Adobe Lightroom CC: The Easy Photo Editing Course

1. 1 Intro to Lightroom CC for Skillshare: Welcome to this Light Room course on using the Light Room CC cloud based light room editing app. Whether you're on the desktop, using the web app, using the mobile app on a tablet or a phone, you're going to learn how to use light room to edit your photos. We're going to go through the entire process from importing to basic edits to more advanced selective edits, exporting your photos and saving them. So let's head into light room CC and start learning. 2. Quick Tour of the Lightroom CC Interface: Welcome to this Light Room CC lesson. I want to quickly give you a brief overview tour of the app so you know how to get to the different aspects that will be covering in this section. If you are on the desktop app, you're going to follow along just with me. You can also use the web app which looks very similar. We have our same sort of albums and photos that you have uploaded to the cloud. You can go in and make all of your edits with all of our editing tools. Don't worry, I know I'm jumping around. I just wanted to show you that the web app looks very similar and has the same tools as the desktop app. And the mobile app will work very similarly to, but of course redesigned for a mobile device. When you open up light room, here we have our main library view where we can go through our photos on the left. I just wanted to mention a couple quick tabs which are really cool. We have our learn tab and our community. Tab community is where you can actually see photos that are uploaded and edited by other photographers. You can even practice editing them yourself. And they have some great tutorials as well. They're step by step tutorials where you can actually go in and you start the tutorial and it walks you through with little highlights of all the tools. It kind of walks you through it. Pretty cool stuff. So let's go back to our all photos and you'll notice that the view changed and you have all of your different view options down here. We'll go into that. And then to actually edit a photo, you'll need to double click into a photo. And then over here on the right hand side, we have all of our different editing tabs. So unlike Lightroom classic, which has like a library module, an editing module, your print and map module, et cetera, here, we just have these different views down here where we have our gallery view. And then once we go in, we can actually start editing in our detail view. The only thing I'll mention right now too is that we have a cloud and local tab, lightroom CC. You can still edit your photos locally, which is great if you don't have the cloud storage and you just want to be using the light room app locally on your computer. You could edit them and then you can choose which photos you want to upload to the cloud later on. And once you do that, the photos that are on the cloud, like we've talked about, get synced to your account. And you can find them on your web browser if you're away from home or on your mobile app when you're traveling or wherever you are. And that's the benefit of using Lightroom CC. That's just a quick tour. In the next lesson, we're going to import photos and learn more about organizing them. So I'll see you there. 3. Importing + Organizing Photos in Lightroom CC: This lesson, I'm going to show you how to import and organize your photos. Right now I'm in the Cloud tab. I really quickly want to mention though that you can edit your photos locally on your computer. If you click that local tab, you can find your folder wherever it is. For example, we have my desktop folder with this practice folder of photos that you have access to from the original zip file of this class. And now we can go in here and start editing them. You actually don't have to import them into the app to work with them. This is great because you can just quickly just double click into any photo, you get into the detail view and you can start editing them. And similar to Lightroom Classic, these are non destructive edits. You're not making a copy of the photo into some sort of Lightroom CC folder. It's just referencing the photo on your desktop, on your hard drive, wherever it's saved. And so you really need to keep that folder structure sacred. Don't mess it up. Have a solid structure if you're going to edit this way. And that's great if you don't want to fill up or you don't have space in your cloud storage, which you can see your space by clicking this cloud icon and you can see how much space you have based on your plan. So you can still edit with this app if you're not sinking to the cloud and once you're done editing or maybe there's only specific photos that you want to sync to the cloud so you can edit later, you see this copy one photo to Cloud button. You can do that by clicking that button. If we're back here in our album sort of gallery view, you can select multiple photos and copy to the cloud and it saves all the edits and everything you've done. However, because this is cloud based, and that's what we're here to use this app for, we're going to go back to the Cloud tab and click Add Photos. It's going to open up your finder, your documents, so you can either select a folder or photos to review for import, if you want to review a folder, saved a bunch of photos from memory card to a hard drive, you'll want to click the folder so that you can review all the photos inside of it unless there's only specific ones you know that you want to review or import. You can just select those ones here. We can check on and off the ones that we don't want to import. You can quickly select All or none with this little button here. And then we can click Add 30 Photos. Now I want to mention right now since we're here, that you have a quick way to add to an album here. So right now we're not adding to an album, which is how we're going to organize in just a second. But I do want to save these two a folder, so I'm going to click New, and I'm going to call this Lightroom CC Editing course, and click Create. It's going to create that album. And now once we click Add 30 Photos, it adds it to that album, which we can see down here in our albums panel in the bottom left. Now you can see that it's sinking to the cloud. You see this little loading icon. So everything's being backed up to the cloud. Our photos are now imported into Lightroom CC. Another quick way to import photos. And you have access to this photo here. And it's not a great photo necessarily, but we're going to learn how to do some great stuff in light room using this photo. I wanted to create something different than what we did with Lightroom Classic, and I included this in the earlier lesson. In this section, you can literally just drag and drop a photo into Lightroom CC and then click Add One Photo. That's how you can get to the import window view as well. Just literally dragging and dropping photos or folders into light room. With this photo, we did not add it to the album that we had created. You can literally just drag and drop it into that album we created previously. You can also write, click and choose, Add one photo to album and choose the album. Like we learned with Lightroom Classic, there's many ways to do the same thing and I'm going to show you the way that I do things, but you might find other alternative routes to get to doing the same thing. Now we have our photos imported into light room CC. How do we find those photos once we leave light room? How do we find old photos and how do we organize them better? That's what I'm going to go over now. On the left hand side, we have these two sort of panels, the albums that we saw below. And then we have all photos where we can navigate to the different photos we've imported under all photos we have recently added. Here we can see the different date stamps of different imports into Lightroom CC. So we can quickly get to photos based off of some recent imports, recently edited photos. So if you're like, oh, I know I just edited this, but I can't find it, You can find it here by date. It automatically organizes photos by year if that year is stamped onto the metadata of the photo, which it should be for pretty much anything. We have people Lightroom CC can automatically detect faces. We'll go over this feature in a future lesson. But you can find photos of people that way connections. This is like if you have an Adobe Portfolio account or some of these other ones that you might use as a photographer and you have photos that are on that platform, you can access them here, recently deleted files and then we have our albums. And this is really how you're going to organize your photos. You have albums and then you have folders which you can put albums within. You can create those with this little plus button, say album create folder. Let's go back to our all photos. We can actually do that when we're in that People mode. We can't create albums and folders. Here you can see that I have a couple other folders that I've created with sub albums. You can organize this however you want. If you have different professional client work, maybe you have folders for each client and then albums for each project that you've shot for them. Here you can see that I have wildlife photography as a folder, and then underneath I have birds. But maybe I want to create an album for, let's say dogs, even though that's not really wildlife. But let's create that album and we're going to actually just move that into wildlife photography because I had this photo selected when I created that album. It actually added this photo to that album. When I'm in the album itself, I can just select that photo and delete it. I'm just removing it from this album. It's still going to be in our all photos folder. It's not deleting it from lightroom CC. If you're in all photos and you delete a photo, it will remove it from light room itself. But I wanted to create an album for dogs because I wanted to show you the powerful nature of light room CC. We can actually search four different subjects Light room based off of AI technology. We'll find all of the photos that you've imported to light room that have that subject matter in it. It doesn't work for every single subject matter, but here we have our photo of Maple. We're going to drag that into dogs. And then same thing for birds. We want to get out of this album. So we want to get to all of our photos and I'm just going to search for birds in our library. And now we have all the photos that we've shot of birds and we can drag those into that album. That is pretty amazing. We have our folder which has all those photos and then our albums. Cool. Right. So again, how you organize your photos is up to you, but you have folders and albums to do it. The last thing I'll show you right now is we have a shared tab. So if other photographers that you work with or you know use Adobe Lightroom CC, they can share photos or full albums with you here with this shared menu. Now if you have a folder that you want to share with someone, all you have to do is right click and choose Share and Invite. And then you can create a sharable link that you could just email or text, or you can invite via e mail address here. It's one of the features of this cloud based platform that makes it so easy because you don't have to go and upload your photos to Google Drive or somewhere else and share them. You can actually just share directly here in the app. That's how you import and organize your photos and how you find them after you've imported them. In the next lesson, we're going to look at rating, flagging, and filtering your photos. See you there. 4. Rating, Flagging + Filtering Photos in Lightroom CC: Once you've imported your photos, you might want to rate them or flag them for more organization. For example, if you've gone and done a family portrait shoot or a wedding, you might have hundreds, if not thousands, of photos that you need to cole through. So here we have two gallery views, and you see that we have this rating scale down here. We also have a flag, or un flag, or a pick and a rejection flag that we can use. And I also want to show you this view too, which is more of a grid gallery view. And here we can see each photo you can see that you can actually give a rating to that photo, give a rating to a photo. In this view, you just have your photo selected. You can use your keyboard arrows move around and then you give a rating depending on what you want to use these star ratings for. Maybe five stars is your best photos and then four stars is your Okay photos. Three stars are ones that you like and you probably want to edit but you're not sure about two stars is I'm really not feeling this photo, but I'll keep it for now. And then one star is okay. Definitely not going to edit that photo. Again, it's up to you to figure out how you want to organize your photos, but you can use the star ratings. Now when we have our photos rated, we can filter. I'm still in this lightroom CC album, but up here in this search bar next to it we have this filter button. And now we can filter by star rating. Say we want to only see photos that have a rating greater than or equal to three stars or change this to equal to or less than you can filter however you want. Four star photos, five star photos. And now we can actually go back to all of our photos and do it. Or in the search bar, you see these little filters pop up. We are in the lightroom CC editing course album. We have a filter of greater than five stars and you can combine them. I'm going to delete that one there. Now we're back into all of our photos and we're going to choose all five star photos. Now these are all the photos that I've given five stars in the past. You also see up here all of these other different ways to filter photos. I'm back in our album, you can see ones that have been edited or not. You can see raw photos or non raw photos. You can see photos based off of the camera that they've been shot at or the location that they've been shot at. Now let's talk about flagging and unflagging. And when I do that, I want to show you that this view here where we have more of like the detail view of our photo, Again, we can open that filter menu up here or not. But when we're in the detail view, we can go here and we can also give a rating. But we see the photo bigger and more full screen. We can also close down this little pop out menu on the left with this button here to see even more. And I'm actually going to go full screen so we have more real estate to work with. And here we can just again with our keyboard shortcuts left and right. We can go through our photos and we can click to pick it as a pick, pick, let's say. That's not a pick, rejected pick, rejected, et cetera. And there are keyboard shortcuts for all of this. For our ratings, we can just use the number keys on our keyboard, 12345, that gives it a star rating. And for our flagging as a pick, you just press the command button. That's on a Mac. If you're on a PC it would be control and then up or down. See how it increases the flag status. So if I press up, it's a pick and then if I press down, it nullifies that. And then if I press down, again, it is a rejection. And again, we can go up to our filter and filter by picks or rejections. So that's a simpler way to just go through and say yes or no. You have two options, yes or no. And that might be the first way that you sort of cold through your photos and organize them within an album and say, okay, definitely, I want to keep these, definitely I don't need these. And maybe you even just go through and then you find the ones that you rejected. And we can combine these filters up here. So I just want to make sure that I only have rejected on and now we can delete them from this album. Delete them from light room or whatever you want to do with them. Now I'm in this grid view and you can see the star ratings for these photos that I've applied here. You can and the flag ratings as well for these ones. Of course, you can combine these as well with ratings and flags. And as you saw there, I can select multiple at the same time and give it a rating or a flag. As I've mentioned before, with organizing these star ratings and the flag ratings, it's up to you to decide how you want to use these. But you can use them in combination to really organize and fine tune your photos or just use one of them. I often just use star ratings. I don't use the flag picks or not because I find it a better way for me to pick some photos that I know are the best, some that are good, and then maybe some that aren't so good and organize it that way. All right, thank you so much for watching this lesson. In the next one we're going to look briefly at that people tagging filter so that you can quickly find photos of people with face tagging. 5. Face Tagging + People Mode in Lightroom CC: If you want to be able to face tag and automatically organize people by their face, go to this People option under all Photos and click Enable. Now by doing this, you have to check on this enabled people View option. Which is basically saying that to do this, Adobe Lightroom has to create a model with the data of a person's face to be able to recognize that person's face from photo to photo. And because this is not just on your desktop, this is on the cloud. So that's up to you to decide if you want to do that for your photos. And it's probably a good idea to get the permission of people that you're taking photos of to be able to do this as well. If you do have this enabled, you can go into a specific person, add a name, and now we can quickly find all the photos with me in it. And when you import new photos, they'll be analyzed. And if it has my face in it, it will automatically be added to this album. So this is a great feature for quickly finding photos of different people in your life. But make sure that you have the permission to do so if you are enabling that. Thank you so much for watching and we'll see you in the next lesson. 