Adobe Lightroom Classic CC: The Easy Photo Editing Course

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 Edits.com 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 Unsplash.com 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 Edits.com 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 unsplash.com 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 file name. Click Create, click Done. Now we can choose our custom text here. Say we have the trip name Idaho. We can quickly see that it's Idaho. And then actually what I want to do is I want to edit this one. And I want to add right here between A, so now it's going to be Idaho, the original file name. Now the names of these photos, I've just retitled them Lr1l2, but typically you would have the actual file name itself. This is just the name that I've renamed for this course or another one that I like to do is I like to, let's get rid of this. I like to have the original file name and then I will put edit, and I'll create a new preset for that file name. Edit, Click Done. So now it will actually save it as the file name, but it includes edit in there, so you know this is the edited version. You can get creative with this. Do whatever works best for you. We're not looking at video in this course, but you actually can bring in video, do color correction and export right from light room. I prefer to use it Premiere Pro for all of my color grading color editing. And because the features in Premiere Pro are a lot more advanced now, I just do it there. It used to be where you can actually do some more creative things in light room than in Premiere Pro, but that's not the case anymore. All right, Next we have our file settings. This is typically going to depend on what your use is. After you export, do you need the original file? You can actually just save it as the original file. You can save it as a DNG, which is a raw file that's compatible with more computers and computer types. If you want the highest quality image, you might want to save it as a Tiff file, depending on if you're printing or not. Sometimes printers or print shops will require a Tiff image. Know that this option is here. Jpeg is still going to be a very practical file type that is used for most scenarios, even printing, especially if you're just printing out little prints yourself or, you know, uploading to Cosco or wherever you do uploading to Shutterfly or wherever you do your printing, I never see a reason to decrease the quality here. The only time I do that is if I'm exporting photos to be on a website. And that's because you want your file size to be lower on a website so that those pages open faster. I would go down to like 80 if I was exporting for a website. But typically I just leave it at 100. However, what I will do is I'll limit the file size. If I put 1,000 kilobytes, that's 1 megabyte. That's a pretty good size image for a website. I actually might even do it a little bit lower. Something like 2000 is what I'll commonly use even if I'm exporting for posting to Instagram or something like that. Because once you export, we saw here without compressing it at all, this photo was 1.5 megabytes, so that's 1,500 This is 1.7. If you want to save space on your computer, limiting this to 1,000 might be helpful. 2000 just prevents it from being too astronomically large. However, if you're printing, you don't want to limit the file size. Srgb is also a color space that is going to look good for most uses. Sometimes printers will ask you to change the color space to Adobe RGB or Pro Photo RGB. And all this does is it exports the colors so that they will print properly. But you're likely not going to have to change that ever if you're just sharing online Adobe RGB and Pro Photo. They just have a wider range of colors in that color space and that's better for printing. Next we have image resizing. We saw this before. If you want your photos just to be your original size without compressing it or shrinking it, rather just leave it unchecked. However, if you are posting online, for example, you generally might only want the long edge to be a max of 2000 pixels or even lower, 1,000 pixels. And depending on the social media platform that you might be uploading to, you might even want to go lower. Because some of these platforms will compress your photos if they are larger than the required pixel width or height. For example, right now Instagram has a 1080 pixel maximum for the width or height of a photo. Exporting at that specific pixel resolution will mean that Instagram doesn't have to do as much compression or re sizing of your photo. And sometimes people find that their photos don't seem as sharp as other people's photos. And trying to match that image size with your platform here is a good way to fix that. Another common pixel amount is 1920, and that's because standard HD resolution is 1920 by 1080. A lot of phones that is the standard resolution that will look good on a phone. However, as computer screens and phone screens get higher and higher into like 2k4k screens, that 1920 is going to start to look a little bit low, but that's why I think 2000 is sort of a happy medium. Now for prints, it's going to be different. Generally, I would just not resize for printing and I would just adjust the resolution to 300 pixels per inch. That's going to be a high quality image. You don't really need to decrease that unless they tell you to. 150 is going to be higher than what we did before, which was 72, another standard for posting online. But 300 is sort of the gold standard for printing. This is literally how many pixels are being crammed into a square inch of your photo. And so you can imagine that if you only have a few pixels per that inch, it's going to start to look blocky and pixelated. That's what pixelated means, where it comes from. And having more will help. Now, going higher than 300, there's not really a point because you're not going to be able to cram even that much more resolution into a square inch and it won't make any difference. So the rule of thumb I would say is 2000 pixels for the long edge is great for posting online. If you're printing, just leave that out unless your print shop asks you to put a specific resolution. If you are wondering what resolution is required for different sized prints, there are standards, you can find these online very easily. Like for example, a four by six or five by seven photo, maybe like 1,000 to 2000 pixels minimum for year long side is good for like an eight by ten medium photo, up to like 2,500 or 3,000 will look good. And then for a large print, like 4,000 pixels for long side is sort of a standard output sharpening. We saw this already. However, the only thing I'll show is they do have these specific output options for printing. Will you be able to tell the difference of like glossy paper sharpening versus matt paper sharpening? Honestly, I don't really know. I've never done an in depth exploration of printing one with or without the different types of sharpening. However, typically if I'm printing, I will choose the sharpening option standard for that type of paper that I'm going to be using just to be safe. All right, metadata, We didn't look at this before, but this is how you can include the metadata that's in the file type or you can remove it, for example, if you only want copyright information, you can include that. Or you can have all the metadata, but remove personal information or location information that might have been attached to your photo when you took it. Depending on in your camera settings, you might have that location information on. You might have like your name or your business. You can actually include that in the metadata in some cameras and you can remove that for certain privacy. But here you can change all of that. Here, Watermarking, I'm going to put that in a separate little video and then post processing. If you do end up working a lot in Photoshop, for example, with your photos or another app, you can send it to another app as soon as it's done exporting, and that is it. Click Export. And now it's exporting our files again. And here we have my four exports again in this new folder. Now notice this photo here. The resolution is crazy high 12,480 pixels wide. And that's because this is a stacked long exposure photo that we are using. And I would not need or want to upload this to social media or pretty much any website. 2.8 megabytes is not huge. However, it's just too big for most platforms. That's a specific case of where I would want to limit that file resolution on the long side to something lower. I did want to quickly show you here in the metadata of your photos, it's standard to this Xf metadata set, but if you're looking for that creator copyright information, you can choose the PTC option. And here is where you can actually add your information and it's going to save it to that photo, as well as the copyright information, like your photo is copyrighted. You could choose the year, et cetera, put your URL, that's where you can add all of this information. If you select multiple photos and you edit this, it will apply it to all of that. You can actually create a metadata preset to include this just up at the top of the metadata panel. Click Edit Presets under this dropdown. And here you can just add your copyright information, your website, all of that information. And then once you fill that out, whenever you import photos, you can click this preset dropdown and select that preset that you've created. All right, thank you so much for watching. I know this is a big one, very in depth. However, hopefully by now you know how to manage your photos during export, for posting online or printing. 33. Adding a Watermark to Your Photos: How do you add a watermark to your photo? We saw that in the previous lessons. That option in the export panel. But that's where it is, just go to export. And then down here, watermarking. Now the question, do I include or not include a watermark? That's a debate that has been going on for years. It's one of the most common questions that we get asked in the photography friends, community, and personally, I don't believe in watermarks. I think that it's so easy to remove a watermark that it's just a distracting element that distracts from your photo. The purpose of a watermark is so that one, if someone sees your photo, they will see that you're the photographer. And two, to try to prevent someone from stealing your work. However, with Photoshop, you can literally just remove a watermark in a couple of clicks to prevent stealing of work. Watermarks aren't going to prevent that at all anymore. And to just showcase who you are as a photographer, I find that it's just distracting. And on social media platforms, or if you're posting to a website, people should know that you're the photographer already if they're looking at your profile. But to create it, just go click this watermark check box. And then let's choose Edit Watermarks. Down in the drop down here, it has the standard name and you can see it in this image. And you could change all of these settings. For example, we could change the font type the style alignment color. And then we can move it around if we want to, down at the bottom, if we want it down center, bottom, center, right. You can even just manually adjust the positioning here. With the inset options, I'm kind of jumping back down to the bottom and going up. But we could drop the opacity if you want it a little bit faded, which I think is ideal. You can also adjust the size down here as well. You could adjust all the different style listic elements of your text. Or you can actually upload a logo. If you have a logo, for example, or some sort of signature file that you've created, you can choose that image option here. For example, let's just take this video school logo. And now we can put it there, even in here, we can adjust the size of it. And you can see that it jump from text to graphic over here. And you can save this as a preset so you don't have to re upload over and over here. Just save current settings as a new preset, we'll call this video school. Now if we ever want to just quickly add that logo as our watermark with these settings, it's in that preset window. And then click Done. And now once you export it, we're going to export. Notice that if I try to export it again with the same settings, it's going to export in the same folder with that same name. You can either choose to overwrite it, so that will remove the old photo. You will skip this export if it has the same name, meaning that it won't save, or you can use unique names. When I do that, it will export it as a separate photo. So we'll still have both. But it is LR one edit, two instead of just LR one edit. You can see that now this has our watermark in the bottom right, and that is how you add a watermark in light room. 34. Creating Your First Mask: In this section, we're going to be learning how to make selective edits using all of the cool masking features. Including the new AI base masking features that light room has included. This is a very powerful skill, You have a powerful tool, you're going to be learning. And it's really what's going to take your photography, your photo editing from beginner basic to more advanced and making your photos really pop. I'm super excited about this section, so let's head into light room and get started. Al, right now we're in light room and we're going to be editing with masks. This is one of the most powerful tools and features and I actually spend a lot of time using masks to edit my own photos. Here we're using this photo from signature edit, so follow along with that if you want or just use any photo. But what we're going to be doing now is editing selective parts of our photo. So to do that in the developed module, click this masking button here. This has changed completely over the years and it will likely change in the future. But to create a new mask, it has all of these sort of AI based ways to create a mask. And so down below, you saw me hover over here we have a People option, which we'll be looking at. But you can click one of these options here to just quickly select your subject, sky, or background and light room. We'll do a pretty good job to select that mask. We also have these other ones here and we'll get to them. But down below we have person one, which is amazing because if you have multiple people, it will create a mask for the separate ones. So here what we want to do, if we want to mask this person, we can click that person. And now we can choose, do we just want to select the entire person with that checkbox? Or we can choose facial skin, body, skin, eyebrows, eye sclera, that's like the whites of your eyes. Iris and pupil lips, Hair clothes. You can create different masks for all of these body parts. Say we know we're going to edit the lips and the iris and pupil. We can choose to create two separate masks or we can add them into one. I think we're going to create separate masks, but perhaps for like facial skin and body skin, you might want to leave it as one mask. Now let's just create a mask. Now we see this little mask window pop up on our image. We have these little indicators here that show that there's a mask on this part of the image. Now let me zoom in so you can see what's going on. And when you're zoomed in, you can press the Space Bar and you have your hand tool and you can click and drag your image around. You can see it better in our different masks, which we can now rename if we'd like this little drop down menu here, click Rename. We'll call this Eyes, and then we'll call this one Lips. Now we have all of our editing settings over here that we can choose to make adjustments to just this part of the image. Right now, nothing is happening. We have this little show overlay box checked on. If that's unchecked, you can see that nothing has happened. This is just showing us where the mask is highlighted in red. You could change the color of that and the opacity of that there, but that's the default. Only once we start editing over here we can see what's happening. So for her eyes, which are a little bit of a hazel green, we could actually change the color of her eyes by simply changing the temperature down here to a more blue. Or maybe we just want to bring out the greens in her eyes and just boost the saturation a little bit. Maybe increase the shadows and increase the contrast and exposure. Just a little bit. We'll dive into all of these things and creatively what I would do in the future, but that's how you edit this mask her lips. Same thing. Maybe we want to just boost that saturation, make it a little bit more bagenta, but down below we have all the powerful tools down here like just editing the details, the effects. We have a curve and a point color option to edit just that aspect of this mask. There is so much we're going to cover with this section in creating and editing mask. I'm going to pause here and in the next lesson, we're going to keep working through the different ways that we can make selections, add and remove parts of the mask from the selection. Because this is really the powerful part of using this tool, these options down here. This is similar to what we've seen before. And we are going to learn some creative ways to use these settings for different parts of image depending on what our mask is masking. However, I think it's a very important skill to be able to create a mask properly. So we're going to see more of those options coming up in the next lessons. 35. Adding + Subtracting from a Mask, and the Sky Selection Mask: Here we are on this photo of my son riding his bike in Idaho. And this is perfect for showcasing the sky selection and object selection. Masking tool. Remember how I talked about there's ways to apply things like haze just to the sky? Well, that's what we're going to learn in this photo because I don't want to apply haze to the entire thing here. In the masking tool, we can choose sky and it's simply going to apply a mask or create a mask for our sky there. You can see now it hasn't selected some of the foreground elements which I want it to, and we'll see that. But now we can go down to effects and just apply haze to that sky. Pretty cool, right? So how do we add to or edit a mask? Say we want to apply the same things that we're doing here with the sky to the hills up here in the mask window. We can add or subtract from this mask. Clicking the Add button brings up all of the options that we saw to create our original mask, including a brush. And if we want to add, for example, our subject, we can click Add Subject. It's going to try to select the subject, which it does. It knows intelligently that this cyclist is our subject. However, we don't want the cyclists, we want the hills, right? So we're going to select that and press the delete key on our keyboard to delete it. However, we're going to add, and we can use a brush. Now we have our brush and it's a little bit hard to see, but our mouse has turned into a brush. We can adjust the size of our brush. The feathering, that's like the blending in of the edges and then the flow and the density. Remember, this is sort of like water coloring. We saw this before with a high flow and a high density. It's like putting on very thick paint with a low density. That's going to be more like painting on layers like water colors and a low flow. Again, it's going to be like painting with layers. If you just want to apply this subtly to the hills, you can do that. Now let's turn on our overlay so you can see that it is being applied. Generally, when I'm adding things, I do have a lower flow and density. We also have this auto mask feature, which when we're painting over something, it tries to see the edges of other things based off of contrast and color and not select them. Watch what happens. Let's put our flow and density up so it's really applying this mask. Make sure auto mask is on. Now, if I brush over here to the right, I'm starting in the hills and I just brush over. Look, it didn't select this here, it did select this house in the background because it's a similar tone and color as the hill. However, if we had auto mask off, if we just brush this side from one side to the other, it selects that you're in the foreground. If you are trying to pinpoint and use the brush to create a mask for something where it's next to or close to something you don't want selected, you can turn on that automask feature. Another option, let me just actually subtract from this. Now I'm going to subtract with a brush and I'm going to subtract this hill. I'm going to click Add and do object. With object, you can use either a little brush or this marquee tool. I found that the marquee tool does a pretty good job with the brush. You can just draw around the object. You don't have to cover the whole thing, but it does okay job at selecting that object. However, let me undo that. Now, add an object with this little marquee tool which I can now just draw a box over the object I want selected like this hill. Now it has selected that entire hill. The same thing I could do with our subject. Now say the subject preset didn't work, which sometimes selecting subject here, it just doesn't select the right subject. Maybe object selection is the right one to go with. Let's remove that mask from that little cyclist, but we don't want these trees in the foreground. Again, we can go to subtract brush to put this down. And we're going to leave auto mask on. And we're just going to try to paint off these trees. And it does a pretty good job trying to remove the trees, but not that hill in the background. And I'm just going over the edge right here as well. So you could spend a lot of time creating these masks. And again, by doing so we're applying Hayes to the whole background which is a little bit hazy, right? You don't want to go too far with it. I find people going crazy with the haze. Just a subtle amount is often enough. That's how to use the sky selection and also how to edit our masks. Add subtract from each of these masks now have their own properties. You can rename them like you see here. To subtract F, you can invert, which would select everything except for that mask that was originally created. You can delete them. You can copy this selection to a new mask so that you can do different edits to it, so much more coming down the pipeline. But we're going to keep working with it and we'll see you in the next lessons. 36. Linear + Radial Masks: Now let's look at the linear and radial gradient mask selections. These are the tools that were original to light room classic. Up until a few years ago, we had to create all our masks with these tools. We didn't have object selection, sky or background, or people with this photo here which we haven't really played around with. We can do a lot with these different masks with the linear gradient. When you click that, you have to go to your photo and then click and drag, and you can see what's happening. We're selecting one half or one part of the image based off of a line, linear. The farther we click and drag, the more feathered it's going to be. And this is, as you can see, this is what we used to do. We tried to select the Sky like this, and then after we unclick, it's set. But we could actually move this around. We can extend the feathering of it. We can rotate it by clicking that little rotate blob right there. This is how you can select just the sky in this way. Minus we do have our buildings selected. And that's where in the past you'd have to go in and fine tune it with the brush or whatever tool you want. But now we can really make that sunset pop, right? Similarly, we can create another linear gradient for our foreground, the freeway. This is downtown Los Angeles in the distance. And now we can do things like boost the shadow, the highlights, rather we can add some color to those lights. We have all of our other options down here, but actually, boosting clarity is cool. Get some of that grungy texture added. There's lots you can do with the linear mask. One of the creative ways I used it was with this portrait, which I haven't edited at all, but just adding a little linear gradient up on this corner where the light from the sky is coming in, boosting the saturation or the exposure, adding a little bit of color to it. I found looked pretty cool. Then maybe even adding to this mask. I'm not creating a new mask, but I'm adding to this linear gradient that I've created. In doing it in the bottom corner, I thought this was a nice way to frame our subjects in this photo and highlight that golden hour light coming in. You can get creative with these masks. Then also, let me just go to our bird, our hawk. Here I'm going to show you the radial gradient. This is a circle radius, radial. When we click on that, now we can click into our image and create a circle, an oval. And you can see that it's feathered. We have two circles and then the inner one is your selection. Then it's feathered to the outer circle. We could adjust that feathering here with this slider or in this mask. We can select this inner circle on that little red dot, and that adjusts the feathering. If you want to select the outside of this selection, just click invert here and that's going to select the outside. Say we want to create a custom vignette. I mentioned this earlier on. We can create a custom vignette right around our subjects face. I would also do a lot of radial gradients in the past to just highlight subjects, do little minor adjustments to people's faces, like maybe bring up the shadows and sharpen a little bit more. However, because we have all of our other mass feet tools like selecting people, I usually use those masks now, but that is the radial and linear gradients in a nutshell. We'll see you in the next lesson. 