Adobe Lightroom Classic CC: The Easy Photo Editing Course | Phil Ebiner | Skillshare

Playback Speed

  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

Adobe Lightroom Classic CC: The Easy Photo Editing Course

teacher avatar Phil Ebiner, Video | Photo | Design

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Course Introduction


    • 2.

      Quick Tour of Lightroom Classic for New Users


    • 3.

      Importing Photos into Lightroom Classic CC


    • 4.

      How to Find Photos After Importing


    • 5.

      Organizing Photos in Collections (Albums in Lightroom)


    • 6.

      Rating, Flagging, and Labeling Photos for Organization


    • 7.

      Quick Tip: Viewing Metadata, Adding Keywords and Quick Develop


    • 8.

      Advanced Tip: Creating & Using Smart Collections


    • 9.

      Face Tagging & Organizing by People


    • 10.

      Advanced Tip: Adding Photos to Collections During Import


    • 11.

      Quick Tip: Importing Directly from a Memory Card


    • 12.

      Quick Tip: Comparison and Survey View


    • 13.

      Navigating the Develop Module


    • 14.

      Crop + Rotate


    • 15.

      Color Profiles


    • 16.

      Quick Tip: How to See the Before + After of Your Edits


    • 17.

      White Balance


    • 18.

      Tone (Exposure) Adjustments


    • 19.

      Presence: Texture, Clarity, Dehaze, Vibrance + Saturation


    • 20.

      Tone Curve


    • 21.

      Color Mixer


    • 22.

      Color Grading


    • 23.



    • 24.

      Noise Reduction


    • 25.

      AI Denoise Tool


    • 26.

      Lens Corrections


    • 27.



    • 28.

      Lens Blur


    • 29.

      Effects: Vignette + Grain


    • 30.



    • 31.

      Exporting: Quickly Save a High Quality Photo for Sharing with the World


    • 32.

      Advanced Exporting for Print, Web + More


    • 33.

      Adding a Watermark to Your Photos


    • 34.

      Creating Your First Mask


    • 35.

      Adding + Subtracting from a Mask, and the Sky Selection Mask


    • 36.

      Linear + Radial Masks


    • 37.

      Range Masks


    • 38.

      Mask Presets: How to Use + Create Mask Presets


    • 39.

      Masks: Putting it All Together in One Photo


    • 40.

      Spot Healing, Clone + Content Aware Fill Brushses


    • 41.

      Red Eye + Pet Eye Removal


    • 42.

      Skin Softening


    • 43.

      Teeth Whitening


    • 44.

      Eye Enhancements + Changing Eye Color


    • 45.

      Lip Enhancements + Changing Lip Color


    • 46.

      Advanced Tip: Dodging + Burning Portraits for Facial Contouring


    • 47.

      Editing Hair


    • 48.

      Finalizing My Portrait Edit


    • 49.

      Removing Wrinkles


    • 50.

      Introduction to Full Editing Demonstrations


    • 51.

      Long Exposure Landscape Photo Edit


    • 52.

      Magical Portrait Photo Edit


    • 53.

      Wildlife Bird Photo Edit


    • 54.

      Creative Travel Photo Edit


    • 55.

      Golden Hour Portrait Photo Edit


    • 56.

      Product Photo Edit


    • 57.

      Sports Action High Contrast Photo Edit


    • 58.

      Glamorous Fashion Photo Retouching


    • 59.

      Moon Photo Edit


    • 60.

      Wildlife Monkey Photo Edit


    • 61.

      Wedding Couple Photo Edit


    • 62.

      Grungy Black & White Portrait Edit


    • 63.

      Vintage Film-Style Portrait Photo Edit


    • 64.

      Bonus: Free Lightroom Presets


    • 65.

      How to Install Lightroom Presets


    • 66.

      Preset Pack 1: Flat Matte Style


    • 67.

      Preset Pack 2: Street Grunge Style


    • 68.

      Preset Pack 3: Bold Contrasty Colors


    • 69.

      Preset Pack 4: Light & Airy


    • 70.

      Preset Pack 5: Vintage Vibes


    • 71.

      Preset Pack 6: Desaturated Colors


    • 72.

      Preset Pack 7: HDR Nature Pop


    • 73.

      Preset Pack 8: Black & White Presets


    • 74.

      Preset Pack 8: Tropical Teals & Oranges


  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.





About This Class

Do you want your photos to look better… to look amazing?

Do you want to learn the world’s most powerful and efficient editing application, used by professional photographers?

If so, you’re in the right place - and I'm happy to have you here!

Start editing photos in Adobe Lightroom Classic CC (formerly Lightroom CC) today!

Maybe you're an amateur photographer who has done a little bit of photo editing, or maybe you have quite a bit of photo editing experience. Either way, we've made this course to help you make images that matter.

Key Topics in this Lightroom CC course:

  • Navigating the Adobe Lightroom Classic CC application
  • Importing and organizing photos
  • Fixing white balance, crop and exposure
  • Hue, saturation & luminance adjustments
  • Sharpening and noise reduction
  • Vignettes, grain and dehaze filters
  • Using and creating presets
  • Lens corrections
  • Removing blemishes
  • Gradual, radial and brush adjustments
  • Improving portraits and photos of people
  • Exporting photos and adding watermarks
  • and so much more!

Make your photos look better - fixing basic things like exposure, white balance, cropping & rotate. 

Take your photos to the next level with - localized adjustments, sharpening & removing noise, effects, vignettes and more.

What do you get?

  • Easy-to-follow video tutorials
  • Downloadable project files to follow along
  • Premium support from instructors who care

Who is this course for?

Whether you are using Lightroom Classic CC or a previous version of Lightroom, this course will teach you how to use the program to its fullest potential. This course was creating for beginner photographers, and advanced photographers looking to learn a new application.

Our Promise to You!

We'll be here for you every step of the way. If you have any questions about the course content or anything related to this topic, you can always post a question in the course or send me a direct message. 

We want to make this the best course on how use Adobe Lightroom. So if there is any way we can improve this course, just tell us and we'll make it happen.

Go ahead and click the enroll button, and we'll see you in lesson 1!



Meet Your Teacher

Teacher Profile Image

Phil Ebiner

Video | Photo | Design


Can I help you learn a new skill?

Since 2012 have been teaching people like you everything I know. I create courses that teach you how to creatively share your story through photography, video, design, and marketing.

I pride myself on creating high quality courses from real world experience.


I've always tried to live life presently and to the fullest. Some of the things I love to do in my spare time include mountain biking, nerding out on personal finance, traveling to new places, watching sports (huge baseball fan here!), and sharing meals with friends and family. Most days you can find me spending quality time with my lovely wife, twin boys and a baby girl, and dog Ashby.

In 2011, I graduated with my Bachelor of Arts in Film and Tele... See full profile

Level: Beginner

Class Ratings

Expectations Met?
  • 0%
  • Yes
  • 0%
  • Somewhat
  • 0%
  • Not really
  • 0%

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.