6. Crop + Rotate in Lightroom CC: In this lesson, we're going to crop our photos. We're going to start editing them. To get to the editing view, you can click to this switch to Detail view or simply double click into any photo. We still have our photo tray down here and this is all of our photos from our editing album. I've re ordered it by file name and this photo is the first one and we're going to be playing around with it Down here we can click this button to hide that photo tray, so we can see this photo even bigger. So over on the right we have the different editing panels or modules. And it starts with our basic edits. However, I'm going to jump straight to crop because I find when I'm editing a photo, it's better to crop it because I might crop out things that I don't need to worry about editing to crop a photo. When you're in this crop mode, you can just hover over any of the corners or edges of this and drag it in or out. This is a perfect example of a photo that I semi poorly shot photo because we have my cat here that's about to jump up on the counter that I don't want in this photo. So I can just bring that in. However, if I bring that site in, I might want to bring this site in as well. And we have full customization of this crop. However, if we want to lock the aspect ratio, we can do that with this little lock button and now we keep the original aspect ratio of this photo. You might want that, you might not. If you want a different aspect ratio, say we want to square, because we're going to be posting this on a social media platform that square photos look better on. We can make this a square aspect ratio. You have all of these other presets, 16 by nine. This is great for a lot of computer or TV screens or if you want, this has a background on your mobile device, it might be a portrait mode, 16 by nine or nine by 16. And we can rotate this crop by clicking this button. You could also hover over the corner and just drag to the left or right. And it changes the mode from landscape to portrait or this little rotation of our crop. That's how you adjust the framing of our crop. Let me go back. I'm going to do as shot and then I'm going to lock that. And I'm just going to bring this in just a little bit, something like so. If you want to rotate your photo, you can see that my mouse changes from a little hand to this little arrow up and down, and I can just click and drag to rotate. This also changes the slider. Here we have the slider that we can just click and drag if we want. And it has this little number for the angle that we're rotating to. It starts at zero, and as you can see there, you can click into here and type a very specific number if you want. With all of these sliders that we'll see in editing, you can hover your mouse over it and just use your keyboard shortcut, press up or down, and that will adjust it as well. You can even press Shift and press up or down, and that jumps up by a larger increment. This allows you to do a lot of editing with key your keyboard and not just clicking, which will make you a more efficient editor. There's also this auto button that will automatically try to look for things like horizons or lines in your photo, and you can just tap that and it will try to straighten it for you. Here we have a crop overlay. So when we're hovering over our photo and our sort of crop window, we have this grids, which is the third grid, which is nice. We can see things kind of centered, we can see which things go on the intersections of these third line, which helps us follow the rule of thirds. Or we can change this to a different overlay like our golden spiral, which is another compositional rule to put things where the spiral is. But you can choose that overlay there. You can also rotate the photo itself. So this is not the crop of the photo, but the photo itself. Here, we can flip it left or right, up and down if you want With those buttons, we will look at geometry in a more advanced lesson. Now to lock your crop in, you can just press the return key or click over to the Tab Editing Tab to get back here. And we'll be heading here to look at all these editing features in the next lessons. So we'll see there. 7. Color Profiles in Lightroom CC: Here we are in our editing tab and we're going to basically work from the top to bottom of all of these tools. We have an auto button here that will actually try to automatically edit our photo. And we can open up all of these panels here with the drop down little button, and it shows us what we've done auto on off. And you can see that it actually doesn't do a really good job with this particular photo. If you want to quickly make it a black and white photo, just tap that black and white photo. And if you have an HDR photo, one shot with the Hi dnaamicrange option on your camera, you can toggle on this button and it will give you the capabilities of editing that photo for most of us. Just with regular photos though, we don't want to have that on. Next, we have our color profile, and this is basically how it processes the colors in your image. So we have this dropdown. If you do this, you can see recent profiles that you've used. Monochrome is just your standard black and white. Or you can click this Browse All button or this one here and it will open up all of the tabs and options for you. Lightroom CC has a bunch of profiles built in just like Lightroom classic if you are editing a raw photo. So I'm going to go to a raw photo, which that other one is a Jpeg. Now we see the camera matching. So we see the Fuji film, Astea, bleach bypass or Pro negative Eterna, All of these different camera matching profiles that you will see on your camera while taking a photo. And when you take a raw image, that profile is not burned into the image like it would be on a Jpeg image. So when you're editing, you want to make sure that you remember to choose the camera matching profile that you want. Because you could be thinking, okay, well, I'm taking all these portraits and I'm using the Astefsft profile because I like that for this portrait, but you forget to choose it here in light room and it won't apply those colors to your photo, but this is where you find it. And this is also why on this photo, which you can also scrub through your photos just with the left and right buttons here in the editing detail view. That's why you don't see that profile because this is a Jpeg image, even though it was shot with the same Fuji camera as the other one. You can find them. So say you find one that you like under Artistic, or let's see, under Vintage. This is a cool still life shot, so maybe one of these vintage ones would apply and you can just tap it. Then you can choose to adjust the amount we're at, 100% If we want to drop it, say we like the colors, but it's just a little bit too strong. We can drop it down if we like the colors, but we want to push it even more. The colors, the exposure adjustments, everything that these color profiles apply, we can drag it to the right with all of these sliders, you can double click them to turn them off. For this one, since this is a J peg, I'm just going to not have a color profile on. I just want it to be standard color. I'm going to change that back to color, but that's how you change your color profile of your image. All right. See you in the next lesson when we talk about light. 8. White Balance in Lightroom CC: I know in the last lesson I said we were going to look at light next. But the first thing that I do with a photo is make sure the white balance is set properly, and that's under color. If you drop down this color panel, we see white balance here. Right now it's a shot, which it was actually the wrong white balance semi on purpose, so that it looks off. And we can adjust this white balance by using the slider here. It looks like very warm to me. I might just push this to the left. I might see maybe it looks a little bit green. And push this to the right, and that's looking a lot better. Or you can take this eye dropper and find something that should be white or gray. If there's something that's a gray or a neutral color, something with neutral color that doesn't have any other colors in it, you can tap that. This is like a white countertop. So that should work, and now we get a pretty solid white balance. Let's see, maybe if I choose our Shakespeare here, our great model who's been with me for many classes, that's pretty good too. Let's see back here, maybe this gray stove that we have in the background, that's good. And that creates a clean white balanced image where everything is based off of that white. White has no color. And then light room says, okay, everything based off of this white will be able to read the colors properly. However, we might say, okay, well, it is technically white balance, but I want to be a little bit warmer. So I'm just going to take this lighter up just a little. Let me go back to a shot. You also have an auto button. So you can just click that auto button and it does a pretty good job at automatically white balancing your photo two. Now you could always see the before and after of your photo with the back button. It's also this button here. It's a review of the before and after. That's a good way to see what edits you've made. So that is the white balance. We'll see you next in my process of editing, which would be going back to the light panel and adjusting exposure. 9. Exposure (Light) Adjustments in Lightroom CC: Here we are in the light panel and we're going to adjust our exposure. This image is relatively well exposed, so I'm going to go to a different one to play around with to show you the power of having a raw image. Starting at the top, we have an overall exposure slider. This is going to bring up the exposure of the entire image. Let me also, with this little menu button, click the Show Histogram option, because this is a great visual representation of the exposures of our image. On the left, you have your blacks and your darks. On the right, you have your highlights in your white. If you hover over these triangles on the top, right and left, you can see actually what is pure black and what is pure white. And as I move these sliders, you can actually see the histogram change, where more of the colors become mids, and shadows and highlights and whites. And then it's all white and it's over exposed. But the histogram is a great way to see your images exposure. It's not to tell you that you need to have a photo that has exposures going from left to right. However, if you have a photo that is very contrasty and there are pure blacks and there are pure whites, then there should be some part of this histogram touching both sides. Back to our sliders though, we have our exposure slider that brings up everything. Now, our contrast, well, it does just that, it adds contrast, or it makes it flatter. And look at that histogram, this is a great way to understand what contrast is doing. It's pushing the darks and the blacks further to the dark, and it's pushing the whites and highlights further to the right, to the white contrast is spreading that out. Then if we go to the left, it's bringing everything into the center, creating more of a neutral exposure. Everything in the middle of that histogram. I usually don't touch this slider much in the beginning when I'm just trying to get a decent exposure. I'm just using my overall exposure adjustments. And then these individualized ones where I can adjust now. Just my highlights, just my shadows, just the whites of my photo, and then just the blacks. Now this photo is much better exposed. Let's switch over to this photo of maple. Because this is more of a standard photo, I might get where it's exposed relatively well. I don't necessarily need to make overall exposure adjustments. A lot of what I'll do is I'll just come in here, I'll boost the shadows so I can see more details in the shadows of my photo. Then I'll probably boost my highlights a little bit, but then maybe bring back down my whites so I don't start to lose any information. And then if I want to bring back more of that contrast that I lose by bringing up my shadows, I'll then bring back down my blacks to have more contrast. And that's typically what my light or my exposure sliders look like, where my shadows are boosted and my highlights and whites combat each other. And then my black I bring down to add more contrast. If I want a more contrasty photo, then I can just make some minor adjustments. Say that overall, now it's looking a little too bright. I'll just bring my overall exposure down. Then I could use my contrast slider to just add a little bit of contrast or take it away. However, I am creating contrast with the blacks and the high lights being pushed apart. I'm not really, at least for this photo, wanting to add contrast with this slider. We can see what we're doing just with this individual edit with this little eyeball. Say for example, we did change the white balance. Let's see what auto does with this raw photo. We see a lot more options for preset white balances You can choose if, for example, this was shot on a cloudy day, maybe cloudy would have worked better. Or if this was shot with tungsten light, this preset would look good. However, because it was shot outside, maybe a little cloudy or something like that, I think it looks pretty good, but I might want to warm it up a little bit. Auto does a decent job of doing that or I can just push over to the right, although I think auto actually looked pretty good. So the reason I was doing that though is because now I can see the individual edits that I'm doing with each of these tools rather than the before and after of all of the edits, which is good to see that before and after, but just my exposure edits, just like that. All right, so that's the light sliders, your basic exposure sliders. It's really there to help you get a proper exposure, but also to add style to your photo. Whether you want contrast, a contrasty look or a more flat look as well. We skip the curve tool, but we'll be going over that in a future lesson. And we'll see you in the next one, coming up shortly. 10. Tone Curve Adjustments in Lightroom CC: In this lesson, we're learning about the curve tool. This is the tone curve which allows us to adjust the exposure of an image. With this little graph in this line. It's important to understand how this graph works. On the left, we have our shadows, on the right, we have our highlights and hits. It's basically a histogram. And you can see from the shadow in the background that it basically follows the histogram that we have up here. If we were to adjust our exposure up here, it changes the histogram down here as well. I'm here on this photo because a lot of times I reserve the tone curve to make minor contrast adjustments at the end of my edit. I'm not generally using it to fix exposures at the beginning, however, some photographers do like to do that. To make adjustments, all you have to do is click on this line and then you can drag up or down. And you can see it sort of bends the exposure from this point. And that makes it more natural versus just picking one exposure right here and dragging it up. It would be a little bit choppy if I had this up, and then, for example, this down, and this down, and this up. You can see that it naturally tries to adjust your image when you're only picking one point and bringing it up or down. And it brings the other exposures near it up as well. Dragging up, obviously, will make it brighter. Dragging down will make it darker. Now you might have heard of the S curve, which I'm going to go a little dramatic. Now, see how this curve starts to look like an S. Curves add contrast. We can take away contrast. Make a flat image by doing the opposite. But generally, I'll just want to create an S shaped curve if I want a more contrast image. Now we can also take these points on the ends, and we could see this one on the left. This is the black point. If we drag it up, it's increasing the exposure of the black point. Notice in the histogram up here that now the black point is moving to the right and there's no pure black. Actually, it's just not possible to have pure black if this black 0.0 is up here. However, if I go to the bottom, and I move it to the right, more of the image becomes pure black. Because it's saying everything to the left of this point on this histogram is going to be pure black. Similarly, if we take this white point on the top right and drag it to the left more becomes pure white. Let me delete this point by double clicking it and then just moving this to the right. Let me actually double click that and remove both. Now you can see, moving this to the right, everything becomes pure white. However, doing this for this photo just a little bit, kind of increases the exposure in a nice natural way. And something like that might actually look pretty good for this photo. And then the opposite, if we drag this down, it's actually making pure white darker. Now there are some more advanced things you can do with this tool. There's this little, it's like an eye dropper tool. It's a target tool where we can actually go in and click on a part of our image where we say, okay, this exposure of her hair is too dark, so we're going to click on that exposure and drag to the right. So that's going to bring up that exposure. Or we can go here and you can see the little point hovering around this line here. We see this exposure right here. Again, drag to the left or the right. And it's going to bring up that exposure, bring to the right. That point goes up like that. Okay, we're going to bring this up now, but maybe back here the highlights too bright, so we're going to bring that down. Her eye is a little bit dark, so we're going to bring up that black point. Gets it a little bit to flat in my opinion, Maybe we're going to bring that down. We can add a little mask adjustment to adjust her eyes later on to bring that up. But this is a very powerful tool. We can see down here. We have other tools available to us as well with this little Target eyedropper icon. I'm going to get out of that for now because I want to talk about these other curves. This main one is just for the overall. Exposure in contrast of this image. However, we can go into these individual color curves and see here with red we can add red. Depending on where we're putting these points, we can add reds to the shadows. And then maybe bring this back down, we're only adding reds to the shadows. And then we could go in and we could say, we're going to add greens to the highlights. We're adding greens. If you want to get super creative with it, then maybe with the blue, we can add blue to all. Or we could add a little bit of an S curve here. Let's actually go back and reset these sliders that we can see just what you can do with the blue. If we add a little S curve to our blue curve, we're actually adding blue to the highlights. Maybe we want to actually add yellow to the highlights and then blue to the shadows. That's like a typical look. You can create a cool color grade with this tool. To be honest, I don't know if I have ever really used this to edit colors. I do all of my other color grading with the color mixer and the color point color and color grading down here. Which will go over in the future. However, there's an option for doing that here. We also have this parametric curve, and it works very similar to the point curve here. But instead of setting points on this line, let me just redo this where we can set individual points. What the parametric curve does is you're just like adjusting the line itself and there's sort of a max point and a bottom point that you could go to, you can't go past that. And it helps you create an S curve for creating contrast. You have these points here at 2,550.75 that separate the shadows from the darks, from the lights and the highlights. And you could actually move these around for your image to say, okay, I want to be able to adjust more of my darks right here. I'm going to move this here and make a bigger area where we're adjusting our darks. So it's doing the same thing. It's just a different way to control the curve. So that's the tone curve. As I mentioned before, I often will use this at the end of an edit just to fine tune my contrast. Say, I've gone through this entire photo, made my edits, I might just come in here and now say, okay, do I want a little bit more contrast? Okay, I'll just add a little bit more contrast. Or maybe it just was a little bit too contrasty and I could bring it back down. But oftentimes I'm finding myself just using it to add a tiny bit more contrast at the end of an edit. Anyways, that's the tone curve. And in the next lessons, we're going to keep moving down into these more advanced features like color mixer point, color grading, and more. So we'll see you there. 