail all the way down and smoothest up, so maybe I'll bring him a bit more towards the center, and you can see that it's not done that quite as much. But if I slide it to the left, here's what the image looks like with all of its color. And as I look to smooth out that color and reduced color noise, I'm actually losing color entirely here. It shouldn't have done that, but it doesn't know again. It's just averaging out, which is the night, why I'm not a real big fan of using that color noise reduction function because first of all, there's just not that much color noise in this image. And second of all you lose the rial color of the image and I'll show you on the whole image here if I slide it to the right and I keep the details down in the smoothness way up, right before and after I'm losing a lot of color. Let's zoom in here on the red, maybe for a second, See before and after and again, I'm losing a lot of the red around this light and in this area. So I'm just not the biggest fan of that color noise reduction. All right, Now, you've just seen how to use the luminant and color noise reduction features in a W fellow shop. I hope that helps you understand how and when to apply what sort of noise reduction is really important and probably not so well understood. But stick with me because the next lesson will change the way you think about distortion in your camera and your lenses, cause we're gonna talk about lens correction. Let's just started 18. Lens Corrections: Unfortunately, no camera and lens combinations perfect. And every lens can you little correction because there is a little bit of distortion and maybe vignette ing in a lot of if not every lens out there. Now I'm gonna teach you in this lesson how you can use adobe light room to make corrections to your lenses after you've taken your images right in the W light room, using the lens corrections tab so you can see we're in developed and lens correction. Let's get started Pretty simple here. We've got our profile and we've got manual adjustments now. My recommendation is to 99.9% of the time. Go ahead and stick in. This profile is a super convenient and wonderful tool in a double room. So what I want you to notice is that when I click, enable profile corrections right here. It's recognizing the lens, and it's profiling the lens, so particularly watch. Maybe I'll do it one more time around the edges of the image here as it removes a vignette , and it fixes the distortion automatically and click. And it's done. And of course, the beauty of this is that you can select a number of images and enable profile correction across them, which is really great. Um, the other thing that you can do is you can remove chromatic aberrations. So here's maybe maybe an example where we've got a little bit of chromatic aberration here . This could just be some reflection from the green around it. But you know, typically the chromatic aberration is colors that would appear in the, you know, fringes and lines in the image because of an imperfection in lens. So if we click, remove chromatic aberrations that's unclipped and click again. And yeah, sure enough, you saw it there. Removed that green from the image picked up, is a chromatic aberration and removed it. There's a great example of how you can use that tool now. It just so happens that if you're not necessarily entirely happy with the corrections that are applied based on your lens, you do have some creative control here using distortion, and I'll just move this slider around by clicking and dragging. You can see the distortion happening at the edges of the image and the same thing with vignette ing. We can add and remove. Adjust creatively. That vignette ing now here's my recommendation, though, is that you don't use distortion vignette ing here to make those corrections. First of all, if you're distortion has already been corrected for in the lens, it's not really, in my opinion, a great creative tool to apply a lot of distortion that maybe you want to do it from time to time and vineyard and can probably be done better in other modules of light room, so I wouldn't really use. This is my go to solution for vignette ing, either. All right, let's go ahead and remove these now so we can explore the manual lens correction features of adobe like room. And let me say that while they can be interesting, they're not nearly as convenient as the profile correction mode. So we'll click over here just so that you can maybe get a brief overview of, um, you can see that we can still adjust the distortion of our image. But if we adjust the distortion of the image, we can also create thes areas that are no, that don't have any image meant it all. And what we can do is simply click on constrain crop and it will automatically crop out those images where there's no image left on the canvas. So that's all done. Wonderful. The next thing you can see is that we can try to work on de fringing using the eyedropper or the sliders here. So let's go ahead and zoom into this spot again. That's got that purple, and you can see if I click on my eye dropper, it tells, May pick a fringe color. Now I've got my loop there so I can see that I am on the green. And if I click it right, it's removed that green. It's made some adjustments down here is well that I'm not necessarily gonna go into. But just to say that you can use these sliders here so that you confined to in the amount and the colors of the fringing that you want to remove. But honestly, if you've got this tool here, this eyedropper, why would you even want to mess with all that stuff, right? So that you can see that it wasn't able to pick up enough green to make the adjustment, which is possible because we've removed that green already. So if you get that error, it just means you need to pick up a green or purple from one of these fringes and two d fringer image that way to remove the chromatic aberrations. Of course, we've still got vignette ing. We can apply here in a midpoint in order to control that again. Not a great Tabin light room for doing vignette ing in like we talked about before, so I probably wouldn't recommend doing that. All right, let's go back here and apply those profile corrections. You can see that's quite nice. Now, I want to use this image to really highlight how you can use profile corrections to adjust the vignette ing and why you may or may not want to do that. So this image here is a little bit dark, So why don't we go ahead and go into the basic tab and maybe bring the exposure up just a bit? And why don't we bring I don't know. Let's say the highlights up a bit and the whites up a bit as well. Okay, so that looks very nice right there. I just wanted to do a basic adjustment so you can see what I'm talking about with vignette ng next. Now, if I click, enable profile corrections, you can see that the it'll be like room does a wonderful job of removing the vignette ing and distortion from the lens. Which dentist? That 7200 lens that I use is my go to lunch Almost everything, to be honest with you. And of course, we can remove chromatic aberrations, which we're not going to see much difference on there now. Here's the thing about it, though, is ah, I actually prefer image a little bit more like this. A lot of times, so many cases when I want the vignette ing or I want that because it's bringing, you know, my subjects as well. Let the vignette is not affecting it, and the vindicating is sort of adding a nice element to the image here. So I'm not sure you would want to go like that to remove the profile corrected image here, right to remove that vignette ing by applying this profile because sometimes vignette ing and the effects of a lend can be really nice and be a great creative touch. I just wanted to use this image to point out that not all corrections are necessarily great . And you don't always want to think that your images have to be perfectly corrected. In order to be lovely, you can have them and make creative choices to keep images like this. So enough said there. Next up, what I want to do is demonstrate that this profile correction here I've got a 35 millimeter and it actually got two of them here. All right, so here is the 70 millimeters donates 200 was shot with, and nearly the same scene is the 30 millimeter here, and you can tell that there's a bit more distortion here. So if we apply and the lens correction by enabling profile corrections there simply by clicking on the box the same as before, look at the amount of distortion that's removed from the edges of the image. This time it's it's a significantly greater amount now. It doesn't have necessarily the same kind of vignette ing right. We can see that here. I'm shooting with the Sigma the 35 f 1.4 and I can move chromatic aberrations if I like, and suddenly I've got an image that no longer has is much of the distortion So it's not just a tool that you need to use for portrait's or for landscapes or for anything else. But any time you want to really remove the effects of lens imperfections or distortions, you can go ahead and do that right there in this tab. Of course, you've got all of the controls available to you, regardless of what lend it is. But there may be a time. I'll mention quickly that your lens may not come up here and there. Sometimes when you just have to go in and select the make and a W light room will find the model in profile for you. Now it may be that you just don't have a profile for that, you know, 19 forties, one off handmade lens that you've got in your camera at the moment. And if that's the case, you can certainly come in here and try to adjust it with the manual adjustments. Or you can accept the fact that those lenses may have some imperfections you can't correct . For now, you know how to use and how to make profile corrections to remove or leave based on what you want to dio the imperfections caused by a lens both in the profile mode and in the manual mode of Adobe Light Room. Stick around because up next, we're gonna be talking about camera calibration. This tab right here, which will finally get your images toe look the same on your computer as they do on the back of your camera, which to me is amazing and totally worth light room and this simple correction. So let's get started here in just a second. 