37. Range Masks: The next mask we're working with is the range selection. This is a good one to use. We could just use the subject selector and see what it does, but say we want to boost the green in these limes right here. Well, we could go in and try to use the object selector and select this lime. And then we could go up here and we could add object and see if we can select this lime and it does an okay job. However, that's a bit time consuming with the range selector. What we can do is we can literally select the color range of that line. Now we have an eye dropper for us to click into a color. Over here we see that green was popped up. And we can refine it by saying we want more or less of that range. Here we can boost that refine tool, and it's selecting more of the green. It's getting a little bit of that green in here as well, and you can see what is selected a little bit more With that overlay, we can add to this color range. These are lemons here, and maybe we want to select yellow. We could click Add and add to that. However, now what we can do is we can really boost and make those limes much more green and make them pop with a little bit of contrast and exposure. Maybe we want to adjust the details of these, add some more texture and clarity to these limes. We can always see what we're doing with our masks on and off with the little eyeball there. The range allows you to select just a specific color, which is very handy. Now, you saw the luminance selector. This is a tool that I would use, in this case here with this mass where we have our linear gradient, but we don't want the foreground sky line to be selected. What I would do is actually with this mask, I would subtract a luminous range. And now we have this luminous range selector over on the right hand side. On the left are your darks and blacks. On the right, your highlights and whites. Right now, it's subtracting everything from this photo. But if I take in this right side, what's happening, if I do the overlay on what's happening is it's only selecting now the darks. You can blend this together using these two sliders or you can click into your image and it will be telling light room, Okay, I'm selecting the specific exposure, it makes that selection. We can move that around to fine tune it just a little bit more. Now we are not applying what we've done with this mask. Let's just boost the saturation so we can really see what's going on and the exposure. But we're not applying this to our city in the background. Maybe we want to bring up the exposure even more, but we're not applying it to that sky line. Back on this photo of Big Sir here, we might use the color range selector to pick this teal part of the water. You could click once or you can click and drag to get all of these colors in this, it might be too much. See how it selected everything. We could either try to refine it with this tool, which actually does a pretty good job just dropping that down. Or we can get it to a point where we like it here. And then just do a quick subtract with a linear gradient, subtract the sky from it. So now we can really make this water more blue if we want, we could change the hue, just make it look even more. That looks like the coast of the Philippines or Hawaii or something like that. Now we're getting a little crazy with it, but one of the cool features now is once you've made all of your adjustments to any mask, we have this amount slider up here. And so we can say, okay, I like what I did, but I'm just going to back off just a little bit. Now, if we go all the way to zero, it cancels out everything. But we can say, okay, I like that color but it doesn't look natural now. So I'm just going to back off. Or I like it and I want to go more, let's go crazy with it. So I just back off of that just in a second. We're going to look at presets and just a bit, but that slider is very, very useful. So that is a very practical use case for the color range selector you probably saw under range, this depth range option. This is if you're using a camera, a drone, a smartphone that has depth sensing technology. And a lot of modern, the latest cameras do have that. And you can literally select a slice of your image based off of depth of field. But it's the same sort of application, you make that selection and then you can make your adjustments but based off of depth of field. That is the range tool, both here in selecting and creating mask, but also in editing mask, adding to subtracting from very powerful. All right, in the next lessons we'll continue working with these mass tools, so we'll see you there. 38. Mask Presets: How to Use + Create Mask Presets: In this lesson, we're going to look at the presets for your different masks here on this portrait. Another one from Signature Edits.com We're going to select people. And now we are going to edit our facial skin and body skin. And we're going to create this in one mask. We'll say create mask. Now we have the skin selection under mask preset. We have a ton of different options and specifically for portraits, they have some presets like soften skin, a lighter version of softening skin, teeth, whitening, et cetera. If I choose soften skin, when we have the overlay off, we can see what's happening and it makes it really, really soft. I think that was a little bit much and so I could either change this to the soften skin light or with the softened skin we can just drop down that amount slider. So I'm not a huge fan of going too crazy. However, this is the tool that allows you to do that. We saw that there were presets for things like teeth whitening. So what we're going to do is create a new mask people. And now let's go ahead and create some masks for sclera, iris, pupil lips teeth. And we're going to choose, create four separate masks for this one. Now let's go into our teeth and down here again to teeth whitening. With that on off, you can see that it just makes teeth brighter, whiter. Again, we have our strengthening tool here if we want even more. Let's go to our iris and pupil. We're going to change this to iris enhance. The cool thing is you can see what it's doing. It's increasing the exposure. It's increasing the saturation. You start to learn what are these presets doing? What are common things to do for skin, for eyes, for teeth? And then you can do this customly yourself later on or just use the presets. Or you can even create your own presets. Say you want to make your eyes blue. Contrasting, boosting clarity is something that's also done with eyes and that's a part of that preset. Maybe you say, okay, this is my blue eye enhancement preset. You can actually create a preset, save current settings as a new preset. Or if you're always changing softened skin to a different setting, you can say update preset. And it will update that preset, a current settings as a new preset. We'll save blue eyes. Let's go to this photo here. Now her eyes aren't blue. However, if we select her iris, create a mask. Now we have our blue eyes. And it has applied those same adjustments to her eyes because her eyes were originally a bit more green and hazel compared to the other photo. It's not as powerful. You don't see that blue adjustment, but it does make her eyes pop just a little bit. And of course you can adjust all of these settings down below with these sliders. And those presets can be applied to any mask here, back on our big Sur photo. Let's go ahead and select the sky. And we see that there is a he preset and it just adds 25 To dehaze, these presets will do just what it does. It's going to add contrast. It's going to make the blacks brighter. It's going to change the tint. And you might find these helpful. However, I find, like these first set of presets, it doesn't really do much that you wouldn't be able to do with just adjusting a slider down here. It's the presets down here that are more specific to portraits that are helpful. And we'll be looking at this in more detail coming up, especially the darken and lightening, which is really a more advanced photo retouching feature. But that's how you use and create presets for masks in light room. 39. Masks: Putting it All Together in One Photo: All right, let's put together what we've learned so far with mask to more creatively edit this photo. And again, in the future section where we're doing full photo edits, you're going to see me using those masks creatively. But this is a perfect example of where the new mask tools are super powerful. When you have a photo with multiple people, here's my cousin getting married, his mom, my aunt doing the mother son dance. You can see that it creates mass separately for each person and it does a pretty good job. You could also choose the subject and background selection, which for this photo is going to work really well because remember when we looked at this photo before, the color is very off because the background has lots of warm light and our foreground is a little bit too cool. We used a white balance that balance the colors to the background white. But now we need to adjust our foreground. Let's go and do subject. And it's going to detect all the subjects and create a mask for our subjects. If your little mass window looks like this, just click the arrows to expand it here. What we would do now is I would adjust the color temperature of this. Now boost the color temperature of our subject to something a little bit more natural. Here we go, that's looking really good just with that little adjustment. This is also a tool where you can use the detail to add a bit more sharpness. We did use the AI D Noise tool with this photo, but if we want to add a little bit more sharpness to our subject, we can do that here. That's looking pretty good. I might just go down to our curve and say we're going to boost the contrast just a little bit of our subjects. We don't need to do that for our background, and that looks pretty good. Maybe we want to adjust these blues just a little bit. Let's take the point color. I'm going to click into that blue. Now we have that blue selected and we're going to just boost that saturation a little bit. I don't want to necessarily change the colors but make it pop just a little bit more. And now we are adjusting just the blues. Instead of going up here and just adjusting the overall saturation, which adds a little bit too much color to their face. I'm just doing it with the blues, which is pretty dang, cool. That's pretty good for our subjects. But let's actually create a new mask for the background because I might want to do a couple things with the background here. We can also fine tune the color temperature. Say maybe we do want it to be a little bit warmer. That white balance we selected? Yes, it made that background pure white, but maybe we want it to be a little warmer. So let's go back that way a little bit. We can also add a little bit of blur to the background. Now you can do that with the lens blur tool that we saw in the main settings, but down in detail, we could just take our sharpening sharpness down. We could also go up and just decrease the exposure so that our subjects are really the ones that are being highlighted in this photo. Now I want to make the floor darker, but by bringing down the exposure to where I want the floor to be, it's making the top of the photo a little bit too dark. How are we going to do this? Well, what I can do is I'm going to create a new mask. I'm going to use a linear gradient and I'm going to select the floor. Now, I'm going to subtract from this. The subject isn't that amazing. It just automatically removed our subject and now I can just bring down that exposure for the floor a little bit more. Our subjects really pop from it where the lights are. I'm going to actually create another linear gradient right here. We're not really selecting the sky. A linear gradient might work best. Subtract our subject again from that. Let's see what happens if I boost that. It was the exposure just a little bit, man. Let's go down to our effects and let's drop our clarity. Make it a little bit softer. That's pretty cool. That is, looking darn cool. Let's look at the overall before and after. Let's go back to our main editing tab. And then down here, the Y, Y. You can see on the left the original photo, the right with masks. How much we've done to improve our subjects, the color of our subjects and the color of the white balance of our background, as well as a lot of those exposure adjustments we did as well. I might even just go in and create a new radial gradient. I want to do a little custom vignette around our subjects invert that we're just building upon each other, all these masks. And that's looking pretty darn good if I don't say so myself. That is one use case of our different mask combining them, using the different effects. And you're going to see more of that in the full editing sessions. But hopefully this starts to give you some ideas of how you can start to use all of these masks together. I think the most important thing is to get used to and confident adding and subtracting from a mask. Determining if you should create a brand new mask or just add to a mask that you've already created. Remember within this mask little pop out window, you can do so much. You can turn on or off specific masks just to see what's going on. You can invert the mask. You can duplicate mask, say you like, what's happening with the top of this photo up here with this linear gradient. What we can do is we can just duplicate this mask here and it's created a separate copy. And now those two masks are actually double of what we've done before. We could have used this slider to increase it even more, but now we can make some separate adjustments to that mask. So maybe we want that same mask selection, but we want to do something else. So let's reset the settings for that. But now we can go in here and we can adjust just the clarity, for example. Maybe we just want the clarity. We don't want those color or exposure adjustments we made and let's boost that. There's so much that you can do here with this tool. All right, you're going to keep learning, but for now that is the mass tool. I hope you've enjoyed it and we'll do some more selective edits in this section, but you'll see a lot more of this in future edits as well, see in the next lesson. 40. Spot Healing, Clone + Content Aware Fill Brushses: This tutorial we're going to cover the healing brush tool. It's this little bandaid looking tool right here. It also has a content aware removal and a clone stamp tool. We'll look at both of those as well. The healing brush tool is for removing any sort of like splotches, dots, or there's some creative uses such as removing a lens flare that I'll show you in the future. But the primary reason to use this is to remove visual spots that you want to get rid of. Now, I'm all for leaving photos more natural, but this is how you would remove them. You could adjust the size of this little brush selector. And basically what we're going to be doing is just clicking on or brushing over a spot that we want to remove. Let's zoom in here to this portrait and say we want to get rid of this little spot right there. Let's just make our size a little bit small. And we're just going to click and just drag over it and it creates a selection. What happens is it makes another circle where it's referencing what's inside that selection. And blending it into what your original selection was, You can move this around and say, oh, I don't like that part of the skin it's selecting. I'm going to take this part of the skin that it's selecting and it does a pretty good job blending it. Now notice if I put the eye there, what's happening? It's trying to blend that in and that doesn't work, So you want to find part of the skin or the photo that looks semi similar to blend together to create a new one. Just click and just paint on again. You can just go through and do this as much as you want. There's also this handy visualized spots button down here that helps you visualize these little differences in a photo. Maybe we take the slider down. We're only seeing the main ones. Now we can go over here. This is just going to help us get rid of all of those little blemishes that you might want to. Now, there's things like freckles that were also being highlighted here. You got to be careful with not just removing everything. Obviously, it's up to you to decide if you want to use this at all. Next we have the clone stamp tool. This is the tool that allows us to clone a part of an image to another part. Here in this example, maybe we want to repeat some of these little water droplets. I'm going to take the clone stamp. I'm going to paint a little spot where I want a speck of a drop of water. And then take this selector and hover over that water. Same thing, select here and then I'm using that water as a reference, That water droplet as a reference. Now we don't want all of our water to look the same. Going to create some different ones. But now you can see before and after that we are adding those water droplets with that clone tool. Pretty cool, right? You can use that to add and not just subtract. Now there's also this content aware removal brush. Let's go in here and we're going to select this leash. I want to make sure I cover it all. And it did an all right job. You can click, refresh for it to reprocess it. And it might actually do an even better job. It didn't get this part over here on the left. So what I'm going to do is just do another selection again. And it's trying to pull from other parts of the image to blend together. And if it's not selecting the right ones, you can command drag a little square to make a selection of say, okay, I want you to use this part to fill that in. You can use these together or swap the tool, for example, this one on the left, it's still not getting that little part of the leash, so I'm going to just choose that and swap it over to the healing brush tool. Now it does a pretty good job at removing that leash. Let's close that down before and after of the whole photo. Pretty good job, except the ear looks pretty funky. So we'd have to play around with that ear to make it look better. Make sure that our selection is better. This is a lot of stuff that is much more powerful in Photoshop, so if you're going to be doing a ton of this type of work, you might want to just hop over to Photoshop to make your edits, and we'll see how to do that in the future. Where you can actually take a photo right from light room to Photoshop and have whatever you're doing in Photoshop saved your photo. So when you go back to light room, you have all of those edits. We'll see that in the more advanced tips and techniques section. But for now that is the healing brush which includes the content aware removal and the clone stamp tool as well. 41. Red Eye + Pet Eye Removal: In this tutorial, we'll look at the red eye correction tool. Most cameras automatically fix this now, so you won't have to deal with it. I had to find this photo on Wikipedia to use because I just didn't have any sample photos with red eye. But all you need to do is go to this tool, there's a red eye and a pet eye option. Both are when you get that red flash in a human or a highlighted glowing eyes for pets, the process is the same for both. Click on your eye in the center, click and drag out to fit your eyeball. It's going to do an analysis and find that pupil. Find that red eye and it's going to remove it. You can adjust the size and the darkening of this depending on what you want. The catch light, it's that little, white, little dot you see. And it helps eyes stand out, usually coming from a light source, and it makes people's eyes just look a little bit more natural. This photo already has the catch light in there, so we're not adding one per se. All right, thank you so much for watching and we'll see you in another tutorial. 42. Skin Softening: Welcome to this section on editing portraits in light room. In this section we're going to dive deep into all of the different aspects of editing a portrait and what we can do as photo editors to improve them to cover a variety of different styles and techniques. And so this is really, we've seen some of the mask edits and things that we can do before. But this is really a deep dive into portrait editing and retouching in light room. So let's head into light room and get started. The first portrait we're going to be working with is this one here. Another signature edits photo by Christian Anthony. So the first thing you need to do is get your basic editing done for this photo. The exposure was really, really down low, but other than that, it's a really nice photo to work with. The white balance seems pretty spot on, literally. With just those little adjustments, I think it looks pretty good. And we could move on to the first thing that I would do in portrait editing, which is skin smoothing here in the mask tool. Just click the mask button and we're going to wait for our people to pop up, since this only has one person, one person shows up and we are going to do separate masks for the facial skin and the body skin. First we're going to click Create Mask for those two different parts of the skin because we want to edit these differently. So with the mass tool two, we're going to rename this to body skin. We're going to rename this top one to face skin with our body skin. All we're going to do is go to Preset. And we're going to do soften skin light. Now we can see what is going on. If we adjust the slider up and down, you can see again, this is totally a preference, if you want to do this or not. It's up to you as the photographer, as the creative, to make sure you are editing your photo the way you and your model, your subject want. For the face skin, we're going to do the same thing, but what we're going to have to do is make a few edits to this selection. Again, soften skin light, and I feel like it does a little bit too much. Even with that light setting, it's a little bit much. So I'm going to dial that back down just a little bit, but I do want to make some adjustments to this mask around the eyes, the eyebrows. I'm going to go in here and choose subtract with a brush. And I'm going to drop down the flow and the density and turn off auto mask. Because I just want to be able to paint over this just a little bit and remove it in some layers. Boot that up just a little bit, something like that. I don't want to be softening much around her eye lashes around her lips. I might even go like so, because I want that to be in focus. Even her ears and her hair, I want to be in focus as well. That's looking pretty good. Now let's see the before and after with that on subtle. If you want more, you can go more if you want. We'll just push it back to 100 just to see what that looks like before and after. Maybe there's some areas where you think it needs a little bit more. What I can do is just create a new brush mask. I'm just going to brush over right here and add a little bit of that as well. Soften skin. We're using these tools together to soften the skin properly. All right, that's softening skin. In the next lesson, we're going to quickly whiten her teeth even though they're pretty white. We'll do that next. 43. Teeth Whitening: All right, so we're going to create a new mask to whiten her teeth, select people, and now we're just going to do teeth create mask. This is so amazing that this is just a quick tool, just a preset, and it automatically selects those teeth. Because before you had to do this manually, now you don't want to go too crazy. Teeth, you can go crazy with people generally go a little bit much with the teeth. However, a little bit makes that look good. I, on the other hand, definitely need a little bit of whitening. Now, I haven't made all of my basic adjustments to this photo that I would probably like. But just to show you how for me a little bit of teeth whitening works better. Let's select our teeth for me. Again, we're just going to use our preset for teeth whitening that might be a little bit extreme. I'm going to dial that back just to maybe like 50% for me. Look at that. Looks pretty dang good. That's how you whiten teeth in your portraits. It's as simple as that. 44. Eye Enhancements + Changing Eye Color: Now the next thing we're going to do for this portrait is edit our eyes. The eyes are so important for a portrait, they are the windows into the soul. As the saying goes, we really need to pay attention to them to make them pop. We're going to create a new mask. Select people, person. We're going to create masks for both the sclera and the iris in pupil, and we're going to create them separately. We're going to create those masks. Let's zoom in here so we can see what's happening with our eye sclera. What we want to do is just make sure it's bright, it's white. I might just boost just a tiny, tiny bit of the exposure and then drop down the saturation. Turn that on off. Very subtle. This is something that can really go overboard though, if you bring up the exposure too much. The other thing you can do is some people have a lot of red in their, the whites of their eye. So what you can do is you can use the point color. And we can go in and she doesn't really have a lot of red, but we can find sort of the red color in her eye and just bring down that saturation of just the red just a little bit. Now let's go on to her pupils. Here we have that mask set up. Really what I like to do, and it's similar to what's in the preset, which is the iris enhance, is I'd like to bring up the exposure just a little bit and add some color. We have the saturation boosted here, but I'd like to just enhance the color of their natural eyes. Of course, you can change the color of their pupils here as well with the color sliders. But for brown eyes, I add some warmth. For blue eyes, I add some coolness for hazel eyes. I might do a combo of maybe some warmth and then the tint moving over to the green. I generally don't add some magenta. You could even change the color completely with this hue adjustment, which is kind of cool. But even with that little bit, it's looking good. I might even bring back down the blacks or just boost this contrast lighter just a little bit. We've added a little bit of clarity from that preset, but you can go a little bit more here, before and after, before and after, you always want to. Again though, look away from your computer and then look back, turn it off and on. And you can see that looks a little unnatural, right? It looks a little unnatural. So we're going to take this overall slider and just bring it back down, cut it to 50% or so. That still adds a bit, but it makes it pop even more. Now one thing that will make these eyes pop even more is if we add more or highlight that catch light. Remember we talked about how you like to see a little reflection in a person's eyes. It makes it look more human. It's natural to see that because there's often a light source that's shining on our subject. If it's just pure black, it looks lifeless. To highlight that, I'm going to create a new mask. And I'm just actually going to do it with a little brush. Take a little brush feathered quite a bit. Flow up, density up, auto mask off size, pretty low. And I'm just going to paint in right there, right there. And I'm just enhancing where there already is a little bit of a highlight. I think I got a little bit too much of that. So I'm going to subtract with the brush. And you can get in here and fine tune it really. Okay, so you see that. Let's go back to my original brush and add right there, make sure it's covered. And now with this, I'm going to just bring up my exposure. Now if we come here and the easiest way to see this on and off is with this right here. Because when you do it over here with this, you see the little pinpoints of our different masks. But this little eyeball at the bottom of our mask panel, you can turn it on and off again. I think it adds a lot. It's a little bit too much. We're again going to go back here. We could go straight into our tone because all we did was bring up the exposure and drop that down. Now look at that catch light adds so much to this portrait and to her eyes. That's a little pro tip for making eyes. In the next lesson, we'll be looking at her lips and enhancing that color or even changing the color of her lipstick. 