11. Saturation + Vibrance in Lightroom CC: After you have a proper crop, you have your white balance set, your exposure set. The next thing that I typically do is make any adjustments to the vibrance or saturation of a photo. Here those sliders are under color. The saturation slider will just make all colors in your photo more colorful, more saturated. And so you can see that with this photo, that it's making all the colors super saturated. Or if I go all the way to negative 100, it's taking away those colors. Vibrance is a slider that looks at your photo. And by going to the right, it's looking at the colors that are not saturated as much. And bringing those up before it brings up the saturation of the already saturated colors. And it's a little bit more of a natural way to bring up the saturation of colors in a photo. For example, if we go to this portrait of myself, If I bring up the overall saturation, everything starts to look pretty bad, pretty quickly. I might not want to bring up the saturation of red, for example, because in my face I get a lot of red tones and I don't like that saturation look. However, if I want to just bring up the vibrance and the saturation of some of the other colors that aren't as saturated already. Like the blue and the teal in my shirt. Bringing up the vibrance does a better job at making this photo more saturated. We can see before after, but not affecting my face as much, At least for this particular image. Here we have this photo of Big Sir. With a landscape photo, it won't be as easy to tell what looks bad or what looks good with saturation versus vibrance. But here again, just another example, Dragging to the right, all colors get more saturated versus the vibrant slider. It will look at the colors that are less saturated, which in this photo right now, the least saturated colors right now are probably the blues compared to, we have this green in the foreground. And so you can see as I bring this up, the blues get very, very saturated very quickly compared to the greens here that already had quite a bit of saturation in it. You can use both these sliders together in tandem. Sometimes I find myself cranking up the vibrant and then maybe coming back to my photo later on and being like, I think the colors overall look a little bit much. So I'm going to bring back down the overall saturation and it balances it out better. But those are two sliders that you have to make your colors more colorful. In the next lessons, we're going to pinpoint specific colors and be able to change them, make them more saturated, and so much more with color mixer and point color, see there. 12. Color Mixer + Point Color in Lightroom CC: In this lesson, we're going to look at editing individual colors. We can do that with both the color mixer and point color. The point color tool is sort of a newer version of how to do this, and I find it actually a little bit more advanced. So you might end up using point color more. But it's important to understand what color mixer does as well. So with the color mixer, what we're doing is we're finding individual colors and making adjustments to them. You can click this drop down menu and you can choose to adjust just all the hues of the colors, just all the saturations of the colors. Or in this color view, you have the same options, but you're doing it by color. So it's all here in one panel. So for example, if we want to adjust the yellows of this photo, we can choose yellow and then drop the saturation or bring it up. That would be the same as if I went to saturation and went to the color slider here and dropped that and brought it up. It's just that with the color view now we can quickly get to the different colors, right? So we can bring up the saturation. Maybe we want to make them a little more orange. We can drop the hue down, make them more green. Push to the right. The hue is adjusting the actual color of the color, the hue of the yellow. We can do that, and then we can say, oh, we want the yellows to be a little bit brighter. We can bring this up now, we're making the yellows pop. And you can see what's happening over on the right hand side, very cool. Right now we can go in and say, okay, well there's some orange in this globe and we want to make that orange pop out. So we're going to increase the saturation. This is a very rudimentary way to do this, a more advanced way to do this and more fine tuned. Let me reset. This is with this little eye dropper right here, target. Now we have this little eye dropper target mouse. And we have our options down here where we can choose saturation for example. And we can click in our image and it finds that specific color and we can increase the saturation of the banana color. But you can see if I switch over to saturation here, that actually by increasing this color or decreasing it, we're also increasing orange. Maybe we go over here and we see this green. And we're bringing up the green, but there's also some yellow in there. So we're bringing that up as well. That works to a better extent than just picking one slider and bringing it up or down. Because all the colors in our image, it's a blend of colors, right? It's not like purely yellow. And so it does it in a better way. And same with hue. We can come in here or Luminus and we could come in, we could find this blue or green on the globe. And we can bring it down or up. That's bringing up luminants for these specific colors. Now, I taught you all of this, but I don't like the color mixer anymore because there's a more powerful, better way to do it. Although I think that helps you understand what's happening when we get into the point color. Even better with point color, what we can do is we again have an eye dropper and we can come in here and find a very specific color like this, yellow. Now we have the same options, our hue shift, saturation shift, and luminance shift. But it's doing it at a much more fine tune way. And we can fine tune it even more. So if we click this little visualized range checkbox, we can see everything gets black and white except for the yellow that we selected. But even though we just click the banana, it's picking some yellows and stuff that we don't like in this globe. Maybe we don't want the yellow of these cupboards, we just want the yellow of that banana. And so we can decrease this range or increase it, and it does a better job at just selecting that yellow. Now if we check that off, we can see that we're doing a more fined tune adjustment. Now we can say, okay, I want to bring up the saturation of the yellow, but let me get another eye dropper color swatch of this color here, which is the cupboards in the background. We can see the range of that selection I made. Maybe increase that range a little bit, and now we can bring down that saturation and we can even fine tune the range even more. Let's go into visualized range. Let's drop down the range menu. And now we can adjust all of this stuff even more. Here we have these color bars for the color, and we drag this to the left or right. We're adjusting the color we're selecting, we can drag the left side in or out, and we're actually selecting more of that color. And then we can drag these other points in or out at the end which feathers and blends together those colors more. We can choose more of the saturation that we want to select. More of the luminance or the exposure of this range that we want to select as well. So now we have a very fine tune color selection, for example. We could also go in and say, we want to make this green of the globe really pop. We can go in here, we could find that specific green. Now we can increase that saturation. But maybe we want to even just adjust the shift. Maybe we want to push it over to the right even more. Now this is a J peg image. Even doing these little color adjustments, I can start to see a little pixelation. And we don't have as much data. We can go into a photo like this and do the same thing where we find our eye dropper, let's find this color of the ocean. And we want to bring up that saturation. We want to push it more teal and make it look more tropical. Here we can visualize the range and we can increase or decrease it. Maybe we just want that inner part of the ocean right here in the little coast at the coast to be the part that we're adjusting and not everything else. Now we can add another new point. Let's find this green that's in these plants over here and let's push that saturation up. We could also push the hue over to the right to make it more of a green green rather than a yellowy green. Can maybe brighten it up or may darken it depending on what you want. Again, we can visualize the range. We can increase it here with this overall slider. Or we can dive in deep into these selectors and say, okay, we want more of this color selected. We're going to increase this hue range. We're going to increase this saturation range as well to include more, we're going to increase luminance range. We're getting even more of this now. We're affecting all of this. Now we can turn off that visualization, and now we can really see that we're adjusting more of this photo. Maybe we come in here and do one last one for this part of the ocean, which is a little bit of a different color. Let's just decrease that range here. We're now just doing that and we're going to make this more of a darker blue, more darker blue, maybe just make it even darker as well. Saturation is pretty on point, pretty good already. But now we can see just with those adjustments of the point color, how much saturation we added to this photo. How much has changed, much different than just adding vibrant. We've actually changed the colors of things. And this is creating art. We're not necessarily representing what exactly was seen through my eyes or through the camera lens when we were there. But we're creating a more dynamic image this way. That's the color mixer and point color tools and how to edit individual colors in your photos. Thanks so much for watching and we'll see you in the next lesson. 13. Color Grading in Lightroom CC: In this lesson, we're going over color grading. This panel does just that. It gives your photo a grade. If you know anything about film production, you have color correction and then color grading. And they're different things. Color correction is getting your colors to look right, getting them to look natural, maybe pushing the saturation here and there. But generally, correction is more about just getting your image to look proper color. Grading is giving it a style. It's more of what you think of when you see like a preset or a filter slapped onto a photo. You can do a lot of that with grading. In this panel, we have a few different views, but basically we have our three color wheels for different parts of our image, our shadows, our tones, and our highlights. You can dive into each of those color wheels here. And then you also have a global setting. Now if I look at the global setting, this will help us understand what's happening. If I just take this point in the middle and I drag it to the left or the right, or around this wheel, we can add green. We can add yellow. We can add blue. The further out from the center, the more saturated the more color is applied. And you can see that saturation number right here. And if I drop this down, I can adjust this saturation as well. The hue, there's hues all around this color wheel. And as we go around, it has that number of that specific color. If we know a specific color that we like, for example, we like hue number 45, we can type that in. We can also then go in and say we like hue 45, but we only want to add 25 saturation. And so you could really pinpoint it with these sliders. And you also have a Luminant slider as well, which globally will just bring up or down the exposure overall. That's the global adjustments. I generally stay away from global adjustments here. However, I will come in here to the shadows, midtones, and highlights to give more of a grade. You might have heard of that teal and orange look that's a popular style, especially for tropical photos. That is where we're pushing the highlights to like a golden orange. And then our shadows, we're pushing to a teal. You can see it gets pretty extreme if I go out pretty far with the saturation to help you out. If you find the hue you like, you can just press the shift key and it locks it down on that hue. While you are now able to just adjust the saturation in and out, I might just add a little bit of that. Then midtones, we might also add a little bit of gold to it as well. Again, I can press the sheath key when I get there and lock it down. That's why also going to these individual views of each color wheel might help because we're doing the same thing. It's the same settings that we're adjusting here, but now we have a full view. We have these sliders for hue and saturation if we want to adjust them here. We also have a luminous slider, which you see here as well, underneath, which is a way to adjust the exposure of these different elements of your photo. I never use these. I always adjust the exposure with my light settings up above or the tone curve. However, if you need to make sort of like a very minor adjustment, you might want to do that here. Or you might prefer using the color grading wheels to adjust exposure. You have that option. Below these wheels, we have a blending and balance setting. Blending will blend all the colors we're applying to our image together. Let me actually just go extreme with some of these color adjustments so we can see better what's happening with blending and balance. If I drag this to the right, it creates a more blended mode. Blue plus orange, yellow makes this green going to the left. It doesn't blend it as much. See how now parts of this image, you can really see in the shadows, you get this blue. And really see in the highlights, you get the yellow and the orange. That's what the blending slider does. It blends it together into one color or not Balance on the other hand, will push the strength of the effects you're applying towards what you're doing to the shadows or the highlights. So this is a bit extreme because these saturations are really high up. But let me take these down just a little bit to show you more practically. So now, if we push to the right, it's going to make everything a little bit more golden yellow because that's what we're doing in the highlights versus the left. It's going to start to apply what we're doing in the shadows a little bit more. So it's just a sort of fine tune adjustment. Say okay, I like what I'm doing, but maybe let's blend it, or balance it over to the highlights just a little bit more. And blend this in together. Blend in what we're doing. Most times people will push the mid tones and the highlights to the warmth. And then balance it out with a complimentary color, which is opposite the color wheel, with sort of a coolness added to the shadows. But it's up to you to create your own grades if you like. We can create some really cool grades with some pink in the shadows and maybe a little bit more of a greenish yellow in the highlights and mids would look cool. All this is up to you and this is how you can create some really cool filter like film stock type effects for your photos. Thank you so much for watching and we'll see you in another lesson. 14. Using + Creating Presets in Lightroom CC: In the past few lessons, we've gone over all of the basic ways to edit a photo, exposure, color, and that sort of thing. I think it's a good time to actually pause and jump up to the presets option up here. Presets, you can think of them like filters that you can apply to a photo to give it a certain look. Clicking that button will open up the presets menu and you'll have some already installed presets under Basics. Light room comes with some that might actually look pretty good with your photos and it might look best if you start with a unedited photo. So you can press the command R or just press Reset in the drop down menu over here. And now we can see what those presets do without any other editing with a nicely exposed, white balanced image from your camera. That's generally what you want to start with with a preset. Once you click on a preset, you can adjust the amount, which for this photo, I think we could actually boost up even higher. And that looks really, really good. Some may be better for portraits, some are for just certain style of photography. And to import any presets, including all of the presets we've added to this course, all you have to do is go to this little menu here and choose Import presets. Now for example, I have the bold contrast presets that I've included in this course. I can import those. And now we have all of these bold contrast presets that might look good. You can right click, rename this Group. You could move presets from group to group. You can go down to the Managed Presets button and you could turn on or off the presets that you want to see here. There's also a recommended tab, and within the light room community, there are these presets that other photographers create and you can just use them. You also have these premium presets that come with an Adobe subscription. And there are different ones for different subjects, et cetera. Now with any of these presets, it's a non destructive edit. So maybe you like this style. For this photo, it's kind of like a vintage landscape look. We can still go into our light and color edits and adjust everything. And here you can see what's happening with all of these presets, like the color grading, for example. Here we can see the shadows are being pushed to this green. And it's kind of educational to be able to look at these settings. What about creating your own presets, whether you're in the preset menu or not, once you make all the changes to your photos that you'd like, and say you come up with a style that you like for all of your landscape photos that you've shot and you're going to be doing more landscape photos, it might be worthwhile creating a preset that you can use in the future. All you have to do is click this plus button. Call this Landscape one or whatever. You can choose where you want to save it in your general user presets folder or into a specific group that you've created or create a new group. I'm just going to add this to vintage Vibes, for example. You can choose the settings that you want to save to this preset. If you don't want to do things like maybe you don't want to include the lens corrections from this profile or from what you've done in the preset. And then you click Save. And now under yours, again, we have under Vintage Vibes, we have landscape as one of our presets. So now if we switch to a different one, we can come back and automatically get to our landscape preset that we just created. Say you want to export a preset to share with a friend to sell online. Maybe you create some preset yourself. All you have to do is write, click and choose, Export. And you can export that file to your computer to share with someone else. Presets are very powerful, but the thing I often have to remind photographers is that when photographers create these presets and you see these great packs, even the ones we've created, we used specific photos where this style looks good for this preset. And so you can't just take up any old preset and assume it's going to make your photo look amazing. I see lots of packs out there for portraits and wedding photographers and stuff. And some of them might work. However many times you're still going to have to go in and make some minor adjustments to make them actually look good. All right, I hope you enjoyed this lesson on presets. Enjoy the free presets in this course. If you use them in your photography, make sure to give us a shot out. If you share them online, I would really appreciate that. Thanks so much and we'll see you in the next lesson. 