1. Course Introduction: welcome to this light room classic CC course. I'm so excited to have you here before we jump into the lessons. I just want to say hello and introduced myself if you haven't taken a course for me. My name is Philip Dinner, and I'm the founder of Video School Online. Since 2012 we've been creating top rated courses that teach people like you amazing creative skills. In this course, I'm going to show you how to edit photos using light room Classic. You're in the correct course, right? It's important to know that this course is for light room, classic CC users and not the cloud based light room C. C. I have another course on that program. If you're interested, we'll be using the latest 2018 version of Light Room Classic CC. If you're using an older version of Light Room Classic or even a previous version of just Light room or Photoshopped light room, you'll be able to follow along. If you're taking this course with a newer version in the future. From when I record this intro, that's fine, too will make sure to update the course with any important changes or additions that adobe ads. We designed this course to take you from absolute beginner with no experience all the way up to advance user feeling comfortable and confident. Using this amazing tool, you can see from the course outline that we start with importing and organizing the photos . We don't spend too much time there as I know you want toe jump right into editing. So the bulk of this course covers all of the different ways you can edit your photos to make them look awesome. Way go over all the tools in the development module and then show you how to export high quality images so you can share them with your family and friends. When I learned light room for the first time, I loved watching tutorials by photographers that show the entire process of editing a photo from scratch. And so that's why later, in this course, I've added several complete photo edits, showing you different styles of editing. That way you can see how you can use the tools that you learned earlier in the class and put them together to edit a complete photo from scratch. Make sure you download the practice photos in the next lesson, which will be using throughout the rest of the course. Also, I want to clarify that if you're in the photography masterclass, you may find some of these lessons are familiar. We've included the basic editing lessons from this class in the photography masterclass, but in this class we've added more advanced lessons in hours of additional full editing demonstrations that really take your skills to the next level. So if you're wondering, should you be in both classes, I would say yes. This light room class will really take your editing skills to the advanced level. And remember, if you ever get stuck, just post a question to the course will respond as fast as we can to help you out. I'm excited to get going, so download the photos in the next lesson. Then let's get going with life Room. 2. Quick Tour of Lightroom Classic for New Users: If you're new to light room, the first thing you probably need to know is how to navigate it. This is a quick tour. I have my unzipped folder of photos that we'll be using and we'll be looking at importing those in just a second. But if you open up light room for the very first time, you'll see something like this. The way that light room works is it has different modules up here. Library, develop, map, book, all of these. And we'll be going over them in the class. The ones we'll be spending the most time in our library and develop, which is where you actually edit your photos. Library is where we organize them. You'll see that there's different panels depending on the module. You can open and close these panels to make more room so that you can see your photos with those little arrows on the side. You can also, inside of these panels, drop down the different menu options that we have. And we'll be doing a lot of this throughout the course. Up top, you, of course, have your file menu. And one quick thing. If you have open light room, if you've played around with it, if you've imported photos. But you want to start completely from scratch to clear out your organization. You might want to create a new catalog, go up to file new catalog. That doesn't mean you're going to delete all of your work or your photos or edits that you've done before. However, if you want to start from scratch in terms of better organization or just with this course to stay clean, you can go up to file new catalog. We'll be talking about catalogs and organization in just a second. Also notice that I am quite zoomed into light room, Everything looks quite big. And that's because I record my tutorials so that you can see more clearly the buttons, the menus and things like that. So everything might look a little bit smaller and you'll likely have more space when you are editing throughout this course. I'm going to be doing a full screen view mostly like this. And you can see when I hover over the side or top, you actually get those menus that pop open or those panels if you need to get from one to the other. All right, so that's it for now. We will see you in the next section on importing and organizing. 3. Importing Photos into Lightroom Classic CC: Welcome to this new section, all about importing and organizing, which is such an important part of being a photographer. You will thank me later if you learn from the skills and the techniques in this section and stick with it, because 23510 years down the road, you want to be able to find the right photos that you're looking for. So we're going to be diving into light room Classic. Make sure you have all of those photos downloaded, unzipped and ready to go to follow along and practice and we'll see you in light room Classic. As a reminder, the lightroom CC version of this court is later on and we'll go over importing and organizing in those sections as well. All right, so we're here in the library module and this is where we're going to import our photos. You can do that by clicking the Import button, or you can even go to your finder and find specific photos if you like that. Or your documents on a PC and simply drag them into the middle of this library panel. I'm going to click Import so you can see how you would do it this way. Where if you click that Import button, then you have to find the folder of your photos, You have your computer folders and then any external hard drives that are attached. So here I have found my light room practice photos folder, which is on my desktop. And when you click on the folder itself, all of the photos will pop up here in the middle for you to look at automatically. All of them are selected and these are all the photos you have access to for editing. Many of them are my own photos, Some are from a great site called Signature and those are the ones here with that name with the photographer that you might want to tag if you use those photos. And a couple from as well. Notice that they're all checked if you are going through your photos, for example, from a chute or something like that, and you don't want to import all of them, you can uncheck all. And then you can go through them one at a time to view them in a bigger fuller screen. First, I'm going to go full screen up here, so I can see a little bit more. But we can click this button here to view each photo. Using our arrows on the keyboard, we can go right and left. And then click this little check box down here to include in the import. This is how I do it. Now other photographers might import everything and then filter once everything's in light room. But I like going through and doing an initial coal of my photos. Now, all of these photos are the ones that we're going to import. I'm going to check all down here. You could also filter by file type or file name. For example, you only want raw files, but this folder has raw and Jpeg files. You might want to filter by type and only show specific raw photos. You can increase the size of the thumbnails and that kind of thing. You'll also notice at the top that it says all photos or new photos if you have a folder with photos that you've previously imported, if you choose just new photos, then the other photos won't appear. And even if they are here in the all photos, if you have to don't import suspected duplicates, then it will not include those ones that you've previously imported. Which is a good thing because we only want one instance of the photo in light room to be working on. Of course, there's other reasons why you might want a duplicate version, maybe to do a separate edit, but we'll do that once we're in light room, not here. There are other things that we can do over here to organize our photos, such as adding to a collection Hold. That thought though, because we're going to be looking at collections in an upcoming lesson, just know that there's an option to do it automatically during import. And there's also ways to apply presets and settings here while you import, which is pretty cool and we'll be covering that in a future lesson as well. All right, so once you have the photos checked that you want to import, which we all of these photos choose Import down in the bottom right. And it's going to import our photos into our library. Now the only thing I want you to do here to change one thing so we're on the same page, because these are in somewhat of an order down here. We have all of these filters at the bottom of this window. Now let me open that so you can see that we have our little bar of photo photo tray down here that you can see them as well. But in this main area, change from capture time to file name. That's going to put us all in the same order while we're working through the class, everything is in the right order. One quick important thing I forgot to mention. When you import your photos into light room, the photo stays in your computer wherever you have it saved. It's not like importing into the light room app itself like some other photo apps do. If you've used Mac photos, for example, it actually creates a copy of the photo within Mac photos with light room, it's just referencing to the photo location on your hard external hard drive or wherever you have it. This is different than what light room CC the cloud based app does, which it creates a copy that's saved to the cloud that you have access to wherever. But if you're using Lightroom Classic, don't delete your photos after you've imported them because you won't be able to edit or export them later on. You still need those original photos wherever they lived. And keep them in that location so that the sinking of the photo in light room and out of light room doesn't get out of whack. You can always resync later on, but just having your photos organized on your computer first is important. All right, that's it. We'll see you in the next lesson. 4. How to Find Photos After Importing: Video, I want to briefly go over how to actually find photos that you've imported using the Navigator over here. Here we have four different dropdowns with different ways to find photos that you've imported previously into light room. Right now we just have the previous import and that's the automatic spot that is highlighted once you import photos. However, if you want to see all the photos you've ever imported into light room, you would choose the all photographs option right here. Now, because I started a new catalog for this course, these are the only photos that are in here. I want to jump over to my other catalog to show you what it would look like if you've been previously importing photos. You can do that up here in the file, open recent, and then go to the catalog that you have previously been using. A quick note about using catalogs. Some photographers, like my good friend Will Carnahan, he creates separate catalogs for different projects, so one for his wedding photography, one for his portraiture. And that's something you can do. I tend to have one catalog for all of my photos, and I organize them by collections down here, which we're going to go into in the next lesson. Or you might want to use a different catalog every year. That's up to you to decide. But here in the Navigator, with all of my photos selected for this catalog, you can see that I have a ton of different photos from a ton of different shoots. You also have the previous import, which for me, I had practiced importing this folder into this catalog as well. So that's why this is my previous import. But then below this, we have our folders. This is a way to navigate to the photos that you've imported via the structure of your computer. I have several different folders here such as 2023, 2022, et cetera, and this matches the folders in my documents. For example, if I go to pictures, I have 202-02-2203, et cetera. And so if I go here and I know that I took photos in 2023 and I had imported them. I might find those photos this way. Faster photos that I've imported from my desktop, et cetera. Also, you have your different hard drives that you've imported from. The ones that aren't highlighted are the ones that are not connected to your computer right now, but you know that, okay, I used a previous hard drive called San Deems to import photos. If this makes sense for you to find photos, that's good to know where you can do that via folders. But more importantly, what we're going to be doing is finding photos and organizing by collection. I just find this the best way to stay organized. And we're going to cover how to do that in the next lesson. But I just want to show you how I've done it myself. Here I have photos, like four creative photos that I've taken in my town. I have a collection for clients. I have just general creative work, family photos, these are like personal ones, ones for the photography and friends, brand and community that I do video school. Within each of these folders, I have subfolders. For example, under client, I have the clients that I worked for last year or at least recently with this catalog for photo friends. I have these different challenges that I've set up video school I have and things I've worked on as well. You can think of collections as a separate structure of folders within light room. That does not affect the structure outside of light room in your documents, but you can organize it in a ton of different ways here. All right, we're going to learn how to actually do this in the next video coming up. 5. Organizing Photos in Collections (Albums in Lightroom): Here's how you can create and organize your photos with collections. As I briefly mentioned in the last lesson, you can think of collections as a way to organize your photos by folders within light room itself. An analogy I thought helps understand what it means is you have photo albums, which are collections. And you can see this by clicking this plus button. And then you can organize collections by collection sets. So this is the master folder, and you can think of the collection set as your bookshelf or your bookcase that holds your photo albums. Let's see this in action. So what we're going to do is we're going to select all of these photos. By selecting the first one, you can do different things. You can press command A and that's on a max. So whenever I say command, that's going to be control on a PC and command A selects all the photos or you can select one. You can shift click to the last one. Or if you have specific photos you want to include you, just command click again, control click on a PC, I'm just command click A to select all. Now with all of these selected to actually put them into a collection or an album, click the plus button and choose Create Collection. What we're going to call this is light room course. You'll notice here that we can choose inside a collection set. We don't have collection sets yet. We'll create one in just a second. Now, as I mentioned in this course in the intro, I'm not going to go over every single setting as we go through the course because it's just going to take too much time. But I will highlight the important features and then later on I'll go through a lot of the ones that I skipped that I feel are very important. If there's anything I don't cover and you're wondering about, just post a question to the course or to the Photography and Friends community and we'll help you out. But one of the things that I wanted to mention is virtual copies. What's going to happen is if we include the selected photos which you need that to be selected to be added to this collection light room can actually create a duplicate copy of your photo so that you can apply different effects or edits to it. And that's what's called a virtual copy. We'll look at editing virtual copies in the future, but here's an option to automatically make a virtual copy while creating a collection. Now that we're happy with our collection name, we can click Create, and you can see that it popped up here. Notice that there's a different look in terms of this little icon here. And that's because this is a collection. This is a collection set. If you drop down this menu here, you see some specific smart collections that are pre populated in light room. These are collections that are based on different settings. For example, ones that were shot in the past month, video files, without keywords, you can actually create smart collections. And we'll look at that in a future lesson two. But let's create a collection set which is the master folder for a particular collection. This is going to change depending on what type of organization you want. Within light room, do you want to organize by year, So you can say whatever the current year is and then have different collections for each month. Do you want to organize it by the type of photography, your landscape, your travel by particular job or client? That is up to you to organize yourself. But for example, we can just call this learning. Then we can create that collection and we can drag the light room course into the learning collection set light room course, this is our photo album and Learning, this is our bookshelf that holds our different albums. We can even have collection sets within collection sets. For example, if we create a collection set, we can call this Creative. We're going to uncheck this for now. Now if we create a new collection set, we'll call this portraits. And we have the option now to include it within a different collection set. We'll put this in Creative. Now within creative, we have portraits there. You could have like the year, the month, and then even under month, you could have a specific collection for a specific shoot that you've done. There's tons of ways to organize. All of this can be adjusted after the fact, renaming, duplicating, all kinds of stuff as well. But for now, what I want you to do is get to a place. I'm going to delete this first one. What you should have is something like this, learning as a collection set and then the light room course as a collection. And we'll see you in the next lesson where we're going to cover different ways to tag rate, flag your photos for more organization. 