19. Camera Calibration: all excited shoots done. You're back from your trip and you plugged the camera card back into the computer. In comes your images, your building, your smart previews. And then you go and click on the first image. Something awful happens. The image goes from looking really nice to suddenly different. Something about the colors and light has changed, but you didn't do anything well. It also looks different than on the back. Your camera, which is a problem, used to just drive me bonkers when this would happen and get back and be like, Why does it look different now? The differences were subtle. It's not like it was night and day difference. But it was enough. I could tell in this lesson. You're gonna find out why that is and how to fix it. Let's get started. So we're in a W light room. We're in developed. We talked about lens correction last lesson, So we'll take that down and in the bottom here, we've got camera calibration. Now here's what's going to get a little bit camera specific and unavoidable. Camera calibration lets you apply the profiles that you've said in your camera right into your images. here in light room. Which is the reason for that difference in how your image looks in your camera versus how it looks in the light room is because it's interpreting that raw information differently. Right? And so here it's applied Adobe Standard. Now you can probably guess that Adobe standards not what cannons using to show you the information on the back. Your camera. They're probably using the profile that you've set up, whether it's portrait or let's see faithful neutral landscape right. This is all under, like the picture profiles or settings. I'm sure Nikon has the same thing. Sony certainly does as well. But this is where the problem is is that it's different between light room and your camera . And that's why your images look just a little bit off. Well, it turns out there's an easy way to fix that. If you click on profile, look at that. I've got camera, faithful camera, landscape camera, monochrome, neutral portrait and standard all of the functions and features that I would have on my canon five ds conveniently for me right here in light room. Now here you'll notice a couple on the bottom that I've created custom camera profiles, and we'll go over some of the more advanced lessons later on about how you can go beyond what can and thinks your camera is and go to what your actual camera lens combination is in creating a custom camera profile that is 100% accurate. So be sure that you stick with me all the way to that. All right back to her right now, though normally I've got a landscape here. You may set to camera landscape in your camera that's displaying your preview on the back, your camera right? And so here, If I click camera landscape, look what's happened. That's how it looked when it came out of your camera and displayed on your LCD screen on the back. Your camera. That's why it looked different before, before it had Adobe standard applied. But what we want is camera landscape. In this case. Now here's the cool thing, though, is that you can go from landscape to say monochrome or to camera neutral so you don't have to go back and reshoot the images or make some kind of ah adjustments. You'll be able to use the information that light rooms got to sort of re interpret and apply the amount of adjustments in the way that that information is displayed and handled right here in a w light room justice. If you had said it that way when you took the picture in your camera, right, so we'll go back in a landscape because that's nice. I'm not monochrome the landscape. Please. There we go. All right, Well, you can see that even with this profile, there is still a way for us to, you know, do almost a bit of split toning here where it gives us shadows and we can adjust greens and magenta is in the shadows if we want to, we can take a look at the primary, the red primary here, which would generally be used for, like skin tones, perhaps in a portrait. Or we can be used to warm up a bit or change the tint. Here we can select a hue and the saturation. You can see kind of the adjustments that that's making as I'm doing it. We can look at the greens and we can look at the blues, right? So what we're doing is taking a look at the shadows and then our primary channels red, green and blue. And we can adjust those to a custom setting right here, right? Because remember the cameras recording that red green in that blue information, and this is gonna allow us to adjust the way that it's displaying. So, for example, if we want the image to be a darker blue and to be more heavily weighted towards the blues , we can slide it over to this darker blue and then increase the saturation. And that's what it would look like before and after. By having done that now, there's a lot of green in this image as well. So perhaps you want to make the grand a bit greener and increased the saturation there as well. Before and after, you can see that's making a huge difference in the image simply by applying a camera profile here, which Cannons already said in Adobe Knows and then adjusting are green and our blue primary channels like that. Now here's where it gets really cool is that I can simply select another image, and then I can Well, it's auto sync now so I can go ahead and synchronize if I go to synchronize here by double clicking that button and I can hit synchronize. And now what I should see is this little adjustment window icon pops up. And if I click over to the second image, well, Aiken scrolled on the bottom and I can see that I've got the exact same ah profile as well as the red and green adjustments done. So I can actually just go across a bunch of images. If I wanted to say of all landscapes in the same shoot at the same time in the same area. And I can just batch apply all that quickly and easily, Which blows my mind. I love that. So I'm new now. Go in and use this image, which is Ah, hanging Japanese fishing float right. That's the netting that would have hung. This is, you know, upside down from how it be in the water. This would have been holding the net up, but anyway, this isn't a lesson on Japanese fishing floats. We're going to Adobe Standard and will say camera faithful this time landscape, right? I'm giving you a couple different displays here of how these profiles are, Um, how they make this image look and how I can switch between them. I like camera monochrome. In this case, let's see what happens if I now adjust the channels of this image. You can see that if I slide nice, you to the left here on red. And then if I go ahead and increase the saturation before the foreign after is tricky because it's all gonna be from color to black and white there. But you can see as I make that slide over that I've made some adjustments to give this a bit more punch. So that's how you can use this handy camera calibration feature in a dhobi light room to make the images on your computer match. Exactly. Finally, the images that you saw when you took it on your camera, and you can stop hating your computer and light room for changing your pictures on you. It's not actually changing them. It's just a profile. It's applying, and now you know how you can select the right profile. Fine. Tune those adjustments and apply those same adjustments over all of the images, which is an amazingly powerful future in Adobe Lie Room. Thanks for sticking through these modules that have gone over the basic functions in the develop module of a W light room. Up next, we're gonna have some amazing stuff to go even beyond that. So stick with us. 20. Local Adjustment Brush: in this section, we're going to be learning how to edit just specific portions of your photos using some tools, like the adjustment brush or radial filters in light room. So go ahead and open up the photos that you downloaded earlier. And I'm going to be editing this one right here, which is Sione three. This is me and my beautiful wife Isabel, at a castle in Sione, which is actually the town where my great grandfather was born. If we're in the developed tab and we click on this brush icon right here, we get a new drop down of options and sliders. These air similar sliders that we saw before in the normal basic tone curve hs l all of these other edits. But what these lighters effect are Onley Where we brush on this is the adjustment brush. We can change the size of our brush by going down here and turning, increasing or decreasing the size of the brush. We could feather the brush more or less, and when we're ready to paint on, we just click and brush. But right now I can't see where I'm brushing. I'm gonna undo that just by pressing command Z on my keyboard and then I'm going to click this show Selected mask overlay. We're gonna make my brush just a little bit smaller, and I'm just going to brush on right here is gonna brush on our face and our body. This is weird. I'm brushing, and this is where I want to add it. I'm gonna Then go and unchecked show selected mask overlay. And now I'm going to just adjust the exposure. So if I go in here, adjust the exposure, increased exposure increased the shadows just a bit. Maybe the blacks just a tiny bit. It really makes me and is about pop out just a little bit before. If I click this pin right here and press delete on my keyboard and then undo that we can see what it looks like. We can also see if we say done. And then we do these comparisons by clicking this button right here to see the before and after. If we want to continue brushing on this photo using the same settings, we can just make sure that we click on this pin and continue to brush around the photo. I can make this entire little pathway, a little bit brighter if we want. If we want to create another brush that has separate settings, what we do is just go up here and click new. This will create a new brush. We can turn on our select mask overlay. And now, for example, maybe we want to do something creative. We can just brush on these rocks down, below and to the left. This would be very hard to do with any other kind of mask or tool. The brush is really good at this kind of thing. Then ledges turn off the show selected mask overlay. Unless you do something funky, let's boost the saturation. Let's change the temperature and the tent, and we can get something that looks completely different than what we saw before. I had some more clarity or less clarity, and now we have these two pins, and if you hover over, you can see where the pins have been brushed on. And if you want to get rid of a pin, you can just select it and press delete on your keyboard. As long as you go back and choose new, you can continue to create new brushes and continue to edit this photo in many different ways. The main ways that I used the adjustment brush is for things like this or painting on faces to increase the exposure. I take a lot of photos, just natural light, and you do tend to get some more shadows than if you're using, you know, strobe lights or flashes or anything like that. So use the adjustment brush to paint on effects to a specific part of your photo. In the next lesson, we'll learn about the radial filter. 