15. Effects: Texture, Clarity, Vignette + Grain in Lightroom CC: In this lesson, we're going to go over the effects. Some of these we saw in lightroom classic in the main basic exposure panel, but they've put them all in this effects panel. Here we have texture and clarity first. Texture does just what it says. It's going to try to bring out the texture and the detail of our photo. Which you could zoom into a photo just by pressing the Space bar. And then you can click around with your mouse, which is now a hand tool to move around your photo. And you can see that with the texture. I'm really able to see the edges of those feathers in much more detail. So this is great for just exactly that. If there's textures in your image and you want to bring them out, bump that up. Clarity also does a similar thing, but it also adds contrast to the edges of things. It's a good thing to do when you are trying to bring out the details of an image like this. However, when you're editing things like portraits, for example, let's go to this family portrait right here. If I add clarity to this image, it's not the right type of detail that we're trying to find. You're seeing way too much detail and it's adding too much contrast And texture also is something that you generally don't do with portraits unless you're going for like a grungy style look. However, dropping clarity is something you might do with portraits because it softens people's skin, which is very nice look. Everything is sort of like a pastel type color, at least in this image. So you don't want to push it too far for a landscape photo like this, I often bring up clarity and texture so I can see the details of all the rocks and the textures and the water, and the nature, and the plants as well. That brings us to haze, which for a photo like this, can help bring out details where there is haze, that's what it's for. Landscape images where there's clouds or things, this often brings out a lot of great detail in the sky here on the ocean as well. It also is adding contrast to the image. You want to be careful about pushing this too far. With a lot of these effects, we can do them with individual mask edits where we're just editing the sky for example or just a portion of the image. We might want to reserve De hays for just the sky for example. And we can do that, we'll learn that later on. Here's a great example of where we want to apply some dehaze to the sky. And you can see as I crank it up, the sky's detail comes out. We see clouds that weren't here in the original photo. However, I don't necessarily want to add dehaze to the rest of my image. Next we have a vignette. A vignette is going to add a dark vignette or a highlight vignette. We can also drop down this menu to get more fine tuned with this a vignette. The purpose of it is to draw the viewer's attention to what's in the middle of a vignette and it has a purpose. I often find more amateur new editors pushing vignettes too hard and it just starts to look a little amateurish. Generally, when I'm doing a vignette, I like to increase the feathering very high so that it blends more. Then I'll just play around with the midpoint. Let me actually decrease the feathering so you can see what's happening with our midpoint. We're bringing it in or towards the edge of the photo with roundness, we're making it more of a circle or more square. You can create a cool little vintage style frame in this way if you want. But generally what I'm like doing is a pretty round vignette with mid point around there, nice and feathered. And then I just do very subtle. Now with this on and off, you can see that it does a lot to draw our eye to the center of our photo. The high light slider will let the highlights, which we can see in this image, shine through the vignette, which makes it look, I think, a little bit more natural. Then lastly, we have grain. If you want to add grain to a photo to make it look like it was shot on film or something like that, we can add grain and we can increase the size and the shape, the roughness of the grain here. That's totally a stylistic thing. Generally, we're trying to get rid of grain with our images, and we're going to see more of that with the detail panel coming up where we are actually reducing the noise, which is little specs of what looks like grain in the background. But if you want to add, maybe if we're doing like a black and white image and we want to have it super grainy, that's where that option is. So those are our effects. I hope you enjoyed this lesson and we'll see you in the next one. 16. Details: Sharpening + Noise Reduction in Lightroom CC: In this lesson, we are looking at the detail panel. This is a Jpeg photo, and no sharpening is applied to it. Because with most cameras, when they process a Jpeg compressed photo, it adds some sharpening to it. And adding sharpening here might not be necessary. Although you can see as I increase this, you can see we're getting more details in our image. However, if you are editing a raw image, like our shot of maple here, we can see that sharpening has already been applied. Light room automatically set sharpening to 40 for raw images. But we can increase or decrease this. And pay attention to the hair on maple's nose right here. This makes it sharper or not as sharp. All rash photos need a little bit of sharpening. And then you can just boost it however you want. You can drop this down and you can adjust how the sharpening is applied. Radius, this will adjust the details in the edges. How big does an edge of something need to be to have sharpening applied? That's how sharpening works. It's looking for the edge of things and that's based off of things like color and tone in an image. So it can tell that this piece of whisker is different than the background whiskers because it's white and then dark and it applies sharpening. However, we can adjust the radius here and by bumping this up to the right, more will be sharp sharpened and then detailed as well. We can drag this to the right and it adjusts how contrasty the sharpening is so that we can get even more sharpening. On off, on off. Let me crank up the sharpening so you can see on off, on off for like pet fur. This is great. Masking is a great tool if you have a photo like this where there's some stuff in focus and then some out of focus, where we want the sharpness to be applied to the things in focus. But we don't want the sharpness to be applied to this background because it's adding some noise. So you can see here, if I turn this on and off, it's adding noise. And by increasing the mask settings light room in sees what is in focus and what our subject is. And then if there's not a lot of detail like in this blurry background, it won't apply. That sharpening. That was sharpening. What about noise reduction? With most photos, if you're shooting at a higher ISO or if you're adding a lot of texture and sharpening and clarity to your image, you're actually getting noise right here in this photo, we have a lot of noise in the sky and we can see this by dropping down this manual noise reduction panel. It already has some color noise reduction applied, as you can see at 25, and that's automatic for raw images. But if I take this down, you can see the color noise in the sky with it on off, on off. Most times you won't see the color noise because it's automatically removed here. However, we see a lot of noise still in the sky and we can remove that with our luminous slider. So the more we go to the right, the more noise is removed. However, the more we go to the right, the softer the image becomes and we lose details. We can combat that by trying to preserve the details by sliding this detail slider to the right that brings back our details. Contrast will also make the edges and things of what's in our image more detailed and more contrasty. You can use these three sliders in combination to get a good balance and now we've removed a lot of that noise in the sky. Now that's if you want to do manual noise reduction. Now there's a great AID noise tool that if you have the original raw photos, which these are DNG files, which is a raw format, but it's not the original photo. You can do this. I'm going to go to a photo. This photo here I shot and it has a lot of noise in it. And I want to bring up the sharpening because I want to see the details of this bird. However, by doing that, I'm increasing the noise. So let me use this noise tool. It's AI, it's looking at your image. Now let's move this little preview up to our bird's face. We can see the original by clicking on this and then unclicking, and you can see how much noise is removed. You can adjust the amount slider here. And this does a much better job at preserving the details of the image then the manual noise reduction slider does. And that's why this tool is so amazing. Once you click Enhance, it's going to process it and it's actually going to create a new DNG version of this image that you can edit. And you can see it creating up here. And it's actually a stacked photo here. This happens when you create like panoramas and HDR images. We have the original photo and then on top of it we have the Noised photo. And it's combined as a stack so that it just has one instance down here in our photo tray. However, you can always get back to that original photo, which here now you can see that before and after, how much different it is. This is an example of a photo where I shot it with a higher ISO at a wedding, with a crop sensor camera, which automatically doesn't bring in as much light as a full frame camera. And so with the original photo I did the ID Noise And you probably saw that in the classic version of this lesson and it did an amazing job. So that is the detail panel in light room. I hope you enjoyed it and we'll see you in the next lesson. 17. Optics: Chromatic Aberration + Lens Distortion Removal in Lightroom CC: In this lesson, we're looking at the optics panel. Here we can do two things, remove chromatic aberration and enable lens corrections. Basically, this is fixing issues that happen at the lens level of taking photos. Removing chromatic aberrations sometimes when you have a super high contrasty image like this one with the blown out background and then portrait of the lady in the shadow, we get these weird green or sometimes purple lines on the edges of things. You can see a little bit of purple right here. Checking this on, we'll remove those. Pay attention right here to her hand. Off on, off on. We can adjust this by going to the fringe setting and we could choose if we see sort of purple fringe or green. Let's go to green because I still see some in her hair. And we could increase the amount that is being reduced or we can increase the green hue that's being selected. So now we're getting all of that chromatic aberration that was in her hair. Let me turn that on. Off, on, off. You can see it removing in her hair. And then same here, just on the edge of her hand. You see a little bit. I'm going to increase that again. It's so hard for you to see. I know, but with this all off, on off, it's removing that. You really have to worry about that with certain cameras in a high contrast situation. But that's what that option is for lens corrections. With any lens you're going to get certain amount of vignetting or bending. Especially with super wide angle lenses, the edges of things will be bent, enabling lens corrections will fix that. If you're using a camera and a lens that is within light room, they have the data on that lens. It will automatically bring up that lens and fix what it thinks is an issue with it. For example, with this Tameron lens, it bows the monkey in out on the edges. And then it also has a bit of vignetting. You can see that the edges get a little bit brighter when I turn this on or off. You can adjust these manually by just increasing or decreasing the distortion slider. And same with the lens vignetting slider here. Now, if your lens didn't automatically pop up here, you can go in here and find the specific lens. However, light room doesn't have the profiles for every single make and model of lens and camera. You might not be able to use this setting if you don't have the lens for your camera. You don't want to just apply a random lens correction to your photo because it's going to be applying settings that aren't necessarily right. However, if you want to do the same effect for your camera and your photo, you can do a lot with vignetting with masks as well as you have this post crop vignetting right now, which will apply that brightness post crop, whether you're cropped in or out. And then also under our crop, we haven't looked under geometry. But there are ways to adjust the distortion of a lens here as well. We're going to look at this in more detail in another lesson. That is the optics panel. Oftentimes actually I like the look of a lens. I like the natural vignetting I get with the lens. I leave that. However, chromatic aberrations I want to get rid of. There's that option. All right, we'll see you in another lesson. 18. Geometry: The Upright Tool for Straightening Lines in Lightroom CC: In this lesson, we're going to look at geometry. So we skip this over in the crop panel. This is a tool that is used to make lines straight in an image. Here is a photo, You don't have access to this photo, but it's a good example of where I can use this tool if you drop this down. It's also called the Upright tool. If you use that in Lightroom Classic, and you have all of these manual ways to distort an image. You can adjust the pitch of the angle of the horizontal and vertical axis, rotate things. But really what you're meant to do is use one of these upright methods to straight in lines with this photo, I can see that the top of this building, it goes down this line over here on this right side of the building, it's a little bit tilted. And if I change my crop overlay to grid, I can really see that this line is a little bit bent. This telephone pole is a little bit bent. This horizontal line across the top of this building on these windows. I want this photo to be straight, square. And that's what this tool can help me do. There's an auto way, which actually does a pretty good job. See now this building, the top, It's straight, those lines are straight. It's up and down. So that actually pretty much does it for me. There's a couple other automatic ways that try to either level an image that will look for like horizons and level it vertical, will look for vertical lines and make sure they're up and down. But that didn't pay attention to the horizontal lines. As we can see from the top of the building full. We'll look at all lines and try to do that. It's applying all of these things. It's applying some vertical tilts and shifts and changing the aspect potentially to get it to be straight. However, there's also a manual way that you can do this. There's also an option for guiding light room and doing it manually with guided or just by clicking this little button here for guided. Now we take our mouse and what we need to do is give light room reference lines for what is supposed to be perfectly vertical and what's supposed to be perfectly horizontal. What I'm going to do first is take a line and draw it across the top of this roof. Now nothing happens because it doesn't have anything else to refer to as a straight line. But now if I take this curve, for example, and we go across this entire curb, it makes both of those lines perfectly level. If I click this to get out of our guide, we can see now that those lines go straight across this grid. By doing so, it fixes a little bit of those vertical lines, but it's not perfect yet. I'm going to take the guide tool again, draw a guideline on this side of the building. Then also, I'm going to do one, let's go to this light post here. Because I want both that line and this one to be perfectly vertical. You can use a maximum of four guides. Say that one didn't work. Maybe you want to use a different light post like this one as the one for your reference. We can use that one, although that will affect potentially what these other lines look like in your image. Here's another photo where this would come in handy. So if I take my guidelines, I can set a guideline for this left post, and I want to have this arbor pergola thing frame our subjects, and I want it to be level and straight. This square, I'm putting these all around and now it squares everything off. So you can see this before and after. Now I could probably just actually crop in would probably be a good thing to do. So let me crop in so we're balanced on the left and right sides. Now you can see just with the geometry, the before and after, pretty cool stuff. This is great for real estate photography, architectural photography, really any type of photography where you need to make lines straight in an image. Thanks so much for watching and we'll see you in the next lesson. 19. Lens Blur Effect in Lightroom CC: In this lesson, we're going to look at lens blur. It's currently early access. Who knows, by the time you're watching this course, maybe it will be full blown, not beta anymore. I'll update the course if there is anything else that changes. But all you have to do is click this Apply button and it basically does what portrait mode on your smartphone does, but in a much more intelligent, better way. So this photo, it already had nice shallow depth of field. However, with this tool, if you take photos without a blurry background, you can create that blurry background. With this tool, we can increase the amount and we can even adjust the Boca the bouquet as it is pronounced coming from a Japanese term for the quality of blur. We can change the shape of that blur here with these settings here and give it a boost to adjust the shape and the look. However, with this photo, it's a little bit hard to see. If you have a photo with a lot of dappled light in the background, you'll be able to tell the difference with these different shapes of Boca. But isn't that amazing? I can make this shallow depth of field even blurrier. And it does a really good job at judging what should be in focus. Our subject, these branches are still in the foreground. Those are in focus still. We could adjust the focal range here. Here we have a visual representation of what is in focus. Here we have our subject that's yellow and then a lot of stuff in the background that's purple. We can actually change if the background was in focus in the original photo by adjusting the slider. Now what was in the background would be in focus. We could even make the sliver of what's in focus smaller by bringing in this little focal range here. Let me go to another photo so you can see that in action. Now here we have a photo with a very deep depth of field, where pretty much the whole photo is in focus. Applying this, we can now create that very shallow depth of field and we can adjust our focal range. If we drop down this menu, we have this slider that shows us what's in focus. And if we take this and drag it to the background, we can actually, really, literally adjust the focus of this image. We can make the sliver of focus, the focus plan even shallower with this by bringing in the left and right hand side of this little selector tool. However, you got to be careful because the more you do that, depending on the image, it might start to look like that iphone portrait mode, where sometimes the edges of things look a little wonky. However, we can visualize the depth here to help us adjust this even more. And now we can see really where our visual focus plane is moving with that little highlight bar. We want the bike, but maybe we want some of these foreground elements out of focus as well. But maybe a little bit more of the background and focus. Now the little foreground is blurred, our cyclist is in focus, but the background is out of focus. And that's actually a little bit more of a natural, shallow depth of field than what we saw originally. There's different ways to select what the subject is or what you want to be in focus. So here you can just click this and it's going to select the people in the image. Or you can click this little eye drop or Target button. And then now you can draw a box around what you want to be in focus in the image. So we could just say, okay, yes, I want this little art in the background to be in focus, or okay, I want the cyclist to be in focus, play around with it. Generally, it's going to try to keep the person or whatever the main thing in your photo is in focus, but you can adjust it there. So here we have our football player. Soccer player if you're in the states and we have our shallow depth of field on already. But we could actually refine this with a brush by making more things blurry or more things in focus. For example, we can go in here with a blur brush. We can increase the size of our brush and we can blur out more that's in the foreground. We might want to actually feather that quite a bit. Let's feather that even more. If you visualize the depth now you can really see what I'm doing. I'm painting on blur out of focus ness. Maybe I went too far so now I can take my focus brush and paint that back on. You could decrease the flow or increase it. This is like watercolor painting where you're going to have to layer on more brush strokes to get it to be applied more and more flow all the way up. The opacity of this brush is at 100% That's how you could think of it. Now we have this really creative blur where just our soccer player is in focus. But I do think actually painting on right here, it's like a sliver right here. Looks even better if you are, say for example, let me just turn this on so you can see, say, you're blurring something out over here. But you need to adjust the size of your brush and you want to start a new instance of your brush. You can just click the plus button. And now we can adjust the brush size, maybe decrease the flow. Keep painting on with a new brush. So this changes the game in terms of creating your own unique blur style effect and shallow depth of field. Which we used to be able to do a little bit with the mask tools in the past. But now this lens blur effect is much, much more powerful and can make your photos really stand out. Make us draw our attention to the subject of the photos. Now you know how to use the tool. All right, I hope you enjoyed this one, and we'll see you in the next lesson. 