45. Lip Enhancements + Changing Lip Color: So here we're going to play around with her lips a little bit, so I'm going to create a new mask. People again, person lips. Of course, you could do this all in the beginning. Just create separate masks for each part of her face or her body or whoever you're editing. And I have not been renaming these as I go, although that would make it beneficial here with her lips. We're going to go in and we're just going to manually adjust some things. So first we can go down to the effects and we're just going to drop down the clarity just a little bit just to soften it up just a little bit. Then it's up to you to decide what you want to do. Do you want to just enhance the existing color of her lipstick? Just boosting the saturation. Or if it is a reddish pinkish lipstick, we can just move the tint towards that magenta a little bit. Or if we want to change the color of her stick or her lips, we can change the hue if there's a specific color. For example, her dress that we want to sort of match with her lips. What you can do is go to point color. Use your eye dropper and select this color. And now increase that saturation. What that's doing because her lips already have some of that color in it. We are matching that color. Or it's enhancing the saturation of that color in her lips. We can drop the luminance slider down just a little bit and that brings it more in line with the tone of her dress. Isn't that cool? We match that dress color and it actually makes it look, I think, much, much better. Now, maybe you want to contrast that. Maybe you want to completely change the color. And that is a way that you can have contrast and make that pop just a little bit more. But I kind of like the look of it matching her dress color. It's always good to see the overall before and after, or since we're doing most of this in the masking tool, we can turn that on and off of the eyeball down here at the bottom of our mask tool. That's how you can enhance the color of lips, change the color and more creatively match the color of lips to something that is a part of the photo, like a piece of clothing already. 46. Advanced Tip: Dodging + Burning Portraits for Facial Contouring: Next we're going to look at her facial structure, her cheek bones, her rosy cheeks. We're going to enhance that rosiness that she has with the blush that she's using. And then using a more advanced technique of dodging and burning. Really dive in deep with enhancing or facial contouring of her jaw bone, her cheek structure first to just make those rosy cheeks pop. Just a little bit more. We're going to take our brush, we're going to make it bigger, and we're just going to brush over her cheeks. So I think I got a little bit too much. So we're going to subtract with the brush. There we go. Now what we're going to do is we're just going to add a little bit of color to this. We can do that multiple ways. Now you might say, okay, well first I'm just going to go in and boost the saturation, but that doesn't look good, that's not really matching the color of the blush she's using. What we're actually going to do is again, go to point color, pinpoint that color that has and increase the saturation of that color here. With the saturation shift, then we might make a little bit of a hue shift towards maybe a little bit more of a pinkish blush to match. Because using that picker, we did get a little bit of her skin tone in there as well as always. It's good to see the before and after zoom out. And I think that's a little bit way too much. So what we're going to do is we're just going to dial this down pretty low, something like 25. You want to be subtle with your edits that's barely doing anything. Move that back up to 45. Now you can see what's happening here or just with this one mask on, off, on off. It's subtle, but it helps just a little bit. Now let's look at dodging and burning. I'm going to create a new mask. I'm going to add it using a brush. But before we do anything, what we're actually going to choose is a preset here called Dodge and Burn. What this is going to do is darken things when you burn and then lighten with dodge. First I'm going to do burn. And really all that's doing is here, down here we can see it's decreasing the exposure 30 by 30. What you want to do with this is you want to highlight the different shapes in her face. For example, we see here, it's a little bit darker over here, right here. And that's what creates that cheek structure. Also on the chin line. We're going to darken those spots. And then the brighter spots here on the nose, the forehead, the cheeks maybe here underneath her lips. We're going to brighten those just a little bit. First with burning. We don't want auto mask on, so make sure that's off. We're just going to paint over here and it's going to look too much, right? It's going to look too much first. But we can bring this back down to adjust the size. We just go in paint over this side of her nose right there. Now what we can do is drop this down. If we go all the way up, you can see where we are applying this. But we're just going to make this more subtle. You can do this with a mount slider or by bringing back up the exposure. Let's rename this so we know this is burn. And then we're going to create a new mask with a brush. And we're going to select dodge or lighten. Here we're going to highlight the highlights of her face. The top of her cheeks, right here at the top of her cheeks, this side of her nose, down here, underneath lips on top of her lips, right here on her eyebrows there. Maybe even. We're going to go in and lighten her eyes in just a second overall as well. I think just her overall forehead. We're just going to lighten just up just a bit too. All right. So if I turn on this overlay, you can see that I've got a lot of the areas of her face, It's started to look a little wonky again. We're going to just drop this back down. We're going to go down to 24 or something. And we can see this before and after now it's more subtle and it blends in much more. All right, so what we're going to do is we're just going to use the same technique to brighten her eyes completely, just her eye sockets. And this is common with people that people are tired, their eyes look tired. We're going to bring up our exposure. You could choose the preset or not. But all we're going to do is now with our size, a little bit bigger, Just brush her eye lid and underneath her eyes just make them pop just a little bit. Now I noticed there's a couple spots of her makeup that look a little funky. Like right here in the corner of her eye, It doesn't look natural. What I'm going to do, let me see if I could fix that with this healing brush, what I'm going to do is just paint over that part and then it made a selection. And I'm going to push this right next to it so we get a similar color. We can turn that. And I think that looks pretty good before and after. So that was just like a little bit of makeup wasn't applied there, so we kind of fix that. That's dodging and burning in a nutshell. Basically what you're doing is highlighting the highlights. And then with the shadows and those lines that really make her cheek and her jaw bone pop. You want to make those a little bit darker with some burning. This is the typical classic photo retouching style. It's not necessarily what I like and when I edit my own photos or any portraits that I do, I often don't do much of this. And for a lot of these things I might just back down some of these edits because with each of these individual masks, it might not look like a lot is changing. But adding it all together, you can see a big change in this portrait. So that's how you dodge and burn skin, make cheeks pop, make them rosy. Next we're going to look at her hair and her eyebrows. 47. Editing Hair: All right, so here we're going to create a new mask. Again, back to people, and we're going to do eyebrows and hair. So we're working through all of these different masks that we can create. Now with our hair up here, what we're going to do is increase the contrast. So we're just going to increase the contrast. Overall, increase that exposure depending on what you want to do with it. Maybe bring up the shadows, but then bring back down the blacks to manually create that contrast. Now if you don't want to create contrast that way, you can go into your curve tool. So let me just reset all these sliders. The curve tool is a great way to quickly just add a little bit of contrast to this area. But I don't want to add too much color. I want it to still look natural. Let's see, with this before and after, the color looks pretty close, but maybe I bring back down the saturation just a little bit. I just want to add contrast, but not necessarily change the color of her hair. However, you can change the color of her hair if you want, if you want to go gray more creative or we want to go a little bit more brown, we can increase that temperature, maybe increase the tint just a little bit. You can get super creative with it. You could add point color. You could change the hue here, just subtly, get more of a brown as well. But we want to keep her natural looking hair color but make it pop just a little bit. I'm bringing down the shadows. Bringing up the highlights just a little bit, and that's looking pretty good for her eyebrows. All we're going to do is bring up the saturation just a little bit and same thing, make them pop with a little bit of contrast. Sometimes people like darkening eyebrows just a little bit, something like that Looks pretty good. All right, in the next lesson, we're going to just finalize this portrait edit. I might play around with the color of her clothes, the crop, and things like that, but now we have seen how you can use all of these mask tools to powerfully edit a portrait in light room. Thank you so much for watching and we'll see you in the next lesson. 48. Finalizing My Portrait Edit: All right, so the first thing I'm going to do just to finalize this edit, is I'm going to just make that dress pop just a little bit because we have the person mask selector and clothes. We're going to do that and look how amazing this does. It follows the edge of that and creates a perfect mask for it. So we're just going to increase the saturation of this dress just a little bit. Now when we do this, we have to look at her lips and say, oh, do we need to adjust that to match a little bit more? We might, or we can just use our color, temperature and tint sliders to match it as well. That's looking pretty good. Next what we're going to do is I'm going to re crop this. I'm going to go back to our crop tool. Just want to see what a vertical crop would look like. It's a little bit tight. I do not like this little plant that she's leaning on. I might for this photo, just do a one to one crop like so. Now something that I like to do with my portraits more creatively is to blur the edges and really highlight what I want to be in focus by making other things out of focus. What I'm going to do is create a linear gradient on the bottom corner like this. I'm actually going to go down to detail and drop the sharpness. I can even enhance this just a little bit by going up to clarity and dropping the clarity. I don't want to go too much because then it not only makes it blurry, but it softens it and I don't want that too much. If we like that style, we can adjust the amount up here, which I think looks pretty good. Then I might add this to the top corner as well. With this mass selected here, I'm going to add another linear gradient to the top. Let's just see what happens if I boost the exposure just a little bit. That's pretty cool now. For some reason, her hand looks a little under exposed for me, so I'm going to choose, let's just use a radial gradient over her hand like this. And I'm just going to bring up these shadows just a little bit. That looks pretty good. Now we can see the before and after. And I think it stands up to what you would see professionally edited in any fashion magazine or website or design. Now, of course, all of this is creative judgment on your part. If you want to go so far with this standard retouching style. In future lessons, I'm going to go over some full portrait edits and we're going to edit them in different ways, not just with this glamorized type of editing. But I wanted to show you this because it's an important skill that some people are going to want you to use if you are editing their portraits. Thank you so much for watching and we'll see you in the next lessons. 49. Removing Wrinkles: You can remove wrinkles with the healing brush tool. Here we have this photo, and I love people's wrinkles. I think it adds a lot to the character and the story of a portrait. But if you want to remove them, go to your healing brush tool. Really, all you have to do is draw over those wrinkles. You want the brush to be as small as possible. And then you want to move the selection, as we saw before in using this tool to a spot in the person's skin that matches what you want it to look like. If I went up here, the color tone might look different. Obviously, if it was somewhere else where you're not just getting skin, then it might look a little funky. But something like that looks pretty good to go over here again, you want to use the healing brush tool and not the clone stamp tool. For this purpose you just go through one at a time and you can cover up these wrinkles like so make the brush a little bit smaller. Now this combined with a mask, let's go ahead and you can see the before and after. Let's just turn that on and off, remove those wrinkles pretty quickly. Then combine this with a skin softening mask will be super powerful. Let's go ahead and choose the facial skin and body skin. Create a mask. And we're going to go ahead and use the light soften skin. Those two tools combined can help you remove wrinkles from someone's face. Obviously, there's a lot more that you could continue to work on and remove, but that just takes time and patience, and if you really want to do that or not. Okay, thanks so much for watching and I hope you enjoyed this little tip. 50. Introduction to Full Editing Demonstrations: You've learned so much so far. And in this section we're going to put it all together by just doing full edits of a variety of photos from landscapes and wildlife to group portraits and more portraits and all kinds of other photos. I'm just going to go through and edit them as I would. And as a learner myself, I found this to be one of the best ways to learn the process because up till now, you now know the techniques, you know the tools to use, but how creatively can you use them for different types of photos, to create different styles? That's what you're going to learn by following along in this section. And this is also a section that I'll be adding more tutorials to over the future because I often add and create new photo editing tutorials. So make sure you check back and as always, make sure you have those announcements turned on and check them because I'll be announcing whenever I add a new tutorial to the class. All right, let's head in to light room and start editing some full photos. 51. Long Exposure Landscape Photo Edit: All right, so welcome to this first full photo editing demonstration. In these sessions, I am editing these photos from scratch. I have not pre edited these and so something you're going to see is just me play around and I think that's the best way to learn the process of editing. I don't have a strict, okay, Do one through ten steps and you're going to get a great looking photo, You have to play around with it, and hopefully you enjoy this style of lesson. You can always skip to whatever photos you like. You could also speed up or slow down the playback if you want to make this more bearable for you. But I'm going to start with this big Sir long exposure photo. It's one of my favorite photos that I've taken in the past year or two. And it's a photo right now that looks okay, but it's incredible. It's nothing crazy special. Let's get into it. All right. I'm going to actually skip cropping this photo right now because I think I need to play with exposure to be able to see what's going on before I even get into it. The overall exposure is pretty dark, so I'm going to bring that up. But especially down here in the shadows, I'm going to bring up our shadows quite a bit. I can always bring those back down later. And I'm just getting it to a spot where the exposure looks acceptable to me. A lot of these different parts of the image I'm going to be adjusting individually to with a photo with stars, not scars. With stars you have two options with clarity. You have these options with any photo. But it's a big question with a photo with stars because you can either boost the clarity and you get more stars, which is great, or you can drop the clarity and it makes this soft sky look, it has a very cool vibe to it. I think I'm going to right now just boost the clarity just a little bit. And I'm actually going to apply a little bit of de, haze to the entire photo because with the long exposure, you do get these light infractions that are coming through the lens. And some things get a little bit of soft, sometimes things get a little soft. This was night where by the ocean there might be mist or clouds from the ocean blocking different parts of this cliff. I'm just going to do a little bit, I'm probably going to do a little bit of individual adjustments later on too to the background, into the sky with de haze. But for now I think that's good. Now I'm going to also just boost my vibrance and maybe even just our overall saturation, just a little bit like that. Cool, so that's starting to look better, right? From before to after. Wow, what a difference already. Now there's something that's glaring that's bothering me that I just want to fix right now. And that's this lens flare right here. What I'm going to do is I'm actually going to get rid of it with a healing brush adjustment. Pardon me. Does not like using the clone brush tool or the healing brush tool with night skies because you are ruining the integrity of the stars in the sky. However, for this case, I just can't live with that lens flare, It bugs me. And I'm just going to use the healing brush and see look like that it is removed. Lens flare removal. Lens flare removal looks like we lost a couple stars right there which we could actually bring back if we wanted to dive in and replace these stars. But that's for another time. I don't care about it that much. All right, so now we have our sky, not bothering me. All right, overall in terms of our exposure, it looks good. Saturation looks fine, tone curve. I'm going to skip that for now. With color mixer, I'm going to just play around with individual colors a lot, with masks not working on that. The only other thing I'm going to do right now is noise. I don't need to necessarily sharpen this much more. You'll notice that in the sky that the stars actually look like little lines. If you know anything about astrophotography, you probably know what this is. This is actually because the rotation of the Earth, the stars start to get, appear as lines. The longer your exposure is, that's why these stars aren't perfectly sharp. And that's a balance that you have to do when you're taking photos of night skies. But what I'm going to do is increase our luminous noise reduction because there's just way too much noise in the sky for my taste. Now if I had the original photo, I would definitely use the AID Noise option for this edit. But I'm editing the DNG which is still raw but it doesn't have all the original information and currently light room does not do D noise for D and G files, Although maybe in the future it will. All right, so that looks a lot better. I'm going to skip all the rest of these and we're going to start editing our individual parts of the photo. I think first I want to play with the sky because it's the most exciting part of this image. So I'm going to create a sky mask. Does an amazing job selecting the sky. Let's see, I'm going to go down here, decrease our temperature just a little bit. Make it more blue. Now, this is art, making photos. Editing photos is art. Some people might say, well, that's way too blue. That's not natural. I don't mind it because I'm creating art with it right here. I'm also going to do, let's see, add a little bit more hays. Again, we have the option, clarity dropping makes it soft, increasing the clarity more stars. But with more clarity and more dehaze, we do get more noise coming back into our picture. We can try to combat that with our noise slider down here. But you're fighting with yourself, but having a little bit of clarity, a bit of makes those stars pop pretty well. Now you can go crazy with it, but I think that's way too much. If we don't like this exact color of the sky, maybe we take our hue something like that. We can even just bring our exposure down just a little bit overall and boost our whites. The whites will bring out the stars. But maybe we do want the sky to be a little bit darker, I think, I don't like that hue adjustment. I'd made something like that's pretty good. Again to see the on and off with our individual masks. We can just turn this on and off and you can see how much has changed just from that one mask. Okay, next what I want to do is this land, this hill in the background, it looks washed out. What I want to do, let's try object with a brush. Let's just brush over this landscape back here just to see if we can get an initial mask for that looks okay. Looks pretty good. We could add to it with another object select, let's just do that. Nah, that wasn't working. Let's go ahead and undo, and let's see if we do an object selector with our marquee tool. A little bit better. All right, what I could just do is add with a brush and this is a case where I would want to auto mask it on. Flow and density all the way up. Auto mask on is going to really help me select just this hillside and not the sky above it. And you can see it does a pretty good job at that. All right, that's good. What am I going to do with this? I think I'm actually just going to bring down the exposure. I could also do a little bit of dehaze. It's hard for you to see that. But really I just want those hills to not be, look like, kind of look flat. They look like it was just a little something like that and maybe even decreasing the saturation or making them more blue. I don't know actually. I think I just want less saturation back there. All right, now let's move on and I want to get this landscape in the foreground. Let me think, how am I going to do that? I think the best way might be just a brush. Actually, I'm just going to brush over this too much. Undo that brush. Something I'm going to do with this is I'm going to turn on auto mask. Now for up here. So I'm not selecting the sky. Something I'm going to do here. Actually I don't mind if I get the bridge. This is bridge in big, famous bridge, it's very, very old. What I'm going to do with this is increase our clarity. Get some of those fun details back into this cliff side because it has some really cool rocks and stuff. I'm also going to just bring up the exposure overall, Bring down the shadows, but I just want to see some of that of what's highlighted here in the cliff side, especially on the rocky cliff. I might actually subtract some of this that I did up here on the cliff up here because I find that a little bit distracting. Now I'm going to turn auto mask off. I can show you what I'm brushing away up here. A little bit of what I'm applying down