21. The Radial Filter: Hey, in this lesson, we're going to learn how to use the radio filter. If you just watch the last lesson on the adjustment brush, it's very similar. But instead of brushing on an area that we want to edit, we're using a circle or an ellipse to choose a portion of an image to edit. So just click on the radio filter button, and now you'll see if we just click and drag on our photo, a circle appears and it appears and grows from the area where you clicked. If you want to click and drag over a face, one of the best ways to do it is by clicking at the top left, holding the option key and then dragging down the option or the all Chiana windows will allow you to drag from wherever you click. So say we want to just brighten up these faces just a little bit from my wedding photos. So I just clicked and created that ellipse. We can add the feathering right here. We can show where the mask is selected, and what's happening now is that we're selecting everything except for this face. So say I go to exposure and I'm just gonna do this really crazy. But if I increase the exposure, it happens everywhere except for this where this radio filter is. So I'm going to invert this mask. So now it's on Lee happening right here where this mask is going to get rid of that exposure adjustment. And I'm just going to increase the shadows just a bit at the little bit of contrast. Just maybe the exposure just a little bit. So now if we delete this, we can see the before and after. We can actually copy and paste this or duplicated by right clicking insane duplicate. Then we could drag the next one over to the other face. Or you can restart just by clicking new and clicking and dragging. And this might be good for this image, specifically because the image of or Monica and Isabel's face is a little bit darker than where my face and Christian spaces. So we might not need as much of an adjustment just got to make sure that we invert this mask again. So that is the radial filter. It works similar to the adjustment brush. You still have all these other sliders you can do all kinds of things, increasing sharpness just for faces. You. That's another thing that you might want to do. If you don't want to sharpen the entire photo, you can just sharpen a specific portion of it with this type of mask. Thank you so much. And in the next lesson we'll learn how to use the graduated filter, which is kind of similar, but it comes in handy and some different instances. Thanks for watching. 22. The Graduated Filter: in this lesson. We're going to learn how to use the graduated filter. I've got this wedding photo right here. It's wedding three dot Any f. This was a raw image shot on a Nikon photo. I really like this photo that my feet are for a wedding photographer Will took. Except I don't like these blinds up here, And maybe he just couldn't have lifted them. Or maybe it was just the moment and he didn't want to miss capturing this moment by going over to the blinds and lifting them. The cool thing about this photo is just the why, White background. I haven't edited this photo yet while I've already done it in the past. But in this session, I haven't gone forward and edit it, so I'm just going to quickly just at it, a couple of things just increasing the contrast. Just a bit dropped, expose air just a bit. Maybe increased the clarity and the vibrance. Okay, quick ad. It's I want to get rid of these blinds, a cool and quick way. We can do this because this is a white background is with the graduated filter. So I just click on that graduated filter button. And now when I click and drag in my project, I get this sort of line filter. I'm gonna undo that and make sure that I have my show selected mask overlay on so you can see what's happening when I click and drag. Let go. You can see that I have made a selection. I can move this selection by clicking the middle and driving up or down. I can rotate it by clicking on the line that's in the middle and rotating it. Or I can decrease the feathering by clicking on one of the top or bottom lines because there's three. There's top bottom and middle in dragging those in. Now for this image, I want a very not so much a gradual transition because I'm going to completely white out the blinds right here with an exposure adjustment. Just by increasing the exposure you can see now, when I ever I drag any of these editing options, it affects just what's above those lines, just like so I could have cropped this out. Sure, I could have cropped it a little bit closer, but maybe I want that head room right there so Now I have a white image without those blinds. If I click done, you can see it a little bit better. But now it's a little bit awkward on the right because I see the edge of the window. So what I'm going to do is go back in here going to click new. I'm going to set my exposure pretty high again and then just click and drag in on the right and then click and drag in on the left. And now I have this cool photo that looks like maybe Isabel was standing in front of an even bigger window, completely blown out, just her. So that's one case scenario for using the graduated filter. Another is to just adjust the horizon. So I'm going to take this photo right here. This works better if you're shooting a sunset shot or something like that, where it's a clean horizon. But I'm actually just going to adjust everything below this castle. Some. This is great for adjusting just the sky as well, but also maybe just the bottom of your photo. So I'm gonna go to my graduated filter. I'm going to check show selected mask. Then I'm going to click down and drag. I see what's happening is that I'm using these settings that I use before, which I don't necessarily want. Well, I'm gonna put it right about there and then drag up. I'm going to reset my exposure. I'm going to turn off show selected mask overlay and then I'm going to go down and make this grass greener, very green. So I am going to increase the saturation quite a bit. Also going to increase the clarity to get some more of that definition and sharpness, which is nice for landscape images. And then maybe let's just play with the tent to see if dragging to the left will make it a little bit more green. Let's just see what the warmth does, maybe just a little bit warmer. So we still get that yellow, but lots of green. Let's see if the exposure needs a little bit more help. We could decrease it. If we want, I might just increase it just a little bit. So now if we compare before and after, you can see such a dramatic shift from the bottom to the top of the image and the B A before and after. So this is another case of using the graduated filter. I use it all the time when I'm just editing the sky or the top bottom left or right of an image. Thanks for watching, and we'll see you in the next lesson. 23. Spot Healing Brush and Blemish Removal: in this lesson, we're going to learn how to use thes spot removal tool. The spot removal tool is great for getting rid of any blemishes that you don't want in your photos. Thinking about pimples, scars, anything that you don't want. I will say this with one caveat. I typically don't use the spot removal tool a lot of the time because I like seeing people in their natural state. A lot of people go very heavy with the retouching, and I like to keep things a little bit more natural. But whenever I'm teaching a course, I do want to show you all the tools that you have available incidents I can. I'm gonna pick on myself. And so here's this image of me. I cropped in a little bit, and it's really hard to see, but it's a good example of what the spot removal tool can do Will do if I zoom into my knee right here. I have this scar right here that I got I don't even know how I got this scar, but if I take my spot removal tool right here and now I have this brush and I can change the size of the brush over here. But that looks just about right, and I can increase or decrease the size of the feathering. I can literally just click on the spot I want to remove. It will do a little bit of magic, and it will improve. That spy basically gets rid of that spot. What it's doing and you see this second circle pop up is it's taking this information over here and blending it with the original spot where I clicked or painted on. If I move this over to the right, you'll see that it looks a little bit more funky because it's blending my pants with my skin. If I move it up here on my arm, it still looks decent, but not as good as before when it was just