20. Healing, Clone, Object Removal + Red Eye Correction in Lightroom CC: In this lesson, we're going to go over these healing brush options. So if you click this brush, you have a content aware remove heal and clone stamp tool. So let's start with healing brush because this one is very applicable and practical to use when you're trying to remove any blemishes. So you can adjust your brush size, the feathering of your brush. And really all you have to do is now click or click and drag and paint over a blemish or something you want to remove. Once you unclick, it creates a target marker or a spot where it's referencing to sort of blend together with the original spot that you selected. So I'm just going to move that around. Sometimes it selects a spot that doesn't look good, and so you might need to move that around. So you can just literally just go around and you can just click on any of the blemishes that you want to get rid of using that healing brush tool. You can also click this Visualized Spots button, which helps you see the spots dropping. The threshold will just show like the main ones. And you could even paint over here. And it's a good thing to know that you can zoom in with this tool here or change the adjustment of your zoom over here. And then pressing the space bar will bring up your hand tool and you can move around your photo with your hand tool. All right, so that is the healing brush tool and here you can see it got rid of all those blemishes. Next is the content aware removal tool. What this does is you can drag and paint around your image and it will try to remove it based off of the content around what you're drawing. And see these little light spots that are dappled in the background. This is a great example of getting rid of something with this tool. Now, getting rid of things like blemishes, this can work, but sometimes it doesn't do as good of a job. Let me just go ahead and let's just try to take out her whole eye and see what happens. There we go. That actually did a pretty good job if you want to remove her eye. Sometimes the content of where removal tool is great. This is also great for removing distracting things from a photo. Like for example in this photo, if I wanted to get rid of the soccer player in the background, I can just paint over the soccer player here and it will try to automatically remove that guy and it does a pretty amazing job. See how we have this person in the background. Now, that doesn't look so great because it looks like a duplicate of it. But we can click this refresh button and it will reapply that. And now this one looks better. And this combining with that lens blur effect will make this photo look even better. Removing people, removing objects. That's what the content aware remove tool is generally better for. The clone stamp tool, it does just that, it clones something for you. So the first thing you want to do is paint where you want to clone something and then you will select what you want to clone. For example, if I make this really big. So I'm going to paint this right here. And now it's going to create a reference point which I can click and move. And now it's actually cloning that watch. And I can decrease now and get a pretty good clone of that watch. Now practically, what would you use this for? Well, you used to use this for things like here where you were removing something. Maybe I want to get rid of this shadow. Let's go in here. Get a little bit smaller and more detailed. I'm going to paint over this shadow now. I'm just going to take this grass down below and get rid of it. Now take this. We are getting rid of the shadow in a very slow way because now we have the healing brush and the content aware tool that will literally let us do that in a click of a button. But sometimes you have to fine tune things and doing those tools doesn't look as good. But now you can see we got rid of this guy's shadow with the clone tool. Lastly, we have the red eye correction tool. Clicking the Autocorrect button will do a pretty good job at automatically correcting that. However, if you want to do it manually, with this tool selected, you can just click right in the middle of the eyeball. Just hover and drag over it. It's going to find the pupil. And then you could adjust these settings to increase the size and the darkness of the pupil. And then you would just do that for both eyes, but the auto correct button does that pretty quickly. And we don't generally have this issue with a lot of cameras nowadays. So that is the healing brush tool and all of the other tools that come with it. I hope you enjoyed this lesson and we'll see you in the next one. 21. How to Export Photos from Lightroom CC: In this lesson, we're going to share our photos with the world. How do we export them? It's super simple. In Adobe light room, all you have to do with one or multiple photos selected is click this little share button. And we have share options or an export option. And they have these preset exports that make it super easy to just export a large or a small Jpeg large peg. That's going to be full size, full quality, a really great quality for sharing online, for even printing. To be honest, if you're posting online, you probably don't need the full size, 100% quality though, because sites like Instagram and Facebook and Portfolio websites, or if you're uploading to your own website, it's going to compress the photo and you might want a smaller photo anyway. Just choosing the Jpeg small option would be good. You can also do your original or customize all of these settings with this button here. Now with the custom settings open, we can change the file type. Generally, you're just going to want to do a Jpeg for most instances. Sometimes print shops want a Tiff, but Jpeg is often what's used. Dimensions. We can choose a custom size. For example, if we know that we want the long side of an image to be 1920 pixels wide, then we can choose that. And then it will just base the vertical side and the horizontal side off of that aspect ratio. Or we could do by inches, for example, or centimeters. If you know you're printing a seven meter tall photo, then we could set that at 7 " or centimeters. And then down here we have our resolution. 240 is very, very high. 300 is probably the highest you'll ever need to go, especially if you're printing something out, if you're just putting something online. 72 used to be the sort of the golden standard because most screens, you can't really tell the difference when you get higher than 72 pixels per inch. This is literally how many pixels we're cramming into a square inch of your photo. However, 150 is also like a happy medium safe zone. And then lastly, we have quality. And this is also going to adjust the size of your image or the file size rather of your image. If you're printing 100% is where it's at. However, if you're just sharing online, you probably won't notice the difference with 90% and you're actually seeing a preview over here on the left hand side. So if I'm dropping this stuff down, you can start to see the difference. You can choose to include a watermark or not. And if you do that, you can customize it by clicking the little gear icon. And here you can adjust the text, the font, the positioning of it, the opacity of it, all of these other settings. You could add a graphic if you want to add your logo or if you have like an signature overlay, that's all right there. Then when you're happy you can click done. I generally don't include watermarks in my photo. What information do you want to save to your photo? All the metadata. Just the copyright information. That's up to you. But I like having the metadata on my file so I can see things like what camera was it shot on, what lens, what settings, et cetera. Next you have your file naming. So you have the original name of the file. You can create just a custom name, so you can just type in Bird Hawk, whatever you want. And then it just has a sequence added to it or it's the capture date and the file name. That's up to you to decide. And you can see that compared to light room classic, we have some pared down options here, so not as many in the last couple things. We have output sharpening. I mentioned this in the classic export lesson, but unless you've really dialed in the sharpening in the settings, you might want to just add a little bit of sharpening for posting online. So just standard or low, or high there. Or if you're printing, you can choose the type of paper that you're printing on and add a little bit of extra sharpening which will help your photo come out more sharp with more details after it's printed. I would definitely do this. If you're printing your color space, generally just leave it RGB unless the print shop asks you to change it or, you know, you want to change the color space to a different one. These different color spaces have a more or less range of colors within them. But generally, what you're looking at right now on this screen, what you're looking at on your phone screen, on a TV screen is going to be RGB, and you don't need to change that. Finally, if you've done all of that and you're happy with it, you click Export. You choose where you want it to go, and then you export that photo. And now we have this exported photo to share with the world. Now if you go to another photo, you want to export. When you go up to the export button, you have the previous settings option here that has all of the previous settings that you've chosen for that previous edit right here. That's how you export. Your photos in lightroom CC. We'll see you in another lesson. 22. How to Create Masks for Local Adjustments in Lightroom CC: Welcome to this new section of the light room CC, part of this course. In this section, we're going all over masks which allows us to make selective edits to a part of our image. You see if you click this mask button, all of the different ways we can create a mask. The older ways of just creating linear and radial gradients, that's a thing of the past. I still use these types of gradients a lot. And I recommend you check out the Lightroom classic section on selective edits and mask. Because I go really in depth in how and why to use these different tools. In this section, I'm just going to go over the basics of what the tools are, how to make those selections, what you can do with those selections. But I don't want to be too repetitive with that course because the way it works is very similar. But here we have our different options for making a selection. So we can click Subject. Once we have our subject selected, it's going to be highlighted here. And we have this new mask menu that pops up. We can expand it and we can see the mask for our subject. We can turn on or off this overlay. And you can do that with the key on your keyboard. That's the keyboard shortcut. So you can see what's highlighted in pink and see how good of a job it did, it even got the reflection of this subject. Now it's not perfect though, so we can always edit masks with the add and subtract tool. I'll go into that in more detail in the next lesson. Now what can we do with a mask while we have all of our editing tools up here? We have our light adjustments. We can make our light adjustments, we can make our color adjustments. Everything that we learned in our course, we can do with this. Say we want to make our subjects, maybe let's just make them a little bit warmer or something like that, less green, something like that. That looks pretty good. Maybe back down, that saturation that's just applying to what's inside of our mask. Now to create a new mask, we just click this plus button. And that menu that we saw before is now up here. Once you have a mask, it just appears right here. Again, we can select one of any of these sky. We don't really have a sky in this photo, so we're going to choose background. And now it selects the background and it does a pretty good job. Let's decrease the saturation of the background and we can get a pretty darn cool looking photo. Neat, huh? Now we can also do things like in the past, before we had the lens blur option, we could decrease the sharpness, which was a way of creating shallow depth of field with a mask. So we can decrease the clarity and the sharpness and maybe bring up the exposure as well. To delete a mask, all you have to do is select it and press delete. You can view individual masks and their edits with the eyeball, or you can click this drop down menu and you have all sorts of other options for renaming your mask, duplicating, deleting your mask, et cetera. And we'll get into some of these other ones in a future lesson. The last thing I want to do in this lesson is just go over these four ways to create mass object selection. This one you can either choose a brush or this little box marquee tool where you can click and drag a box over some sort of object. And it's going to analyze what it thinks is the object you want selected and mask it. For example, if we want to add to this mask already, maybe we just want the globe part of this, so we can put a little box around there. And then maybe we want to take this brush and we can use that. We just brush around Shakespeare right here. It does a decent job. We might need to just add to it like this here. Definitely like the subject. Or maybe if we just took our whole marquee over here and put it around our subject, it would do a better job. That's the object select. Let's delete this whole mask. Now let's do the brush. It's very simple. You have your brush, you have feathering, you have flow and density, which is basically layering on when you're creating a mask for the first time. You generally want to have that up all the way, but maybe you only want to apply a little bit to a part of your image. And so you drop down that flow or that density. And now what you do to one part of your photo will happen more to the mask that had the flow up all the way. We have a linear gradient, so this is like a line. If you click and drag, you can create a line. And it could just depending on where you rotate and then you unclick, You can also move this. We can rotate it by clicking in the middle and dragging that middle line. You could extend and expand the feathering of this like. So maybe we want to really boost the exposure of just the bottom part of this image. We can do that. Or maybe make it darker, cool. That's the linear gradient. Radial, That's a circle, Radial gradient. Maybe we want to just highlight Bill here in the middle. We can increase the feathering of this with the slider. Or take this little circle in the middle and increase or decrease the size. Now we can create a little high light circle. Or if we want to invert this radial gradient, there's an invert button here. And I'll show you with O on the keyboard, invert command I, or this little invert button up here. Now we can create custom vignettes right around our subject. Now this is why we might want to duplicate this mask, or maybe duplicate and invert it, because we might want to do something separate to the inside of that radial gradient. And now we have a new mask, three inverted. And we can increase the exposure there right inside. There's lots of ways to create masks in the full lightroom classic section. And in the later section where I go over some full edits. In the following lessons, we're going to get into more depth and specifically in the next lesson with color range and luminance range. We'll see you there. 23. Range, Color Masks + Making Adjustments to Masks: In this lesson, we're going to look at the range masks as well as, this is a good example for doing a sky selection because we have a sky and this does an amazing job. We used to have to use like the linear gradient and brushes and now we can do so much just to the sky. I mentioned before, sometimes you might want to apply some de, hays to your photo, but just to your sky, you don't want to apply that to the rest of your photo. So here we can do this just to the sky. We can apply color adjustments to our sky down, make it more blue. We can add or change the hue. Something like that. So much you can do with these individual masks. But don't forget though that instead of creating a sky selection, what you could do is first do the sky, but then invert this. You can just click that invert button up here, and it has now a mask of just the landscape, which is pretty cool because maybe we want to just boost that clarity and the texture of our land maybe really drop down. There's a lot of noise in there, maybe increase the noise reduction. Use that sky selection to also select your landscape. This photo, we can use the range selector. This is basically a range of colors or a range of luminance, or brightness, or exposure that you're selecting. First what you're going to do is click color range. Now we're going to click and drag on our photo, a color that we want. Maybe we want this sort of orange in the sky. Once I've had that selected, we can increase or decrease the strength of that range. Increasing or decreasing the range. Now for this photo, it's a good way of not only selecting the sky, but also some of the color down here in the lights. Now we can see that sky selection and we can boost the exposure. Maybe make it more orange or what have you. Depending on what you want, maybe we want to really drop the clarity of that, so there's no noise in the sky, something like that. Now with the luminous range mask, it's a similar thing, but we're just selecting an exposure range. So now we have this bar up here. The right side is highlights, the left is darks. And we could bring in these ends, and we're selecting that range of exposures. Maybe we just want to select all the dark parts of this image, but not those highlights in there. Now we can do all kinds of stuff with this. We can make them pure black. We could add color to them. Or maybe what we want to do is do a selection of these lights here. What we can do is another luminous range and just select the highlights. We don't want to necessarily select the sky. This is where getting into editing a mask and adding or subtracting from it is important. And we have all of the options for adding or subtracting that we have for creating a mask. So we can subtract with a brush, for example. Let's turn on our overlay. So we can brush up here, let's increase our flow. And we could brush up here in the sky. But an easier way to do this would be to subtract with a linear gradient. And now we can create a linear gradient that subtracts the sky. Maybe an even easier option if I delete those would be to subtract the sky. And all we have selected now are the highlighted street lights here or the car lights. Now we can boost the exposure, the color, maybe make them really warm and saturated. That's how you create a mass edit a mask with any of these masks and the edits you've made to them. Once you have what you've done and you want to refine it with an amount, we have this amount slider so we can push it up more and it duplicates everything we've done, or it increases what we've done, or we take it away. Taking the amount down to zero would be erasing everything we've done to that mask. Similar here, mass two, we can increase what we've done, the power of what we've done to the darks. That's actually hard to see. So let's go to mask three. Increase what we've done to those light streaks or decrease. Those are the range mask and that's also how to add to edit a mass back here really quick. I didn't really show you add but we have this radial gradient around bill here. But maybe we want to add the same effect to our globe or our bananas. We can do that right here within this mask. And it will automatically apply the settings to wherever we create this next gradient. Let's add another. Let's just do a object selection and it selects this banana stand. Now we have these three masks within this mask, and all these settings are applying to all of those masks within here. All right, that is a lot about masks. We're going to dive in deeper with editing people in the next lesson and editing portraits with masks. 