below is going to be applied up here, but not as much. That's pretty good, even though this was shot dead of night, the moon was up. So that's why it's so bright here in the ocean and in this foreground on the cliff side. It's also why we don't see as many stars as we could have. We don't see the Milky Way clearly or anything like that. But it's amazing that this shot was taken at night. And we still have so much information in this photo. Let me just zoom in here to another part of the image. And you can see it's like bright here. It's almost like daytime down here on the beach. All right. Next I just want to play around with the ocean down here, the ocean color. I'm actually going to do a color range and select that ocean down there. We're selecting that color in this whole photo for now. But right now, I just want to get that color in the ocean. As I drop this refined slider down, you can see that it's more just selecting that color and not all this white water, the white part of the ocean. Then what I can do with this mask is subtract. Basically I think with a linear gradient would be the easiest. And just create this linear gradient down here, like so. It's basically just applying to this part of the ocean. What I can do is I could make it more blue. That doesn't look really natural, but maybe just a touch, I have a little bit of green to it and make it a little bit darker. Just that little detail I think helps it pop just a little bit. Right? Cool. Now I want to really highlight this light streak here, which is a car or multiple cars going by across this bridge at night. So what I'm going to do is with a brush, I'm going to create a automskf here along this orange line. Oops, I'm moving that now. Let's just make sure it's all brushed, something like that. Now what I'm going to do is just increase the exposure overall, just to make it look like it's glowing some more. Make it warmer. Maybe come in here to the point color I like the red that's shining off. That's probably from the brake lights of the car. I'm going to come in here, get that red. And increase the saturation of the red itself. Or the orange really, it's making more orange. I think that's pretty cool. Now, this image is looking pretty good. But it's also starting to look a little bit flat like even though it's at night, there's one exposure going on. And you can see that up here. It's not a very contrasty photo in terms of, yes, there's contrast, but where is my eye drawn to? We can force the eye of a viewer to go to a different part of the image with things like exposure. And I'm going to add a linear gradient down here. Though we did so much work in the ocean and the cliffs to make you see them better. I'm actually going to go down here and just bring down the exposure overall just a little bit. And then I'm going to do another one. And I'm just going to do it up in the sky like this. And I'm going to bring the exposure down just a little bit. Then I'm going to go down here and add one more right here in the corner. And bring down the exposure. With this, I'm trying to focus the viewer's attention on what I think the main subject of this photo is, which is this bridge. And this streak of light of the car going by the stars, the cliff side, the ocean. It creates this great background for this image, but I think the bridge itself is the main subject. Right? I am going to go in here and see if even just bring in our crop just a little bit. Assist with that mission, right? To make this more of the star of the show. Get it star. It's not a star though, right, Phil? No one likes your jokes. Anyways, so I think this photo is starting to look really, really good. So let's go ahead and see the before and after tab. Remember, you can press tab twice to get this full screen. Pretty darn cool photo, right? I think I'm just going to go back in here and see with our tone curve may just boost the overall just a little bit, just like. So that's looking good. Then let me go back to my basic clarity. I had boosted and we could crank that up. Let's just take that down all the way. No, I like it with the more clarity applied. Cool. I think I'm pretty happy with that edit. What do you think? I would love to see your edits. If you edit your photos, post them to the course. If you're watching this on a platform where you can post a comment or in the Q and A or post on Social and tag me in your images. I would love to see them. Make sure you're giving credit to the photographers. All these photos are photos I've taken except for the photos where the title of the photo has the unsplash or signature edits in the name. All right, thank you so much for watching this tutorial. I hope it helps give you a bunch of ideas for how to edit your own photos. And we'll see you in another video. Cheers. 52. Magical Portrait Photo Edit: In this tutorial, I'm going to be editing this tutorial from scratch to create this semi magical stylistic portrait edit that you see on the right hand side. So go ahead and follow along with this photo here. I've created a virtual copy, as I do typically to edit these photos. This is another signature edits photo from William Mitchell Photography. So I'm going to start completely from scratch. That means starting with a crop up here. This is a great example of where the photo might not be a bad composition as is, except for this little bit of a tilt. And I find that having this more balanced, something like this, where her face is semi on the right hand side of the photo, not completely using the rule of thirds, but she's looking up towards the left, having more negative space. More space on this side of the image, I think looks good. And having that horizon in the background, this line right here going behind her head straight, I think looks a lot better. Now, this is a very dark photo. Having a raw image so that we can bring up the exposure is really important. It's also flat. The profile of this camera is very flat looking. So we are going to add quite a bit of contrast, but we're going to do a lot of that with our individual mask. I'm actually just bringing up the exposure just a little bit. And pretty much the rest of this we are going to be editing in with the mask, but add a little bit of blacks here as well. Or decrease the blacks. It's a very flat looking image. Most of our exposure is over here in the shadows. I could bring this up to get more of everything exposed in the middle and try to bring things back, something like this. That's a more pleasantly exposed photo. But I think it's going to just look better if we do some more individual edits. So that looks good. Now, I'm not even going to touch saturation here. We're going to edit all these individual colors down in the color mixer down below. But I am going to drop our clarity just a little bit. It is sort of that magical portrait. We've got some soft light, there's a bunch of shallow depth of field, things out of focus in the foreground and background. So adding to that, with the clarity decrease I think helps a lot. I'm going to skip the color mixer. Just go down to details. I am going to add a little bit of noise reduction. There's just a little bit of noise, not much, but just a tiny bit and something like 25 looks pretty good. I might bring up our sharpening just a little bit of her hair and her eyes are just a tad bit out of focus. I'm going to bring up the masking though, so that it's applying this noise reduction or the sharpening rather mostly to the details of our image, not the background and foreground. I'm not going to do anything with the rest of these panels except for color mixer. I'm going to go up here. And now I'm going to bring up two specific colors, orange or red in her hair. Just bring that up a little bit and automatically, that already starts to look really cool. Maybe a slight luminance shift up and then an increase in the green. I'm going to find the green down here. I'm going to increase the saturation of the green and maybe just push the shift over to the right just a little bit to get it to be more green. I'm going to visualize this range and I'm going to just increase that range. It's getting more of the green and more of the greenery or the plants around her. That's pretty good for now. Next we're going to start working with masks. I'm going to click our mask button. Now I'm going to select the person. I'm going to create separate masks basically for all of these different parts. Now the only thing that it didn't really find her clothes properly, and I'm not really worried about editing her clothes, I'm not going to create a mask for her clothes. Now I'm creating eight separate masks. I'm just going to walk through these one at a time. And starting with the bottom where her facial skin is. With facial skin, I'm just going to do a soften light preset. And actually I'm just going to back this down just a little bit. Now with the rest of her skin, we're going to do soften light. And I'm just going to leave that as is now. Something that is bothering me right now as I edit this photo is that she's still a little bit underexposed. Now if I went in here and I created a mask for our subject or for the entire person, and I boosted the exposure of just her, it looks all right, we could probably get away with it. But it also starts to look like it's more of a composite image. Now, I might do this later just for a little bit of a boost, but so that this exposure and adjustment applies more naturally. What I'm going to do is create a radial mask. Radial gradient. Just about so, like this. And now I'm just going to boost the exposure overall. Now it can start to look a little bit more natural, how light would be shining from behind her. And maybe there's just this one focus light on her. Maybe we have a bounce card in front of her that's bouncing back. Some of that light, really what I'm trying to do is just increase her and get a bit of contrast back as well. That's looking much, much better. See with this off and on, it's much easier to see her now. All right. Now we're going to go back to our mask to which was her skin, body, skin. And I'm actually going to warm that up just a little bit just to touch usually. I don't want to add warm to skin or add any yellows or red. But this is more of that magical portrait and I think it goes with this one. All right. I'm moving up in these masks, but I'm going to actually skip her eyebrows until I work with her hair. Okay. Clara, what we're going to do? And I'm going to zoom in so you can see, remember that's showing the overlay. That looks freaky, right? But I'm just going to do a tiny exposure increase. That's pretty much it now for her iris and pupil. It looks like the mask didn't get everything right. So I'm going to add brush. We're going to make sure this is pretty small, auto mask is off. And just brush and brush. Okay, there we go. Now we're just again, going to do a tiny exposure increase, a tiny contrast increase. Then let's just go down to effects first and do a clarity increase. And then we're going to make that blue pop out by dropping our temperature just a little bit and also increasing our saturation. Now I zoom in when I'm editing with you because it's easier to see what I'm doing. And sometimes I like to do that, especially when working with brushes. But I often want to zoom back out to the full photo to see what this mask actually looks like and what's doing. Because sometimes you zoom in, you make some edits and it looks good. But then you zoom out and it's like, oh, I think I pushed it a little bit and that's why I love this amount slider. We can just tone that back even if it's just five or 10% just so that we're not going too far. All right. Next we've got her lips, and I think we saw this earlier in the course where we match the color of her lips to her hair, which I'm not going to do in this edit, but I do really want to make them pop just a little bit. It's a nice pop of color, just increase the tint, the saturation, and then clarity. We're actually going to bring down just a little bit, something like that. Looks pretty good. All right, we've got our teeth. Just going to do a quick little teeth whitening may just drop that down to 50% or so that looks better. All right, now with her hair and her eyebrows, we're going to add contrasts. And this is the one area where I feel like you could crank up the contrast and it can start to look really good. I don't necessarily need to add more orange or warmth to it, but maybe just boost the saturation just a tiny bit. We're not doing a ton right now. A subtle, subtle edits are much better. All right, let's go back down to her eyebrows, which we're here. We're just going to make them a little tiny bit and actually warm them up just a little bit, which actually just matches her hair in a way I don't want to completely go orange at all. Just a tiny bit. This is also more of like a stylistic preference, if you like the darker eyebrows or not. All right, this is looking pretty good. So we can see the before and after. Now I want to reference the photo that I edited before just to show you what it ends up looking and why it doesn't look like this. Now on the right, we have what we're working on on the left, much more magical and that's the style we're going for, this one on the right. Good edit. So far I could probably stop here, but with a couple of other mask edits, I think we can make it much, much more interesting like this one. All right, back here on this photo, what we're going to do is we're going to try to create this sunbeam effect that's brightening her up and even warming her up just a little bit. To do that, I'm going to create a linear gradient. And we're going to go something like this, we can always adjust the position later. And then I'm going to subtract another linear gradient. This way we're going to just have this beam of light shining on her. With this, I'm just going to increase the exposure. I'm going to warm it up just a little bit here. I'm actually going to take my highlights and maybe even more so my whites and blow them out. I think it creates a magical look. I don't want to lose too many details in her face that is in her, but in the background I like the look of it just being completely over exposed. Now, if she is starting to look a little bit too bright, her face, what I could do is subtract with a brush or with any other mask. And I'll just decrease the density or flow around her face. At least maybe on this side of her. Then it's removing this mask in layers. Sometimes you got to put that flow and density up quite a bit or it doesn't really look like it's happening at all. All right, now let's see what that's going on. And you can see if I just like crank up this amount, how it's applying more to the background, but it's still this nice beam of light around here. Cool, that's looking pretty good. Now, I'm also going to play around with this corner and this bottom corner. I feel like the colors don't match what I'm doing with the rest of this portrait. So I'm going to create a new mask. Add a gradient, something like this here. I don't want the exposure difference to look so extreme because it looks unnatural now to have this left corner looking a little bit darker, but I still want the whole vibe to be darker. But I think by increasing the whites and the highlights just a little bit, it's still vignetting and creating a frame around her. But then because these little stocks of grass or weed or whatever this is, they pop a little bit more with the highlight and whites adjustment it matches the overall vibe of the photo more maybe something like that. Then I'm going to do something similar down here. But I'm not just going to apply those same edits down here down here. I'm going to just bring up the exposure just a tiny bit. I'm also actually going to decrease the clarity and the sharpness just to make it even blurrier. Let me see what that looks like if I increase the amount I like that. But then our exposure adjustment gets multiplied, so I'm going to decrease that just a little bit. Sometimes I just like to play around, I'm going to take the temperature and change it. I actually don't like that because that looks too unnatural with the temperature going too cool. But maybe a little bit more green works. I might come in here to the point color and do that again here for this part of the image, just in this mask. Just a little saturation and luminance shift I think looks pretty good. Cool, That's looking really good. Now I think it's pretty close to where I had it. I'm going to do one more brush. All I want to do is just play around with highlighting different parts of this image. What I'm going to do, before I even add anything to this mask, I'm actually going to increase the exposure of this and temperature just a little bit. It's like dodging and burning our image like we saw earlier. But this time I'm just going to do it wherever I want. I'm going to just come back here over to this part of the image that looks pretty good. Maybe highlight over the shoulder. Get this part of the background and this grass that's out of focus in the background and increase that exposure. See where I'm painting with this overlight on now. Then I could come back here and make adjustments to see if I want to push it even further. That is looking pretty magical if I don't say so myself. All right, let's compare and contrast, or what we did before with this one. Let's go in contrast. It looks like in my previous edit when I was just playing around with this, I have a little bit more contrast in her face. I also boosted the colors a little bit more, and some of that was done in the masks. But oftentimes what I do at the end of my edits is just come back to my tone curve and just see if I want to add any more contrast. If I'm happy with the contrast, you can see that adding even just a touch of contrast not only is adding contrast, but when you add contrast, you add saturation. This is looking a bit much. And I think the contrast, it looks too much for the overall photo, but it's looking pretty good. Just like with that subtle contrast, if the tone curve is too harsh, I can come over here to my basic contrast slider and it pushes it just a little bit more subtly. I actually like how in the left her facial skin, you see some blue in it in here. Now I can get rid of that in a couple of ways. One is by coming in here and just warming up her face like this. Or another is if I come in here, let's see if I do a point color. See how when I hover over this, it looks blue almost. I'm going to take that. Let's visualize the range that's getting a lot of her face. Let's see if we decrease the saturation just a little bit. That does something I was playing around with that. I didn't do that before, but I think just increasing the overall warmth. I think also what I did in my original edit is with this mask right here where I removed this highlight, this sunbeam effect from her face. I left that on in this original photo. I might actually just come in here and increase that amount of that effect. That's looking pretty good. Now, I'm just going back to my basic edit just a little bit for the overall. It's amazing though what you can get with this photo. I'm actually really starting to like this second photo a little bit more. It's much more punchy, much more contrasty. So you can see that even her hair, some of this is falling completely out of exposure. Now, I could bring some of that back by bringing down my whites if you prefer that. But I like that contrasty look. Not everything has to be exposed properly for a photo to look good. Now we can see the complete before and after. Like I was going to say though, it's pretty amazing what you can do with a photo that looks like this and completely transform it here. All right, so that is a magical portrait edit. I hope you enjoyed this one. I hope you can take some tips away. And remember just play around with things. The beauty of light room is you can always come back and remove what you've done. Start over, create a virtual copy, Just get creative with it. Thank you so much for watching and we'll see you in another lesson. 53. Wildlife Bird Photo Edit: All right, so this is a photo I shot in the botanical gardens near me and overall looks pretty good. I think I'm going to go in and crop just a little bit so that this bird is centered in our photo. Also, I'm going to change the color profile here. I want to do the Velvia vivid colors, which is the profile in my Fuji camera that I shot this with. This was shot on the Fuji Xt four with the 100, 400 millimeter lens at 12 50th of a second and ISO 800. There is a little bit of noise, but not much. All right, with this photo, I really just want to boost the contrast. Since the overall exposure looks pretty good, I'm actually going to jump into the tone curve and do that. Some editors prefer just using the tone curve for your exposure adjustments in this photo. I'm just going to do that as well. Accidentally added that one. That's looking pretty good. Now I'm back here in my basic edits and I'm going to bring up the vibrants overall just a little bit just to get some more color out of this photo. And I do want to boost the clarity and texture, but I'm just going to do that with my individual edits. So overall, this is looking pretty good so far and I'm going to jump right into that. I'm going to select our subject and let's see what it does. Does a pretty good job selecting our bird. Perfectly fine to do that, easy to just take our brush and subtract from it because I don't want this branch to be selected. And something like that is pretty good. All right, that's pretty good. I can actually just take our flow up all the way, make sure that's erased over on these edges. Cool. Now, with that selected, we can see that we can make adjustments just to the bird itself because we can do that. We're going to go down and add a bit of texture, you can see, let me zoom in here so you can really see what's going on. When I'm adding texture, it's increasing the definition of those beautiful feathers. And increasing the clarity. And the texture there looks pretty good too. All right, so that's looking really good. Now I might come in here and find this orange part right here. And increase the saturation just a little bit to make it pop. Now this hawk looks like it's eye is dead. Set on finding some snack to eat, I'm going to take a brush and just create a tiny little mask around the eye. I don't like how there's like a little shadow in the eye. So let's see if I can get rid of that. Let's go in and bring up, look at that just by bringing up the shadows. Look how good that is. Sometimes I surprise myself, even though that eye was in the shade, by adding this little mask, we get rid of that shadow that's cutting through the eye, which makes it just stand out just that much more. Just a tiny, tiny exposure, adjustment back that off. Just a hair cool. Just a feather. All right, so that's looking pretty good now. Let's see. I think I'm not a huge fan of seeing this tree right here, but I don't necessarily want to crop in too much like getting rid of that tree. That's quite a lot now. I could also adjust the rotation, but then we're nah, yeah, I like the bird going up and down like this. Maybe let's just create a vignette or even just do a vignette with our effects here to focus our attention in on our bird feather, the feathering. And that's looking pretty good. Now what I don't like about the vignette too much is that it's hard to see what you're doing. Whereas if you create a custom vignette, which I'm going to do by just removing that one. And now I'm going to come in here with our radial gradient. Now we can see our mask overlay, right? So we can see exactly where mask or our vignette is being applied. Because previously when I use the other mask effect, it's applying a little bit of that mask to our birds head. So what I'm going to do is subtract our subject right here from that. Okay, so we're creating a little, even with the branch, I think that's fine. It still has that branch as part of the vignette or part of the subject rather I'm going to do that. I am going to subtract with a brush. I don't want to subtract the whole branch or the exposure adjustment from the branch. But actually, sorry, I'm going to add to the brush. Maybe that just looks better, actually. Yeah, I like that. Now I am going to go and see up here with the linear gradient. Maybe just decrease the exposure up here in the corner even more because I think it's the highlight of that tree that's competing with our subject visually. Or the exposure of it, since it's the same exposure as our bird, let's just decrease the sharpness. I duplicated the amount to 200 so that the sharpness decrease is multiplied by a factor of two. I think that looks good. It helps us focus our attention on our bird even more. Man, that hack is about to get a mouse or something that's looking really good. I might just come in here to our detail panel, make sure we have a little bit of a luminous noise reduction because we do have some noise in the background. Might just take our overall sharpening up even more with some masking. So that it's masking out our subject and not applying that sharpening to the background. And that's looking really good. Now if we want to give it a little bit of a color grade, let's go into our color grading and see what happens if our mid tones and highlights, we give a little bit of warmth. And then our shadows, we cool it down just a little bit. That's cool. I like that color profile. It's just a very subtle shift, but I like it. Let me go back to our subject mask because I think I would like to see a little bit more detail in these feathers. Let's bring down our highlights. Even just boost the contrast a little bit. Or bring down the Blacks. Yeah, I think that's better. We have all that information in the highlights. Let's see that information now that's looking sharp. Looking good. All that is a pretty good it. Let's go ahead and see the before. A, let's see a side by side comparison of the before and after. What do you think? Pretty solid. Edit the colors here on the right. They look much more punchy, much more compelling. Overall. I think just a much more interesting photo to look at. The raw photo, of course, it's going to be a little bit unsaturated, a little softer, a little not as contrasty and punchy. And that's just what happens with the raw photo. The processed image might have been a happy medium in between these photos if we saved a J peg from our camera. But of course with editing, we can focus the viewer's attention even more on what we want the subject of the photo to be. All right, thank you so much for following along. This was a fun one and we'll see you in another lesson. 