6. Rating, Flagging, and Labeling Photos for Organization: Now we have our photos imported in a collection. When you move your photos around, the sort down here defaults to capture time. Again, we're going to change to file name. There are several ways to now organize your photos so that you can tell yourself which ones are the best. Maybe you want to just cole through your photos and pick your top ones to actually proceed and edit. There are three main ways you can do this. With a star rating, with a label, and with flagging. Now we're in this view, and remember we have these other trays down here below which we'll be actually looking at later on in this lesson. But to view a bigger photo, you can double click or click this little full screen button. Now that we're in this view, we can see below we have an option for adding a flag or stars. And then to right click and then add a color label. I'm going to start with the star ratings. But again, just like organizing, different photographers, use these different filters for a variety of different methods. I like using the stars because it gives me a few different options for easily seeing which ones are my best photos, which ones are okay, which ones are not so great. And we can filter later on by label to add a star rating to a photo. You can click these buttons down below. Here, we've given it a four, or you can, just with the numbers on your keyboard, you can give it a rating just by clicking the number one through five. That's the keyboard shortcut for this. This is definitely a five star photo right here. You can use your keyboard shortcuts to do this and make it easier just by tapping the right arrow key. We see this next one. Oh, I have to give my son a five star, this bird. Pretty damn cool too. But just for fun, let's give it a four. This landscape photo could have been a little bit better. So we're going to give it a three. This one right here, I'm not quite sure about it, but I am going to give it a three and we'll probably edit it later on. I'm just playing through this, talking through what my way of doing it is. Maybe something like a one star would be. Definitely don't need that photo. A two star might be. Let's look at it later. Three star is it's good enough to edit, but right now I don't think it's my favorite. A four star would be really good and we're going to edit it. And then a five star would be, yes, definitely, we're going to edit it. I know this is going to be one of my banger photos and we're definitely going to edit that photo, but you can come up with sort of the ranking that you want. Now the reason we do this, I'm going to jump over here in the filtering and let's just look at this view as well. Down in our photo tray down here we have the filter options, and here we see the stars. We can actually see that this little icon says greater than or equal to one star. It's going to actually filter our photos that we've given a rating to that are higher than one star. If we go to our four star or higher photos, now we have only our four star or higher photos, which is a great easy way to quickly access our best photos. We can change this to equal to say we want just our five star photos or just our four or three star photos. We can view that as well. And of course you can say less than or equal to as well. Then to get off of this, you just click on the star rating that is highlighted and that resets that filter, that star rating. The other way to do this is with flags. Here we have a flag which is like a selection. You also have a reject, a rejection flag. The keyboard shortcuts for this is flag as a pick is to remove the flag and X is to reject the photo. This is actually a very simple way to go through your photos and you can just say, okay, puppy pick, son pick, bird pick, Not for this one. So we're going to actually put X rejected. This one rejected. We say this pick, it's really like a pick or a pick. And then if it just doesn't have a flag, then it doesn't have any rating to it. Then if we're in this view here in the grid, we can see here and also in our photo tray at the bottom, that the rejected photos are faded out, making it easy to see which ones are selected and which ones are not selected. Down in the filter here, we can filter and turn on our flagged photos. Turn off, same for our un flagged photos or not, our rejected photos. Or we can combine these so we can say flagged photos and are rejected photos or unflagged and then have flagged as well. If you click on each of those buttons, it turns on or off those filters. You can quickly flag several photos by selecting multiple command clicking or selecting all command a and then pressing your keyboard. Shortcuts as a pick, unflagging or X to reject that's flag. The last is a color rating. I don't typically use color rating that much when I am organizing my photos, but it's just another tool you have to organize your photos. For example, I might select these three photos that I know go together as a panorama. Right click, choose, set color label, and we're going to put red. We know that red photos are part of a panorama. Maybe we select these three photos of this kitchen, our kitchen, and we add a color label as green. We know this is an HDR stacked photo. We have multiple files that we will be combining later on. Now, you could do this however you want. Maybe you want to say our portrait photos are purple. And you can put all of your portraits as purple. Or maybe you photos are purple or your okay photos are purple. Again, that's up to you to decide how you use these different tools. But now it's an easy way to visually see which photos go together or which photos represent a certain thing that you want it to describe. And we can filter down here just by clicking on our color filters. We can have our red and our green photos appear here. Easy to navigate to these different photos. The next time you are importing photos into light room. I would play around with these three different tools and see which one you like the best, whether it's the star, rating, the flagging, and picking, or the color or a combination of them. You could also use these tools after we edit as well, maybe we add a color label at the end to our favorite photos so that when we're looking at all of our photos in our catalog like this, we can quickly see, okay, our best photos are highlighted with a certain color. That might be a great way to do it. Hopefully, I'm sparking some ideas for you, but that's it for now, in terms of rating, flagging, and color labeling your photos. We will see you in the next lesson. 7. Quick Tip: Viewing Metadata, Adding Keywords and Quick Develop: This lesson, I just want to quickly show you that you can access the metadata for these photos over here on the right hand side. We haven't really looked at this panel over on the right, but there's a lot of interesting stuff here. First, at the top, you have a histogram. And if you don't know what a histogram is, it's a visual representation of the exposure of your photo and the colors in a photo. On the left, you have your darks. On the right, you have your highlights or your whites at the very right, in the middle, you have your mids, of course, so a photo that's more like black and white. You'll have a lot in the blacks and the shadows over here, a little bit in the mids. If we have something that's a little bit more of, it's going to be over in the mids. And in the right. Let's see something like this. Also very, one noted this photo of the watch and you can see that represented in the histogram. Very cool. And we'll see more of that later on. For the photos that have the data, you'll see a quick glimpse at the settings, your ISO, the lens that was used, the aperture, and the shutter speed. But you can access more of that data. Down here in the metadata data, Data, potato, potato. Here you can see the file dimensions. You can see when it was taken. More information about the camera that was used, which is pretty dang, interesting as well. Above this you have keywords and a keyword list. I don't use this for organization myself, but it's an epic way to really get down to the nitty gritty of filtering. And you can add keyboards, for example, Puppy, or we could add something, bird or nature or whatever. Now what's cool is now what's cool is if you go to a new photo, you have your keyword suggestions down here or recent ones. So you can quickly add them. And we'll see in the next lesson how you can actually create a smart collection that automatically adds photos with specific keywords into that collection. Which up above you have the quick develop feature, which is a quick way, if I go here to this photo, for example, to just boost the exposure and do some quick editing here in this panel. It's not a very fine tune editing, but it's a quick way to edit your photos without having to go into the developed tab, which can be pretty intricate. There's also an auto button here where you can quickly edit your photo, although as you can see here, that's likely not what I would do with this photo. You also can apply presets up here. If you have presets that you know you use or want to use or white balance change that all of this is a little bit advanced and we'll be getting into what all of this means in future lessons. I just wanted to show you this right panel and what is going on in it. To me, the most exciting thing is the metadata. Seeing things like, oh, what lens or focal length this shot at. All right, in the next lesson, we'll be looking at Smart collections. See there. 8. Advanced Tip: Creating & Using Smart Collections: This is a little bit of an advanced lesson, feel free to skip if you're ready to just dive into editing over to the next section. However, if you want to learn how to quickly and automatically create collections, this is how you do it. We previously saw that there are some smart collections already set up. You can delete these. If, for example, photos with a red label, I don't really need that smart collection, so I'm just going to delete that. But ones that are five star, that's a pretty good one to have, ones shot in the past month, ones that I've recently edited or modified. That's pretty cool too. To create a smart collection, click the plus button up here and then choose Smart Collection At the top, you can give your collection a name. For example, maybe I will call this portraits. You can choose where you want it. It doesn't have to live in the Smart collections folder. If you don't want it, then you have to set your rules and it will automatically look at all your photos. And if it matches that rule or follows that rule, then it will be added to this collection. Right now, it's automatically set at if it has a rating greater than or equal to. And then you can click here to say like three stars. But if I click this drop down, you have all of these different options. For example, we can add keywords if we see keywords. And then if we say contains puppy. And then we click Create. I shouldn't name this puppies. But now we have a smart collection that automatically we'll import that photo. For example, if we go back to our different photos, we add puppy to this photo. If we go to the portraits puppy Smart collection, it was added. Let me delete that. One thing that I've done with smart collections, which I think is pretty great, is by date or by year. For example, you don't want to manually have to add photos to a collection by year, by month. You can do that with a smart collection. Let's go ahead and choose date, Capture date, then you can say is after. And then you can choose the first of the year. Let's just do 2023. We want to add another rule because we want the capture date to be before the last day of the year. Now you can set up multiple rules. Is it after the first of the year and before the last of the year? Create? And 14 of these photos were shot in 2023 shot. I keep messing up my names. 2023, I just back here in the Create Smart Collection menu just to show you a couple other cool things. Camera, maybe you have different cameras or different lenses that you use. Maybe you want a collection with just specific lenses that you've shot. Just specific cameras. There's so much location. If you have your location tagged in your photos, most new cameras have that option. You can do that by location, which is pretty cool. But for you may be the most useful one is by rating, or flag, or color label. Depending on if whatever one you're using to choose your best photo, I want all of my photos that is greater than or equal to three stars. Those are the ones that I know I'm going to edit and play around with. So I'll say Best Photos and then Create. But as you can see, you could add other as well as best photos shot with my Fuji Best photos shot for 2023. However you want to set them up. I realized that I invest that up because it's choosing ones less than are equal to three star. But you can edit these, just right click Edit Smart Collection, Quickly edit them like that. Now we have our best photos. All right, have fun with smart collections. We will see you in the next lessons. 9. Face Tagging & Organizing by People: Light room has a pretty powerful face shoal recognition face tagging feature that is accessible with this button down here in the library. If we click this, if you haven't turned it on for your collection, you can turn this on. You can turn this on for the entire catalog. You could also turn it on only as needed. And then you can manually turn this on based off of settings for your different folders or smart collections. I'm just going to choose for now, start finding faces in the entire catalog, because this catalog only has 30 photos and yet you can see here, it starts popping up photos within our catalog. You can see that if there are multiple photos of a person that has this little icon here that shows there's two photos. I'm going to say woman here. I'll call myself Phil. Once I name myself or any of these people, it pops up here in our name, people here. You also see it start to question, okay. Is this drilling, is this drilling? No, it's not. You would want to help it learn and then you would add your own tags or your own names for what the people's actual names are. You can always access the people view and see all the pictures of a specific person by going to this people page down here in the library. But perhaps you want to create a collection of a specific person, or maybe multiple people. All of the people in your family, for example. You can do that with a smart collection. Under Smart Collection, if we create one, we could call it family. We could put that inside our learning category. Then what you want to do is add it as a keyword. There's not like a people category here. It's under keywords, which is under other metadata and keywords. And then you want it to contain the name of your person, which is now a tag that has been added because you've created the name in the people of you, that automatically makes it a tag that's available. And then maybe you want to add another one with your partner's name, your kids names, whatever. You would just go add another name. And I'll call this Isabel for my wife. And I want to make sure that this changes matches any of the following. Otherwise, it will only include photos that have both a Phil and a Isabel tag, which is cool. Maybe you want photos of just you and your partner. A quick way to find photos from the past if you have them all tagged and now once we save it, we have that collection over here and it has this photo. And similarly, if we add a new photo, all right, we are importing a new photo. And once you import it, if you're in the people tag, it might pop up with your name that you've used before. If not, you can start typing it and then it will appear, it's tagged as Phil, remember. And if we go back to all photos, it will include that. So we see that we have two photos of Phil, but we also have it automatically added into our family collection. Right, awesome. So that is the people organization under library. If you have questions, let me know. Otherwise, we'll see you in another lesson. 10. Advanced Tip: Adding Photos to Collections During Import: Here are a couple other advanced features in the import module. So here I'm importing photos and two options I want to show you right now are Build Smart Previews, which is a feature that speeds up your workflow. Light room will actually create a smaller, lighter version of your original photo that allows you to edit it if you have like a slower computer. And it even allows you to edit without having access to the original file. For example, if it was on a hard drive but then you unplug, you'll still be able to do your edits. I typically don't have this on, but I just wanted to mention that in case that seems like something you'll need. And then the adding to a collection. Now that you know what collections are, if you click Add To Collection, you can see the collections that we've created here. So for example, if we want to just add it to the light room course during Import. Once you click Import, it will automatically be added to that collection. Because we're here and you see this quick collection option, you might be asking, okay, what, Phil, what is a quick collection? A quick collection is just sort of like a temporary holding space where you can hold photos. Maybe you're importing a bunch of photos from different computers or different hard drives, different SD cards, and you can add them to a quick collection that are, Let's just leave that on and then click Import. Once you are, maybe we import some more photos. For example, let's just throw in a couple more. This one we will add to our light room course. Click Import. See how we still have our quick collection photos, but then we also have our previous import. If we hadn't added these to the quick collection, those would have just disappeared into the all photographs category. But now we have access to them so we can then go in and organize them later on. Also notice that in our light room course folder, we now have our photo right here of myself that was added during import. And you can add photos to a quick collection later on. So for example, maybe I'm working with these kitchen photos. I can actually just drag them into quick collection right here. And they're going to appear up here in quick collection. So it's just another sort of useful way you could imagine if you were actually handling actual film strip or photos. And it's just like a pile of photos that you know you're going to use those but you don't know how yet. That's what the quick collection is. Now, I haven't shown you how to do this, but if you ever want to get rid of photos, which I'm going to do with these ones I just imported, you can just select them. Hit the backspace or the delete key on your photos. And I'm going to just choose removed from light room. I don't want to delete them from the disc, which would actually delete the files from my computer. Just remove from light room. Remember, light room is just referencing files that are on a hard drive. If you remove them from your hard drive, you won't be able to edit them or access them anymore unless you do the smart previews. But still you won't have the original file to be able to export and have access to that original file. It's just referencing. Awesome. Thank you so much for watching and we'll see you in another lesson. 