of the skin close by. So you want to generally find and move just by clicking and dragging this over some skin that looks how you want it. That's very close. So thinking about the tone, the way the skin is with, you know, my hairy legs or anything like that. And then the last thing you can do to adjust this blending is play with the opacity so you can just drop down this opacity and you can see that this scar comes back. But if you only want to bend, blend it a little bit. Or if that's good enough for you, then you condone Rappe that opacity. Now I'm using the hell brush. So if I click done, you literally can't see anymore. It's amazing. This is the healing tool. There's also a clone tool. So the clone tool is literally They're just Teoh. Copy and paste something in the image. So say I go to this photo right here. I take my spot healing brush and I click on clone. I get the same kind of brush. I'm going to increase the size over here and now with the clone tool. What you're doing is literally just copying, pacing another part of image somewhere else. Unlike the hell brush, which tries to blend the two selection together, this is just copy and pasting. So say I want to get rid of these people right here. Let me just zoom in right here to see these people right here say I want to get rid of them can decrease the size a little bit, but I can just paint over them like so now it makes that selection, then the 2nd 1 just like before we want to put to. We want to move to an area where it will completely cover them. If I make the opacity 100% you can see what's happening. I'm literally copy and pasting this part right here to this part over here. That might not look good, though, especially with this bar, so you might have to line it up just a little bit better. But something like that could work, and with a good amount of feathering but without feathering, it looks awkward. If I click done, you can definitely see this, and it stands out. If I go back to my spot tool, click on here and I actually don't want to move it. I want to just add some feathering. It does work a little bit better. The healing brush works even better, in my opinion, and especially when you zoom out, you really can't see that copy and paste that we did The clone. The clone tool is good for some cases, but if you're trying to remove a blemish a pimple, a scar wrinkles. I would use the healing brush. If you have any questions, let me know otherwise Will Stephen another lesson. 24. Export Photos from Lightroom: in this tutorial will learn how to export your photos from adobe light room. So you know a lot about editing. You know how to use all the development tools the adjustment brush is. And hopefully by now, you've gone through either the photos we've given you for practice or some of your own and edited them once you do that and you have a photo that you want to export to export as single image just selected down from your film, stir below, go up to file and export. Or you can select multiple by control clicking or on a PC command clicking or selecting a sequence of votes by selecting the 1st 1 holding shift down and selecting the last one and then going to file export. The other way to do it is if you have a photo selected and you're in the library module, you can just click this export button. A big dialog box with lots of options will pop up, and I'm gonna walk you through everything right now. So starting with the top it ask you, Do you want to export to a hard drive email CD DVD We're gonna export as a file, so choose hard. Drive over on the left. You do have some presets if you want to use them, so you have full side J pegs. You can do it for email, which will shrink the size. Or you can create use user presets of your own over on the right. These air, all of our file setting options. So the first is the export location. First, we're going to choose. Do we want to export to a specific folder that will choose in a second? Or you can choose one of these popular options, like desktop movies, Folders, pictures, folder. I'm going to choose specific folder. Then I'm going to go down here where it says folder option, and I'm going to say, Choose this will open up my finder and I can choose where Say, I do wanna expert to my doctor desktop. I can choose the desktop you can choose to put in a sub folder, so maybe I'll do this. All set check. Put him sub folder light room course edits. We're gonna skip this option right here. But basically the existing files says that if there is a file with the same not name what happens? Do you skip the export? Do you overwrite that one or do you choose a new name for that? I always just leave this as asked what to do. So if that does pop up, if that is the case, it will ask me with naming your file. We have this next block right here. Typically, I like to rename my ad. It's you don't have to read name your edits. You can just name them these same file name that you took and some people like that to just rename me as the original file image that will typically, if you're just bringing it in straight from a camera B, a number of letters and numbers. But I like to rename, too. And then they have these different sequence options so you can just choose a custom name. So if we have this, maybe I would just call this light room course at it, and that's what it would be named as. But maybe I'm exporting a series of image like 10 or so. Then I would choose something like custom named Sequence, and you can see when I choose the sequence that this start number over here pops up, and now they will save like this. It's shows you an example light room course at it Dash one. The next one will be Dash 2-3-4 You can also start at a different number if you want, or you could choose a different naming option or create a custom one. Next is video, but we aren't exporting video, so we don't need to do that. The next two are similar or sound similar, but it's good to understand the difference, especially for those of you new to photography and editing file settings and image sizing file settings is the quality of the export image. Sizing is the size pixel to pixel size, so in file settings we can choose a number of formats. And you might have heard of these before. We have our J peg are PSD, which is a Photoshopped file tiff. That's a very large but high quality file. Some printing places ask for that. Same with the and G. Some people, my ass for a DMG or original. If you do, I wanted to just be saved as the raw image that we imported. You can just choose original Typically, I'm going to be exporting as a J peg. And I want my quality to be at 100 unless you want the file size. Not that file actual size of pixels, but the file size in terms of kilobytes or megabytes to be smaller, then you would want to leave this at 100. You can also limit the file size. So not the image size, but the file size, like checking this box and typing in the number of kilobytes that you want to limit your photo export to. Sometimes when you're uploading photos and I know, for example, if you're exporting a photo or uploading a photo on YouTube for a thumb now they only allow photos that are two megabytes big. So I would have to limit this to 2000 kilobytes. But if you wanted to be full quality, just uncheck that and then with color space, I typically just leave it at S RGB with image sizing. This is the size of the pixels with or height and so you can resize if you wanted to be the original size of the image, which I don't exactly know what this was, but you can just leave it unchecked or you can resize it, especially for posting online. You might not need the full size oven image. Most cameras nowadays, they take photos that are 56 7000 pixels wide or even mawr, and we don't need all those pictures. We don't need it to be that big, so we can limit it here if we want the With of the image to be a max of 2000 pixels, we can put 2000 and then we can put pixels. If you wanted to be seven inches, say you're printing of us out. You put seven inches. Make sure you do the inches first and then seven. If you convert this to pixel, then it will give you the pixels in inches. If you just choose the with, then it will only limit the with to 1500 pixels. In this case, if you also need it to be smaller than, say, 500 pixels, then it will resize it so that the max height is 500 pixels. Now that doesn't mean it's going to be stretched. It just means that it will probably be smaller. Have a smaller with than 5 2050 You can also check this don't enlarge button so that it won't become bigger than the original size of it. So say you shot the photo and it was 5000 pixels wide and you weren't sure about that. And you need to, you know, export something that's 10,000 pixels wide, but you don't want to enlarge it. If it's not that big, then you can check that. Don't enlarge button the resolution over here. This has to do with whether your output is for printing or online. For a lot of online uses, 72 pixels per inch is good, and this is literally how many pixels. How many little dots of color are there per square. Inch 72 is good for online. 1 50 is great for printing. If you want to go up to 300 that would be good if you're putting a photo even larger. So if you're blowing up a photo, go up to 300 the next is output sharpening. If you do want to print, you can add sharpening here specifically for not paper for glossy paper or for the screen a lot of places do add sharpening if you go out and print your photos with them. But I typically leave this off and I'll do my sharpening in light room beforehand with the metadata. This you can choose to include all of the metadata or some of the metadata of this image. We learned about the metadata earlier that includes things like the camera model, the tags that we added, if we want to add that we can choose all metadata. So when you send this file to someone else, or when it wherever it goes, that metadata is always locked on it. But you could also remove key personal information or location information. If you don't want that water marking, we're going to skip. But I'll show you how to do that in next lesson and post processing what's gonna happen after the export. We can show it in finer weaken. Do nothing. We can open it up in Adobe Photo Shop. We can open up in another application, typically will just show it and find her after it's done and then click export. It's going to run through our load menu right here. Now we'll open up this image, which is 750 pixels wide by 500 pixels tall. So see how we limited the height of 500. So that means that because the high can only be 500 pixels than the with has to shrink as well. Or it would be a skewed image and it would look squeezed or stretched. So that is how you export an image from Adobe Light room, and the next lessons will learn about water marking your images. 