54. Creative Travel Photo Edit: Let's get into what I'm calling a travel photo. This is a great sort of snap moment in time. We have an interesting subject, we got cool framing within a frame. But still overall, this photo just doesn't look amazing. So if you want just to represent what you saw, this photo looks great. But I want to get creative with it. I want to make a photo that stands out. So let's get into what I would do. I've never seen or edited this photo before. So unlike some of these other photos that I shot where I did actually edit those a while ago, this one's completely from scratch. So I'm really going through the creative process myself right now. First things first, I'm going to crop in this tree. Framing is nice, but it's taking up most of the photo. And I also want to just get a little bit closer to our subject here. I like a photo like this where it just makes you look around and see all the details. That's one of my favorite things about a photo, If it keeps your attention right now, though, this was shot on an overcast, cloudy day. The colors aren't really popping. There's nothing interesting about the lighting. If it was like sunrise or sunset and this guy was silhouetted or there was like a beam of light shining on him. That'd be kind of cool, and we might be able to create something sort of like that, but right now it just looks kind of bland. Let's see what we can do. I'm going to warm it up just a little bit because it is on an overcast day. So it probably looks a little bit cool and dreary because of that. Let's warm it up. Let's also, I'm going to jump actually straight down to vibrance and just increase the vibrance, just just a tiny bit. Now the exposure to is very bland across the board. Let's create some more contrast with it. Let's just bring up the shadows a little bit. Bring down our blacks, Sometimes I just see what happens when I play around with sliders. I'm going to bring down our highlights. Just bring our whites up just a tiny bit, clarity overall. This is a photo. I might apply a little bit of clarity overall already. We're getting the colors are better, I think, and it's looking pretty good. I'm going to actually increase the overall exposure just a bit. We want to focus the attention of our viewer on our subject. How can we do that? Let's dive into our masks and see what we want to do. First, I'm just going to do a radial gradient and just see playing around. If we do a little radial gradient around our subject, what happens if we bring our exposure down? Yeah, yeah, I'm liking that. Maybe let's decrease the saturation. And I don't like that, but maybe cool it down just a little bit around the edges. Maybe we might change that. That's starting to look a little better. I don't really like how this water right here is just like this, like gray reflection of the gray sky. Let's go ahead and create a linear gradient like this. Then let's go ahead and actually I'm going to start, Instead of that, I'm going to create a luminous range. Select this right here, I just want to select this water. I'm taking in this feathering blend point. That's pretty good. But I want to subtract the top part of this. I'm going to subtract with a linear gradient, the top of this photo. With this selected, let me turn off the mask. Let's try to just blend that into the water behind. Let's take the exposure down Maybe let's just play around with the tint. You could do this, you could make it more blue. That might actually be interesting. Now, is this what the photo was naturally? No, but are we making a more creative photo? Yeah, that looks pretty good. But now that we did that, I'm wondering should we apply that to the whole water? Maybe to an extent. Let's go ahead and I'm actually just going to do it with a brush. I'm going to increase our brush size. Turn off, actually I'll leave auto mask on. I'm just going to take our temperature slider to the left. Actually, I'm going to not do that first. I'm going to show overlay, so I can see what I'm brushing on. I'm just trying to brush the parts of the water that I didn't get before. The reason why I'm doing this separately rather than adding to the previous mask is because the color of this water is a little bit different than the other water. And it might have been a better idea to start with a color range. Where we go in create a color range. We could refine that to just that color range and then subtract with linear gradient, the top half here. That might blend in a little bit better. I might just have that one B R selection. Now we can just drop the temperature down. That's actually looking pretty good. All right, that's looking pretty good. Now we can see the before, after before a cool. That's what color we can make this pop a little bit more. I still want to highlight our subject. Sometimes I do that with a little beam of light that I create. Let's see if there was light coming from, maybe just the top of the screen. Let's subtract with the linear gradient. We're creating sliver of light like this. Let's increase the exposure and maybe the temperature as well. I'm not sure if I like that. I think it's a little bit too much. Let's delete that. Let's try again. Let's try something else. Let's actually go in and add a linear gradient. I'm just going to do it to the sky and I'm going to just bring the exposure down even more from the highlights and the whites. It's adding to that original vignette we added here, back on this vignette. What happens if I just push it even further? Something like that. Looks pretty good. It doesn't look completely unnatural, like there's like a painted on vignette which I don't like. Let me go in and create a mask. I want the vignette or the radial gradient around our subject here, maybe something like that. And let's just see what happens if I increase the contrast of this even more. Just warmed it up just a tiny bit. That's looking pretty good. Now what would happen if we created a sliver of focus by creating a linear grading there and then adding to it right here. Then let's just go down to our sharpness and decrease it. That's looking cool, right? We're just focusing in on our subject, the boat. I think it works better if it's a sliver from one side to the other side of the image and not just like the circle or radial gradient around our subject. I'm just playing around. You see me doing that? That's looking pretty good. Now let me just go ahead and create a mask for the opposite of this. I can do right click, duplicate, and invert mask. That inverts the mask and it selects what's inside. Now I'm just going to try to increase the exposure of this whole by increasing the contrast. We're getting more color as well. Maybe I'll come in here and do a little bit of a point color adjustment to the green and shift the cues to the right just a little bit, visualize that range. And I'm going to just select all this, that's looking pretty good. Cool. Now there are some parts of this that are a little bit overexposed, like his net or paddle. So let's go back in here and just take the whites back down just a little bit. And that's looking pretty good. Let's see, the before or after our eye. It's much more focused on our subject here. The colors of the water are very cool and it creates a more visually interesting photo. What if I just created another little radial grant mass just for this background portion right here behind him? I don't know what light room is going to think our subject is, but I'm going to subtract subject. It got our boat. Yeah, it did, huh? There we have our radial gradient. And now what I can do is I can expand this just a little bit. We're still subtracting our subject. Now I can make that background a little bit warmer without affecting our subject, which I think was the problem. Maybe even make it greener. I don't want the saturation to be too much. I don't know. Maybe the warmth is a little bit too much, so let's bring that back down. But I do like how it draws our eye towards the subject even more, taking away the color wasn't nice, maybe we add back that color. Nice, cool. Let me go in. And overall, in our color mixer, let me select this boat. Red right here, and increase the saturation of that. Yeah, that's nice. Let's visualize the range now. This is selecting his face as well. Maybe instead of doing it here, let's go ahead and create a new mask. Let's just do color range, Select that color. We could either do this with a pin color mixer or that color range mask. Let's actually just create a radial gradient for this whole area. But then what we're going to do is just come in here with point color, select that red again and increase that red. There we go, That's pretty good. Maybe even push the hue just a little bit more red so it stands out and I'm happy with that. Cool. Let's look at the before and after. Side by side. Here you have on the right hand side, a more creative travel edit. I really, really like what ended up happening with this. And as I've said before, sometimes I surprise myself. Sometimes I do things just playing around that look good. Pretty cool. All right, well, I hope you enjoyed this edit. Thank you so much for watching and we'll see you in another lesson. 55. Golden Hour Portrait Photo Edit: All right, in this photo editing tutorial, I'm going to walk through the entire process of editing this photo of my son. I love this photo and I'm just going to make it pop just a bit more. All right, so first crop looks pretty good. He's a little bit over to one side. Sometimes I use the crop and look at his eyes or whoever's eyes I'm taking a photo of. And try to get those squared right on these lines. Something like that. Maybe a little bit better. But either way, I don't think you necessarily need to crop this photo. Let's go into our basic edits now. For profile, I'm going to go and start with Astea. This is their soft portrait style color mode. And I think that looks even better. So before after just the colors look a little bit softer, better colors for his skin, it looks good. I do want to add a little bit of contrast to this, and I'm going to do that first. I'm just going to bring up shadows and then bring back down our blacks highlights. I'm going to bring up just a little bit whites. I'm just going to leave as is for now. Vibrance, saturation. I don't really want to bring up too much in this photo because his face is right there. It's like the main thing. And bringing up too much, many colors or too much vibrance or saturation, It's going to make the colors in his face look a little bit crazy. I'm actually going to just leave that for now. I do want to just come back up here to the temperature though, because this is shot in golden hour, I might enhance that by just dropping or pushing the color temperature over to the warmth just a little bit. Now, I might even do that more with a mask. Later on. Tone curve, I'm going to leave for later color mix grading. All good sharpening, we have our basic sharpening on and there's just a tiny bit of noise in the background. I'm just going to bring that up to like 16 and that's looking pretty good. I might do a vignette, a tiny subtle vignette later on, but I think that's okay. He has a little bit of a cut on his cheek or his chin right here. If we want to get rid of that, we can quickly do that with our healing brush tool. Made this little one too. That looks good. If I was just doing a basic edit, I would probably just end here, Maybe come over to my tone curve and just add a little bit more contrast like that. That's looking pretty good before or after. However, I'm going to come in and make this a little bit more magical come in here. I want to do a mask for his eyes, to make his eyes pop and then add a little bit more warmth to the background person. And we're going to do iris and pupils create mask here. We're going to increase the exposure just a little bit. Increase the clarity just a little bit. And then add for brown eyes, I just push the temperature over to the right just a little bit. Now if you go too far, obviously that's crazy. But even like this, that's just a little bit much might bring the blacks down. You don't want it to look unnatural, but that looks actually pretty good. All right. That's good. Now, let's go ahead and see if I do a background mass. What that selects that does a pretty good job. What I'm going to do is just push the temperature even more warm and the exposure up even more. I'm actually going to add another linear gradient over here on this side of his head just to blend in. That exposure increase because with the background selection it's sharp. The edges around his head see how sharp that is. What I'm going to also do is create another gradient right here. You saw the technique I used before where I matched that down in the opposite corner. It just creates a nice framing of the subject. When I do that, it gets a lot of noise down here. What I'm going to do is with our noise, I'm going to crank that up to the right and also decrease the sharpness. That's looking pretty cool now. That's looking like a really nice, fun, semi magical portrait. Right? Here's the before and after. I really love it with this portrait. I'm not going in doing any skin softening or things like that. Although I might come in here and let's see, go down to our overall clarity And drop down just a little bit and it softens everything. Actually, Yeah, I like that. While that does soften the skin, it's softening everything all at once and gives it this glowing effect, which I like for this photo. His eyes, let me go back. Sometimes I'm looking at these photos and I have these ideas. At the very end, his eye on the right side, his left eye, it's a little bit has too much glare to it. I'm just going to create, let's do a radial gradient over here. I'm just going to bring down the highlights. May bring up the contrast just a little bit that it didn't look like it was like faded out compared to his other eye. I think that looks pretty good. I might even just come in here, do a radial ingredient for both eyes now. And increase the exposure and the contrast a bit and the sharpness, because I want to combat that clarity that I added with some sharpness to his eyes, which are the main focus of this image. Right. May bring back that clarity just for his eyes. Cool, minor minor adjustments. Things that I think make a photo look better. Here again, we can see the before and after his eyes now really pop the color, the exposure matches. Yeah, I really like this photo. Awesome. Thank you so much for watching and we'll see you in another edit. 56. Product Photo Edit: All right, here we have this photo of a watch, a product, and I'm going to have fun with this edit. I want to make this look like a standard product photo where we have a mostly pure white background with this watch. So let's get into it. The crop is pretty good. We might want to just drop in just a tiny bit center that watch, make sure it's perfectly level. It seems like it's just a little rotated, something that looks pretty good. All right, let's look at the white balance. I'm just going to select this white in the background. And it just does a tiny, tiny adjustment, which is pretty good. And I can go in and do some basic adjustments here. But to be honest, I'm going to just go in on our masks because it's going to be easier just to get exactly what I want. First, I want to play with the background, so I'm going to select the background. It does a really good job. And let's just subtract, actually, let me try doing that. Let's do an object, and I'm just going to draw our box around our watch and it does an even better job. Cool. And I'm going to invert this to select the background. Now to make a pure white background, we can just go up. And I don't know if we want pure white necessarily, but I do want it brighter. I like having a little bit of the shadow and everything going on, but I think it just needs to be brighter. It's not pure white because it's not touching the white side of the histogram. We can do that. Do you remember how to do that with the curve? If we go into our curve and then we bring this point up here to the left, actually now we are making much of this pure white. Although we still have some shadow here which is nice to have something like that. Looks good. That's how you can make your background pure white easily in light room. Now let's create a mask for our object. We're going to now create a mask for our object here. We just want to create some contrast in this image. I'm actually going to go straight down to our curve and add some contrast to want to bring down this highlight area to match the rest of the edge of this. Let's see, I might go down just for this mask for now though. Just increase the clarity just a little bit and the sharpness too. This is a Jpeg photo we're editing. We don't have the full raw, but we can still do quite a lot with it. The white balance, it looks a little yellow to me. I don't know if that's supposed to look that way, but part of me wants to come in here and decrease the temperature to get it to be pure white or go into point color. Let's take our eye dropper, come in here and decrease the saturation of that yellow. If we increase our range, I'm going to do that actually now we're decreasing that it's more pure white. And I can turn that on and off so you can see what's happening, just boosting the contrast just a little bit. Now let's see what I can do with a brush to get rid of this glare right here. Let's go in mostly around this edge right here that I'm looking to remove the glare by the opposite of what we did to the hawk eye. We're going to reduce the highlight. Actually reduce the shadow at the exact same thing. Let's see, the blacks, we want to reduce the exposure. But when we reduce the exposure, now we're losing exposure. On the little lines here. We can either come in and fix the mask, which might be the easiest way to do it. Loops zoom over here. Because our mask is being applied, I think it'll be easier just to subtract with a brush automask on flow and density up with automask on it. Does a pretty good job following that edge. I'm going to do the same thing to the outer edge over here. Then I'm going to go back to our original brush and add right here. Now let's see if we bring up our high light. Oops, let's go back to this mask. Bring up our highlights down our exposure. We want the tone of the numbers to match the rest of the numbers over here too. We don't want to lose that. Let's bring our whites up shadows down. That's pretty good. So this is the original now the edit pretty good, right? Yeah. Wow, Sometimes I impress myself. All right, so that's looking pretty good. Let's just go back to our overall mask and see if we want to do anything else. Let's just see about bringing up our texture just a little bit. Just playing around with the contrast even more. That's looking pretty good for this photo of the product. An S curve, really dramatic. S curve looks pretty good. Now we're losing a little bit of detail in color, in the brown. So maybe it's a little bit too contrast, but it depends on what you're going for. Maybe even just bringing up the exposure overall looks better now that I'm looking at. Maybe this wasn't supposed to be white. Maybe this does have yellow in it. Getting rid of that color with the point adjustment. Maybe we want to undo that just to bring back a little bit of that color, we could just split the difference, something like that. Now the last thing I'm going to do to make sure the edges are pure white, which helps if you're using this photo on a website. We can do a soft proofing here to see these photos with a white background. This, you're proofing it for print or for putting it in a magazine. And you can see that there is an edge here. See how there's that little edge right there. Now if I take my effects and I increase the vignette and do a white vignette, we're trying to get rid of that now. I don't want that to apply to anywhere on our watch. What I'm going to do is actually decrease and make a dark vignette so I can see what I'm working with. Our midpoint is going to be pretty far out, but our roundness is going to be pretty square. Actually, we're going to do something like that. We still want feathering to be on, but we want to, at the edge to be completely white. Now when we do that, bring that up. Now this photo will completely blend in with the background. I might go in here and just go to our background mask and just increase the exposure just a little bit more so it blends even better. But that is an important thing to do if you're doing product photography that's going to end up being printed or on a website, If you want it to not have that border because of a subtle color change or exposure change, make sure you're using that soft proofing button and the edges aren't really being seen at all, which I feel like we've fixed that here. There we have our before and after really, really good clean product shot. That was with the J Peg. You can still do a lot with not raw photos. Thank you so much for watching and we'll see you in the next lesson. 57. Sports Action High Contrast Photo Edit: In this photo editing session, I'm going to be editing this sports action photography shot here. Let's talk about what the goal for this edit is before we get into it, which is always important ones to focus our attention on our athlete, on the star of our photo. Just to make it punchy, more contrasty and epic so that our soccer player or football player stands out. First things first, let's crop this photo in. I have this unlocked, because I don't want to squeeze in the sides. I just want to come in here on the top. Now you'll notice that it's not perfectly level, so we could take this level and just draw across this line, and that might help. There we go, just play around with it. So this line at the top of these windows in the wall are perfectly level. I like having this yellow at the top that matches the yellow of the shirt. We'll see if I crop in later on. Overall, this photo is too overexposed. So we're going to actually bring down our exposure, bring down our shadows, our blacks. When I do that, when I bring down my blacks, I may have to bring up my shadows just a little bit. Actually, that's a much better overall exposure. With sports and action photography, I often prefer adding clarity to it. It just adds the grungy detail that I think goes well and you see all the details of the player's face and their muscles and everything. I'm going to increase that clarity just a bit. The overall saturation, I'm actually not going to play with vibrance or saturation. I'm going to pinpoint our colors with the color mixer and I'm going to do that next with the point color I'm going to eye drop first. Let's go to the grass and we're just going to increase the saturation of the grass just a little bit too much. Makes it look like fake astroturf. We're just going to go a little bit now. I'm going to go to his Jersey and let's visualize that region. Let's get more of that. Make sure we get that ball, his jersey then we're increase the saturation and maybe just drop down the huge just a little bit just to make it a little bit of a more orangey color. I mean, it's not orange, but push towards orange. And I think that stands out a bit more from the background. Let me just drop the luminance just a tiny bit. That's already the before and after is looking pretty good now. One tool that I haven't used on a lot of my edits is lens blur. And a lot of it's due to me just not being used to using that tool is not when I go to. But this is a perfect example of where I want our soccer player to stand out even more from the background. And we're going to do some of that with a mask. But first, let me apply lens blur to this image and see what it does here. Just that subtle amount we can see with the before and after it gets rid of those details in the back of the people in the background. I think it really helps make our soccer player pop even more if we go even more. Man that is good. Something I want to do is make that background darker. And I'll be able to do that with our mask, but I feel like this lens blur is pretty much spot on. We can visualize the depth here. It's amazing what this tool can do. Maybe let's just be a little safe. Something like that. Looks good. Play around with the Boca just a little bit. We don't see those Boca circle holes in the back. That one separates the most but it looks a little bit too much. So I'm going to just take this back as always, you see me push these things too far and then bring them back. Next, I'm going to move onto our masks. It's already looking pretty good. Let's see the before and after. Pretty damn good to see a comparison view. I want to get back to my basic settings now. You'll notice me do this when I'm in the Mask Tool. If you press the return key, it closes the Mask tool to get to our basic editing tools. Now I can do a before and after like this, but let's go over to this tool and what I'm going to do is select the background. I'm going to create a mask for the background. I want to just select the top of the background. So how do I do that? I subtract with a linear gradient, the bottom half. I'm doing what I did with the lens blur, but with a mass, you have so many more options like bringing down the exposure. I could bring down the saturation, things that will help make this soccer player stand out. You can get super creative with it and create a photo like this. Something that you might do a lot of in Photoshop that's a really cool stylistic photo. Great for something like editorial or something like that. But I'm not going to go that crazy with this stylistically. But I do want to just bring down the exposure just a little bit. Now, something wasn't selected in this mask. It's hard for you to see maybe, But right in his hand with the show overlay on, you can see that this is not part of our mask. I'm actually going to add to this mask with a brush, make sure your brush is super tiny. And I'm just going to brush in here with auto mask on. It helps not pick the fingers. Now with our overlay off, we can see that those edits that we're applying here are also applying right into inside his fingers, pressing Z on the keyboard to zoom in and out like that. Now even actually boosting the exposure is a cool style as well, even if I just did that for the top half of this to get rid of that crowd back there. But it looks funny when that player is not with that player there as well. Now something I might do is actually send this to Photoshop and remove that player if I really wanted to clean up that background. But I think something like this actually looks pretty good. I'm just going to bring it down just a little bit. Cool, That's looking pretty good. Now, there's a color that I'm not really enjoying. See on his cleat, it's got this pink look. I'm not sure if that's the color of his cleats or not. I can't see his other cleat over here. Really, what I'm actually going to do is create a new mask and a gradient just so I get a selection over that cleat. There's so many powerful ways to get rid of color. And the one I'm going to use is point color. Now I'm going to select that pink and decrease the saturation and increase the range. I wonder if there's a little bit of defringing going on right here or fringes from Yeah, I'm increasing that fringe amount and it's getting rid of a lot of that. When I do that, I lose a I feel like the contrast. So I'm going to bring back the contrast that's looking pretty good. All right, that is no longer distracting. I think the last thing I'm going to do is actually create just a custom vignette around our soccer player. Radial gradient invert, decrease the exposure here. I might even just blur the edges with a little sharpness reduction. That's pretty cool. Let's see the before and after of this one. Now remember the goal is to make our soccer player, football player stand out and just make it pop a little bit more. I'm just going to go back to our overall tone curve, see if just boosting the contrast or the exposure just a little bit more helps. Oh yeah, that's looking pretty high contrast, but perfect for this photo. All right, so here we have the before and after of this edit. Let me know what you think. I would love to see what you do with this photo as well. I think it came out pretty darn cool, huh? All right, thank you so much for watching and we'll see you in another tutorial. 