11. Quick Tip: Importing Directly from a Memory Card: If you're importing photos from an SD card or a memory card from your computer, the process of doing so is a little bit different. And I want to show you, if you just plug in your SD card, the window might pop open. And now we have our photo folder over here, our SD card, with all of the photos that we've taken. And now we can just choose the photos that we want to use. Took these photos of this beautiful flower. So we're just going to choose that one. But now over on the right hand side we have this destination dropdown. And this is where light room is going to actually import the photo onto your hard drive. Because if it doesn't import onto your hard drive or an external hard drive, then once you remove your memory card, it's not going to have the original photo to refer to, so you can't edit or export it. There's different ways to do this. You can create folders by date, You can do it into a specific folder, and then you just find the folder that you want. For example, we can put it in this 2024 folder that's on my external hard drive. And these are the folders that are actually on my drive. Actually my main computer drive, I like having it by date. It actually creates a subfolder for the specific dates that each photo was taken. If I selected multiple photos, you can see that these are the options for the dates that it might create. And now once I click Import, it imports it obviously into light room as well. The card was ejected. But we can also see that it was imported onto our computer. You could always find that by right clicking a photo and choosing Show and Finder. And now we have this photo that was imported into my 2024 folder that was already there under this one date. And it's referencing the raw file that was imported. It also imported the Jpeg file, which is fine to have, but in light room it's referencing the raw one to get the most editing capability. So I just wanted to show you that option for importing photos from an SD card or memory card. You don't have to, although some people do just import your cards directly using your finder or documents and then import it into light room. However, if you want to just find your best photos that you've shot and just import only those ones, you can do that through light room itself. 12. Quick Tip: Comparison and Survey View: A couple quick other view options that you might be interested in that I didn't cover here. We have this sort of compare view. So first you want to select your candidate photo. Here, maybe we are looking at this set of landscape photos and we want to compare them. So let's just close this down so we can see more. The selected photo is the one that you selected and that stays there. But if we use our arrow keys on the keyboard, you can scroll through candidate photos. This might allow you to see, okay, well, this one on the left. I don't like how this building was so far to the right. Maybe I want this one here. And then from here we can give it a rating or we can flag it or whatever using keyboard shortcuts or these menu options down here. It's just a great way to compare a bunch of photos to your best ones. And you can imagine if you took a bunch of family portraits like this, you might have ten or 20 snaps from this exact spot in moment. And it's an easy way to do that and look at all of them. Alternatively, there's this survey view and I'm going to select several photos. So I'm going to select these three photos and then choose Survey View, which is again, just another way to look through a bunch of photos in one screen at one time. You could exit out of them like this. Let's go back to our photos. Maybe let's just go through and say we're going to survey these five photos. Now with these five photos, we can see which one is our favorite, which one is not, et cetera. All right. I just want to explain those last few options down here. I hope it helps you and we will see you in another lesson. 13. Navigating the Develop Module: In this section of the course, we're diving into editing photos. Everything from basic crops and exposure adjustments, color adjustments to even more of the advanced tools that light Room Classic has to offer. Color adjustments, grading, HSL panel, all of that we're going to be covering in this section. So let's head over to light room and get started. We are here in light room. Over in the develop module, I'm going to clean up my workspace. And right now, I'm just going to give you a little overview of this work space down below. Starting here we have our photo tray. We didn't use this much in the library module, but here when we're editing photos, it's super helpful because we can get from one photo to the next. We can filter as we've seen before. If we've added any star, ratings labels, flags, that's really how you can easily get to different photos. To see our photo. Bigger though, we're going to hide that, so we have more real estate in seeing what we're actually doing. On the left hand side, we have a few things we'll be looking at in the future like presets. You can also directly access your collections here. And a couple other things we'll be looking at in the future. But we're going to also hide that panel right now. Main panel we'll be working with is this one over here with all of these drop down menus for these different tools. You can drop down any of these menus and open them up with the triangle button. We'll be going through most of these tools throughout this course. The way I've set up this first section on editing, we're going to work through editing a photo in the order that I would recommend or is typical in editing a photo. And that's going to be coming up next. But just to warn you, there are going to be features and tools where you're like, Phil, you didn't cover that. Don't worry, we're going to cover it all in this class. We just might not cover it right in this first section because we want to learn the basics right now. So that's coming up next with the first lesson in editing our photos in cropping and rotating. See you there. 14. Crop + Rotate: The first thing that I recommend doing in editing is cropping or rotating. The reason is because depending on the photo you take, you might crop out something that is a distraction or maybe something that's too bright, too dark, a color that you don't like. If you wanted to fix that with your exposure and color adjustments, you might be able to do it. But at the end of the day, you might actually just crop it out, get your framing done right first. And to do that, we have this little crop tool right here. And that opens up the crop menu. Initially, the aspect ratio of your crop, which is the length to width of your photo, will be locked. As we see here, we can unlock it, but typically you want it to be locked because the aspect ratio that your camera shoots is the standard for most photos. However, if you are editing for a specific type of graphic, if you're doing a print that's five by seven, if you want to create a 16 by nine background for your computer or a nine by 16 background for your phone, you can choose one of these preset aspect ratios or enter a custom one here. A one to one ratio would be square. Right now, if I change it to one of these, you'll notice that over on the left hand side we have this crop grid To adjust it, you can just hover over the corner, Click and drag in. Click and drag in on the size or top. Now when we do this to the top, it also brings in the sides because it's locking the aspect ratio to one to one. If we unlock this, we can create any sort of custom crop that we want that is cool. If you're looking for that. However we want to just keep our original crop, but maybe we'll just crop in a little bit because this little plant right here that's coming in from the side, I don't really like that. However, I do want to maintain our puppy maple in the center, something just like. So we also have this angle button right here here. It's a quick way to rotate our photo with any of these sliders. If you want to reset it, you just double click it. You can also click into the number area and type in a number if for example you're looking for like a very specific number. And that's going to be the same for any of these settings. Once we are happy with the crop, you just press the return key on your keyboard or you can just click over to the editing module right here at the editing button. Now for this photo, we didn't have to level the horizon, which is typically one of the things you want to do with a photo. Let's go over to this landscape photo. And we have the horizon here. And I just want to show you the angle tool. We have this level. If you click on this, what you can do is you can click and drag and create a line that is level to the horizon or to a line that's in your photo. It will adjust the photo. That line that you drew was perfectly level. Here's another photo that maybe we want this landscape to be level. We'll do it like this. Now the land in the background, even though in real life it might have had a little bit of a hill for this photo, we might want that to be perfectly level. That level tool that you see here, tap on it. And one last thing, if you are here in the crop tool, you can also adjust the angle by hovering over the left or right side. See how the mouse changes to this little up and down arrow. And then just drag, drag up and down instead of dragging the slider. See how I told you before that there's so many ways to do the same thing in light room. You just kind of have to find the way that works best for you. One other quick note, light room does a pretty good job, and most modern cameras know what's up and what's down. But if you have a photo that's completely rotated and you need to rotate it 90 degrees or 180 degrees just right click it, Go to Transform, and choose rotate left or rotate right. And this is also where you can flip your photos if you choose to do that for a more creative reason. Just wanted to point that out if you wanted to rotate more than what you're allowed to do with this angle tool. All right, that's the crop and rotate tool. We will see you in the next lesson. 15. Color Profiles: In this tutorial, we'll look at the color profiles and color modes up here at the top of the basic edits. Color profiles are important because it actually changes how the computer reads and processes the image that we've taken. If we are shooting in a raw mode, depending on your camera, you have a ton of different color profiles that change the look. You probably have those on your camera. There's things that are like more vivid for landscapes or wildlife. And then there might be some cool portrait modes or black and white modes. But with a raw image, those profiles aren't necessarily baked into the photo. The colors aren't going to be what you saw when you actually took the photo. If we click on this little icon right here, we get a bunch of the different color modes that are either camera matching, meaning the ones that we have on our camera. It knows that this image was shot with a Fuji camera. These different color profiles are options for our Fuji camera. There are also other color profiles that are built into light room. There are Adobe raw ones, which are the standard color profiles. And this is what you're going to see and edit most photos with. However you can see, if I hover over these, there are different looks. The colors change ever so slightly. This is not a preset necessarily, but it is a way to quickly apply a certain style or type of color to your photo. Then aside from the adobe ones, we have some more artistic ones. And black and white ones down below. Now say you like one of these color looks and you want to apply it, but maybe the coloring was a little bit too much. You have this slider up here where we can actually decrease the strength of this color profile. You could even increase it if you want to. You really like the way that brings out those browns. And the. We're going to increase that again. We can double click this, we can go in here and type in a number. That's the last time I'm going to explain how to work with these sliders, but usually double clicking or typing in a number is good. And one other trick, if you're hovering your mouse over a slider, and if you move up or down with the arrow keys, it will move up or down that number. If you hold shift down, it will jump up or down. In a larger increment, most photographers find one of these color profiles that they really like and tend to use that myself. I like the Fuji colors for this photo, we're going to actually start with a Provia, which is their standard color look. Now this is the standard color profile on my Fuji camera. If I had shot a Jpeg photo, this color profile would be baked into this photo. You wouldn't have to add this later on. This is just if we're working with raw photos. I'm going to close this and I just want to show you one more button. If you want to quickly switch a photo to black and white, you can do it here. I'm going to undo, which you can always do with command Z, control Z on a PC. And then there's also an auto button right here which auto adjusts all of our basic color and exposure settings here. Sometimes that's helpful. There's an HDR button, which we will go over in the future. This is if you have an HDR photo, which is sometimes a setting on a camera, or it's a combination of photos that we turn into an HDR photo. We'll look at that in a more advanced lesson. That's Color Profiles in Adobe Lightroom. See you in the next lesson. 16. Quick Tip: How to See the Before + After of Your Edits: Just a quick tip, it's often very helpful to see the before and after of your edits. You can do that with the backslash keyboard shortcut, you just press that and you can see that it shows the before up here. Also, all of these different editing panels have a little eyeball button. So if we make changes, let me just bring up the exposure overall just for you to see. You can turn that off just to preview it by clicking that eyeball button. This is helpful because once you make a lot of changes to the basic panel, for example, if we then start making adjustments to the tone curve, it's good to be able to see the changes that you've made for just that panel. And another cool thing is you can see a before and after comparison right here. So let me just make a bigger change so you can see what's happening after on the right and you can change the look like a split screen or up and down, et cetera. That's a really cool tool to see your edits that you've done. All right, hope you enjoy that quick tip and we'll see you in the next lesson. 17. White Balance: Now we're moving on to our first edit which is white balance. It's the first one at the top of the basic dropdown. There's different ways to adjust the white balance at the top. You have some presets. If it was cloudy outside, you can just switch to that preset. You can also choose an auto setting and it will try to automatically adjust the colors. Or you can leave it as shot. And down below, you can adjust the temperature and tint sliders. The temperature is cool blue to warm light. Then the tint is more green to magenta. This is both to properly adjust and fix the white balance, but also to give your photo a style if you want to warm it up. For example, I think this photo was a little bit cool. It was on a cloudy ish day, and with all this green foliage in the foreground and background, it made the photo look a little bit cooler than it should have. I can just bump up that warmth. Now let's go over to this product shot of the watch. This would be a good example of using the eyedropper here. You can actually click this and then find something that should be a perfect neutral white, or neutral gray in your photo. The way that white balancing works is if you tell light room that, hey, this is neutral white, it should have no color in it. Then it can adjust all the rest of the colors based off of what it thinks white should be. And by clicking this background, you can see that it made that minor adjustment. This photo already had a pretty good neutral white to it. Let's go to this one, and if we take our eye dropper, say that ball should be neutral white, perfect. That makes a pretty good adjustment. This photo is a little bit tougher because it had a bunch of different light. We had these backgrounds, sort of string lights, we had a flash going off. This is my cousin's wedding that I took some photos and his shirt, you know, we might not know is that perfect, white or not. But it does look a little bit cool. So I'm going to tap that. And Mm. Didn't work out so great because by balancing to his shirt, even though his shirt is nice and white, the background gets all funky with some weird colors. And this is a specific color. We're going to be doing a lot of selective masks on to fix that background. But just to show you, if we balance to the background and we say, okay, this background is white. We want it to look white, which it is in reality when you go there in person. But then because the flash light was so cool compared to these background lights. Now our subject is very cool and not natural. Notice that I can zoom in on a photo like this. I didn't talk about that before, but just by clicking. And then once you're zoomed in, you can move around with the hand tool, just click and drag. Or just click once to zoom back out. But hopefully you understand a bit more about how that eye dropper works. You need to have something that's neutral, white or gray. Even if it is something that's a little bit not perfect white. Something like the moon has a lot of gray in it. And as you can see, it really did make an adjustment to what it looked like very warm before and now cool, perfectly white and gray moon, that is white balance in a nutshell, we will see you in the next lesson. 