25. Adding a Watermark to Photos: exporting from adobe Light room. You can add a watermark to your photo, and this might be good if you're posting your images online and you don't want people to steal them. Or at least if they steal them, your watermark will be on there. Or maybe you're sending proofs to a client and you've shot a bunch of photos from them. Maybe it's a photo shoot, a wedding shoot, and you want them to see them. But you don't want them to have full download rights yet, and they could just kind of look through the photos. It might be good to add a watermark, so just select your photos that you want to export. Could've file export just like we did last time and then go down to water marking. If we check on this watermark and then dropped on this menu, we can say at it watermark, and this will bring up another window where we can create our watermark. So here I already have this one that says Copyright Philip Abner on a Mac to create that copyright symbol. You can press Option G, and I think it should be the same for a PC. But all G or you can just copy it from online somewhere if you just search for the symbol and copy and paste it here. So say I want to cooperate. This video school online again is type in that text. I can then change the font if I want. Maybe I'll pick my favorite font. One of my favorite fonts is Let's pick one of my favorite fonts Railway. I like that one a lot, actually. I can make it bold. If I want to make it bold. I can change the color. I could also change the size so say I want to make it bigger. Just increase the size over here by clicking and dragging on the corner of the image. So typically, if I'm putting this online, I don't want my watermark toe really be distracting from the image. But if I am sending proof to a client, I might want it bigger over the image so they can't download it and crop it and use the photo however they want. Here we have our shadow. If you want to add a drop shadow to our text and then down here we have our watermark effects, which include the capacity of our actual text, which I typically like to have it a little bit less opaque. We can change the size if we do want to just change size right here. With this lighter, we could make it fit or fill if we want to fit or fill, and then we can anchor it to a part of the image. So if we wanted to be in the middle top left bottom right, whatever, we want it weaken. Change it there. I'm just going to make the size a little bit smaller, but I'm also going to change the inset to drag it in just a little bit from the edge. If you want, you can rotate it that way. I'm just gonna leave it normal, though you can also add a graphic. So say I want to add a graphic for video school online. I have a logo. I can go to my graphics folder. I can go to my logo folder, find my logo, and it will bring in that logo on Place it in the same area that we just put it. We could increase or decrease the size if we want, and if you want to change it, you can just click this choose button right here. So say, we say, save when we want to save this preset will say VSO logo say create. And now we export it. We'll use unique names. See, that popped up to ask me what I wanted to do because I had the same naming rules. Now, when I open this, you can see that it has the video school online. Low down here. Pretty cool, huh? So that's how you create a text based or a graphic based watermark in adobe light room. Thanks for watching, and we'll see you in another Wesson. 26. Full Editing Session - Landscape: All right. Now we're gonna put it all together and regards to see how we can use Adobe like room to make a picture that looks like this. When we start looks like this, when we're done quickly and easily tying together all the skills we've learned so far, let's go ahead and get started. The first thing I'll do is I'll reset this entire image. But don't worry. We'll get it back to right where we saw just in a few minutes. The first thing I'm gonna do is go down a camera calibration. And as we learned, we can now set the camera profile here to match what it would have looked like in the camera were to do this so that we get a bit truer colors and we apply what we think the camera thinks for landscape. Of course, it'll be different for each camera, but is a good place to start next up. We're going to go to the top here and we're gonna apply one of these filters were used to graduated filter to apply our first correction because what we can see is that the sky is very bright and the trees are very dark will go like that. We're gonna double click on effect to reset that entire filter, and then we're going to bring our exposure down a bit. We're warm, the image up a little bit, right to sunrise. So we should probably have a bit of that. Now, that looks quite good. But you consume. We've got some issues with that transition into the trees. So we'll drag it down a little bit with our filter just by clicking and dragging. And you can see that we've got a good start here, but I'd like a little more clarity De Hayes and some saturation. Maybe not quite that much for saturation. It's a bit much. We'll bring d haze down maybe a little, but also make this little bit. Okay, great. So you can see we've got a decent start here for our sky, but there's issues with the way the graduated filter is applied. So what I can do is if I go over here to brush, you can click on brush. And now lucky me, I've got I'm gonna increase the size of this brush. I've got this a brush that I can now paint in right and so be sure when you're doing this, I'll just show you some real quick If I scroll down, Here's my brush. I've got my feather and my flow turned way up a swell as's, you know, adjusting my size and the density 200%. So it's really just applying this with a soft brush wherever I painted and I'm gonna paint into that transition looks a bit more natural, particularly in spots like that. And over here, of course, is well, right. So I want to make sure that that graduated Filter does its job, but also that we don't have these unnatural transitions. And that's all I'm doing by simply painting that adjustment in past where that graduated filter would normally stop. I think that's a decent start, so we're gonna click done now. The next thing that can see is that these trees are a real problem in the foreground cause they're so dark. So we know from our previous lessons that in order to adjust the darkest images of our the doctor sections of her image, we can just click here on shadows and drag up. Now, when we do that, we are in danger of maybe losing some of the darks that we had. The contrast of the image so we can do it is option. Click on black, and then we can just drag it down to make sure we have the full Toma range all the way into the blacks. There. Now, I think we've got a great image as we look at the sky and as we look at the trees here to really coming together. But, of course, is a few issues over here with these power lines. And we know that we can simply click over here on the spot removal tool. And now I'm going to adjust the size of my brush down Very nice. And I'm going to simply select and paint in over those lines those power lines there. Let's see how it does. Waiting, waiting, waiting. Not bad. Do the same thing with this power line. Well, it's controls you that that wasn't right. Okay, so we're gonna we can drag year paint up on and down rid of that power line. Nice done, sir. And then we're gonna go ahead and do that down here for this power line. Very nice. And then finally for this power line here. All right, well, we'll have to undo that, cause that did not quite apply my adjustment the way I wanted it to. No problem and do that. Okay, good. So we're gonna go ahead and take care of this bottom line. It just it applied it. Not across the whole distance. And maybe I click something on my tablet here to do that, take a look. See how we're doing. Let it apply that adjustment. Okay, Not bad. But of course, we're gonna click a little bit above this line here and fill in where it didn't quite get all of it for that. See how it does. Gives it a second to apply the adjustment. Very nice. And we'll do the same thing here. Gonna go over that spot. It could use a little help with, and we'll see how it does. Filling in very nice and down here could maybe use a little touch. Oppa's well, so it's going to paint that and see what happens. Okay. Ah, let's go ahead and click. Done. So we can see exactly what it looks like before and after. Now we could probably use a little bit more refinement may be right through here. So what we're gonna do, it's this one. Yeah, This one right here. We can click and drag where it's actually applying, and we can also click and drag up here where it's sampling from. So I think we should probably re sample from a different spot. So let's drag it around a bit and let's see if that does any better. All right, so we zoom out, we look at the overall image. I think that's done a sufficiently good job there on the right hand side. Now, of course, we've got over here on the left some issues with the power lines as well. We'll zoom in over here and we'll take a