58. Glamorous Fashion Photo Retouching: This tutorial, I'm going to do a fashion style portrait edit using a lot of our masking tools that we've learned about. But first what I want to get to is a basic exposure and make sure my colors look good. First, I'm going to come in here and I'm going to crop in just a little bit. I want to make sure this is locked and loaded. Here we are a little bit closer to her. We want to see her face better. Next, I'm going to get a general exposure. So I'm looking at my histogram and I'm making sure since there are some whites in these highlights of the light bulbs, there are some blacks in the background, I want to have an even exposure across the histogram. So something like that looks pretty good. That looks like a good general exposure. I do like having quite a bit of contrast in a fashion style edit. So I'm going to push my blacks down just a little bit and we're going to really accentuate this contrast with some dodging and burning of our portrait. Later on, I'm going to drop my clarity just a little bit. Overall, just a tiny bit. This one looks pretty good with that. And then to balance that, I am going to increase my sharpening just a little bit. Looks pretty good. We have barely any noise. This was shot at ISO 100, so we don't have a lot of noise. But I am just going to increase the luminous noise just a tiny bit. All right, so that's a pretty good set up. I might crop in just a little bit to crop out that window. Just for the sake of this edit, it'll be easier to see her face. All right, colors look pretty good. Let me go into our profiles. Let's look at those. Camera matching. Let's see what their portrait looks like. The colors are nice. It's a greenish. There's like this weird warm green tint to it. I might choose that. Let's see what light looks like. I actually like portrait a lot, but I'm going to go in here now and just see about adjusting our white balance just a little bit. Let's see what auto does. Yep, that does not work. All right, let's go as shot. Okay, her skin looks pretty good, but I feel like the background now is a little warm. That's okay. We can fix that with a mask. And I'm going to go over there and do that first. I'm going to create a mask for the background. And now I'm going to go in here and just cool that down and then also drop the saturation just a tiny bit so she pops from it and let's actually decrease the exposure to, she's popping out real good. Okay, cool. All right, now let's start going through some of our retouching masks. I'm going to create a new mask for people, select people, person. Now we're going to do facial skin, body skin, eyebrows. Basically all of these. Actually, let's create eight separate masks. All right, so now I'm going to go, just starting from the bottom for her facial skin, let's go in and do a soften skin light. We already softened her skin quite a bit with the clarity slider, so we're just going to go to like 50% of that for her skin. Her skin, it's a little bit yellow. Let me see if we take the temperature, when I take the temperature down, it makes it blue. Let's go in and point color. Find the yellow that I'm seeing or the orange, and then just drop that saturation shift adjustment just a little bit. That looks better. Let me show you what that looks like just with that point color adjustment. On and off. See that looks better. And it's not adding blue to it, it's just taking away some of that yellow. All right, so that looks pretty good. Body skin, we're going to just do the same thing. Soften skin, let's just drop that down just a little bit. That's pretty good. Now let's go in here to her eyebrows and we're just going to darken just a little bit. We're going to make sure that her skin beneath her eyebrows is not darkening. We're going to increase the highlights. Just the highlights. That's good. All right. Now, let's go into her eyes. Clara, let's turn off our overlay. And we're just going to increase the exposure. Just a little bit. We are going to go into point color. I'm just going to select right inside the pink and drop that saturation down just a little bit. Then overall, we're just going to drop the saturation just a tiny bit. Overall, these things aren't doing a ton, but helping a little bit. Now we got our iris. It looks like it got a little bit of our eye lashes. I'm going to subtract from this with a brush, something like that. There we go. Now what we're going to do is we're just going to use, first, the iris enhance. Let's turn off our overlay. Her eyes are a little bit of a hazel. I'm going to push that tint over to the green, playing around with a huge, just a little bit. Let me go in with a point color and see if that helps. See that like olivey green Hazel. Let's boost that here. And then balance that back with bringing down our overall saturation. Okay, so remember you always want to zoom out, look away and see what's going on. It looks pretty good, though I might bring back a little bit of contrast. Let's bring back our blacks and maybe sharpen just a little bit. There we go. That looks pretty good. Let's go in here and see if I can decrease the noise, kind of softens it, but we still have those details. Yeah, that's good. Before, after, before, after, cool. All right, let's go into her lips. I think this is one where that mask overlay. It almost matches her shirt, which we don't want to completely match. But let's go in, and again, we're going to just increase our saturation just a little bit. We're going to decrease our clarity. To soften a little bit, let's go into the point color, the color of her shirt actually and in that color. Now let's visualize that range because it's not selecting everything. Let's increase it. It blends in more. Yeah, that looks pretty good. Let's actually see if darkening it just a little bit works better. Did I go too far? I think I went too far, but I like the direction I'm going. I'm going to go ahead and drop our amount. Split the difference way too much. Let's split that difference. All right. Now it's a good time to just look and see. Actually, let's go through her hair first and then we'll look at the before and after. Here we got our hair and what an amazing job light room does to select her hair. It's crazy how good that does with hair. Generally, I'm just adding contrast. I'm going to do that with the tone curve here. I like the contrast, but it's a little dark. Now, I'm just going to bring up the overall exposure. When you add contrast, you get color. And I don't like that color. It's too much. I take that back down. That looks pretty good. Cool. Now with her shirt, her clothes, honestly, I think her clothes are fine. I don't think bringing up the saturation is going to really do much, and it might even distract from her face just a little bit. That tiny, tiny adjustment looks good. All right, so let's look at our overall before and after. She's very bright, so we might have pushed that exposure a little bit too far, and with some of the edits we've made, maybe it's going even further. So let's just bring back down our exposure just a tiny bit. Cool. One of the aspects of a fashion portrait is making sure their jaw line, their cheeks are very accentuated. The nose as well. We want to add some of those shadows in this photo. See how the lighting on our face is very flat. It's very even. We can create more contrast with some dodging and burning. What I'm going to do is add with a brush and I'm going to go in with a preset and we're just going to darken. I'm going to turn off auto mask. We could see what we're doing if we just paint on like this or we can show an overlay. First, let's get to where I want to be and brush, darken, show overlay, and then we can turn it on and off. Let's see, let's paint in here here as well. Again, I'm just looking for where shadows are already. But I'm also creating some more shadow over here on this side of her face because a lot of the light naturally is coming from her right side of the face, the left side of the screen. All right, let's see how that looks. If we push it, we don't have it on yet. Actually, let's go ahead and darken. It's really just an exposure adjustment. Let's push it just a little bit and then we're going to erase. All right, now let's go in here and subtract from this with a brush and decrease the flow in density just a little bit. Now I'm just looking at it and seeing where I want to erase. I think I got a little bit too much in her hair right here. Might just actually erase this part of her eye. We don't really want that. So that little adjustment looks pretty good. I'm going to actually go in and create another brush. I'm going to just try to highlight or actually make darker the mascera. What I'm going to do is just paint over here. Paint over her eye lashes as well. I'm not just going to do a high light or just decrease the exposure because that's going to look funky. See, watch what happens. That doesn't look realistic, right? But what I can do now is select a range within this. What I'm going to do is actually subtract aluminous range and I'm going to subtract the high light. We're really selecting some of those shadows. Now, with that selection, we can, let's just bring down the shadows. Actually, it's going to look more natural to just bring the shadows down. Let's see that before and after with that, that looks pretty good. Maybe gone a little bit too far. So let's just take that mask, and again, just with our overall amount slider just split the difference back to about 50. Very subtle, but I think adds a bit to it. There's a lot of light coming from this side of the frame. So let's see if we can get creative with it and create a linear gradient up here. And see what happens if we boost exposure. If we take down exposure, I think if we boost exposure and we have this contrast of darkness on the left side and then brightness on the right side. Let's actually just crank it up even more, take down the clarity and the sharpness. We're not seeing any details back there. I think that looks pretty good. Now let's do the opposite in the bottom right corner on this side by actually bringing down the exposure. There's some blue in the background that I'm going to just take and decrease the saturation with a point color adjustment, maybe even decrease that here. Same thing. We want to decrease the clarity in the sharpness and the noise. You notice I'm not using lens blur yet. I might, I think that looks pretty good because now it looks like we are really bringing in this light from this side of her face. Let me see if I just add to this and do a little bit of one back here as well. Sometimes I surprise myself. That's what I say, you just getting created with it, that looks cool. I'm not sure if I like that little bit. That last addition to this, that was this one right here and that was this one. Hm. I like the effect on her hair, but not in the background, so I'm going to now just do a little, let's see if I just brush onto her hair. Wow, that's a bit much let me just add with a brush again, but let's decrease our flow and density. Now, I can just brush it on more naturally, right? I just giving her hair a back light which looks cool. Cool. That looks good. Let's see that now. Yeah, I think that actually looks pretty good. Let's go back and see if a lens blur would do anything. We do have some bouquet. You can see in these lights, which is cool. I want to just soften that up even more. Let's see. I'm not really seeing a difference in the bocus size or shape. That's cool, I like that. This is high fashion portrait mode. We're going on. So you're like, Phil, you're going too far sometimes that's what we do with this portrait mode. Now we can tone down all of these things if we want because it does look a little bit. For some purposes it might look good. I'm just going to see what a vignette overall, I like that. Let the highlights go through something that's bugging me is this window over here. Let's go in here first. Let's just get back out of here. Let's go in here and create another mask. Let's do a radial gradient. I'm just trying to get this window. I want to just warm it up. Actually, maybe boost the exposure again. Warming up helps. But I think coming in here with a point color and selecting that blue that I don't like and decreasing that saturation. Increasing that range. Yeah, let's just actually just over expose it. It's not distracting anymore. Nice. Just getting rid of it. Looks really good. I think I'm going to leave it here. Let me just actually do one more radial adjustment. Now I'm just looking at her face and feeling like we just need to boost the overall exposure on her face. Instead of trying to do it with a person mask, I'm just going to do a radial gradient right there. And just a tiny boost, 0.25 or something. Maybe a little extra on the shadows. Bring back our blacks just a little bit to increase that contrast. That's looking good. Let's go back. Last thing we know we touched the little tone curve, see if we want to just add a little, tiny bit more contrast. Then with that we're going to bring back down our saturation overall. All right, so now we have our fashion style portrait. I hope you enjoyed this one and learned some new techniques. Really got creative with this one. Okay, I hope you enjoyed it. And we will see you in another tutorial. 59. Moon Photo Edit: In this tutorial, we're going to quickly edit this photo of the moon. This was shot on my Fuji Xt41 hundred 400 millimeter lens at 16, getting that moon in focus. So it's going to be a pretty quick edit. I'm going to crop in just a bit because we want our moon to be right in the center of our photo. For this photo, even something like a one to one crop would look kind of cool with the circle of the moon right in the middle. Then what I want to do is I'm going to edit with masks because I don't want to apply what I'm applying to the moon, to the background, even though it's mostly just pitched black. I'm just going to create a subject mask. Which you could do subject, you could do radial, you could do object select. Any of these tools would work here. What I'm going to do is drop our saturation down just a little bit. Now oftentimes there's a lot of yellow in the moon because it's reflecting the light of the sun. So that's just a choice. Maybe we do want to make it perfectly black and white or just drop it down just a little bit. It's up to you then I want to go straight to our effects and increase the clarity. I want to see those details increase the texture a bit. I want to see the details on the moon, even haze just a little bit, these three in tandem can really help us see the details of the moon. Now this isn't like the most clear picture of the moon. With a better lens, you could get an even better photo of the moon, but it's pretty good. Let's see, Overall exposure is not bad, but I might just boost the exposure just a little bit, but I want to preserve the details. Let's bring back down our shadows just a little bit and our blacks, All right? So now we see that before, after we're getting a lot of those details, right? Bringing up the contrast just a little bit now, that background is pretty much all black, and if you hover over this little triangle icon here in the histogram, you can see what is pure black. There's pretty much no information there. However, I am going to go ahead and create a mask. And I'm going to select the background and I'm just going to drop the exposure completely so that it's pure, pure black. Then lastly, I'm going to come back here to our moon mask and we're actually just going to go in and increase the sharpness overall. And we're just going to crank it, I just want to see that detail you can see. I'm just bringing up the texture and the clarity even more here. You can see the before and after and I think it actually looks pretty good. We got a lot of the detail back from all these little craters and things that are on the moon. The color I think looks a little bit better as well, even though it's not a black and white photo. We drop down that little yellow hue just a little bit. Overall, we got a lot of great information from this photo. Pretty amazing, right? Pretty amazing what you can do with just sort of a hobbyist camera and lens. Nothing too crazy for astrophotography or moon photography or anything like that. Thank you so much for watching and we'll see you in the next lesson. 60. Wildlife Monkey Photo Edit: Let's edit this wildlife shot of this monkey climbing down this branch. We saw this really briefly earlier but it needs a lot of editing. It is a raw photo, so we can come in here and do a lot of edits, especially with our exposure, which is really dark. First things first, you can just see how much more information we have here. Now, I'm going to first come in here and crop, because remember when I'm playing around with exposure and I'm looking at things like this branch up here or the highlights over on the right and saying, oh, it's a little bit too much. Well, what's going to happen if I, let's lock our exposure to original. And what's going to happen if I crop in like this? Or maybe let's do a five by seven edit which is a little bit wider. We don't even have to worry about most of that photo that's not exposed properly anymore. All right, like that right there, we're getting right close up on our subject here. Let's go into our color profiles. As you notice, when I'm editing my photos, I don't always change the color profile because I edit my colors by themselves with saturation and color mixer and everything like that. However, let's go in and search for through our artistic filters and see if there's one that you like. It changes a lot. I don't know if I like any of these artistic ones. Let's go back to Adobe Raw. We are on Adobe color, but maybe just a more vivid one might help. Yeah, let's just switch over to that vivid. Now things get a little bit darker, so we're going to have to do play around with that. Again, maybe bring up our shadows even more. But in terms of the colors, I like them. Before we had all these advanced mask features. I would do a lot of work with the presence right here. Overall, I would say let's boost the clarity or the texture. But because we have these great masks, I'm not going to do that yet. For our basic edits, this photo looks pretty good. Let's go in with a mask right here. We could try a subject mask, which does a pretty good job. Because I actually wanted our monkey here. And like the branch to be selected, I was going to use a radial mask if this didn't work. Because now I want to just apply like an exposure adjustment overall. If this branch wasn't selected but just the monkey's face and arms were, it might make him or her pop off the screen just too much and look fake. So I think that was actually pretty good. All right, that's looking really good with this one. Now we can come into our texture and clarity. And let's increase that texture and clarity a little bit. Maybe bring in a little bit more color to the monkey with saturation. Now let's go ahead and do a little radial mask just on the face. I want to make sure the face, which is the most important part of this photo, make sure it's exposed well, that it's sharp and clear. So let's go down and add a little bit of sharpness, maybe even clarity just to the face. When I boost the exposure too much, it starts to look like I'm shining a light right on the face. What I'll do to combat that is bring back down our whites just a little bit so nothing's over exposed. And then maybe just bring down our blacks. And that's adding a little bit of contrast. But I like it actually, so we can see the before and after. See how different that is. It's crazy. All right, now let's go in and create a larger radial gradient. Because I think I do want to do somewhat of a vignette around our monkey. I hope this is a monkey. I know there's a difference between monkeys and primates and not the best at that. But yeah, I find like doing a little vignette like that, custom vignette looks really cool for wildlife photography. I did that with our hawk photo as well. Maybe even just drop our sharpness for this too. Overall, it's looking pretty good. I'm actually going to go back into our overall color temperature slider and see, is it too green? May bring it back over to the right just a little bit. I think it looks pretty good actually. Now we do have a lot of noise in here. This was shot at a 400 ISO, but because of all the clarity and everything that we're adding, I'm going to come back down to our detail panel and we're going to do a little bit Luminance noise reduction. Now. I don't want to get rid of all that texture and stuff we added. Push the detail over to the right just a little bit and the contrast so we're not losing too much of that. But that looks pretty good. It's very natural. I didn't want to go too far with this photo and create something completely unnatural in terms of the look. I think I was able to accomplish that. What do you think before and after? I really like it. All right, so that's a nice little wildlife photo edit. I hope you enjoyed it. And we'll see you in the next video. 