18. Tone (Exposure) Adjustments: In this lesson, we'll be going over the tone tools. These are all the sliders that allow us to adjust the exposure, the brightness of your photo. And this is where I spend a lot of time editing a photo. Starting at the top, we have the exposure which will bring up or down the brightness of all parts of the photo. You can see the histogram at the top where everything is moving to the right. If I bring it to the right and everything moves to the left, if I bring it to the left your photo, you know everything is underexposed or overexposed. This is a good slider to start with and try to bring up or down the entire exposure. This photo of our pup is not really underexposed or over exposed. But there are parts of the photo I would like to have exposed differently. Contrast is another slider that will do just what it says. Sliding to the right makes it more contrasty to the left, less contrasty. This is a great time to check out the histogram and see what's happening, because it visually explains what contrast means. If I bring up the contrast, it means making the darks darker and the whites and the brights brighter. And see how that histogram spreads out. Those darks are getting darker, the mids are getting darker and spread out. Some of those parts are getting brighter. If we want low contrast, if we want that sort of faded film style look, everything gets pushed into the middle. And you can see, obviously, looking at our photo, that all the different parts of the photo become more just the same, the same exposure. I typically don't use the contrast slider a lot because what I'm doing with my specific sliders down here is adding or decreasing contrast by bringing down the blacks, bringing down the shadows, potentially bringing up the highlights. We're doing the same thing, but in a more nuanced way. And there's also the tone curve, which is the way that I add contrast after I make my minor adjustments here. Typically the first slider I go to is shadows. Because in a lot of photos, the shadows is what you actually want to bring up to be able to see more detail in things like the pup's eyes and fur. We want to bring that up just a little bit. Bringing up the Blacks is not something I tend to do because it gets that faded film look, you can see at the top of the histogram that if I bring up the blacks too much, well, that's not really a natural looking photo. It's a style you might want to go for. But generally, if you have blacks and dark parts of your photo, and I'm not talking about the color black, but just the exposure of something that should be a pure black, underexposed part of an image. You should have some of this histogram touching over on the left side of your histogram. So by bringing up the shadows, I lose a little bit of the contrast that I have. And oftentimes I'll then come back down to my blacks and bring that down. Let's just see the before and after Just a little bit. It's a little hard because we see all of the adjustments we made with the color as well. But you can see a change in the contrast too. Now, the highlights in the whites are another area. Depending on the photo, I might bring down the highlights. And for this photo, you can see at the pup's nose, we're losing a little bit of detail in that nose. But if I bring down the highlights, we can get some of that fur back. However, then it becomes, again, a little bit too, not contrasty for my taste. And so I might bring up the whites just a little bit, or at this point I might move on to the tone curve to just boost our contrast, which will cover in a future lesson. Let me pop over to this photo over here, because here you can see that if I bring down the highlights, we get a lot of information back from the sky. And that's what I'm going for. If your photo contains information and it's not completely overexposed, bringing down the exposure, bringing down the highlights will bring back that information. And that's one of the benefits of shooting a raw photo here. I'm going to do a quick adjustment of the color balance because I think it needs to be a lot warmer and that bike is a good neutral color. A lot of this can be done with the selective mask, which we'll be looking at where we just want to adjust the sky itself. But I just wanted to show you this example of where bringing down the highlights is going to be super helpful. This is a photo where I might bring down the overall exposure just a little bit, but then it starts to get a little too dark. Then I'll bring up my shadows, bring back down our blacks to get some of that contrast back. It's all a balance of playing with the different exposures. And sometimes it's a preference of just creating a style, other times it is just trying to make sure that your photo is visible, that people can see it easily, whether it's printed out or someone's looking at it on a phone or a computer. All right, that is the tone section. In the next video, we'll move on to presence. We'll see you there. 19. Presence: Texture, Clarity, Dehaze, Vibrance + Saturation: Let's move on to the presence section. Presence is a panel that has changed a little bit over time. We have a couple sliders that are really great texture and hays which are very helpful. Let me just go through them one at a time. Texture does just that. It brings back some of the texture, it sharpens the image in a sense so that we can see more detail and things like fur. This is a perfect example of how increasing the texture helps out. Now if you want, you could also decrease the texture which will soften images. It gives a little glowy look. That could be a cool style, if you're going for that style. Basically what it's doing is light room is looking at the edges of things. It's seeing colors that contrast with each other, sharpness that contrasts with each other, and it will either boost that or not. Now clarity what that's doing is it's adjusting the contrast of the mid tones, which is the center section of our histogram. And it's making it more contrasty and detailed. It does a similar thing visually, where by increasing this, we're getting more detail in an image. Generally, I add clarity to shots like landscapes like this one, which is shot on Big Sir, which it brings out a lot of the details in the water, in the rocks, and the foliage in the foreground. Again, if I go to the left, it does the opposite. It softens, it kind of gives it that sort of glowing look. He, again, this one has a great descriptive title for it. It tries to remove the haze, the atmospheric fog clouds, that kind of stuff, and it brings out the detail that might be covered up by that haze. Here is another great example of this photo here. If we use haze, you're going to see a lot more detail in the cloud. A lot of beginner photographers will crank this up because they think, oh, I want to see all that detail in those clouds, but it's a sure sign of a photo editor and I would just be a little bit careful of going too far. And a trick that I like to do whenever I'm editing a photo, whether it's dehaze or anything else, is do your edits. Push it a little bit too far, bring it back, and then before you export and share it with the world, walk away from your computer. Let your eyes readjust to what's natural in the natural world around you to different light. Come back to your computer, look and see, okay. Wow. Yeah, that was a little bit too much. We're going to back off that dehaze just a little bit. Another use for these tools though is with stars in the sky. Now, I haven't made a lot of adjustments to the different exposures of this image, but just by increasing the hays and even the clarity and texture, we can bring out a lot of stars in the sky as you can see up here. You might also like doing something like dropping down the clarity, really increasing our de hays. Now these are being applied to the whole photo and again I hate to repeat myself but a lot of these tools and features will be available in the selective masks feature which will cover in the future because I might not want to apply haze to the entire image but just the sky back on our big Sir image. Let's look at vibrance and saturation. What saturation does, skipping vibrance really quick, is it's going to make every color in your image more saturated, more colorful. And you can see that the blues, the reds, the greens, everything is becoming more colorful, which for this photo, looks pretty good. Obviously, doing the opposite takes away the color, all the way to black and white. If we're at negative 100, what vibrance does is a more intelligent way to bring up saturation. It will bring up the saturation of the less saturated colors first, the more muted colors. Oftentimes, this is helpful for things like portraits. Now for portraits, vibrance is a really good tool. Because if we just use saturation to bring up all the colors in this image, that just looks insane. However, if we bring up the vibrance, it brings up the colors that are a little bit less saturated, like the blues and greens, while leaving the already saturated facial colors in my face. Saturated is not pushing those as hard. Similar to the selective tone edits like shadows or whites or blacks. The vibrant selectively brings up saturation in colors. Now you can't pick and choose if it's just going to bring up the blues or the reds or the yellows. It really depends on the photo. And light room is going to analyze which colors are already less muted because it sees your photo, it can read all the colors within your photo. And it's going to bring up the ones that are not as saturated first. Oftentimes I use these in tandem, I might just bring up the vibrants a little bit and then say, oh, I think that was a little bit overall, too much saturation, so I'm just going to drop back down just a tiny bit with overall. Or maybe I want to add a little bit more color. I'll boost up my saturation slider overall. And there's some really cool tools coming up like color mixer and color grading, where we're going to be able to pinpoint specific colors and bring up the saturation, or bring them down manually. All right, that's the Presence tool. We will see you in the next lesson. 20. Tone Curve: You've learned the basic panel and everything's looking pretty good for this image of our pup maple. Next we're going to move on to the tone curve, but for a lot of photos, I do most of my editing, 99% of my editing in the basic panel. And if you want to be one of those photographers that sort of strives for minimalistic editing and not going too crazy, a lot of what you can do is just right here in the basic panel, but the tone curve is somewhere where I like to go just afterwards. It's my final touch to say, do I want a little bit more contrast? Do I want to remove a little contrast? Can I boost the exposure here or there? Just a little bit, the tone curve. It's this little box right here. And we have this line that goes from the bottom left to the top right. It's like a histogram, where on the left we have the shadows, and on the right we have our high lights. By clicking and dragging up or down, we can set points on this curve line. If I go over in the middle and I just click and drag everything up, you can see that it's the, it's not bringing up the exposure of everything. It's mostly the darks that I have selected. Maybe I want to bring up the darks just a little bit more. You can also see that it's being adjusted down here in the sliders, which you can adjust manually as well. You can click in here or use the sliders. Maybe I want to bring down the shadows just a little bit more. Bring up the highlights just a little bit more. This is creating more of a contrasty image, right? If I turn this on or off with a little eyeball, you can see on more contrasty, The brights are brighter, the whites are whiter, the darks are a little bit darker. And that's what you'll hear, an S curve representing contrast. That's what that means, I'll show you, go really crazy. Let's make this line look like an S as much as possible. Here the line, it starts to look like a little bit of an S and that is contrasty to the max. All right, we're going to undo that. This is how I typically edit though. I just come in and I say, okay, I just want to add a little bit of an S curve to add a little bit more contrast. At the very end, light room has these pre set markers at 2,550.75 that adjust where the different parts of our image are, the shadows, the darks, the lights, and the highlights. But we can also manually adjust these points to say, okay, we just want to adjust the shadows down here underneath this 11% mark, or just the highlights which are above the 90% range of our overall exposure. We also have this curve right here where we can actually take the end points, the black. If we drag this to the right, it's actually making everything to the left of this point black. Every part of this image that has this exposure, which you can see in the histogram that's to the left of where I'm moving this curve, it's pure black. There's no information in the photo anymore. If you want to quickly add black to your image, you just move that to the right. If we want to make it more flat, we can actually move it up. It's actually removing any blacks from your image. And similarly on the top right, you can take that white point, bring it down. There's no pure whites in our image. By bringing it down, or if we move it to the left, more and more of the image becomes pure white. At the bottom, you see the point curve. There are preset, medium, and strong contrast curves that set points here, which you can then adjust later on. But that's a quick way to add some contrast. Now let's look at the individual colors with red. What does this mean? Tone curve for our reds. What's going to happen is we're actually bringing up reds, adding red to the different exposures. If we want to add red to the highlights, we can set a point and bring it up over here. But then bring back down and set a point over here so that we're really only adding red to the highlight area. That just obviously doesn't look good, but that's how that works. Similarly, maybe we do want to add a little bit more green to the shadows of our image. So we can bring up the green and the shadow, and then bring back down our greens. Over here, we can combine these two. We add a little bit of green to the shadows, a little bit of red to our highlights. You could come up with some pretty funky styles here. However, I don't spend a lot of time myself adding this color adjustment with the tone curve. I do a lot of my color grading and color correction with the color mixture and grading tools down here. And of course, with our basic saturation and vibrant sliders as well, and the white balance. However, that is how the tone curve works. Some photographers come straight here before they even start using the basic sliders. They come straight to the tone curve and they edit most of their exposure adjustments with this tone curve. It depends on what you want to do and how you want to edit, but that is an option. That's the tone curve. And we'll see you in the next lesson. 21. Color Mixer: Moving down, we have come to the color mixer, which is a crucial and one of my most favorite tools in light room. It used to be called the HSL panel, because what we're doing is we're adjusting the H saturation and L luminance of specific colors. Now the default view is to jump to the point color, which is a super fantastic way to do this. But before I do that, I do want to just jump over to the mixer, because now I can visually explain what's going on. We have it's set to adjust the HSL. However, this does get a little bit advanced, and this does get a little bit advanced, but I think you are ready for it at some point. You're going to have to learn. This might as well be right now. First we're in the HSL adjustment. Down here we have the hue, saturation and luminants. You have to click on each one to get to that setting. Let's start with saturation though, because it is easy to see what's going on. If we want to adjust the saturation of just greens, we can now take the green slider and bring it up. Bring it down. You can see what's happening in these clovers in the background as well. It's boosting that saturation, super, super epic, right? That red right here in the background is a little bit too much. So we're going to bring down that red, but we got to be careful because it's also bringing down some of the red in our pups fur. We're going to bring down the orange, All these colors, you can adjust manually. Now that saturation, it boosts the saturation or decreases saturation of each color. Luminance is the brightness of the color. If we want to brighten up our greens, make them darker, we can do that. Maybe we want to darken the fur just a little bit. The orange parts of the fur. That's how you adjust those, specifically. It adjusts the color of a color, the hue of a color. To see this in action, if I adjust the green, make it more yellow, make it more cyan or blue by dragging to the right. Sometimes the color of your image is a little bit off and you can make these minute adjustments. Now with any of these tabs selected, if I click this little button here, it gives me this like a little eye dropper. And I can come in and find a specific color. Say I click this green and then drag up or down. Now what happens is you can see that it's not only bringing up the green, but it's also bringing up aqua. Because within this foliage, it has both green and aqua. Instead of just doing the specific slider, it's often good to use that little color picker if you want to see them all at one time, you just tap that all button. Also, if we switch over to the color view, it's doing the same exact thing, but it's breaking it down by color. Here we have green and then we see hue, saturation and luminus all at one time. Here I'm back on HSL, going to double click at the top of these to reset those because I think that was a good educational lesson, but really point color is where it's at. This is a relatively new feature where now we can find a very specific color to make these adjustments to. Within the mixer, it has these broad ranges of colors. There's only a handful. Within a photo, it might be making adjustments you might not want to make. We saw that with the red. It adjusted, yeah, that red leash but also a lot in the fur. However, if we use point color, we can take the eye dropper, find this very specific red, and now make all of our adjustments. Now after using that eye dropper, we have that specific color selected here. We can adjust the hue, saturation and luminus. Either down here with the sliders, which I find easy, or up here in the gradient. And on the right with the luminant over here. If I click and drag, you can see that it brings up or down the luminance of that specific color. If I drag this circle around, it's adjusting both the hue going left or right and then the saturation up or down. I find it a little bit easier to do this with the sliders myself. So I want to bring down the slider of that saturation. And I want it to blend into the background, so I want to find a color that does that. Moving this over to the right, looks pretty good. And you can see that it really is not selecting a lot of the fur itself. There's maybe a little bit of adjustment in the fur, but it's much more natural. We can also adjust the selection even more. With this range slider, we're going to click on the Visualized Range button. Because now we can see what's being selected. By increasing the range, we can increase the selection and it's really hard for you to see, but it is picking up more of that fur. Or we can decrease the range and it's only going to really select the colors