look at that. We can click and drag over to it. Power lines, power lines. Everybody loves power lines. All right, so a bit more pronounced list, you're not just a little bit all right, so those are gonna be a bit trickier, cause there longer, um, but the good news is we still have a lot to work with there. So I think we're gonna go ahead on and we crossed that part of the image out. I wonder what would happen if we did that fixing by cropping will hit our Let's go ahead and crop this down, See if we can't keep the moon in the picture. Just get rid of those power lines on the left. Yeah, so check it out. It changes the picture a bit, but I think it's still good. Yeah. So we've got the, um, got the moon. We got the trees, we got everything we wanted. Maybe we consume this out a little bit more to get a little bit more in. And now, instead of having to deal with those power lines, we simply crop him out. So another way to adjust your images? Of course. I'm shooting with a ah, nice full resolution picture here. So I've got the room to do that. Now you can see that if I go down, right? I've got some some possibilities here and split toning I want to take advantage of. If I click on that box, I can turn my highlights to Mawr of a warm and saturated And I can click and drag around with the eyedropper till I get to the right spot. That looks lovely. dismissed that. And then my shadows right, I can make cooler. So the darker parts, the image normally are cooler, the brighter parts a bit warmer. Normally, that's very nice. I'll dismiss that, and I'm, you know, generally happy with the hue and the saturation adjustments on those. But of course I could adjust them here if I wanted to. And now is where it really gets fun. I can adjust this balance so I could favour the highlights or favor the shadows. And what that does is it's going to apply a bit of this adjustment over the whole image to really make it look like it all fits because we have made some significant adjustments. So before and after their wonderful Now we can go ahead. If we wanted to, and we could is the landscapes I could get away with increasing the radius. I can add a bit of the amount and radius of sharpening. We can reduce the Luminant and the color noise, and let's go ahead and take a look and how that looks here 1 to 1 and zoom in as well, German and zooming in because the noise is really going to be in the shadows here so we can continue to maybe remove a bit more of the noise. I can bump that radius up. I want more detail and the same thing for color noise. If there is any right, I can favor more detail unless smoothness here because I don't need to smooth skin tones. Now let's see the before and after a little bit hard to see that way. So what we can do is turn it off here and then turn it on to see just the effects of that adjustment. Give it a second and what you can see is that we've done a good job. I'll turn it off. There's a lot of noise there when we go 1 to 1. And if I turn it back on, we've retained enough sharpening but also done a good job removing the noise to a point where I think that's pretty darn nice, to be honest with you. Uh, all right, so of course, weaken Dio lens correction here if we wanted to and it's gonna pick up on what I shot with and adjust for any distortion Will looks wonderful and right about now, I think we're pretty good, Right? So here is where it is cropped down. We remove the power lines over here, I assure you, the full before and after. I think that's wonderful. Of course, we could click our if we wanted to. And if you're willing to tolerate the, um if you're willing to tolerate the power lines down in the bottom left there, we could go with the full image like this, which is nice because we get some contour from the trees. But again, we're left with this difficult issue of the power lines over here on the left. So, you know, my thought is don't even bother with it. Just go ahead and crop it out by reducing the size of the image here and the crop and then adjusting it so the moon is in the right spot, can hit return, and we've got a wonderful image that we can continue to adjust to manipulate as we see fit . So I hope that helps you see how you can use all of these different techniques. We've talked about to adjust an image to be just exactly what you wanted to and to get a wonderful landscape. Stay tuned because next up, we're gonna do a portrait, and it's gonna be awesome. 27. Full Editing Session - Dark Landscape: it's time to turn this landscape into something we can be super proud of. Now let's get started. The first thing that I see is we go through this full landscape at it is that there's some real issues between the top and the bottom of the image. You see, the top of the image is really bright. The bottom of the image is dark now. It goes beyond that, though, because the top of the image is also a bit hazy. So in an image like this, where we've got top and bottom kind of neatly divided with their own problems, I think we're in good footing here to use some of my favorite tools, which, of course, the graduated filter. So we'll start with the top of the image here, and what you can see is that we can drag and pull this down and line it up with our horizon right there. The ones we've done that we can go ahead and drop the exposure, the background down, and we can go to D Haze, which is a helpful tool in these kind of cases, a little too much there. I don't like exactly what it's done we can bring the contrast up, maybe even bring the saturation of a bit. All right, let's take a look that No. And I think we can even increase this sharpness a little bit because I like what that does to the buildings. Okay, so if we click done and we look at the before and the after, you can see the background looks very nice. Now, however, the foreground is too dark. And in my opinion, when you've got four grounds or that dark, it's a little bit distracting. Why even have it with that dark, right? Well, there's another way for us to fix that. We're gonna go back here to the graduated filter, and instead of this time applying it to the top of the image print, apply it to this bottom of the image transitioning really? Right up through. Probably seer. Okay, so we know that we need to bring the exposure up, so let's go ahead and dial it up until we're happy with it. Now it looks good, but there's a problem, right? This isn't shading. This isn't son. And so there's a difference in the color temperature that I can tell this to me looks warmer. This, to me looks cold or not uncommon between direct light and shadows. But in this case, I don't think it really works with what we want to do for the picture. So I'm gonna bring the temperature up to match it and about their looks. Good. Me? Let's take a look and see if there's anything else as we go up and down with our contrast. I think that's good Right in there. We'll take a look if we want. So I'm not gonna actually going to take a little bit of clarity off because I don't want it to be to pop. I don't want it to be too bright. I don't want it to be to in focus. I don't want to be to anything because I really want this back. The image not to get dominated by the front. Someone take clarity down a little bit, and I might even take a sharpness down a little bit, too, just in order to do that. And so this Let's click done and we'll take a look here at the before and after. Okay, so my I I think maybe that we made the foreground a little bit too bright in this case. Let's go ahead and select that adjustment and maybe take it down to about there. Okay, great. So if we look at the before and the after now we're getting close. I'm gonna be a little picky. That would say that this area right in here to me looks a bit too bright still, and so is because it's just that one on a note tire track, I guess. I think we can use airbrush and make it brushed. An adjustment? Maybe just this section right through here. All right, so now that we've gotten that brushed in, I'm gonna There we go. Did you see just that subtle adjustment? But we did, and I'm gonna make it a little bit brighter and also warming up Tiny bit. Okay, that looks great. So before and after to me, that looks like a very balanced in a much more pleasing image that doesn't distract with just the road and doesn't overwhelm with just the background. I think we've got some great colors that were working with their Maybe one thing we could take a look at before we go. If I click here and we're really talking about the ocean in this case is let me let me take a look and see what would happen. Maybe if I just pushed a tiny bit into the blues. Okay, I don't like that because I want these buildings to be, um, want the buildings still to be warm, but I want the ocean to me to be a little bit bluer. So let's see if there's a way that we couldn't maybe used the HSE cell tool here, one of my favorites to do that so well, we've got We're in good shape because the blues are really all up right up in here. And so I think we could probably pick this bullseye click and drag here to bring the Luminant value down a touch, perhaps on. Then let's go to the Hughes and see if we can't bring them into a little bit. Bluer shall click, and I'll drink up a bit there. That's nice. And then maybe the same for saturation. Maybe I can bring these blue saturation up just a bit. All right, Let's see if we're there now. Before after, all right? Yeah, to me, that looks fantastic. It's not. It's not too much. Maybe I'd prefer this section here to be a little bit bluer and a little bit less purple. So, you know, maybe what I can do is I can go back in and I can take a look at the hue of just that shade . Right? And because I can hover over here, click and drag. I can adjust that, Hugh now. Ah, yeah, That's what I wanted right there. Click done. And you see how and why I'm just so in love with age of cell before and after yet now, to me, that looks much better. That was just a little too purple e before, but now it looks