61. Wedding Couple Photo Edit: Welcome to this couple's portrait photo edit. It's a creative photo, not just your standard standing next to each other in edit and there's a lot we can do with it. As always, what we're trying to do is highlight our subjects, draw the attention of the viewer to our subjects. And we can do a lot with this photo in that way. Also, there's a couple issues with this photo. Even though it's a nicely composed photo, the sharpness isn't great on our subject and the colors are a little off because we're getting a lot of color cash from all the greenery onto our subjects. Let's get into it. First things first, we can crop. But I think I want as much breathing room as possible with this photo. For now, I'm going to leave it as is. I wish that the rows of vines up at the top kept going. So I might crop in like this and maybe just come in just a little bit. Okay, I said I wasn't going to crop, but I am going to crop. I just don't want to get rid of the sides of them, so that looks pretty good. First, let's go into our color profiles. So this was shot on a It does not include, I believe this is a cannon. Yeah, it's going to be an EF. Yeah. Canon lens in camera matching. We have their portrait setting, which I think brings out better colors. Everyone loves the cannon colors. Standard versus portrait. I like the standard. Actually, I think I'm going to stick with the standard for now. The portrait, there was too much red in her face and the green was a little bit too vibrant, at least for now. Although I might increase the vibrant later on of those greens. But I think that's a good place to start simple before. After not much has changed, but we're getting somewhere. Overall, the exposure is fine. I'm going to bring up the shadows just a little bit. Bring back down our blacks just to get some contrast in there. Highlights, bring up just a little bit as well. Just bring up the overall exposure a bit. Moving these hills of the histogram over to the right, which you can see, wow, I never knew you could do that. You learn something every day. You can actually click and here and move the exposure to the left or right. That's crazy. All right, I'm going to undo that, but just moving the exposure up just a little bit helps a little bit. All right, so with the clarity and Hayes presence, I'm going to leave these as is for now. You can see you can make this a super glowy photo which is kind of cool. But for now I'm just going to leave those vibrance and saturation. I'm also going to leave as is I skipped the white balance though. And I want to get in here and I want to set the white balance using her dress, maybe his shirt. See how much color cast is going on and the color balance is really off right now. I think her dress is more important to be white. So we're going to select her dress right now, but then that makes the background so, so yellow. I'm going to undo that. We're going to leave it as it is. Don't worry, we can fix this with our color mixer. What I'm going to do is I'm going to select this part right here. And we're going to decrease the saturation and increase our luminus. Just a little bit, actually. I'm not going to increase their luminus. There's a better way that we're going to be able to increase and fix that white balance here with our mass later on. But just taking a little bit of that color cast away I think is good. Now I'm going to set a point for the green. Let's just increase the saturation of our green just a little bit and just push to the right. That's often what you see me doing now, unless you want it to be warmer, which is maybe style that you want. But for now, we might do that in grading, add a little bit of cool warmth to this. For now, let's just keep our green green. I'm expanding that range here just a little bit. All right, that's looking pretty good. I want to get into our subject. I'm skipping detail for now because a lot of what I'm going to do might add some detail on sharpening. And we'll come back to the overall detail slider later on. I'm going to select our subject. Actually, let's go ahead and see if we can do all people. That's pretty good. I'm going to create one mask for both of our people first. Here, I'm going to increase the exposure. Maybe even just go down into our curve and add a little bit of contrast that way here with our people selector. Now I'm going to adjust the tint because I think it is a little bit green. Maybe warm it up and push to the magenticide. Now we can see that's looking better now. We could also do that just with her dress. Let's see if we select people. Person clothes create mask. Now let's just take away some saturation from that and boost the exposure and the contrast. I don't want to lose the details. That's silly. Bring down the highlights, maybe bring down the whites. Bring up the highlights. Bring up, bring down the shadows. Bring down the blacks that are in there. We still have some detail in there now, just with that dress adjustment, see how it pops quite a bit, much better. Now I'm looking at it. Let's go back to our main color mixer. I want to get this burgundy of his pants, and that's in the flowers, you can see where this all is. I'm going to pinpoint it just a little bit more, decreasing the range. Actually we're going to increase the saturation of that and the luminance, actually, just a little bit. Yeah, I like that. All right, this is looking pretty good. Now, I'm going to create some custom vignette with our mask. I'm going to create a linear gradient for our subjects down at the bottom. And then I'm going to subtract with a linear gradient, the bottom of this. Do that, move this. Now what we're selecting is this middle sliver of the photo. We can just increase the exposure overall of this, but also bring back our highlights, maybe our whites, now that the colors look more natural, the colors of their skin, the white dress, we can decide, do we want to warm this up? I don't know if we want to warm this whole thing up, but this has just given me an idea that maybe we want to create a little, let's do another linear gradient selection of where the sunlight is shining, which is right here. And then subtract down here like so. Now we're matching where the sun is shining on their faces and giving them a little back light. Now we can, I don't know about warming up, but now let's see if we boost the exposure. Or maybe warm it up maybe. But we don't want to have our subjects in there. Let's subtract people. All people. We're selecting the sliver of light behind them. Basically, you can see what we're selecting. If we boost the exposure and maybe warm it up just a little bit, it creates this sun ray effect. Let's see what happens if we actually come down and we decrease the clarity For this. It creates this glow effect behind them, which is cool. Let me back off. That exposure increase? Yeah, that's cool. Now, something we didn't do before is I want to add a little bit of clarity and sharpness to their faces. You can see that her face is a little bit not perfectly sharp. I'm actually going to create a new mask for that. Select people. All people. And we're just going to select their face basically everything except for their skin or their clothes. Rather, we're going to create one mask for this. We are going to sharpen, it's hard to see what's going on with all those mask pointers up. Let's just crank up the sharpness. They usually don't add clarity to people, but maybe adding a little bit to this photo. Helps just a little bit. This would be a hard photo. You're not going to crop in here and use that as a portrait head shot photo, but from far away it looks okay. Let's see, the before and after. Sometimes when I do this, I see. Okay. Well, I think I pushed a couple of things too far. I think I pushed this dress too bright. And then I think I push that background a little bit too much. Do that also move this down just a little bit. That's cool. Now, let me go ahead and create one more radial gradient for just around them. Invert it and see about doing just a little custom vignette like this. Yeah, that's looking good. That is looking good with this. I also want to take out some of that yellow that's in this grass right here. The yellow I'm looking for. I don't know if I want to decrease it or just push it to the green. I think I'm pushing it to the green, so all the color of the grass matches. But then back up in our overall saturation, I'm going to drop it all. Just a little bit. Now the grass color matches across the board, but it's a little bit more uniform and doesn't distract from our subject. Now back on our base overall photo edits, we're going to come in here and do a little bit of luminous noise reduction. This would be another great photo to have the original raw photo to do noise on. I'm actually going up here and doing a tiny bit of clarity decrease to add a little bit of glow to them. Then I'm going to combat that with a little bit more sharpening so we don't lose the details. Man, that is looking pretty darn cool. Here we have the before and after. Definitely a bit more of a creative edit for this. But hopefully all the little techniques that I used to show you how to get mask, how to remove your subject from the mask, and all that kind of stuff helps. Let's go in here. Actually, I'm going to go backwards. I want to create a mask, a hair. We're going to select just her hair, create a mask. And I'm just going to increase the contrast of our hair. Maybe decrease. I just wanted to be a little sharper, maybe even go down to clarity and texture and increase that just a little bit and I think that looks pretty good. Makes it pop. Got some more detail. Even look at this before and after. What do you think pretty magical portrait here for this wedding couple? I hope you enjoyed learning about a lot of the masking techniques that I'm using to make selections. To delete parts of an image from a selection, and ultimately how to focus your attention on your subjects. Thank you so much for watching and we'll see you in the next lesson. 62. Grungy Black & White Portrait Edit: In this portrait edit, I'm going to do a grungy, black and white edit for our gentleman here. So the first thing I'm going to do this is a reset photo. I haven't done anything to it. I'm going to play around with the basic settings First I'm going to just turn it black and white With that button, I'm going to adjust the tone. A lot of this it's like a very flat image. See how we don't have anything in the black and nothing in the white. We want to expand that. I'm going to do that with these sliders first. And then we might go into our tone curve and make some adjustments too. I'm going to actually bring up my overall exposure, but then also bring down my blacks. I want this to be a high contrast grungy type edit. The shadow slider doesn't bring out a lot of details. Sometimes I like to bring that up to get some detail in the face. But because the face itself is exposed rather well, I'm going to leave the shadows as is highlights. I might even bring down just a little bit and then I might just bring my whites up just a tiny bit. That's getting pretty in contrasty right now. I like the texture of his face, I like that story that it tells. I might even boost that even more with our texture and our clarity. Generally, I don't add clarity to portraits, but for this guy, I think that's the right call. Now, I want to make a little adjustment to the crop because see how they're not horizontal in this image. I want his eyes to be horizontal. I'm going to do this. That just makes it feel a little bit more balanced in my opinion. All right, there we go. All right, so now I'm going to go into my mask tool. I'm going to actually create a radial gradient to create a custom vignette. I'm just going to go around his face for now and then invert this. That looks pretty good. And then I'm just going to bring down the exposure Now, I'm going to create another linear gradient up here at the top. You'll notice as I do all these full edits, I often have a linear gradient in the top left and bottom right. I just like that look of bringing down the exposure up here and I'm also going to bring down the sharpness. I'm going to add another linear gradient to this mask down here. Now when editing a portrait, I always want my eyes to be sharp in focus, but sometimes I like to blur out other parts of a face here. You can see that the depth of field of this photo, the ears fall out of focus. I might enhance that a little bit more. What I'm going to do first is create a radial gradient just for his eyes. I'm going to boost that sharpness. I'm going to increase the sharpness here. Let's see if it effects. I might even bring up the clarity just a little bit and bring up the exposure overall. But maybe also add some contrasts back and back down our blacks, we have contrast in his eyes. Next what I'm going to do is I'm just going to take my brush, I'm going to turn my sharpness down all the way. Then I'm just going to brush over some parts of his face to creatively just keep that focus on his eyes. I want his lips to be in focus as well, So I'm going to subtract a little bit of what I just brushed on over his lips and then the top of his nose, but his cheeks, his forehead. That can be out of focus. Then let's see if I just, I don't want to increase the amount too much. Maybe I got a little bit too crazy over his cheeks. I want to see some of that texture in his forehead too. Now let's create a new mask for his hair. Select people, person. We're going to go to hair. Let's see what happens if I boost the exposure in the contrast. Maybe just bring up the whites just a little bit. Now I think that's looking pretty good. I kind of want to push the exposure down even more on his shirt over here. So I'm just going to create a linear mask just like so, and then drop that exposure even more. Now, we're getting super creative with this, right? But it's also looking pretty cool. Now, this catch light in his eyes looks a little bit, almost too much to me. So I'm going to go ahead and select people. Let's get one for his, one for his iris and pupil, create a mask. Let's see what happens if I bring down the exposure. I feel like actually bringing down the exposure of his iris makes them pop just a little bit more. They were a little over exposed. I feel like I had added that radial filter that was bringing up the exposure around his eyes. That might just be a little bit, let's make it a little bit bigger. That's the one that we're sharpening the eyes as well. I might go in here and just add a bit of sharpness to his eyes right here and clarity. This is just the pupil iris selector again, and that's looking pretty good. Now we could go even more with the grunge by going back to our basic edits and going down to effects. We're going to add some grain. It's hard for you to see, but let's zoom in here. You can see me adding this grain. We can increase the size of the grain. We could play around with the size of the grain and the roughness to get a style that we are happy with. There we have our grunge, black and white portrait. I might come in here just to our tone curve and just play one more time with our contrast slider just to see if we want to add just a little bit more contrast. Or maybe not just bring down the exposure of the face even more. And I think that looks pretty cool, actually. I hope you enjoyed this stylistic edit and it gives you some inspiration and ideas for how you can creatively edit your own portraits. All right, we'll see you in the next lesson. 63. Vintage Film-Style Portrait Photo Edit: In this tutorial, I'm going to take this portrait of myself and try to get a vintage vibe, style, very different than what I've done previously, which is generally higher contrast. The first things first, the crop is actually pretty good. I'm going to leave the crop for now for the exposure. I'm actually going to bring up my blacks to get that faded black flat look. Let's just bring up our overall exposure as well and then shadows. And then maybe bring down our highlights and our whites. I'm just getting a more flat looking profile. With clarity, I'm going to actually decrease to get a softer look. With vibrance and saturation, I'm going to leave those as is, and we're going to do a lot with the color mixer. But first I'm going to go back in here and choose color matching. They have some styles that are already cool. Vintage vibe cinema or maybe even classic Chrome. Uh huh. I like that classic chrome look. Yeah, classic chrome. And that looks pretty good. All right, now let's go into our color mixer. First things first, I'm going to bring some of that red in my face down, decrease just a little bit, but I want to bring out some of this blue. I'm going to increase that blue saturation. And also this green right here, make that pop. I'm going to save color grading for the very end. I do want to sharpen my eyes just a little bit. Let's go in here to a mask, detecting people, person do, Iris and all. Clara, I'm going to create one mask for now. I'm just going to sharpen this up. Clarity, crank that up. And then also sharpness. Crank that up as well. Now the focus is on my right eye, which is fine. It's such shallow depth of field with this lens that I use that my left eye is out of focus. But I also want to come in here, I'm going to choose the red and decrease the red. That didn't get all the red. Let's choose this and decrease that. There we go. Now I'm actually just going to come in here to the brown of my eye and increase that saturation here. That looks pretty good. Let's actually create a new people mask. Widen up those teeth just a little bit. Teeth create a mask. We got a preset for that. Teeth whitening, just back that off just a little bit. Now, my skin, my lips, it's all one tone in one color. I'm going to do, another person, I'm actually just going to darken just a little bit. Let's go down to clarity, something like that. Just to give it a little bit more contrast. Give my lips a little life. All right. Now that's looking pretty good. I want to create a cool vignette, but maybe with a linear gradient. See how this side of my face is dark. I want to, I say highlight by accentuate that, by creating more of a shadow on this side of the frame. Then maybe on the opposite side of the frame, add more light. Really making that light look like it's shining on my face. I might actually subtract from this, the bottom part of that right there. That's looking pretty cool. Let's add a little bit of grain. We're going for that film. Look maybe 50% grain looks pretty cool. Maybe that linear gradient was a little dark on this side. Let's actually just blend it in just a little bit with more feathering, maybe bring up the exposure just a little bit. Maybe I just want to bring back down the blacks. Just the shadows, maybe? Yeah, maybe just the shadows makes it look a little bit more natural. That's looking pretty good. We can see the before or after. Now, I want to give it a cool color grade, which I think will give more of a vintage look. Let's go let's start with our highlights. I think, yeah, something in the yellow orange looks pretty good. We're going to do the same with our mid. Just a tiny bit. I like the same color but just not as strong then with our shadows. Let's see if. Balancing that out with a little bit of teal looks good, That looks good. Now I'm going to play with the blending and balance to see if that can help. Let's actually blend towards the shadows of what I'm doing in the shadows and balance towards the shadows as well. Or less blending rather. Now we can see what we did with color grading, a feel like that gives it more of that vintage vibe. That's cool, let's see if we do a fun little vignette. I'm going to crack down the amount just so I can see what I'm doing. Roundness, I'm going to make more square, something like this. Increase the feathering, decrease the midpoint so we're more centered and then just decrease the amount. That's definitely more of a stylistic thing. If I turn that on and off, you can see. But I think for today what I'm going for, it looks pretty cool. That's looking pretty good. Let me just actually, the last thing I'm just going to go in here, soften my skin just a little bit. Facial skin, body, skin. Create a mask and soften skin light. It adds to that glowing effect which is something that you sometimes get with vintage cameras here you can see with the clarity. That's cool. I wonder if I could add to that glow just with a little bit of a brush around the edges of my face like this, something like that. Maybe on this side of my body. And this brush, I can tell the flow is not in density, are not down. But let me just see what happens if I bring up the exposure and decrease our clarity. I don't want to increase the clarity of everything but just trying to give it a little bit of a glow, even decrease de haze. That's a technique you can use, see the before and after. All right, here we have the before and after of this vintage style portrait. Let me just show you what clicking black and white does something to note with black and white. Our color grade is on top of our black and white adjustments up in our basic sliders. If you want to add some more color to a black and white photo, like CPA tone or something like that, you can do that with a color grade. That's what's going to happen with a black and white filter and a color grade on top of it. Overall, I think it looks pretty cool though, and if you're going for a vintage film style look, those are some of the things that you can do. All right, we'll see you in another tutorial. 64. Bonus: Free Lightroom Presets: Welcome to this new section on Lightroom presets. This is a bonus section that we've added to the course since the launch of it. Because we love giving things to our students and making these courses and your photography better, more fun, easier, and more affordable. So what better way than to give you some amazing Lightroom presets? If you've never used presets before, perfect, We have a lesson coming up on how to install and use them. And then I'll walk through the different packs that we add to the course over time and share ideas for when and why you would use those certain types of presets. Will be adding one new pack of presets to the course every month until we have 12 full packs, ranging from black and white style to bold colors and contrast, HDR nature, soft pastels, vintage vibe, street grunge, all kinds of fun packs that you'll be able to use for your own photos. I just wanted to explain what this section is. It might not be applicable to you if you don't use Lightroom or if you don't want to use presets. But regardless, we hope that these bonuses are a nice gift for you and a special thank you for taking our courses. Thanks so much. 65. How to Install Lightroom Presets: In this tutorial, I'll show you how to install Lightroom presets into the Lightroom Desktop app, both classic and the regular CC version, as well as the Lightroom mobile app. If you don't have a desktop computer, just skip ahead to the timestamps which I've included below to the app you're looking to install. Thanks a lot. Enjoy. From the library page or module, go to the develop module. On the left you'll see your presets panel. You might have to drop it down to see if you have any presets installed already or if there are the ones that are already installed when you load Lightroom, click the Plus drop-down, click Import Presets. Then if you're downloading any of ours from Video School, click the desktop folder. It will have all of the XMP files. Select all of those files and click Import. They will import into a folder, which we will see here. And now we have all of these presets. To use them, you just open up a photo in the developed module and then hover over to get a preview of what it looks like. And then when you find one that you like, click on it and you will see that the preset has automatically applied different settings. Sometimes depending on the photo, you'll need to make some adjustments like exposure or contrast adjustments, things like that to make it look good for your photo. And the beauty of these presets is that it's a non-destructive way to edit. So you could always go back, reset things. You can adjust any specific setting. You'll notice that some of these presets in this pack are italicized and that's when there's an option. Usually it's a color profile that we might have selected when creating the preset that will work for a RAW photo, but it's not a setting that works for a JPEG compressed photo. That's totally fine though these presets will still work and they will still look fairly similar to what it would look like on a raw photo. But that's why some of these are italicized. And for any other presets that you download, you can rename these groups or renamed the individual presets if you want, just by right-clicking the group or the preset itself and choosing Rename. All right, That's how you download, install, and use presets in Lightroom classic. Cheers. Here's how to install and use presets in Adobe Lightroom. This is the Cloud-based apps on my desktop. From here you go to the Edit tab, click on Presets, click on the drop-down menu right here, the three dots and choose Import Presets. Now if you've downloaded one of our video school preset packs, you should unzip that pack. You'll see two folders in it, one for desktop and one for mobile. Still use the desktop option if you're using Adobe Lightroom, select all of the files. These are XMP files and click Import. Once they've imported, you will now have this new pack. You can click this drop-down to see all of them. Then you can hover over the presets to see what they look like. Click on one of them and you can see that they've adjusted some of the settings as we've created these presets. Now, depending on your photo, you might need to make some adjustments. Typically things like exposure. Your overall exposure might be the one that you want to adjust. But we've tried to make these work for fairly any photo that is well exposed. That being said, this is a non-destructive way of editing, which is great because you can always undo this. You can always adjust individual settings until you get your light it to your liking. You can also right-click the group or any of the presets to rename them in case there's ones that you really like and you want to give a special name too, or things like that. The other cool thing about importing presets via the Lightroom app on your desktop is if you use the mobile version and it's tied to your same Adobe account, these presets are automatically going to load in your Adobe Lightroom app on your mobile device once it sinks. This is the quickest and easiest way to do that. We'll have another video if you don't use the Adobe Lightroom Desktop app and you want to download and install presets on your phone. But it is quite a bit more work than just this. Here's how you install presets on the Lightroom mobile app. Here I have a photo open on the Lightroom mobile app under presets, I have this video school flatMap pack automatically applied. So I can just click on any of these presets and then will automatically apply. Okay, so now let's go ahead and I'm going to actually delete this pack from Lightroom Mobile. And then I'm going to show you how to manually create presets. If you don't use the desktop app. Now you can see I've deleted the folder. The way it works in Lightroom. The