24. People Masks + Portrait Editing with Masks: In this lesson, I'm going to show you how to edit people and portraits with the people mask selector. If there are people in your photo and you open up the mask panel, the different people will appear here. You click that person and now you have the option to create a mask for the entire person. You can uncheck that or just go ahead and start checking these other parts of the person. And you can choose which ones you want to create masks for. I'm going to go ahead and create masks for all of these, and I want them to be separate masks so that I can edit them individually. Now I'm going to click Create. And now we have these appropriately named masks up here. Now we can do anything we want to these different parts of the person. One other more advanced thing that you should know about is that there are presets for our masks here. Under presets there are things like smoothing skin if that goes a little bit too far, which we can see the before and after of the whole edit or of this individual edit right here of just this mask. So it's easy to see, we can bring that back. We can also see what's happening with each of these presets. Because it shows it right here, the texture and clarity goes down. We can boost it even more if we want to maybe use clarity and soften the skin even more. Now we have the body skin now. We could do the same thing. We could use the preset. Let's go ahead and do smooth skin and apply it there. Or we could have just gone under facial skin and we could have added person and then gone to body skin and add it to this if we didn't do it originally. Now we can just delete this body skin one that was created. However, there are times where you might want to edit these separately. All right, so we have eyebrows. There's no preset for eyebrows, but maybe you want to just take the exposure down, make them a little darker, maybe warm them up. You can give them a little bit of a color change with your hue. What have you, Clara? This is the whites of the eyes. So let me zoom in here just a little bit. So a lot of times we have those red veins in our eyes. So one thing I like to do is boost the exposure just a little bit. Not crazy, but just maybe like 0.20 0.25 something like that, depending on the photo. And then I'll come into our powerful point color tool. Use the eye dropper to get that sort of red pink color right here in the eyes drop down that saturation maybe. Let's go ahead and increase the range of that color selection that we are doing. Now. Our eyes just pop a little bit more with your iris and pupil. There is a preset for that, so we can go up here. There's an enhanced eye preset. What that does is it increases the saturation and also the clarity. But we can go even further if we want. Usually with brown or hazel eyes, I'll warm them up a bit. Maybe with hazel eyes like this, I'll push the tint to the green. If she had blue eyes or if I want to give her blue eyes, I can just take the temperature slider and move it to the left. You could even change the hue here to make some minor adjustments if you want more cool blue or more warm blue, et cetera. Now, if her whole iris didn't get selected, which let's do her overlay. It looks like it did. Sometimes I have to go in here and add with a brush or subtract with a brush. Let's go ahead and make her eyes more of that hazel, natural color that she has. Sometimes even using the point curve to add a little bit more, contrast is good. Again, watch those portrait sessions in the light room. Classic lesson, which uses the same tools and we go in more detail. Same thing, maybe we want to go in. Soften them up. There's no preset for this. But soften them up, change the tint, make them a little bit more rosy or pink. It's up to you. Maybe decrease the clarity. Then maybe decrease the exposure just a little bit. This is how you could change the color of lips, lipstick using this tool. Cool, something that I often do with hair is I just increase the contrast so you can really see the highlights shine through. I'll add that little contrast with that slide. Or maybe bring up the shadows just a little bit. Bring back down the blacks. I don't want to add too much color. I might combat that increasing contrast, which increases saturation by dropping our saturation a little bit. But here we can see that makes it pop the clothes. You can do any adjustment to her clothes that you want, but maybe her clothes are a little bright. We want to change the hue or the color. Let's go to our point color. Let's change the color of our shirt. We can visualize that range. Now we have it mostly selected and we could adjust the hue. Yeah, mean, let's get a green shirt that matches the colors of her eyes. Yeah, look at that with that before after pretty cool. That is the powerful people mask selection. You can do so much with it and when there's multiple people, you can do this all individually to each person one at a time. It's powerful stuff. Thank you so much for watching and we'll see you in another lesson. 25. Full Family Portrait Edit in Lightroom CC: In this full editing demonstration, I'm going to walk through my entire process of editing a photo in light room CC. I'm using this photo here. This is a family portrait that I shot of this beautiful family here. I'm going to walk through the whole process. The first thing I do is I crop my photo. I actually think the composition of this photo is actually pretty damn good. I might just come in here just a little bit to get a little bit tighter on them, but in general, it's a pretty good composition. Next we're going to go into our light settings and it's a pretty flat looking image, but they were in the shade. I put the sun behind them to get that nice highlight in the back of their heads. I'm going to bring up the shadows just a little bit. Bring back down the blacks. Let me see what happens when I move around the sliders. And that's sometimes what happens is I just move these sliders around and see what happens, where are my highlights, where are my shadows, and play around with them. Let me bring up my whites just a little bit now. They look a little bit cool. I could cool, meaning like bluish compared to the warm light in the background. I could edit overall the color with a white balance adjustment here. Or I can make an individual people mask and edit them individually, to which I might actually do both. I'm going to start here, this is like a better starting point for them. My light settings look pretty good. I'm going to leave my point curve, my tone curve for the end. Vibrance and saturation looks pretty good. I did miss my color profile. I'm going to go in here and change it to my camera matching ostia profile, which I really like for my colors. That looks pretty good. Now it does look a little bit on the green side. Overall, I'm going to go into my colors, just add a little bit of magenta. Just a tiny bit that's looking pretty good detail. I like to come down here just to see if I need any more sharpening or noise reduction. I think this was shot on like a ISO 100 or something, but I might come in here and just do a tiny bit of noise reduction for luminance. My color is already up and that looks pretty good for effects for some portraits and especially like this one. I'm going to drop the clarity a little bit to give it a little soft glow around the edges and soften their skin just a little bit. I'm not going to add a vignette or anything to this photo optics wise. I think we're looking pretty good now. I didn't have access to the lens blur option when I edited this photo for the first time for them. Here we can see what that looks like on and off. As much as you could apply this to any photo and say it looks better. I'm going to go with my natural looking Fuji 56 millimeter F 1.2 lens here that I think has pretty good Boca in the background. And now it's time to move onto my individual edits. Here we have my mask. The cool thing is now if I want to edit a mask of all the people, I can do that. I can just click all people and create for the entire person. And create. And now I have this mask of all of our subjects. And maybe for our subjects, I want to just boost the exposure just a little bit. Maybe bring back down the blacks just to have a little bit of contrast in them. Maybe the shadows just a little bit now, their faces, their eyes. That's what's the most important part of any sort of portrait. I might do the same and go to all people and let's just do facial skin, eyebrows just get basically everything on their face, maybe their hair as well. I'm going to do one mask and boost the exposure. This is a way that you can with a group photo, individually edit if someone's standing a little bit in the shade or not. I don't think I even really needed to do that, but we can see what that does on and off just a tiny bit. Now, sometimes what I would originally do before we had these people masks is just create some radial gradient right around them, like this or so. And just boost the exposure just a little bit. Now they are pretty darn sharp. But maybe I want, for this face mask, I want to increase the sharpness. We have sharp details. However, I might just back off on the clarity just a little bit. That's looking pretty good. Now, if this was a closer up portrait, I might go in and do some individual edits to their eyes and things like that. Maybe I want to do a tiny bit of teeth whitening for her. I'm just going to do teeth, There we go, and we're going to do preset whitened teeth. Maybe back that off just to like 50% or so. I think that their teeth whitening preset. I always feels like a little strong cool, that's looking pretty good. Now let's go ahead and create one for the background. I'm going to warm up the background even more. And then also let's go back up and maybe, I don't know if I want to increase the exposure or just like add some more contrast, starting to look a little bit funky. I think I made it too warm. That's looking pretty good. Now something that I did when I edited this and you saw this in the classic section, I created a little linear gradient up in the top left corner to highlight that light coming in from the left hand side. I did something like this with the exposure, and then I warmed it up as well. It really made it look like that golden hour light was coming in and shining on them like that. Another thing I did was framed them in with another linear gradient in the bottom right corner. I matched that style, feathered it out a little bit more, and pushed it down into the corner. But usually I do a darker vignetting around my subjects to frame them. But for this, I like this lighter vignette that I created. I could come in here and do a little radial gradient and do like a custom vignette around them. Let's do that. Let's invert it. See what happens if I take my exposure down and that balances it out, but still looks pretty good. Let's look at the before and after. Before after, Pretty cool, huh? Say we have a ton of photos from this session and we want to quickly be able to copy these edit settings to the next photo. We can go down to this Copy Edit Settings button, go to our next photo and paste those settings. Or you could do a simple command C command V, that just copies our basic settings in our editing panel and not our masks. Let's go ahead and reset this command R. Over here we have an option command shift C to choose the settings we want to copy. Maybe we want to include masking and we could even choose the specific masks we want to copy. If we don't, we want to select all of them and then click copy. You can check this on if you want this to show every time you just do a basic copy. Now we can go over here and command V, paste it. Now using AI, it's finding our subjects and it's applying our masks to our subjects. Now we have our people mask, we have our mask of their face, we have the background mask all automatically created. Now I might want to go in here and adjust some of these settings and maybe even our crop just a little bit to get in tighter. But now these two photos, and we can reference them side by side, we can drag and drop any of these photos down here to change the reference photos that we are looking at. But you can see now that the colors, the lighting, everything matches between these two photos. So that is sort of my full edit session. If I was exporting this, I would just do a Jpeg large for sending to them. If I was just posting on Instagram, I'd probably still do that, to be honest. But if I wanted a smaller file size, I would probably do the Jpeg small to send online and share online or to put on my portfolio on my website, which probably would want to be a smaller file size. All right, so I hope this full edit helps give you some ideas for how to edit a photo and light room. I definitely think you should check out all of the lightroom classic full edits. Because what you can do there, you can do here in lightroom CC, all the tools are just rearranged just a little bit. All right, thank you so much for watching and we'll see you in another video. 26. Merging Panoramas + HDR Photos in Lightroom CC: In this lesson, I'm going to show you the Merge feature for Panorama and HDR photos. This is when you have multiple photos that you want to combine into one. For a Panorama, all you have to do is select the series of photos that you want to merge. Right click and choose Photo Merge. Here you'll see all of these different options for this one. I'm going to click Panorama Merge. There are different ways that a photo is merged and it depends on what type of photo you've taken, how many photos, what type of panorama. So you can see here there's spherical cylindrical and perspective. I find that spherical and cylindrical typically warp and bend the photos together to look a little bit better compared to perspective where it's more of a flatter stretching and distortion of your photos. However, just look through the options and see which ones work best for your photos. You can see that I have a white edge here. And that's just because as you do a panorama, your left and right photos on the edges won't be able to cover the whole crop or aspect of this panorama. So you have different options. You can choose fill edges and that will synthetically create edges to your photos based off of what your photo is, and that might work well. Or you can just choose the auto crop option, which will crop in your photo to sort of the biggest size that you can possibly have without having any white border. You also have this Apply Auto Settings button, which automatically adjusts the exposure of your photos as it's blending things together to make it look like it has a flat, nicer looking exposure. You can edit this after the fact as well. You also have I skip this boundary warp option. This slider will sort of just bend the edges so that it fills that frame, which might be a better option. Play around with these. It depends on what your subject matter is. Perhaps boundary warp fill edges or just cropping in will get the most realistic, nice looking image. You also have this last option of creating a stack, which is a good idea because then you can go in and edit any individual photo after the fact. So similar to how we've seen photos become a stack before, now we have this stack panorama with the four images, or the three original images inside of it. And then we have the panorama itself on top, which now we can go in, we can apply any of our effects. Let's do a little haze, a little clarity adjustment, maybe boost that texture, et cetera, et cetera. All right, so let's click this little X button and get to our HDR option with these three photos of our kitchen real estate photo. We're going to do the same thing, right? Click photo, merge. Hdr merge. If you have bracketed or HDR photos for a panorama, meaning you have multiple exposures shot at each for each set up. So you look left, you take three photos, look middle three photos, right? Three photos or however many photos you take. You can do that. Hdr Panorama Merge. However, if you're just doing one photo per slice of your Panorama, you just use the regular Panorama option. So with HDR Merge, what's going to happen is it's automatically going to align your photos. You typically want to have that checked on so that even if there's any micro adjustments of your camera, it will move the photo around. You also have the apply auto settings option as well. Again, it's blending the exposures of all three photos into one nicely exposed photo. If you have any ghosting, meaning like you took multiple exposures of something moving or a city scene where people are walking by, cars are moving. You might have ghosting, where the same person walked from one frame, part of the frame to the next between exposures. And so to deghost that and get rid of that, you slide this up. Since this photo doesn't have any motion or anything in it that is moving, I have that down to zero, but that's how you can adjust that. And same thing, create a stack. Or if you don't want to create a stack for this photo, let's check that off. Say merge. And now it's going to just create a brand new instance of this HDR merged photo on our photo strip down here that we can get to. That's this option here. Now again, we have all of our adjustments. It has the auto adjustments applied. But we can go in here, we can make any adjustments we want to this photo. And it has a much better overall exposure compared to any of the individual ones. So that is Panorama and HDR, merge in light room. I hope you enjoyed this lesson and we'll see you in the next one. 27. Color Calibration in Lightroom CC: In this lesson, I'm going to go over calibration, which