that are much more specific to where I use that eye dropper. Now it is really just selecting that leash which stands out from the rest of these colors. If there were more things in this photo that were that leash color, then those would be selected as well. But again, now we can maybe adjust the saturation down even more. Adjust this hue shift over even more. And that's pretty good to get rid of that distraction. That's a very impractical use case. Let's add another color by choosing another sample of this green. Now let's pick the specific green of this foliage. It's not an aqua, it's not a generic green, but this color in these clovers. And we can bring up the saturation of that. Now if I go too much, it looks a little bit wonky. If we want to adjust the hue just a little bit, maybe make it a little more yellow, that's pretty good. Maybe bring up the luminates just a little bit here we want to just expand the range just a little bit. Maybe we want to bring up the color in the specific orange of the fur. Now we can select that fur. Bring it up just a little bit. Maybe expand that color just a little bit. And bring up the brightness. And there we go. A lot of adjustments made with this point color tool for this photo. Very cool. Let's move over to this photo. Here my kid biking in Idaho, We were visiting friends, a very cool place. And here's another great example of using the color mixer to fix the colors in this photo. First it's really bucking me that the angle is just a little bit off. I'm going to just make the horizon. This line right here, that looks better to me. Instead of trying to fix the colors with our white balance, which we did based off the bike, I still feel like the foreground has got this weird yellowy tone to it, and then the sky does not pop as much as it should. Using point color, we can select the blue in the sky. We could boost that saturation. You can see that looking pretty damn good. We could even maybe expand that range just a little bit so it more naturally blends in with the surrounding environment. Let's take that again, pick this green. We're going to boost the saturation, but we're also going to just adjust the hue just a little bit, make it more green. That looks pretty good. Now, sometimes it's helpful to just go crazy with the saturation, so we can really see what we're doing with the hue and then back down the saturation. Now let's pick another color here. We still have some of this yellow and this is completely natural. But if you are trying to make all of your lawn look green, we can do this. Now we're making all parts of that grass look green. Pretty dang, cool, right? We can adjust the color of this orange helmet. Maybe we want to change it to more of like a pink or something like that, just for fun. Or maybe we just want to boost the saturation. So it pops. And the Luminans. Just a little bit. So it pops from the background. Just a little bit. Now that is selecting some of his face. So we're going to adjust the range and drop that down so the range is more just on the helmet itself. Here you can really see the before and after. It's a stylistic change, making that grass really green. Maybe not necessarily what you would do or probably I would back that off just a little bit. And you can always get back to these colors by just selecting the color up here that you adjusted before cool, that is the color mixer. And hopefully those are a couple practical examples of how you use this. We will be doing full photo edits later on and you'll see lots more examples of me using these tools. In a real world sense, we'll be editing pretty much all of these photos from scratch so that you can see what I would do. But hopefully now you feel comfortable using the color mix. Practice with it is a super powerful tool. Probably the one that, aside from Basic I spend the most time on. Thank you so much and we will see you in the next lesson. 22. Color Grading: In this tutorial, we're moving down to the color grading panel, which is a really powerful tool for adding color hues and tones to the different tones or the different exposures of your image. As I've mentioned before, there are similar ways to do different things in your photos. For example, in the tone curve, we saw that you could add blues and greens and reds or take those colors away from different parts of your image. However, the color grading panel gives you a more fine tune adjustment. It's really about exactly what the title says. Color grading, which is adding style, adding a grade to your photo. In film production, when we're talking about color correction versus color grading correction is just making sure your exposure looks good, making sure the colors are realistic. Whereas grading is adding that coolness or making something black and white, or adding warmth or some of these popular looks like a teal and gold hue. To your photos, let me show you how the tool works and then we will go over some actual creative uses for it. When you open it up for the first time, you have these three color wheels that appear. We have our mid tones on top, shadows and highlights. If you take the little center icon and click and drag it up or around the circle, it's adding that color to that tone or that exposure of your image. For example, this is the midtones. We're adding a lot of gold to those midtones down in the shadows. We can take this and we could maybe bring it back down and add some teal or some blue. And that's only affecting the shadows. We can turn those individually on or off. And it even has a slider down below that actually helps us increase or decrease the exposure of these different tones. However, I do most of that in the regular basic panel. However, if you need a quick adjustment, you can do it down here. Similarly, we've got the highlights. Now a quick tip is, say you have a specific cue that you are enjoying. Press the shift key and that's going to lock your mouse down so it's not shifting around, get that shift to another hue. So say I really like this gold that I sort of picked and I don't want to go down or up. If you find the color you like, hold shift and lock it down. The further you go out from the center, the more saturated that color is going to be. More saturated, less saturated. That's what it means to put that circle farther out down at the bottom of this panel. Right now we have blending in balance. Sliders blending will sort of blend all of the colors that we've added to the different segments of our photo together by dragging to the right, going to the left will actually decrease that balance. Down below, we have the balance which if we drag to the left, it sort of emphasizes what we've done to the shadows more compared to going to the right. It emphasizes what we've done to the highlights. Both of these tools sort of help us to fine tune our adjustments. Blend, meaning blending all of the colors that we've been adding together. And blending the tones together, or making them more separate and then balance highlights versus what we've done to the shadows. And here we can see, just with what we've done to this image really quick, if we turn this on and off the eyeball, we can see that we've added that sort of iconic teal gold color grade to your image. You're thinking about adding a color grade. Some things to think about are those complementary colors in the highlights versus the shadows. You can see that by looking at the color wheel itself. You've got the blues across from the yellow. That means it's a complementary color. We have the neon greens and the magenta, that's a complementary color. We have the light blues and the dark orange color. Those are complimentary colors, play around with adding those different things, and it doesn't have to just be golds in the highlights. Golds could be added to the shadows, and then blues could be added to the highlights as well. It's all for you to get creative with here. I've opened up this photo and a quick tip. Hot key is command or control on a PC. This will bring up the photo info and I wanted to just shout out Signature Again, this is a great site where you can find other free raw photos to practice editing. This one was shot by William Mitchell photo. If you do use this photo, if you post it, which you have the rights to do, make sure you tag them and give them a little bit of a shout out. And that's command again. You'll notice that at the top of the color grading panel, we have these other buttons. And these are just ways to fine tune the specific tone. You have shadows, mid tones, and highlights. And then over on the far right, you have a global color grading tool. Here we're adding a hue to all of the tones the entire image. If you need to do that really quickly, you can. But if you need to see the color wheels in more detail, you can do it here. And you have the specific hue saturation and luminant sliders here, which you're doing over here. Say I move my highlights again up to the warmth, something like here. If we go over to the highlights now, which has a little dot now to see what we've done, bringing out that color picker on this wheel, it adds this hue which is 29 hue, the 29th hue, and then saturation 55. Again, we can bring this in or out with this slider rather than doing it here on the color wheel itself, if that's helpful. You'll also notice that we have this little color swatch here here. We can actually pick a custom color, or you can use the eyedropper and go over to your photo. Go over to the color wheel itself. But often coming in here into the photo is fun because we can find that specific hue. Maybe we want to add that hue of the gold or the red in her hair to the highlights. And then go over to the shadows. And maybe let's go in here. They have some preset colors that are popular. Or we can go in here and add some more of this green, but maybe that's way too saturated. So let's just dial that down even more, play around with it. Maybe blend it with a balance towards the highlights. Blend it down even more so that green doesn't go into the midtones as much. We haven't done any other correction to this photo. We haven't played with the exposure itself by adding that grade. It's a style, it's a look, I don't think I would edit it like this myself. But that's what you can do with the color grading panel. That's the color grading panel. It can work in tandem with the color mixer. Typically, if there's a specific color that I'm trying to change, I'm using the color mixer. Whereas if I'm trying to give an overall style or look and color, grading is often used in creating different presets. I'm doing that here in the color grading panel. Thank you so much for watching, and we'll see you in the next lesson. 23. Sharpening: In this tutorial, we'll go over the detail panel. There's going to be a lot of details in here about sharpening and noise reduction. I've brought up this photo of our pup maple again, because I feel like it's a perfect example of how this panel can be used when you import a raw image. Light room defaults to adding a bit of sharpening to your photo. And the reason is because raw photos, in their essence, are a little bit softer than a processed image, like a Jpeg photo straight out of camera. Typically, most cameras, especially phones you'll notice that will actually add some sharpening to an image so that the details are a little bit crisper. Light room defaults to 40. If I take this slider down to zero, you can see a little bit what happens with that if that was at zero already, but double clicking it back to 40, which is the default. And then you can go up from there is how you add more sharpening and crispness to your image at its basic core. Adding sharpening with this slider will make the edges and the details appear sharper here. If I turn this on and off, just pay attention to that fur, you get more detail, which is a really good example of how this tool is actually working. What's happening with sharpening is light room is looking for the edge of things in your photo. So it can see like this color from white to black, or from an exposure light to black. Then it makes those edges sharper and therefore the whole image becomes sharper. The radius slider. Adjust how big of an edge it needs to be to apply sharpening with a smaller radius. Then on the smallest details, the smallest edges will get sharpened. Whereas going to the right, you'll see that more and more of this photo gets sharpened. Including the eyes which were a little bit soft. Now re, zoomed in quite a bit and when we're zoomed out, you don't necessarily see that they're that out of focus or that not perfectly sharp. However, adding this radius detail definitely makes them pop and appear more sharp detail. Similarly is how much sharpening is happening on those edges. A lower number will only sharpen a little bit, and a higher number will sharpen much, much more. What's happening when we're adding sharpening, and especially with the detail, is we're actually adding grain to the image. Now look in the background right here. You notice that there's a lot of grain Noise and grain being added with this sharpening. And that's how this image is becoming sharper. It's trying to process the edges of things and it results in adding some grain. You have to be careful with some of these tools because you might not want that noise appearing. It's a balance. Masking can help with that. What masking does is it can control where the sharpening is applied. It won't sharpen the parts of the image that doesn't have a lot of detail here in the background. There's not as much detail as right here on the fur, right? It's out of focus. And usually the out of focus parts of your image are the parts where you don't want to sharpen it increasing. This will actually still apply the sharpening to the fur right here, but not so much in the blurred background. I never recommend pushing these sliders all the way to the extreme, although it is the way that you can see what's happening. But something like this might be a good solution for this image. We've got 70 detail, maybe we boost up that detail just a little bit, or that radius just a little bit more, Something like that. Again, zoomed out that pop, it makes the eyes look a little bit more focused too. We're going to end this tutorial here on sharpening. I think that was enough for now. And then the next lesson, we'll cover noise reduction. 24. Noise Reduction: And this tutorial will go over noise reduction. I've brought up this long exposure shot of Big Sir. Long exposure shots are perfect examples of getting noise in your image. If you don't know what noise is, it's that grain that is applied to your image here you can really see in the sky and especially in low light photography, you get grain because it's a long exposure where there's lots of processing in your sensor. A lot of grain is being added to your photo depending on your camera. That's what higher and more expensive cameras offer, is lower noise in darker situations because sensors are getting better. If you've ever shot on film, you'll know that a higher ISO film, which allows you to shoot in lower light, has more grain in it. And it actually comes from the crystals that are being developed in that film itself. And there's a somewhat related process that's happening with digital photography as well. I've already done a bit of processing just to make this photo pop a little bit more. And what you'll notice when you're adding some of these effects in your basic panel is you're getting more noise, things like texture and clarity. This is actually going to add more noise to your image similar to what we saw with sharpening down here in the last lesson. By sharpening your photo, which is what we're doing with the texture slider, basically you end up with more noise. So to get rid of that, there's this amazingly powerful noise tool right here which you can use with original raw photos, which the DNG practice photos in this class are not. I'll show you that in just 1 second with one of my photos. But we still have our manual noise reduction. Here you have luminance and color noise reduction. You'll notice that the color noise reduction is already at 25. That is the default for our raw photos. If I take this down to zero, you should be able to see all of that color noise being added back into this, that is here in the original file. And because of the default removal, it removes a lot of that. The color noise are those little pink, green, blue splotches in our image. That grain and luminous is the rest of these little white specks increasing this luminous slider. We'll get rid of that as you can see here. The more I go, the more of that is removed. Now you can go too far with it. And it starts to look a little bit soft. And you'll see that more in a photo of a person here. It actually creates sort of a cool effect where things are very soft. However, there's always a balance. It's okay to have noise in your image. It's okay to be a little grainy, if that means your image is a little sharper. Here's another example of where there is a lot of noise because again, command, we can see that this photo was shot at 2000 ISO. That was pushing it for my camera and increasing this just a little bit is good, so we're not getting all that noise, but pushing it too far, we're starting to lose too much detail on their faces and it looks a little bit too soft like we're adding some sort of soft filter. Now below these sliders, we have detail in contrast. And it works the same for both color and lumins. Sliding the detail slider to the right, it fine tunes this noise reduction. Sliding to the right preserves more detail, but it will result in grain being added or more noise being left in the image. Contrast also does similarly. It looks at the contrast of the edges of things and the contrast of the noise itself. It tries to preserve those edges so it's not getting so sharp. These are tools where if you do bring your luminous slider up and you're at a happy place, but you're like I like that level of noise reduction. However, I'm losing a little bit too much detail we can bring back and fine tune that detail and contrast slider like so. Generally you'll see and spend a lot more time with luminance noise rather than color noise. The default 25 mark that this is on removes most of the color noise you'll see in your images. Again, we're going to pause here because I think that was enough about manual noise reduction. In the next lesson, we're going to move over to another catalog so we can check out the new AI based noise tool. And cover that and see how powerful it is. 25. AI Denoise Tool: In this lesson, I'm going to go over the new AID Noise tool down here. And this is a super powerful tool and it really makes cameras that might not have shot as well in low light situations compete with more expensive, more professional camera. Even if you don't have that $5,000 camera and $2,000 lens, you can still photograph things like a wedding right here and get great Noise free shots here. What I've done is I've actually created a