great. Really wonderful, actually. Now, maybe maybe I would want to add a little bit of contour contrast, tonal range, whatever. We want to call it here to make this section maybe a little bit darker in this. A little bit brighter, so it just had a little bit more interest. Flat light sometimes fall short. Someone just like my brush tool again, I'm gonna decrease the size of it even more. And all I would look for I think here is just, uh kind of highlight this area here brushed in there. And what would happen if I brought mine exposure down a little? Maybe brought my contrast up a little. I want to make sure that I don't put that. Okay, Good. That's nice. Done before after. Yeah, that's really good. That gives it. And you would expect that, right? So from here, if there was a bright spot and maybe from the direction that the sun is coming in its casting maybe a tiny bit of a shadow. Or maybe it's from this tree. Right? So it works with what we got going on. But to me, man, so much better from here to hear. What we did is we darkened this background, which is too bright. We Brighton, this foreground, which is too dark. Then we matched the color attempts again. Right? And then we used our tools here to add a little bit of tonal range by darkening this what we left this area light. I hope that shows you how you can apply the tools and tricks we've learned in a w light room to tune up a landscape image to get a look at its best. Let's keep going 28. Full Editing Session - Flash Photo: I am so excited because what we're gonna do in this session is we're gonna take this image and turn it into a beautiful, dreamy, painterly looking image. It's gonna tie together so many of the other fundamentals that we've built on in the previous lessons, and I can't wait for us to go ahead and to apply all those lessons. Right now. Let's jump in and get started. And by the time you're done, you know how to apply many of the principles and adjustments we learned earlier to make great Portrait's. The first thing that we can see about this images that's got a horizon problem. So we'll click are and we'll try the auto correct over here by just clicking Auto looks fine to me, so we'll hit return and now we've got a straight horizon. The next thing we can see is that while it's a really nice image, it could use to get that painterly look, I can click and drag clarity, and you can see now that a lot of the sky has become a bit softer and many of the details are a bit softer, which in my mind is nice. However, I would like a bit more vibrance to it, so I can just click that up. Now, the next thing I'd like to do is probably take a look at decreasing the brightness of the sky to make it darker. And I can do that without adjusting the overall image simply by creating a graduated adjustment here. Okay, I'm gonna click and drag it down. So it's just below the horizon, a double click on effect, and then I'm going to decrease the exposure. I'm going to increase the contrast. And I am gonna go into my whites all to click. It is just to click it, and I'm gonna bring the whites up a bit and the blacks down a bit. All right, So you can see that we've got a very nice adjustment. I can further decrease the clarity. Maybe d hes a little bit. I don't like that one. A reset that 20 I'm gonna bring the saturation up a touch. All right, so if I click done and before and after the skies look great, but you probably are clever enough to see the issue. This young man is right in the middle of that adjustment. it's not gonna work well, But the good news is is that I can just go and click on first any to select it here by clicking on the dot Then I can click on brush, and if I go down, it gives me this great erase functions my click on a race, and now you can see my brush that I've got. I'm gonna increase the size of that brush And now I'm simply gonna take my pen and I'm going to erase off big chunks of this filtered adjustment. Now, the thing you want to avoid here is to go outside your subjects. And if you do, you'll wind up having this sort of surreal looking glow to your images, which really is a dead giveaway that you've adjusted over. Adjusted at the good news is that he's dark on this side anyway, so I can go right ahead and sort of leave that untouched. I just want to bring this bright side of him up a bit rights. You can see I'm able to do that. And there That looks really nice. I'm quite happy with that. If I wanted to, I could, of course, go into my brush and I could undo, erase and go to brush a And then I could maybe brush a little bit of that correction back in over here. Or maybe I went too far. Decrease the brush size we brush a little in here. Okay? Thank you so much adobe for that tool. Because now, before and after you can see, I've selectively kind of brought the parts of him out of that original adjustment. Right? So what, I was able to dio excuse me? It was used to graduated filter adjustment, but then selectively remove part of it, which is awesome. I love that. But the next thing I'd like to do is take a look at this rock because it is pretty cool. Part of the image. I'm going to select the brush, and what I'm gonna do here is ah, make a brush adjustment. I'm gonna reset that 20 increase the size of my brush. And I'm just going to paint on sort of in the middle of the rock here where his feet are because it would be nice to bring this out a little bit. It's a nice feature. So I've painted the adjustment on, and now I can make it right. It's a great feature about leg room is because it's non destructive. I'm able to work with these individual parts so I can bring up the exposure and maybe bring up the contrast a bit. If I wanted to, I can push up the whites. And here's where I got to make a creative choice, right, Joe? I want more clarity to the rock or less clarity to the rock. And in my mind it looks better with just a little bit more clarity, maybe a touch more sharpness. All right, I can click done, and you can see that before and after. I'm beginning to add a little bit more interest to the image by providing more of the tonal range to it That I'm after is still a darker image, and I think that's fine. But I'm just adding a bit mawr interesting contour and shape to it. With that light. One of the things I might want to take a look at those is this area right here. The shadow cast by his right leg and perhaps a good way for me to deal with that is to go into my brush tool again and see if I can decrease the size of this adjustment down to right around the size of the shadow. And if I could not perhaps rush in an adjustment hair now that I've got it in there, what I want to do, I think I want to simply bring up the shadows, bring up the blacks who not too much with the blacks, maybe mawr up on this shadow. So by bringing up the shadows, I don't really affect the darkest parts of the of the image there. Yeah, to me, that looks really nice, right? So before and after and you can see that I've really removed that shadow and shadows are a dead giveaway if you're lighting an image like I am with this one, And so in this case, it allows me to light it without being totally dead. Give away about the whole thing. All right, well, the next thing you can see here is I'm looking at the image, and it's really coming together for May is that the beach is a bit bright. Maybe I would want a dark in that part out of it, and maybe I'd like to brighten this area up to draw our focus in towards it. So let's go ahead and make another brush adjustment by clicking on my brush. They're gonna increase the size of my layer of my brush there, and I'm going to just go ahead and paint in kind of right around the edges of this beach here. Now, once I've done that, I can make some perhaps subtle adjustments. That's too much, too much. Maybe right there by decreasing the exposure a bit. I'm really trying to draw things on my subject, so that's a subtle adjustment. But I like it, and that sort of brings everything right into the center. But I still have, uh, his sister here to worry about. So maybe I'll use the radio filter and maybe I'll click and drag it here just about to there. And it's gonna be again, a subtle adjustment that I'm really just trying to. Of course, I want to come down and I want to invert the masks that's making the adjustment to her. So that's good now. And maybe I could just bring her up a tiny bit and increase the contrast on her. I don't want this to be heavy handed, but I think if you look there before and after, before and after, that might be a little bit too much. Let's go back in by clicking on the gray circle and I'm gonna bring it from 0.7, maybe down to like point for Let's see if that's a dead giveaway. Know that looks good to me before and after I brought it up. Ah, but you can't see the edges of the circle. It's done a great job feathering it. But to me, that looks very nice, all right, So are there any other adjustments move we might want to make to this image? Well, of course, I love split toning. I think it's one of the best features here in light room. So let's go ahead and take a look at how we want to move our highlights. Perhaps, And let's see, that was nice. Good. So it's a ah, a bit in the kind of oranges. Just a slight adjustment to the oranges. There were going to the shadows now, and we're gonna blew the shadows down a bit. Okay. Very good. And now we can take a look at the balance. And I tend to like to favor the highlights, but not too much. And maybe we can tone these both down and saturation a little bit. And let's look at the before and after before and after. Okay, great. That to me looks very nice. Now, of course, one of things we haven't done yet is apply our camera profile. We're gonna go with Portrait in this case, and you can see it brings up to saturation everything and readjust it quite nicely. But in my mind, it's brought things up a bit much in the vibrance. Right? Because of that profile, someone dial it down a little bit. Now that I've done that, uh, let's