is a semi advanced feature. If you already saw this in the light room classic version, it's the same thing. But basically what this does is it adjust how colors are processed in your image. Now we've been working with color and light, with all of these settings, which is how you adjust these after the fact. And you basically sort of apply a filter on top of things, similar to this photo here, where we added some color grading to it with that teal and orange. Let's go ahead and duplicate this photo so we can show you how calibration affects this photo. All right, so what I've done with this photo is I've reset the photo. That's command R on your keyboard. And I'm going to go into an advanced tool over in the dropdown menu over here show color calibration. And that opens up color calibration in the color panel. What is color calibration? I don't want to repeat myself with the classic lesson, go over there, I go deeply into how this works. But basically what this is doing is each pixel on our photo, which is an RGB based photo, and we're editing it with the RGB editing system. Each pixel has red, green, and blue in it. And these sliders adjust how saturated though the red is in that pixel. If a pixel has a lot of red in it and we increase the saturation, we see a lot of adjustment see in these leaves right here. We see a lot happening with this saturation. However, we're also seeing changes in all of the photo, in all pixels because every pixel has some red in it. Similarly, we can go down to blue, and while we bring up the saturation of the blue in each pixel, you see it more in the ocean. However, all pixels adjust. Same with hue. We can change the hue is blue in each pixel, more teal or more magenta. That's what we can change here. And this goes back to color science and how different cameras process different colors. Some cameras have really saturated reds. Some have a blue that's a little bit more teal, Some greens are super saturated. And that's why we might think, oh, a particular camera, the wildlife photos look so good, or the portraits look so good. That's what's happening with color calibration and the science behind what colors look like for each type of camera. And this can be calibrated or changed here, many photographers don't use this at all. However, some photographers use this to get a nice color profile. Before adding a color grade, they might add a little bit of teal to their blues, and they might warm up or make yellow more yellow. They're reds and they're greens. And that somewhat creates a little bit more of a natural teal in orange look compared to the color grading that we did before. And we can compare and contrast these two images where the one on the right, everything is a bit more saturated, but the colors are more natural then the teal gold look on the left, that look on the left. It's a nice filtered type of style and it's a nice color grade. But in terms of naturally looking colors, the color calibration has a more natural look to this edit. But neither is necessarily the right way to do it. It's all in creating a photo that you find to be looking good. Again, watch that color calibration lesson in the classic section of the class because I go a little bit more in detail. And you can see with the color wheels and stuff, how all of this is affecting the different pixels and colors in our photos. Hopefully though, that helps you give you some ideas and we will see you in another lesson. 28. Quick Tip: Viewing + Editing Metadata in Lightroom CC: Just a quick tip. If you ever want to see the metadata of your photos in light room, just press the eye button. You can also get to several view options up here where you can change the view of the application, see different things with your photos as well. But eye brings up things like the camera model, the lens that was shot, the focal length, the shutter speed, aperture, all of that information. That's really great. You can also add metadata to this. For example, the location city, all that stuff. Copyright. If you're a professional photographer, it's a good idea to include your name or website here in that copyright information so that if you share this photo online, that information is attached to this photo. That's just I on your keyboard to open up the info panel. Thank you so much and we'll see you in another lesson. 29. Bonus: Free Lightroom Presets: Welcome to this new section on Lightroom presets. This is a bonus section that we've added to the course since the launch of it. Because we love giving things to our students and making these courses and your photography better, more fun, easier, and more affordable. So what better way than to give you some amazing Lightroom presets? If you've never used presets before, perfect, We have a lesson coming up on how to install and use them. And then I'll walk through the different packs that we add to the course over time and share ideas for when and why you would use those certain types of presets. Will be adding one new pack of presets to the course every month until we have 12 full packs, ranging from black and white style to bold colors and contrast, HDR nature, soft pastels, vintage vibe, street grunge, all kinds of fun packs that you'll be able to use for your own photos. I just wanted to explain what this section is. It might not be applicable to you if you don't use Lightroom or if you don't want to use presets. But regardless, we hope that these bonuses are a nice gift for you and a special thank you for taking our courses. Thanks so much. 30. How to Install Lightroom Presets: In this tutorial, I'll show you how to install Lightroom presets into the Lightroom Desktop app, both classic and the regular CC version, as well as the Lightroom mobile app. If you don't have a desktop computer, just skip ahead to the timestamps which I've included below to the app you're looking to install. Thanks a lot. Enjoy. From the library page or module, go to the develop module. On the left you'll see your presets panel. You might have to drop it down to see if you have any presets installed already or if there are the ones that are already installed when you load Lightroom, click the Plus drop-down, click Import Presets. Then if you're downloading any of ours from Video School, click the desktop folder. It will have all of the XMP files. Select all of those files and click Import. They will import into a folder, which we will see here. And now we have all of these presets. To use them, you just open up a photo in the developed module and then hover over to get a preview of what it looks like. And then when you find one that you like, click on it and you will see that the preset has automatically applied different settings. Sometimes depending on the photo, you'll need to make some adjustments like exposure or contrast adjustments, things like that to make it look good for your photo. And the beauty of these presets is that it's a non-destructive way to edit. So you could always go back, reset things. You can adjust any specific setting. You'll notice that some of these presets in this pack are italicized and that's when there's an option. Usually it's a color profile that we might have selected when creating the preset that will work for a RAW photo, but it's not a setting that works for a JPEG compressed photo. That's totally fine though these presets will still work and they will still look fairly similar to what it would look like on a raw photo. But that's why some of these are italicized. And for any other presets that you download, you can rename these groups or renamed the individual presets if you want, just by right-clicking the group or the preset itself and choosing Rename. All right, That's how you download, install, and use presets in Lightroom classic. Cheers. Here's how to install and use presets in Adobe Lightroom. This is the Cloud-based apps on my desktop. From here you go to the Edit tab, click on Presets, click on the drop-down menu right here, the three dots and choose Import Presets. Now if you've downloaded one of our video school preset packs, you should unzip that pack. You'll see two folders in it, one for desktop and one for mobile. Still use the desktop option if you're using Adobe Lightroom, select all of the files. These are XMP files and click Import. Once they've imported, you will now have this new pack. You can click this drop-down to see all of them. Then you can hover over the presets to see what they look like. Click on one of them and you can see that they've adjusted some of the settings as we've created these presets. Now, depending on your photo, you might need to make some adjustments. Typically things like exposure. Your overall exposure might be the one that you want to adjust. But we've tried to make these work for fairly any photo that is well exposed. That being said, this is a non-destructive way of editing, which is great because you can always undo this. You can always adjust individual settings until you get your light it to your liking. You can also right-click the group or any of the presets to rename them in case there's ones that you really like and you want to give a special name too, or things like that. The other cool thing about importing presets via the Lightroom app on your desktop is if you use the mobile version and it's tied to your same Adobe account, these presets are automatically going to load in your Adobe Lightroom app on your mobile device once it sinks. This is the quickest and easiest way to do that. We'll have another video if you don't use the Adobe Lightroom Desktop app and you want to download and install presets on your phone. But it is quite a bit more work than just this. Here's how you install presets on the Lightroom mobile app. Here I have a photo open on the Lightroom mobile app under presets, I have this video school flatMap pack automatically applied. So I can just click on any of these presets and then will automatically apply. Okay, so now let's go ahead and I'm going to actually delete this pack from Lightroom Mobile. And then I'm going to show you how to manually create presets. If you don't use the desktop app. Now you can see I've deleted the folder. The way it works in Lightroom. The mobile app is a little bit different. You can't just this time install XML files as presets. The process is actually creating a preset from another photo. What we've done is created photos that have all the settings applied that will copy them from and create the presets. The first thing you'll need to do is download the folder. You can do this on your phone. If you have a desktop, you can download the folder, unzip it, and then send the files to your phone. However you do it, You need this mobile folder of files on your phone. If you download the zip file, typically it's just clicking that zip file and your phone will be able to unzip it. You'll see these two folders. And then just know that you'll be using the mobile photo. Back in Lightroom. The best way to do this is to stay organized. The first thing we're going to do is actually create a new album. Create new album. We'll call this. For now. We'll just call it VS flat matte. Click. Okay. Now click on that folder. We're going to add photos to it now. So click this bottom button in the bottom right to add photos. We're going to choose from files. And then on your files you're going to find that mobile folder. Open that up, and to select all of these files, click the three dots in the top. Click the Select button, and then go ahead and select all of the files. Each of our packs contains about ten presets. Then click Open. These will populate into your album that we just created. And you can see a preview of what these photos are. Presets will look like. Now one thing I noticed is that the order of these photos is not always correct in terms of the order that we've named our presets. To view them in order, it's very helpful to click the top three buttons in the top right. Click sort by filename. And then the view options. If you don't have photo info on already and show overlays, click Show overlays and make sure the photo info is highlighted. Now they are in the order of the filename. The way that we've created them, which we try to order them in a more logical sense like all the black and white presets for this pack, for example, are at the end. So the next step is to go individually. Open the photo, select the first photo, for example. What we're going to do is basically create a preset from this photo. Click the three buttons in the top again. Click Create preset. Under User Presets, we're going to create a new preset group. Click, Create New Preset group. We'll call this VS flat matte or whatever you want to call it. Click the check mark. That's going to be, we're going to put these under a group now and then just create a name for it. You can name it whatever you want. You can follow our naming conventions, flatMap one, and then click the check mark. Alright, so now let's go back and find a different photo from our library to practice this on. You would have to repeat this for all of the photos in that folder. But now let's just open up another photo. Here's a photo of my kids. We can go to the presets button down here. And now we have this VS flatMap album or folder of presets that we've created. Click on that, and we have flatMap one. Here's an example of where we would have to adjust the exposure of this preset. So click the check mark. Now because this is non-destructive editing, we can go in here and we can edit any of these other settings. So that's how you install and use presets using the Lightroom mobile app. Like I said in the beginning, it's much easier to do this using the Lightroom app on a desktop. But at least there is an option. So just a reminder, you'd have to go through each photo again. Go back to our albums. We're going to go to VS flat mat, open up the second one, and from there, do the same thing. Three dots. Choose Create Preset. And then from there you'll see under Preset group, now we have the VS flatMap group that we could add this under. Alright, that's it. I hope you enjoyed this tutorial and I hope you enjoyed the presets that we share with you. Cheers. 31. Preset Pack 1: Flat Matte Style: In this video, I'll show you the flat matte pack of presets and I'll walk through how I would use these on a number of photos. So if you haven't gone through and install them yet, go ahead and do that all the editing in Adobe Lightroom Classic. But the same techniques apply if you're using the cloud or mobile versions. Here you can see that I have this package installed and I can go through and hover over each individual preset. In this pack there are 11, there's four black and white and seven color versions. And what is flatMap? What were we trying to do in creating these presets? That flat matte look is where you bring up the shadows, the blacks. And so you don't really have a ton of contrast in the photo. It is exactly what we call a flat profile of flat look. But all of these presets are very different. So let me just highlight, hover over and you can see this is a big bold bright photo. This was from wide key, key from several years ago when I was there. You can see that as I hover through, it, adds that little flat matte look. But the colors change. And not all of these presets are going to look great on all of your photos. I find when I'm using presets that when I download a pack from someone, I might find one or two that I really like. And that's the beauty of using presets so that you can kind of come up with your own style or while take a style from someone else. But that being said, you can always edit all of the settings. So for example, this first FlatMap does not look good for this particular photo, and we'll try to find a photo where it looks better. But I'm really digging some of these other ones like 234, five, that gives us kind of like a vintage vibe. Now when I apply this, if I click on it, you'll see that all of our settings over here have changed. We've gone through and changed a lot of different things for all of these different presets. Not just your basic exposure and white balance and that kind of stuff, but down into our color, especially in our HSL panel, you'll see that we've adjusted things like hue saturation and luminance of different colors for all of these different presets. And depending on the preset, some of these other settings as well, including color grading. It might be something that we chew use for creating that preset. So you can always go in here and change it. For example, if we like the basic look of this, but maybe we want to warm it back up just a little bit. Go ahead, change the temperature slider. This photo is relatively exposed well for the situation, but there are times when you slap on a preset, for example, this one which I don't think looks great for this photo at all. It's desaturating a lot of colors except for this bright pink floating right there. But that being said, it's just dark. That's the problem with this preset for this particular photo. Maybe increasing the overall exposure makes it look a little bit better. That's actually a pretty cool look right there, I would say, when you're going through using these presets, make sure that you know, you can make adjustments. Of course, that's going to change the look of the preset. So if you're trying to come up with one specific style, you want to stick relatively to the colors and the saturation and the HSL adjustments. But basic exposure and things like that, those are sliders that you might need to adjust. All right, so let's go to another photo. Let's just go to a completely random photo. Here's a photo. This is not a photo I took, this is just a free photo I found online. So here's an example of where flatMap one actually looks pretty good for this particular photo. As a lot of drama, I might brighten it up still just a bit. But it looks pretty good. Now if I hover over these other ones, you can see again just the style that this is going for. I'm betting that some of these flat matte black and white presets Looks pretty cool for this photo. So if I click on this one, notice how our exposure was the same as our previous edit. Just in case that doesn't look good for you. You might want to just go through and reset your edit down here before you add another preset. Depending on how they're created, sometimes they are layered on top of each other. And if there's not a setting that's been adjusted for the new preset that you're trying to apply, your previous adjustments might still stay here. I like these black and white ones for this lion. Let's go to another photo. Let's go to this one. This is my lovely newborn LWCF when she was born. Flatmap. Here's a great example of flat mat one looking really cool. I love the style of this for this photo. Some of these other ones, maybe like four or 56, the one that looked better for that Hawaii photo. Not so great. Here's just a typical standard photo downtown San Diego where I live. And it's got sort of a quaint little downtown. This photo itself, not terribly great photo, but it kind of shows what the downtown looks like. But I think these flatMap styles might look pretty good for this photo. Some of them have a vintage sort of film type film vibe, especially with the colors. And this might be example where some of these are just a little bit bright. So we might need to bring it back down our overall exposure to get it to a decent exposure. That's pretty much what this pack is. I hope you enjoy it. You can download it in the lessons are on the course page here and install it if you haven't done so already. And make sure you refer to the video on installing it so that you know which files too use because we have both the mobile and the desktop version files. Thanks so much. I hope you enjoy this flatmap pack. And if you use these presets in any of your photos and you post them anywhere like on Instagram. Please tag us in your photos. I'm at Phil Webinar and find us at video school online as well. Thanks so much and I can't wait to see what you do with them. Cheers. 