virtual copy, and we haven't really looked at this before. But if you ever want to make an additional edit just to compare and contrast and have two completely separate copies of a photo that you're working on, right click and choose Create Virtual Copy. And it will create another instance of that photo here in light room that you could play with here. We can see in this photo how much noise is here. And we saw in the last lesson that we can bring up our luminous slider quite a bit and play around with the detail in contrast to try to bring back that detail. However, let's go over to this other virtual copy and just click this noise button. It pops up with this new little window and we can move around the preview image. So we can see it zoomed quite in. And we can see the D noise amount here. And a slider if we want to do more or less. So say we want to get rid of pretty much all of that noise. Something like 50, 55 is pretty damn good. What it's doing is with AI, it's intelligently going to analyze what's in your image where the noise is. Remove that noise while preserving the detail. What happens when we actually click this enhanced button? It's going to create a stack of photos. It's going to have a new AI generated image that's on top of this image. And you'll see it down here. And I'll show you what that looks like. You can see it processing up here in the top left, that little progress bar. And once it's done, you can look at this photo. I'm going to compare and contrast these two photos. You can do that easily with this button here. We haven't looked at this, but this is a comparison view where you have a reference photo. So we're going to take our original photo where we manually applied noise reduction. Now I know it's going to be hard for you to see on your computer, but if you compare and contrast these two images, the one on the right has the noise reduction applied. The one on the left is the previous version that we applied manual noise reduction to. I can tell. And if you're doing this on your own computer with one of your own photos, you can tell that the noise noise tool works so much better to preserve the detail. It doesn't wash it out and you can just see the lines, the edges of the details here in these photos. It just looks kind of off. It looks kind of funky. And over here on the right, it looks a lot better. I mentioned that stack that was created with most of these photos that I shot at this wedding. I applied this noise reduction. And you'll see this little symbol here that says two. And that has two images in it, the original and then the one that has the noise reduction applied. And so that's on top of it and you really don't have to worry about it. And once you close that stack, you're still editing it as one image itself. But if you ever need to get back to that original photo, you can open up that stack and then you see you have one of two and then two of two, and that one of two is your original photo without the noise applied. This is a powerful, powerful tool. I hope you enjoyed this tutorial. All you have to do is just click that button and apply it. You can play around with the strengths, but that is pretty much it. Thanks so much for watching, and we'll see you in the next lesson. 26. Lens Corrections: In this lesson, we'll go over lens corrections. Here we have two tabs, profile and manual. If your lens is one, that light room has that profile details built into it which it has for many cameras. You can simply click Enable Profile Corrections. And what's going to happen is light room is going to remove some of the vignetting and distortion that your lens might create when taking a photo with it. Here we can see for this photo that this was shot with the Tameron 70 to 180 millimeter lens. And that lens specifically has a bit of this distortion that you can see, especially on the edges. It bows. And then also vignetting that happens. Now you might like that look of your lens and so you don't have to do this, this is just going to create a more standard looking image. And many of the other photos here that I shot with my Fuji for example, they don't have those lens profiles built in. What you don't necessarily want to do is go in and choose a different type of lens. Because what's going to happen is it's not going to match what is happening with your camera itself. You can fine tune this with distortion. If I hover over this, you can see that if I go to the left or right, it bends it. What's happening or why you would use this is to actually unbended. Because some lenses, especially wide angle lenses, they bend the outer edges of a photo and it can look quite warped, especially if you are very close to a subject. The edges of things you might see that if like hands and arms and limbs are close to the edge of a photo, you'll notice that more. You can fix that by actually bowing out or bulging out the center of an image. And then, same with vignetting, maybe we liked the sort of distortion effects that this profile correction fixed, but we actually liked the vignetting that was natural in this photo or with this lens. So let's take that back down to zero or maybe go opposite and remove even more. Now we skipped a very important checkbox here. Remove chromatic aberration. This is default on in light room nowadays, and a lot of cameras have fixed this issue. But if we go over to this last photo here, you can really see what's happening. Chromatic aberration is this fringe color that we get with high contrast images. Along the edge of things like here we see greenish line, sometimes it's green, sometimes it's purple. You can see in the hair as well. If we turn that on, it removes that. It basically takes away that color from the edges of things. This is a default setting that's on. However, if it's not on or if you really see it, maybe double check and make sure that you have that set on. Now we also have the manual tab here where you can completely manually adjust the distortion of an image. So here we can see here now we can click this constraint to crop button so that it crops in and doesn't leave that white border on the outside. And then down below we have this fringe, which is what's happening with chromatic aberration. If we turn this off, we can go to manual. Let's zoom in here. You can see that it's the green amount, the green hue that's happening. So we're going to increase the green slider. I'm not seeing a lot of the purple, but if we saw the purple, we can take that purple up as well. We could also adjust the amount of green hue that we are affecting with this slider down here. Similar to purple, we also have a vignetting slider here which can add or remove a vignette. And we can make that midpoint closer so that there's more of a vignette or further towards the edge, so there's less of a vignette. Now, what's going to happen here though, is if we take this photo and we crop in, it's not adding the vignette to the crop of the image, it's only adding the vignette to the original image itself. If you want to add a vignette later on to the crop, it's down here under effect and we'll cover that in a future lesson. Generally, when I'm taking photos and editing them, I like the look of my lenses, so I don't do any profile corrections. However, I do make sure that the remove chromatic aberration setting is on. All right, so that's lens corrections and we'll see you in the next lesson. 27. Transform: In this tutorial, we're going to go over the transform panel. This tool is meant to help you adjust the lines in your photo so that vertical lines are vertical and horizontal lines are horizontal, which generally makes a balance pleasant photo. This is a photo that is not included. I found this on because it's a perfect example of when to use the transform panel. It's great for architectural street photography, real estate photography where there are lines like these buildings that would just look better if they were perfectly vertical here. In this tool, when you are hovering over any of these sliders, you can see the grid. And you can see that some of these buildings, they're just a little bit off. There are some quick options where you can just simply click Auto, which will try to automatically adjust all vertical and horizontal lines. There is the level option, which will look at horizontal lines and focus on those ones which this photo has. A lot of vertical does the same for vertical lines. It's prioritizing vertical lines and full does similar to what auto does. It also adjusts vertical and horizontal lines. But it's also looking at the perspective down below. You can see that you can actually make perspective changes here with the horizontal and vertical sliders, you can rotate, you can change the aspect, all of these things to adjust your photo. Now for most photos, if there's something that's easy reference, like a person, you're not going to be using this aspect slider or the rotate or some of these tools to adjust things. However, for more abstract photos like this one, it works just fine if your photo has enough lines and is simple enough to just use one of these auto tools, that's great. However, you can also use the guided method, which you can get to by clicking that button or this little one right here. Now our cursor turns into this little transform tool. What you need to do is set at least two reference lines. You're telling light room that these two lines are going to be vertical. We have this nice zoomed in box, this photo of the Empire State Building. We definitely want this to be perfectly up and down. I'm going to click and drag. And now I'm just trying to follow that line and then let go. Now nothing happens, right, because light room needs a different line in your photo as a reference point to say, okay, with both of these lines compared to each other, we need to have them both up and down. So now I'm going to find another building that looks a little bit off. Maybe this one that's going to stand out. Now go down. This one's a little bit hard to see, but I can follow it now with both of those selected. And when I let go of the mouse, it makes both lines perfectly vertical. Now you can see if I hover over any of these lines. Now those buildings are vertical. Now, if there's a horizontal line that's bugging you, say we want the horizon to be one of our horizontal lines. We can do that. It's going to make a little adjustment. Then we can set another one, maybe. Let's just pick one of these window lines on this building. It uses all four of those lines to flatten out and straighten out your image. Now you can just see by looking at these lines that they're perfectly squared up. Then you can just click that little button here to get out of that tool. We can see the before and after much, much better. I mentioned that this is great for real estate photography as well, because you want your lines to be straight. And also because when you're shooting real estate photography, generally you're using some sort of like ultra wide lens. This was on a 12 millimeter lens, on a crop sensor camera. And so the edges of things get bowed in our lens corrections tool. It's not going to just fix that. I don't have this lens built in, but it might try to help. And this is one way you can use this tool to try to line up those vertical lines with that grid that's on there. But we still have these lines on the right and the left that it just looks like it's bowing out. The typical way I use this tool is I go with my upright tool, I'll find a line on the right side of the photo, drag down, set that point, and then I'll find one on the left side of the photo. This is a little bit tougher. We could either go with this fireplace, you could always test it out, although this fireplace line is not perfectly straight. Or maybe one of these ones right here on this edge right here. Now when we do that, it makes both of those lines vertical. Remember that's what we're trying to do. We want to click this constrained crop button so that we can actually crop in and not have that white edge. But we might want to adjust this crop just a little bit. We might actually have to just zoom in crop in just a little bit with this photo. Something like that Looks pretty good. Now you can see the before and after, how much better this photo looks because our vertical lines are vertical. Now we could go in here, we could delete this second line. Let's zoom out of our crop. And then set our other line over here on the fireplace. Because generally I like to find the lines on the left and the right side of the frame. Then we're going to constrain crop again. That one might look a little bit better. Obviously there's going to be times when lines in your photo are just going to be not possible to get perfectly straight. You might say, oh, well, let's get those horizontal lines. Is this line right here across the frame? We want that to be horizontal. No, that's not a horizontal line that we're going to have straight in here. You might say, oh, this mantle over here. This photo was taken at an angle and trying to get every single line perfectly vertical or horizontal is not necessarily the right method. You have access to this photo and very subtly we have these lines of the cabinets. Boeing. You can see that this is the door frame of one of the cabinet panels and it goes a little bit off kilter. So what we're going to do is we're going to choose this as one. And then same with on the other side, we're going to use this one, which is a little bit more dramatic. You can see that Boeing now, that just make that minor adjustment. Now this is a great example of where here we do have some lines that should be perfectly level in this photo, like this counter top right here, that does a super minor adjustment. And then we can go to the bottom of the frame, find one of these floorboards, and try to find where it goes over here that should be level. And there we go. Maybe we can crop in just a little bit. The photo is a little bit more balanced with the cabinets on the left and right. Something like that. Looks really good. Now, this is a very subtle difference in the before and after, but when you're paying attention to those details, especially with real estate photography, this is a great tool to use. Keep this transform tool in mind for your architecture, real estate photography, photos, anything where you want your lines to be straight. Thanks so much for watching and we'll see you in the next lesson. 28. Lens Blur: What do these two photos have in common? Not only do they have very cute subjects, but they have a very nice, shallow depth of field with nice boca in the background. That's our focus on our subject's face and then the fall off behind. Now that's a little bit different than this photo here where it was shot with a mirrorless camera. There is automatically going to be more boca and more shallow depth of field compared to something like an iphone or a point and shoot camera. However, that depth of field is not as shallow. Light room has this new feature here, it says Early Access Right now in the future when you watch this, it might just be part of the tool. Things might change a little bit, they're getting feedback on this. If things change dramatically, I'll make sure to update this course. But it's a tool that gets us beautiful, shallow, depth of field for any photo. Similar, but more powerful than the portrait mode that we see with our smartphones. To use this tool, all you have to do is click Apply. And this is a great example because we're really, really close to this background. This is my daughter's birthday, went to the fire station. We're really close to this wall and it just looks bad. It looks distracting with the reflections back here. A shallower depth of field, something like this, which automatically is applied by clicking that button. We have a 50% blur amount, which can be adjusted down or up. It really makes us stand out from that background before, after, before, after. We can change the shape of the Boca down here. And I'm going to look at a different photo for that. These photos you don't have for playing around with, but you could use any photo that you want. Let's just crank up the blur amount so you can see I've boosted the Boca amount all the way because that's going to enhance the Boca shape and pay attention to this Boca. Any out of focusedness in the background is your Boca or bouquet, which it comes from a Japanese word. However, depending on the shape of your lens aperture, it will change the shape of the boca. Here we can see that in practice, if you like more spherical or round, or bubbly, or the pentagonal, pentagonal boqe, you can adjust it and make your boquet look like that. Let's go to this photo here, which is a great example of how we can actually adjust what is being focused. Here we have this focus bar down here. It's a representation of what's in focus. And you can actually click this visualized depth, which really helps us see what's going on. We can take this tool and drag it to the right or left. And that's actually highlighting in white what's going to be in focus. Let me turn off the visual depth and you can see if I go to the background, that's going to be in more focus. The foreground is out of focus. We can make this a shallower depth of field by point dragging in the sides of our little selection over here. And if we visualize, we can see that it's becoming more narrow and narrow. Now you can go crazy with this. However, a lot of this is going to end up looking a little bit too unnatural. More similar to how the early days of that portrait mode on your iphone or on your Android phone looked. And that doesn't look necessarily that great, so you have to play around with it to make it look good. But it's pretty amazing that you can just literally change the focus after the fact. With this tool, we can even customize it more with brushes down below here, we can add things that should be in focus or blur out things with a brush. Let me say, take this blur and say, I don't want this, my other kid here to be in focus because it's a little bit distracting. I can just paint that out. Let me take this off now. It is blurred. We can adjust that blur of the brush that we're using by increasing it, we could feather the edges of our brush, the flow, which if you've ever used Photoshop, you know that flow. If we decrease the flow, it's almost like using water colors. We're going to have to layer on multiple brush strokes. It's the strength or almost like the opacity of the brush stroke. Maybe we want to blur out the foreground a little bit as well. If there's ever any time you went overboard, you can take back your focus brush and then refocus. Then also, if you ever want to add a separate brush, say you want to do a little bit of blurring, but not the same type of blur that we used before. In this original brush, you can either just go from focus to blur, or if you've made a stroke already, you can press plus, adjust your settings, adjust your size. And that adds a new brush. It's like getting a new little brush to be playing with here. Let's see, the before and after on the left hand side, the original on the right hand side are shallowed up the field. That looks like a 1.2 lens with super sharp focus on our subjects. It's amazing how powerful this tool is. Even with a photo like this where our subject has a bike, it's not a clear person. It does a really good job at finding our subject, selecting the focus, We can make this even a little bit more shallower, boost that blur just a little bit. This is all about focusing in on our subject. We're going to take blur, we're going to increase our size. We're going to blur some of this foreground a little bit more. There's this Automask button down below. We'll learn more about auto mask when we are doing our selective mask edits. But basically it's going to actually look at different elements in your photo and it's trying to intelligently choose which ones it should mask or not. Again, a pretty crazy job and this is just in the early access mode. This is a tool that will continue to get better and better. I missed a couple quick buttons that you might want to choose. So here we have this automatic people selector. So say we mess up our focus range. If we just click this button here, it's going to select the people. And that's going to be the focus of what's in our focus range. Here we have this tool where we can actually draw a box onto what we want to be in focus. So say we want this background in focus, we can just hover over that or click and drag over that object. It's kind of like an object selector and it will focus on that object. This is a photo where it starts to look a little bit fake. I think maybe the amount is a little bit too much. But it's also one where I would definitely want to come in here and brush out perhaps, this bush over on the right hand side so that the focus is on the center of the photo, on our subjects. All right, so that's the lens blur tool. Have fun with it, play around with it. I did have to use some other photos because I felt like a lot of the photos I included in this set of practice photos already have really beautiful Boca and shallow depth of field. But if you have any questions, let us know. I would love to see your work if you've used this tool. Thanks so much and we'll see you in another tutorial. 