bring it down even a bit more because the skin tones are quite vibrant. All right, Uh, that's really nice. That's really nice. I think we might be done with this one. So before we started with an image that was a bit flat and off center through a series of corrections, we were able to bring that into an image that had tone and contrast, light and interest in really vibrant colors that popped right off of the screen. I hope that helps you see how you can apply these corrections in a situation when you've got a background that's like a landscape and a foreground that's like a portrait and how you can work those with a flash photo. Anyway, I hope that helps stay tuned cause we're about to do another fantastic get it next. 29. Full Editing Session - Group Portrait: flash photography tends to be one of the things that jams photographers up the most. If it's not the lights in the setting in the background and your sink speed, it's the adding any of the editing of those images because sometimes that could be really challenging. You know, in flash photos, you've got one exposure for your flash and one for your ambient light, which in this case, is the background and anything that could be tricky. So what I hope to do now show you how I approach editing a flash photo in light room so that I could do a whole bunch of them quickly and easily. The problem with flash photography is most of the time you're gonna get a bit of shine to the face. We'll show you how you can deal with that and other common problems in this lesson. So let's get started. Then, by the time we're done, you'll know how idea with and how you can deal with flash photos and leg room to get them looking their best. So what we can see from this image right off the get go is that we're going to apply camera portrait profile as we do with our other images. And immediately some of the sort of skin tone problems have gone away as we're now lining light room. And when our camera recorded and they're interpreting the same way, and to me, that looks quite nice. We're gonna go up at this point before we get there. We're gonna go ahead and apply our enable profile corrections. Just remove any distortion and Israel's brighten up the vignette ing that might happen here . I think it's fine navigating and some pictures, but in this where it's a really consistent lighting throughout the entire background, an image I would like to have it the consistent as well. And so we can, of course, do that. The next thing that we can take a look at in this case, um, you know, I think, will be the sharpening particular around the faces so I can click on the cross here and select the front. I hear which you look contact lenses. Love the five DS. You can see everything all right so we can increase the amount. And because it is a portrait member, slide to the left gives us softer, sharper next line to the right gives us a harder, edgier sharpening, and I think we can slide it to the left and I don't need that much detail. I'm happy to kind of leave it where it is. So let's take a look at the before and the after before and the after. It's a subtle sharpening, which to me is very appropriate for something like a portrait you don't want real tough and hard sharpening. Let's look in the shadows real quick and I don't see much noticed. I'm not gonna worry about this noise reduction, which makes sense, right, because we shot the desires. So 50 I love to do that in bright light. Turn it down below. So the native I so is 100. But Canada let me go down to I s 0 50 So I do because it's like free one Stop nd filter cuts half the light out anyway, not to get into filters. But, man, I do love that kind of stuff. And I s 0 50 is the bomb diggity. Thank you can and forgetting me that. All right, well, we're in a little bit of a bind here for it to sell because Normally we'd look adjusting the background by using our age of cell tools. But in this case, I think we're gonna find is that thes yellows air gonna bleed into the Reds and that's gonna be the same that we've got in the skin tone. So let's go ahead and take a look. Maybe the saturation of it. I think we're gonna find out that this is not gonna be that effective so we can click and drag there and bring it up. And to my surprise, we managed to stay in the Ellis and away from the oranges. And so I think that's gonna be okay. So before and after, I don't think we've really messed with the skin tone. So it just goes to show you Sometimes you never know. We can also take a look at the loom in its here, and we might want to bring up the loom in its of this blue channel for the dress. Perhaps we can click and drag and bring that up, and not only for her address, but for sure as well, right? Very nice. And we'll take a look at perhaps the hue to see if maybe towards the edges of these yellow knows what would happen if we made it a bit or injure. That's nice, subtle adjustments. So it just sell before and after. I like where we're going with it, and that's all good. Next up, clarity, right? Someone zoom in here for clarity because I want Teoh is your man all right? Clarity. If I bring it down, just a touch here, we'll soften portrait. And to me, that's that's what we want to do. So I don't want to do it so much that would lose any of the good details. But do you want to do it Enough where? You know, we could be gentle on our subjects here. And maybe the one of the things I'll do in order to help out with that is by selecting this brush. And maybe what I'm gonna do with this brush is really even go a little bit more and I'm gonna decrease the sharpness. My reset didn't mean toe just saturation decrease the sharpness of it on and decrease the clarity of it a bit. And I'm gonna come in with a very small brush, and I'm just gonna work here along the eyes. Perhaps. Let's see what that all looks like. And I've got yeah, I like with my brush settings there in terms of size, feather flow and density, I think it's fine. So maybe let's see what wishing could or should get away with here. I can decrease, decrease the clarity and a sharpness even a bit more, and maybe even bring this saturation down a bit. Now let's see if I do that. Here's the before and after before and after. Now that's a nice little change. I don't think we've done anything excessive there, but I do think that that's, you know, being kind to our subjects and trying to make them look at their best. Of course, we go further than that if we wanted to you. But you know, I'm always reticent to go too far. Worm, especially cloning and stamping and taking areas in the face where the skin tones and texture different from one area to another. So I really just tried to be gentle with my adjustments here. You know what happens if we bring the clarity down even more? No, let's see so quick, done before, After before after. Yeah, so that's That's a nice adjustment there. And, you know, perhaps we can work that in over here as well. Be helpful to get our navigator out for just a sec. Thank you, navigator. So that we can just bring in the other face here Great. And got a brush up dialed in so we can just go ahead. And hopefully those adjustments yet still there, increase the brush signs of touch. We can dial that in here, around the eyes. Um, burn ice, right? You're here. Tiny bed. But their bid as well. Jim, I don't and we'll take a look at before after before After for after. Okay. Yeah, that's good. So we've made some subtle adjustments there just to try to be kind of our subjects and make them look as well rested as possible. Of course, you can go on ad nauseam, uh, doing this if you like. That's a technique where you can use a brush to make some selective adjustments, which is a technique that we haven't used before. So I wanted to bring it out and really highlighted here. Now let's see if there's anything else. Let's say, for example, that perhaps you want these lips to be a bit redder. Young lady. We can zoom in zoom and more. Here we go and we can go ahead and brighten it up a bit. So we'll take our brush and will brush over the lips. And now that we've done that, let's just go ahead and make sure we haven't applied any of the skin softening adjustments . Let's take those off that we did from the last one. And maybe we'll just go ahead and shift the tent up a bit towards Magenta. And let's just see what happens if we bring up our saturation a touch right there before and after before after. So it looks reasonable to me. Maybe we can make quick adjustment here to remove a blemish, decrease the size of our brush. Down, down, down. All right, let's see how this goes. Select right there. Uh, decrease the feather a bit. There we're done. E think that might need a little bit of refining. Perhaps. Let's go ahead and move the area. It's gonna get applying to down a little bit. Click done. Still not doing it for me. So why don't we go ahead and click on that adjustment and then take a look at. If we can't pick a better area to do it in, it's not gonna work. Maybe, Right, you're here. Mm. Trying to find a spot as I'm moving around here, that's gonna look natural and still give me the right kind of blend. That looks good. And maybe I want to do is bring the opacity down a touch. Let's see, I think I'm gonna bring the opacity down, even just a bit more to see if I can get that to blend in while still being enough, right? I want to kind of get it right in the sweet spot here. If I can at me, I need to bring your past it down even more. It's having a hard time finding a good spot for me. So let's go ahead and click there. Bring our rapacity down even a bit more and yeah, I mean, that looks that looks much better than we had for the before. I guess we'll zoom in again and take a look before and the after before and after. And, you know, I think we can do better than that, though. And so we're gonna take a different approach this time. So the first time we tried to really just get it to pull that transition on the lip and bring it down. But I think just because of th