32. Preset Pack 2: Street Grunge Style: Hey there, this is a new video school preset pack for Lightroom called Street grunge style. Let me just walk through a couple of these presets, talk a little bit about them, applying them to some sample photos. And you can of course, find all the files in the downloads of the course to play along with. Here you can see we just made some fun grungy style photos playing a lot with color. Gardeners, dot presets, that is playing a lot with colors to make your street style photography pop. Now of course, with all of these packs, you can mix and match some of them. We call it street grunge, but maybe it's gonna look good for a portrait that you're looking for. This one is a kind of cool, vintage retro vibe going on. And as you can see with all of our presets, there might be some that worked for our particular photo and some that don't. For example, some of these street grunge ten is a crazy Edit. Click it to apply and you can see that the colors completely desaturated except for some of those yellows, a little bit of the greens that might work for some photos, but it doesn't really work for this one. Now, maybe for this one we bring up some of the shadows, we bring up some of the whites. So it's not completely crazy with that backdrop. There's some other edits that we can make as well to make this look potentially better. But that being said, play around with them. Here's a cool shot that I'm playing around with. Another example might be, let's go find another street photo. So basic street photo. Apply one of these presets and it gives it a nice five. This one brightens things up, highlights the reds, lots of sort of desaturated tones and then some reds. This one a little bit of a greenish tint to it. This one was that retro vibe brings back some of that, those blues. Another one that's sort of a bit contrast year, but again brings out those reds. This one brings out some blues as well. And here's that crazy one, this one, total crazy style. Maybe what you're looking for. I think for this one, when we're not looking at the skies, it looks a little bit better. Sort of looks like a POC delivery, apocalyptic scene. Perhaps. That's one more example. And then let's just look at one last example. Let's just apply this to a portrait. So here's the standard portrait, basic edit. Even the street grunge portrait presets can have some nice looks like for this one I love five, I love three, warms it up. Some of them D saturate the skin tones a little bit too much for my liking. But it might be something you, yeah, ten does not work for portrait, but it's something that you could play around with. I hope you enjoy the street grunge Style presets. And as always, if you're using them or any of our presets tag us on Instagram, let us know and we would love to share your work. Thanks so much. 33. Preset Pack 3: Bold Contrasty Colors: Here is the bold contrast and colors preset pack. I'm so excited about this one. We've got ten presets that are going to make your colors pop, make that contrast, contrast ear. And really make a lot of your photos just pop with a little bit of extra. Here. I'm just going through some of these presets on this great photo of Yosemite Valley. And you can see the different styles we play around with the colors. So some bringing out more of the green, some bringing out more than read, some bringing out the blues, some giving the different colors a little bit of a tint or a change of hue to play around with it and give it a little bit of style. I love just the number one. This is sort of the go-to. If you're just have a great nature wildlife shot, just want to make it pop. These are also going to work for other types of photos as well. So say we have this standard portrait right here. I think the flat matte look, looks pretty cool and we have that preset pack for the flat mat. But some bold contrast is also a cool look. And sometimes if you think, okay, this looks pretty cool. It's sort of a grungy, looks sort of too contrasty, but maybe we want to dial it down a little bit. And of course, some of these aren't going to work for certain portraits. Skin tones are very difficult to work with, and you don't want to play around with the colors too much. So that's where you can dial back and adjust the sliders. This is a great starting point, but it's a little bit too bright. The highlights are too bright. Maybe we're going to just bring down the saturation just overall, you can play with all the individuals sliders. It's a starting point. It's not a one-click fixed for every single photo. I would say these pack definitely is more for the nature shots. Here is a sunset shot, raw, unedited. I shot this down in insipidus, California, Carlsbad, actually. You can see that it just makes the sunset pop. That one gives it a little bit of a pink hue. So very cool preset pack. And again, a starting point, say here, a little bit like the colors, maybe it's still a little bit too dark. So let's just bring everything up. Let's bring up our shadows. Maybe bring up our black point so we can see a little bit more information. Still, if you're using this preset and you're trying to get a cohesive vibe across multiple photos, use that preset as a starting point. If you're making just manual adjustments to the exposure, your photos are still going to have a very similar vibe. And that's looking pretty darn good. So this is the bold contrast colors preset pack. If you're in the class, you can download it from the resources of the class or of this lesson wherever you find those resources on where you're taking this class, enjoy if you're using them and you like them. Let us know togas on Instagram, we'd love to check out your photos and share your work. Thank you so much and we will see you in another video. 34. Preset Pack 4: Light and Airy: Here is another video School Lightroom preset pack. This is called light and airy. And I'm just going to sort of shuffle through some examples of what these presets look like. Give you some advice on how to apply them to different photos. Light and airy. This is meant to make your photos bright, bright and light. Have that area vibe. Sort of like a bohemian style that you see a lot starting out with a photo similar to this one that I shot up in carpentry area, california. It's already a bright photo and you can see there's just a variety of different ways that we created warmth, coolness. Some of them we brought up the highlights, some of them we made it a little bit flatter, brought up the blacks and the darks. Here's another example. So here's a photo of, let's see, here's another photo of me and my daughter with her little tiger hoodie. This one already died, bright light. And it just sort of adds to that vibe. Newborn photography, some food photography, maybe like baking. This is a great example of where this type of style might help. With that. Let's go to the newborn shot that I have as an example. Here you can see it. A lot of those sort of like oranges, red tones. Really great for skin tones, softening some of those skin tones with some of these give them a little bit of a warmer tone, but some warm. A little bit of greenish, a little bit of magenta ish, some yellow. Lots of different styles for you. Here's another example. Let's take this portrait right here, this family portrait, already a bright photo and it's just going to enhancer it, enhance it and saturate some colors desaturated, others sometimes for portraits depending on the skin tone, it's not gonna work. Air set every seven. This looks great for this sort of gray enhances that yellow warmth of the sun. It's just going to depend. Now for darker photos, let's take just one of these darker photos, for example. Let's go with one like Here's a landscape photo. Let's see how it applies. It's not going to necessarily make it that bright, airy, Bohemian style, but it might work for you for these photos. I don't think that this is the best pack for nature and landscape Though. I think it's better for portrait, newborn. Interior, perhaps like real estate. But I'll leave it up to you to play around with it. So this is the light and airy pack. You'll see it in the resources of the lesson or the course wherever you download those resources. And I hope you enjoy it. If you do, please use them, please tag me at Phil Webinar and our video school profile on Instagram or wherever you're sharing these photos so we can check it out. Share your work as well. Thank you so much and enjoy. 35. Preset Pack 5: Vintage Vibes: Welcome to another free Lightroom preset pack that we're giving out with this course. I'm so excited to announce the vintage vibes pack. The vintage vibes pack is one that sort of emulates different old film stocks and gives that sort of retro feel for portraits and for pictures of people. It's a super fun and exciting pack that I'm excited to share. As you can see, I'm just running through some different examples of what this looks like. It has ten presets. You can use it with any version of Lightroom. Of course, all of the information for how to install them has been given previously in the course and you can download them in the lesson resources or in the course resources. Wherever you download resources for this class. It's a great pack if you're doing like sort of classic vintage stuff. If you find a cool street shot like this, of this old train depot that we have in our hometown of Sandy, Ms. California. It gives a very cool vintage vibe and all of these presets are completely customizable. So you liked the colors in this one, but maybe those highlights are a little bit too bright. Let's bring down the overall saturation a bit. And you bring down those whites, bring up those shadows. Everything completely customizable after the fact, that's what makes these presets so awesome. Here's a cool picture of this clock tower and little clock, not related towers. Big clock. As you can see, some look a little bit teal and orange. Some have a little bit more magenta, some, some deep blues, all kinds of styles here. This is a fun one. I hope you enjoy this pack. If you do, let us know. Let us know if you're using these presets for your photos wherever you're posting them. And if you haven't done so, take a chance to leave a review for the class. No matter what the rating is, good, bad. We love hearing from you. And we just enjoy making these presets for you, giving out more bonuses to try to make this course even better. Much love and joy the pack. And we'll see you in another one. Cheers. 36. Preset Pack 6: Desaturated Colors: Phil here with Video School. Thank you so much for watching this lesson of the class where we are announcing in launching the desaturated colors preset pack. This is a pact that might not be for everyone, but I think it's a pretty cool style. So desaturated colors. What are we doing with each of these different presets? We're basically dropping the saturation sometimes a little bit in just one area. Like for example, this one desaturated for it D saturates the blues. Then in some were just going crazy with it. Like some of these 78910 are pretty intense. Nine d saturates everything but the blues. And so it's not always going to look good for all of your photos. You just got to play around with it and find the one that's right for you. If you are in the class, you can download these from the resources of the lesson or of the course wherever you find those, those downloads, let me find another one. So here's an example. Even with people, it's kind of a cool style. Drops the saturation. Some are more contrast than others. Some have a little bit of warmth, some are a little bit cooler. Lots of Brown's desaturation going on. And so for this example, desaturated ten works in that other of the Eiffel Tower. It didn't work so much. For this photo, for example, this is a bright neon, lots of colors here. And you might be like Phil, why would I want to desaturate it? Well, maybe you want a D saturate some of the colors. Maybe it's just a style you're going for. For number four, this one looks pretty good for this one. I like that one a lot. Let's see what some of these more intense ones look like for this pack gives completely different hues. You can see, look at that blue sign. Maybe you don't want to see that. Maybe you're going for this style. So this is a very fun pack, not going to be for everyone. I completely understand night photography. This is a pact that might work really well for night photography because there's not a lot of colors that you're seeing perhaps. And so it's really just playing with the tones and things. The overall exposure to the different parts of exposure that is going to give your photo a good or bad style, whatever you think about this pack. So if you have downloaded this, if you are using it, let us know what you think. Tag us on Instagram at fill up near App Video School. And also if you haven't done so, hit that Review button on the course. We love hearing reviews from our students no matter what you think, good, bad, beautiful, ugly, whatever it is, We appreciate it. Thank you so much and enjoy this preset pack. 37. Preset Pack 7: HDR Nature Pop: Phil here with another Lightroom preset pack, HDR, nature pop. I'm going to run through some examples of what this might look like for you. But basically, it is just making those colors bold. It's making the overall exposure of your photos just relatively not flat, but just make everything exposed pretty well. And so this is a good example of a photo where you can slap on this HDR nature preset pack and get some nice, cool. Looks like number ten is to an extreme. Maybe that's why you're going for, if that's too much Dalit back with one of these previous ones, eight is sort of a softer version of number ten. And they have different hues and tones. Some of them D saturate, some colors, some of them do you say out traits, others, some are a little bit cooler, some are a little bit warmer. This is going to work great for those nature shots for wildlife where you're really just trying to take a photo that doesn't have a ton of color in it. Maybe it's a raw photo like this, the sunset and ban at a little bit of life to it with this pack. Obviously, not all of these are going to work. This magenta sunset doesn't look great to me, but maybe that's going to work for another photo of yours. This number ten, go crazy with it if you want to be just psychedelic, That's where you're at. Number ten. Let's find one more example. While I talk to you, here's a good example, not a nature shot neccessarily nature architecture, but this is a pack or a preset pack that might actually look pretty good for this. Photo. Sharpens things, makes things super contrasty. And I kinda dig it. That's a pretty good 110 or nine. That is, I'm actually really dig in it. That's almost better than the edit that I did of this photo that took me like several, several hours. Let's look at this peacock bringing out those colors. Hdr, look the cool blue one. That's gonna be one. If you use number four, let me know. You'll get a prize. Hit me up on his crime and let me know when you when you use HDR in nature, preset number four, that one's pretty unique. Eight's pretty good, brings out those greens, those blues, lots of cool stuff so you can download it if you're in the class. Obviously you're watching this video. You can download it from the lesson or resources of wherever you're downloading on the course. And all I asked for an exchange is good vibes. And if you have time, leave a review and a rating for the class, good, bad, whatever doesn't matter to me. I just like hearing your thoughts. Tag is on Instagram if you're using these, Alright, Enjoy this pack. Make your nature photos. Wow. And we'll see you in another video. Cheers. 38. Preset Pack 8: Black & White Presets: Phil here with another Lightroom preset pack. I'm really stoked about this one because I love black and white photography. And here you can see some examples of what this pack might look like using my sister's cute pup, maple for this example. So you can see a variety of styles. Some like 67 are super flat, super flat look. Others are more contrast. Makes your brights brighter, darks darker, but just a completely different range of looks, all in black and white. So if you'd like black and white photography, this is a great pack for you as always, you can download this pack from the course, from the lesson or from the course wherever you do downloads and enjoy it. If you use this pack and you like it, make sure if you're posting on Instagram to tag us. We'd love to get those tags so I can share your work with the world. That's part of learning and growing as a photographer nowadays at Phil Webinar and at the video school page as well. We'd love to share your work. And if you haven't done so, leave a review for the class. Those help us encourage us to make more freebies like this to add to the class. Now it doesn't matter if you do a good or bad review. I take all of them, so thank you so much. I hope you enjoy this pack and we will see you in another video. Bye. 39. Preset Pack 8: Tropical Teals & Oranges: Hey, there, here is another preset pack, the tropical vibe, Orange and Teal pack. This is all for that specific sort of orange and teal vibe or style that you see a lot of, not only in photography, but also in filmmaking, where you're making your greens a little bit more teal or your blues a little bit more teal. And then also pushing those yellows and reds into the orange. And so here, as I run through, you can see some examples of what this looks like. This number three looks really cool for this photo. Lots of greens are golds and tails. They're going on some a little bit more contrasty than others. You can find these presets in the downloads of this course, and so check those out. You get it for free as a member of our course. And we're just so excited to be able to provide presets like this that might help you speed up your photography, give you some inspiration. I know Preset, we are always fans of presets because I don't think it's a great way to say that you're a good photographer by slapping a preset on your photos. But I do know that there's a time and place for presets, and that's why we're going through creating presets for you to give you those options. If you're using these presets, let me find the photo. This one, it's really, I think better for the nature scapes. It doesn't look great on portraits of people because I think it just makes skin tones a little bit funky sometimes, but like this one, it's generally a good shot. This is in Y key, key, but the colors don't give off that tropical vibe that you might want. So slopping on one of these presets, it makes that sky and the ocean a little bit more of that blue or that teal that you might be going for him. So I think that's where this works best. You can see this example of the photo of me and my wife and our twins way back several years ago. It's crazy when we went to Hawaii. It looks a little bit of funky. Now. Some of them might look a little bit better than others, but I think in general that the colors for skin tones doesn't look great. But for ocean shots where like this, where you're just trying to give it more of that tropical flair might be the perfect option. Alright, thank you so much for watching this video. If you're using these presets, make sure you tag us on Instagram and also leave a review for the class. We'd love to see what you think about the class, even if it's a bad review, whatever, we just like hearing your thoughts. Cheers, thanks so much and we'll see you in another video.