29. Effects: Vignette + Grain: In this tutorial, we're looking at the effects tool, which is going to be probably the simplest, quickest tutorial of this course. This is all about post crop vignetting. We saw it a little bit earlier, but basically what we're doing is we're adding a dark or a high light whitish vignette to our photo after our crop. So this is going to apply whether we have a one to one square or it's the original aspect ratio, it's applying to the edge of that crop. The amount is how dark it is, the midpoint is how close to the center it is or to the edges. The roundness is how much of a squash or a circle is, ish it is. So you can kind of get that cool sort of like filmic look if you go all the way to the square. Then feathering is going to blend that in even more. Whenever I do vignettes, I always end up pushing it too far and then I want to bring it back. This highlight slider will allow the highlights to shine through the vignette more or less, which makes it a little bit more natural. You'll also notice this little style drop down. Let me actually just crank up our vignette so we can see it. Highlight Priority will again, try to preserve our highlights to the extent that it can. We have this slider, as we saw, to preserve them even more. The color priority will actually preserve the colors of what is underneath this vignette better as the priority versus the high light. Then the paint over light is literally just like, it's as if you were painting a dark vignette a little bit of black over or a little bit of white over. I generally stick to highlight priority. I find that to look the most natural. However you can play around with those grain. It's just that adding grain to an image if you want to get that stylistic look, looks pretty great if we have a black and white photo, sometimes to add that grain just to get that effect. The size and the roughness is going to change the look of that. Now we did all this work with our detail panel to get rid of our grain. So we're not going to do that with this photo, but that is where that tool is. Be careful with that vignette and the grain. It's another one of the areas where I find beginner photographers going too hard and it just looks fake and amateurish. The point of the vignette is to focus the viewer's attention on what's in the center of your image. And so it can be used as that tool. But with great power comes great responsibility. So you want to be careful with it. We'll see how to create all sorts of custom vignettes as well with the selective mask tool, which we'll see in the future. But for now, that's the effects panel. And we'll see you in the next lesson. 30. Callibration: All right, are you ready to get into an advanced topic? Well, we're about to and that's the calibration tool in light room. If you take a look at these two photos, it's the same image, but the colors are processed differently. They both have that teal gold style applied to them. But to me, one looks much more natural versus one looking like it has a filter applied to it. Which one do you like better? The version on the left is the one we edited using color grading. It's not a bad photo, it's definitely stylistic. Whereas the one on the right, it still has that teal and gold vibe to it. However, the colors to me look much more natural. That's because I use the calibration panel to do this. I'm in this view by clicking the Tab button. If you ever want to see a full screen view of your active photo, or I was in the reference mode, for example, you can do that with the Tab button. This is a virtual copy, something to note with virtual copies. I made a virtual copy of this photo with all of the edits applied to it. Now, I did not reset that photo in the beginning. If I do that before and after, what we're actually seeing is the previous edit. However, I can see the original photo quickly right here by clicking Reset and undoing what is calibration. And why would we care about this super advanced panel? Every color is made up of pixels. Each pixel is made up of RGB, red, green, blue. Every pixel has every color within it. Basically, with the calibration tool, we can actually adjust how light room processes, each of those pixels, each pixel red, for example. How is it, is it super saturated red, or are the reds not very saturated in each pixel? Is the red more of a magenta or is it more of an orange? Same with the greens. Let me reset this so you can see it a little bit more. How that works with the greens. Are the greens more yellow or more teal? Are the blues more teal or more of a purplish? This is related to the color science you hear about when talking about different camera models. Fuji, Fuji's colors are so beautiful. Cannons, colors, they pop. They're great for portraits. Sony and Nikon, they're great for wildlife in nature. Really what's happening is someone in the back end of developing these cameras has decided that red pixels are going to be a little bit more saturated or not, or blues are going to be a little bit more teal with our cameras or purple, and we can adjust these now. Now you might be wondering, Phil, what in the world is the difference between doing this in the calibration panel versus making our photo more teal or more blue or whatever. With our color grading or our color mixer sliders. Let me show you the difference. Here we have our HSL panel up with a color wheel. Say we want to make our greens and blues a little bit more teal. We can take our blue slider. And when we do that, we're making this section of the color wheel, which represents this section of colors, or this segment of colors in our photo mortal. We can add to that by making our aqua a little bit more like that. Maybe we push our green up to that aqua color. But each of these sliders is only affecting one slice of this color wheel and it's not affecting the rest. Versus in the calibration panel, if we take our blue primary and we make our blue primary color more teal, look what's happening to the entire color wheel, because all colors have our GB in it. All of these colors, especially on this half of the color wheel, are becoming more teal. And then we take our hue of our red primary, we push it towards the orange. Maybe we push our greens to the yellow a little bit more. Now we have the colors of every single pixel in our photo is being adjusted with these sliders, and that's a big difference. And that's ultimately why with the photo of Big Sir, it looked much more natural with the calibration adjustments because these adjustments are applying to every single part of the photo and it just looks much more natural that way. So you might be wondering now, when do I use this? This is a tool that you don't have to use. I generally don't even touch the calibration panel for most of my photos. I like the colors that my camera has. However, many photographers will come to the calibration tool first, even before touching the basic sliders or choosing your color profile and making those color adjustments. Here I find that I'm using it more for things like portraits, where instead of going in and using the color mixer to decrease the saturation of reds for example. Which when I do that look at how much it does with that shirt. But for a lot of skin tones, I want to get rid of that, a little bit of that red in the face that doesn't look great. And by doing this with the saturation slider of our red primaries, it does it in a more subtle way. We're not losing all the saturation of all the red. We're just decreasing the saturation of the red part of each pixel and it just ends up looking much more natural. Here's another example of that we can, let's go zoom into my face. I have a lot of red in my face. And if I just take down this red saturation just a little bit, I find that to look much, much better. We skipped over the shadows slider, but this is a little bit more similar to what we're doing with color grading, where we can add a little bit of green or magenta to our shadows. And that's just a very subtle shift that you might want to play around with. But you could also apply that same effect here. Maybe we want our portrait to look a little bit more on that magenta side. Very subtle differences here in me. Let's boost that saturation of the blue. And if we want to make them a little bit more teal, we can. Now, with that little color calibration, our colors really pop in this photo. I know it's going to take a little while for you to wrap your brain around how this all works, but look at that. We've gone through all of our tools, our basic tools in the develop module. Next we're going to be looking at exporting coming up, but by now you know a bunch of tools to make your photos look amazing. Don't worry. We're going to be going over all of these other tools in an upcoming section. But for many of your photos, 99% of what you can do to make your photos look amazing can be done with the tools. Now that you know how to use these tools, it's time to practice them. So go ahead, start practicing with them later in the course. Remember I have all of my full editing sessions where I go through a lot of these photos and I edit from scratch. And that's going to show you how to more creatively use all of these tools together. Thank you so much for watching and we'll see you in the next lesson. 31. Exporting: Quickly Save a High Quality Photo for Sharing with the World: In this section, you're going to be exporting your photos, saving them for pretty much any purpose that you have, Whether you're posting online, saving to print. We're going to be covering it now. I know there's features and tools that we have not covered yet in this chorus, but we wanted to show you how to get your photos out there into the world right now in case you don't want to tackle those more advanced features which we'll be covering right after this section. So let's head into light room and learn how to export your photos. Here we are with our beautiful photo of maple, the pup, ready to share with the world. I'm in the library tab, and from here you can just select Export to export this image. You can also go up to File Export. And you can do that from the library or develop module. If you want to export multiple images, you just have to select multiple images, whether that's a series or just command clicking or control on a PC multiple images. This time we're going to export maple and our hawk here and click export. So in this video I just want to show you how to quickly export for pretty much any general purpose. We'll dive into all of these settings in the upcoming lessons, but I just want to show you how to get a great high quality image that you could post online or share with your family and even print in most cases. Here in the export window, we have a bunch of options. First is export location. This is just where you want to save your photo. I'm going to save it to one of these popular common locations desktop, but put it into a subfolder called Light Room Course edits. Then we have file naming. Here we have a lot of preset structures for the file name. You could just choose the file name itself, which will just save it as that file name. You could do it as a sequence, which sometimes makes sense for you right now. I'm just going to choose custom name sequence. And I'm going to call this maple. And it's going to start with map one. And then the next picture, which doesn't really necessarily make sense in this case is going to be maple two. Next we have our video settings, which we are not exporting videos, which you can actually do from light room. Skip that. Then we have our file settings, File settings and image sizing. These can be a little bit confusing, but file settings is the image format. Leave it on Jpeg. For now, that's a very common file type you can use for all sorts of things. Quality, I'm going to leave at 100% We'll talk about this more in the future, but the only reason to limit the file size is to have exactly what that says, a smaller file size. But for now, I'm just going to leave it as is. And the same for color space, just leave it as is. Next we have image sizing. So this is the resolution. The number of pixels, The height and the width are generally, you don't need the full size image for sharing online. If you're printing, that's a different story. But for just sharing on line, sending photos to a friend, resizing the long edge to about like 2000 pixels is a safe, happy medium. You could even go lower or higher, but 2000 will make the long edge, whether that's the height or width depending on your photos aspect ratio. The longer side, it will make it that amount of pixels. And then accordingly, the other side will be the right number of pixels depending on your aspect ratio. Click don't enlarge, that's just good to have on. But most of our photos are going to be much larger, the original photos that is, than this. 2000 pixels for resolution, 72 is a very common one. This is pixels per inch. Unless we're printing, 72 is perfectly fine. Next we have output sharpening. We've added a lot of sharpening in our process, which is typical when I'm sharing on line, especially on Instagram or other apps like that. Adding a tiny bit of overall sharpening seems to make our images pop a little bit more. You have these quick presets for sharpening for the screen. There's a low standard, high. But just try it with screen standard. If you want to see the before and after, maybe try doing two exports and see if you like the difference. But generally, if I'm sharing on line, I'm sharpening for screen with the standard amount. Next we have metadata, watermarking and post processing. All of these we don't really need to play around with. It's just going to show in finder. That's what we're going to see after we click Port. Now it processes. We have our photos on our desktop. You can see that it was titled Maple one and Maple two. That's why the custom name or the sequence name, It might have been better to choose something else. However, we can always rename this. We can see that the dimensions are 1,333 pixels wide by 2000 tall. And that's because both of these have the same aspect ratio. Now we have two great images that are very sharp. So if I open this up, we can zoom in. You can see that this image is very sharp, especially for sharing online. That's how you quickly export a great J Peg image, which like I said, is going to be perfect for a lot of your uses. Sharing on Instagram, posting online, adding to a website, even print it, will do a pretty good job. Unless you're printing super high quality images, which we'll talk about in an upcoming lesson, you don't really need to worry too much about that. Thank you so much for watching this lesson and we'll see you in the next one, where we'll go in more depth in all of those other settings in the export window. 32. Advanced Exporting for Print, Web + More: Let's go into a little bit more depth with our export settings. So now I have a few photos selected again, and I'm going to click Export. What we didn't cover earlier is that up at the top, we have different options. I've never used these, but you can export straight to an e mail, CD or DVD. I'm surprised they even include that anymore. Usually you're just going to save to your hard drive first. Then on the left, you have your export presets, which might come in handy, but it's likely more going to come in handy once you start creating your own with user presets. But you could just click these and it changes the settings over here based off of what the preset is. Let's go back to the first option which is export location. This is pretty simple. There's not much more other than just if you have a specific folder that you want to find, just click Choose and it will open up your documents or your computer finder and you can choose a location. You could create your folders in there. I'm still going to put this in a desktop subfolder called Light Room Edits Two. Next we have file renaming. Now I showed you how you can just choose a custom name. My preference is actually creating my own custom naming, which I like having the file name itself. And then it says edited afterwards. Or maybe I'll have a custom name, for example. Maybe these all came from a trip that I did. And then it will be the name of the trip, Idaho, for example. Then the original file name. I like having the original file name in the file name itself so that I can quickly reference that photo if I have to go back and find the raw. So to create your own naming settings, just click Edit. And then here in this little text box, we can add the different properties. For example, we can insert some custom text and then the file name. And then let's go up to save current settings as a new preset, and we'll call this custom