mobile app is a little bit different. You can't just this time install XML files as presets. The process is actually creating a preset from another photo. What we've done is created photos that have all the settings applied that will copy them from and create the presets. The first thing you'll need to do is download the folder. You can do this on your phone. If you have a desktop, you can download the folder, unzip it, and then send the files to your phone. However you do it, You need this mobile folder of files on your phone. If you download the zip file, typically it's just clicking that zip file and your phone will be able to unzip it. You'll see these two folders. And then just know that you'll be using the mobile photo. Back in Lightroom. The best way to do this is to stay organized. The first thing we're going to do is actually create a new album. Create new album. We'll call this. For now. We'll just call it VS flat matte. Click. Okay. Now click on that folder. We're going to add photos to it now. So click this bottom button in the bottom right to add photos. We're going to choose from files. And then on your files you're going to find that mobile folder. Open that up, and to select all of these files, click the three dots in the top. Click the Select button, and then go ahead and select all of the files. Each of our packs contains about ten presets. Then click Open. These will populate into your album that we just created. And you can see a preview of what these photos are. Presets will look like. Now one thing I noticed is that the order of these photos is not always correct in terms of the order that we've named our presets. To view them in order, it's very helpful to click the top three buttons in the top right. Click sort by filename. And then the view options. If you don't have photo info on already and show overlays, click Show overlays and make sure the photo info is highlighted. Now they are in the order of the filename. The way that we've created them, which we try to order them in a more logical sense like all the black and white presets for this pack, for example, are at the end. So the next step is to go individually. Open the photo, select the first photo, for example. What we're going to do is basically create a preset from this photo. Click the three buttons in the top again. Click Create preset. Under User Presets, we're going to create a new preset group. Click, Create New Preset group. We'll call this VS flat matte or whatever you want to call it. Click the check mark. That's going to be, we're going to put these under a group now and then just create a name for it. You can name it whatever you want. You can follow our naming conventions, flatMap one, and then click the check mark. Alright, so now let's go back and find a different photo from our library to practice this on. You would have to repeat this for all of the photos in that folder. But now let's just open up another photo. Here's a photo of my kids. We can go to the presets button down here. And now we have this VS flatMap album or folder of presets that we've created. Click on that, and we have flatMap one. Here's an example of where we would have to adjust the exposure of this preset. So click the check mark. Now because this is non-destructive editing, we can go in here and we can edit any of these other settings. So that's how you install and use presets using the Lightroom mobile app. Like I said in the beginning, it's much easier to do this using the Lightroom app on a desktop. But at least there is an option. So just a reminder, you'd have to go through each photo again. Go back to our albums. We're going to go to VS flat mat, open up the second one, and from there, do the same thing. Three dots. Choose Create Preset. And then from there you'll see under Preset group, now we have the VS flatMap group that we could add this under. Alright, that's it. I hope you enjoyed this tutorial and I hope you enjoyed the presets that we share with you. Cheers. 66. Preset Pack 1: Flat Matte Style: In this video, I'll show you the flat matte pack of presets and I'll walk through how I would use these on a number of photos. So if you haven't gone through and install them yet, go ahead and do that all the editing in Adobe Lightroom Classic. But the same techniques apply if you're using the cloud or mobile versions. Here you can see that I have this package installed and I can go through and hover over each individual preset. In this pack there are 11, there's four black and white and seven color versions. And what is flatMap? What were we trying to do in creating these presets? That flat matte look is where you bring up the shadows, the blacks. And so you don't really have a ton of contrast in the photo. It is exactly what we call a flat profile of flat look. But all of these presets are very different. So let me just highlight, hover over and you can see this is a big bold bright photo. This was from wide key, key from several years ago when I was there. You can see that as I hover through, it, adds that little flat matte look. But the colors change. And not all of these presets are going to look great on all of your photos. I find when I'm using presets that when I download a pack from someone, I might find one or two that I really like. And that's the beauty of using presets so that you can kind of come up with your own style or while take a style from someone else. But that being said, you can always edit all of the settings. So for example, this first FlatMap does not look good for this particular photo, and we'll try to find a photo where it looks better. But I'm really digging some of these other ones like 234, five, that gives us kind of like a vintage vibe. Now when I apply this, if I click on it, you'll see that all of our settings over here have changed. We've gone through and changed a lot of different things for all of these different presets. Not just your basic exposure and white balance and that kind of stuff, but down into our color, especially in our HSL panel, you'll see that we've adjusted things like hue saturation and luminance of different colors for all of these different presets. And depending on the preset, some of these other settings as well, including color grading. It might be something that we chew use for creating that preset. So you can always go in here and change it. For example, if we like the basic look of this, but maybe we want to warm it back up just a little bit. Go ahead, change the temperature slider. This photo is relatively exposed well for the situation, but there are times when you slap on a preset, for example, this one which I don't think looks great for this photo at all. It's desaturating a lot of colors except for this bright pink floating right there. But that being said, it's just dark. That's the problem with this preset for this particular photo. Maybe increasing the overall exposure makes it look a little bit better. That's actually a pretty cool look right there, I would say, when you're going through using these presets, make sure that you know, you can make adjustments. Of course, that's going to change the look of the preset. So if you're trying to come up with one specific style, you want to stick relatively to the colors and the saturation and the HSL adjustments. But basic exposure and things like that, those are sliders that you might need to adjust. All right, so let's go to another photo. Let's just go to a completely random photo. Here's a photo. This is not a photo I took, this is just a free photo I found online. So here's an example of where flatMap one actually looks pretty good for this particular photo. As a lot of drama, I might brighten it up still just a bit. But it looks pretty good. Now if I hover over these other ones, you can see again just the style that this is going for. I'm betting that some of these flat matte black and white presets Looks pretty cool for this photo. So if I click on this one, notice how our exposure was the same as our previous edit. Just in case that doesn't look good for you. You might want to just go through and reset your edit down here before you add another preset. Depending on how they're created, sometimes they are layered on top of each other. And if there's not a setting that's been adjusted for the new preset that you're trying to apply, your previous adjustments might still stay here. I like these black and white ones for this lion. Let's go to another photo. Let's go to this one. This is my lovely newborn LWCF when she was born. Flatmap. Here's a great example of flat mat one looking really cool. I love the style of this for this photo. Some of these other ones, maybe like four or 56, the one that looked better for that Hawaii photo. Not so great. Here's just a typical standard photo downtown San Diego where I live. And it's got sort of a quaint little downtown. This photo itself, not terribly great photo, but it kind of shows what the downtown looks like. But I think these flatMap styles might look pretty good for this photo. Some of them have a vintage sort of film type film vibe, especially with the colors. And this might be example where some of these are just a little bit bright. So we might need to bring it back down our overall exposure to get it to a decent exposure. That's pretty much what this pack is. I hope you enjoy it. You can download it in the lessons are on the course page here and install it if you haven't done so already. And make sure you refer to the video on installing it so that you know which files too use because we have both the mobile and the desktop version files. Thanks so much. I hope you enjoy this flatmap pack. And if you use these presets in any of your photos and you post them anywhere like on Instagram. Please tag us in your photos. I'm at Phil Webinar and find us at video school online as well. Thanks so much and I can't wait to see what you do with them. Cheers. 67. Preset Pack 2: Street Grunge Style: Hey there, this is a new video school preset pack for Lightroom called Street grunge style. Let me just walk through a couple of these presets, talk a little bit about them, applying them to some sample photos. And you can of course, find all the files in the downloads of the course to play along with. Here you can see we just made some fun grungy style photos playing a lot with color. Gardeners, dot presets, that is playing a lot with colors to make your street style photography pop. Now of course, with all of these packs, you can mix and match some of them. We call it street grunge, but maybe it's gonna look good for a portrait that you're looking for. This one is a kind of cool, vintage retro vibe going on. And as you can see with all of our presets, there might be some that worked for our particular photo and some that don't. For example, some of these street grunge ten is a crazy Edit. Click it to apply and you can see that the colors completely desaturated except for some of those yellows, a little bit of the greens that might work for some photos, but it doesn't really work for this one. Now, maybe for this one we bring up some of the shadows, we bring up some of the whites. So it's not completely crazy with that backdrop. There's some other edits that we can make as well to make this look potentially better. But that being said, play around with them. Here's a cool shot that I'm playing around with. Another example might be, let's go find another street photo. So basic street photo. Apply one of these presets and it gives it a nice five. This one brightens things up, highlights the reds, lots of sort of desaturated tones and then some reds. This one a little bit of a greenish tint to it. This one was that retro vibe brings back some of that, those blues. Another one that's sort of a bit contrast year, but again brings out those reds. This one brings out some blues as well. And here's that crazy one, this one, total crazy style. Maybe what you're looking for. I think for this one, when we're not looking at the skies, it looks a little bit better. Sort of looks like a POC, apocalyptic scene. Perhaps. That's one more example. And then let's just look at one last example. Let's just apply this to a portrait. So here's the standard portrait, basic edit. Even the street grunge portrait presets can have some nice looks like for this one I love five, I love three, warms it up. Some of them D saturate the skin tones a little bit too much for my liking. But it might be something you, yeah, ten does not work for a portrait, but it's something that you could play around with. I hope you enjoy the street grunge Style presets. And as always, if you're using them or any of our presets tag us on Instagram, let us know and we would love to share your work. Thanks so much. 68. Preset Pack 3: Bold Contrasty Colors: Here is the bold contrast and colors preset pack. I'm so excited about this one. We've got ten presets that are going to make your colors pop, make that contrast, contrast ear. And really make a lot of your photos just pop with a little bit of extra. Here. I'm just going through some of these presets on this great photo of Yosemite Valley. And you can see the different styles we play around with the colors. So some bringing out more of the green, some bringing out more than read, some bringing out the blues, some giving the different colors a little bit of a tint or a change of hue to play around with it and give it a little bit of style. I love just the number one. This is sort of the go-to. If you're just have a great nature wildlife shot, just want to make it pop. These are also going to work for other types of photos as well. So say we have this standard portrait right here. I think the flat matte look, looks pretty cool and we have that preset pack for the flat mat. But some bold contrast is also a cool look. And sometimes if you think, okay, this looks pretty cool. It's sort of a grungy, looks sort of too contrasty, but maybe we want to dial it down a little bit. And of course, some of these aren't going to work for certain portraits. Skin tones are very difficult to work with, and you don't want to play around with the colors too much. So that's where you can dial back and adjust the sliders. This is a great starting point, but it's a little bit too bright. The highlights are too bright. Maybe we're going to just bring down the saturation just overall, you can play with all the individuals sliders. It's a starting point. It's not a one-click fixed for every single photo. I would say these pack definitely is more for the nature shots. Here is a sunset shot, raw, unedited. I shot this down in insipidus, California, Carlsbad, actually. You can see that it just makes the sunset pop. That one gives it a little bit of a pink hue. So very cool preset pack. And again, a starting point, say here, a little bit like the colors, maybe it's still a little bit too dark. So let's just bring everything up. Let's bring up our shadows. Maybe bring up our black point so we can see a little bit more information. Still, if you're using this preset and you're trying to get a cohesive vibe across multiple photos, use that preset as a starting point. If you're making just manual adjustments to the exposure, your photos are still going to have a very similar vibe. And that's looking pretty darn good. So this is the bold contrast colors preset pack. If you're in the class, you can download it from the resources of the class or of this lesson wherever you find those resources on where you're taking this class, enjoy if you're using them and you like them. Let us know togas on Instagram, we'd love to check out your photos and share your work. Thank you so much and we will see you in another video. 69. Preset Pack 4: Light & Airy: Here is another video School Lightroom preset pack. This is called light and airy. And I'm just going to sort of shuffle through some examples of what these presets look like. Give you some advice on how to apply them to different photos. Light and airy. This is meant to make your photos bright, bright and light. Have that area vibe. Sort of like a bohemian style that you see a lot starting out with a photo similar to this one that I shot up in carpentry area, california. It's already a bright photo and you can see there's just a variety of different ways that we created warmth, coolness. Some of them we brought up the highlights, some of them we made it a little bit flatter, brought up the blacks and the darks. Here's another example. So here's a photo of, let's see, here's another photo of me and my daughter with her little tiger hoodie. This one already died, bright light. And it just sort of adds to that vibe. Newborn photography, some food photography, maybe like baking. This is a great example of where this type of style might help. With that. Let's go to the newborn shot that I have as an example. Here you can see it. A lot of those sort of like oranges, red tones. Really great for skin tones, softening some of those skin tones with some of these give them a little bit of a warmer tone, but some warm. A little bit of greenish, a little bit of magenta ish, some yellow. Lots of different styles for you. Here's another example. Let's take this portrait right here, this family portrait, already a bright photo and it's just going to enhancer it, enhance it and saturate some colors desaturated, others sometimes for portraits depending on the skin tone, it's not gonna work. Air set every seven. This looks great for this sort of gray enhances that yellow warmth of the sun. It's just going to depend. Now for darker photos, let's take just one of these darker photos, for example. Let's go with one like Here's a landscape photo. Let's see how it applies. It's not going to necessarily make it that bright, airy, Bohemian style, but it might work for you for these photos. I don't think that this is the best pack for nature and landscape Though. I think it's better for portrait, newborn. Interior, perhaps like real estate. But I'll leave it up to you to play around with it. So this is the light and airy pack. You'll see it in the resources of the lesson or the course wherever you download those resources. And I hope you enjoy it. If you do, please use them, please tag me at Phil Webinar and our video school profile on Instagram or wherever you're sharing these photos so we can check it out. Share your work as well. Thank you so much and enjoy. 70. Preset Pack 5: Vintage Vibes: Welcome to another free Lightroom preset pack that we're giving out with this course. I'm so excited to announce the vintage vibes pack. The vintage vibes pack is one that sort of emulates different old film stocks and gives that sort of retro feel for portraits and for pictures of people. It's a super fun and exciting pack that I'm excited to share. As you can see, I'm just running through some different examples of what this looks like. It has ten presets. You can use it with any version of Lightroom. Of course, all of the information for how to install them has been given previously in the course and you can download them in the lesson resources or in the course resources. Wherever you download resources for this class. It's a great pack if you're doing like sort of classic vintage stuff. If you find a cool street shot like this, of this old train depot that we have in our hometown of Sandy, Ms. California. It gives a very cool vintage vibe and all of these presets are completely customizable. So you liked the colors in this one, but maybe those highlights are a little bit too bright. Let's bring down the overall saturation a bit. And you bring down those whites, bring up those shadows. Everything completely customizable after the fact, that's what makes these presets so awesome. Here's a cool picture of this clock tower and little clock, not related towers. Big clock. As you can see, some look a little bit teal and orange. Some have a little bit more magenta, some, some deep blues, all kinds of styles here. This is a fun one. I hope you enjoy this pack. If you do, let us know. Let us know if you're using these presets for your photos wherever you're posting them. And if you haven't done so, take a chance to leave a review for the class. No matter what the rating is, good, bad. We love hearing from you. And we just enjoy making these presets for you, giving out more bonuses to try to make this course even better. Much love and joy the pack. And we'll see you in another one. Cheers. 71. Preset Pack 6: Desaturated Colors: Phil here with Video School. Thank you so much for watching this lesson of the class where we are announcing in launching the desaturated colors preset pack. This is a pact that might not be for everyone, but I think it's a pretty cool style. So desaturated colors. What are we doing with each of these different presets? We're basically dropping the saturation sometimes a little bit in just one area. Like for example, this one desaturated for it D saturates the blues. Then in some were just going crazy with it. Like some of these 78910 are pretty intense. Nine d saturates everything but the blues. And so it's not always going to look good for all of your photos. You just got to play around with it and find the one that's right for you. If you are in the class, you can download these from the resources of the lesson or of the course wherever you find those, those downloads, let me find another one. So here's an example. Even with people, it's kind of a cool style. Drops the saturation. Some are more contrast than others. Some have a little bit of warmth, some are a little bit cooler. Lots of Brown's desaturation going on. And so for this example, desaturated ten works in that other of the Eiffel Tower. It didn't work so much. For this photo, for example, this is a bright neon, lots of colors here. And you might be like Phil, why would I want to desaturate it? Well, maybe you want a D saturate some of the colors. Maybe it's just a style you're going for. For number four, this one looks pretty good for this one. I like that one a lot. Let's see what some of these more intense ones look like for this pack gives completely different hues. You can see, look at that blue sign. Maybe you don't want to see that. Maybe you're going for this style. So this is a very fun pack, not going to be for everyone. I completely understand night photography. This is a pact that might work really well for night photography because there's not a lot of colors that you're seeing perhaps. And so it's really just playing with the tones and things. The overall exposure to the different parts of exposure that is going to give your photo a good or bad style, whatever you think about this pack. So if you have downloaded this, if you are using it, let us know what you think. Tag us on Instagram at fill up near App Video School. And also if you haven't done so, hit that Review button on the course. We love hearing reviews from our students no matter what you think, good, bad, beautiful, ugly, whatever it is, We appreciate it. Thank you so much and enjoy this preset pack. 72. Preset Pack 7: HDR Nature Pop: Phil here with another Lightroom preset pack, HDR, nature pop. I'm going to run through some examples of what this might look like for you. But basically, it is just making those colors bold. It's making the overall exposure of your photos just relatively not flat, but just make everything exposed pretty well. And so this is a good example of a photo where you can slap on this HDR nature preset pack and get some nice, cool. Looks like number ten is to an extreme. Maybe that's why you're going for, if that's too much Dalit back with one of these previous ones, eight is sort of a softer version of number ten. And they have different hues and tones. Some of them D saturate, some colors, some of them do you say out traits, others, some are a little bit cooler, some are a little bit warmer. This is going to work great for those nature shots for wildlife where you're really just trying to take a photo that doesn't have a ton of color in it. Maybe it's a raw photo like this, the sunset and ban at a little bit of life to it with this pack. Obviously, not all of these are going to work. This magenta sunset doesn't look great to me, but maybe that's going to work for another photo of yours. This number ten, go crazy with it if you want to be just psychedelic, That's where you're at. Number ten. Let's find one more example. While I talk to you, here's a good example, not a nature shot neccessarily nature architecture, but this is a pack or a preset pack that might actually look pretty good for this. Photo. Sharpens things, makes things super contrasty. And I kinda dig it. That's a pretty good 110 or nine. That is, I'm actually really dig in it. That's almost better than the edit that I did of this photo that took me like several, several hours. Let's look at this peacock bringing out those colors. Hdr, look the cool blue one. That's gonna be one. If you use number four, let me know. You'll get a prize. Hit me up on his crime and let me know when you when you use HDR in nature, preset number four, that one's pretty unique. Eight's pretty good, brings out those greens, those blues, lots of cool stuff so you can download it if you're in the class. Obviously you're watching this video. You can download it from the lesson or resources of wherever you're downloading on the course. And all I asked for an exchange is good vibes. And if you have time, leave a review and a rating for the class, good, bad, whatever doesn't matter to me. I just like hearing your thoughts. Tag is on Instagram if you're using these, Alright, Enjoy this pack. Make your nature photos. Wow. And we'll see you in another video. Cheers. 73. Preset Pack 8: Black & White Presets: Phil here with another Lightroom preset pack. I'm really stoked about this one because I love black and white photography. And here you can see some examples of what this pack might look like using my sister's cute pup, maple for this example. So you can see a variety of styles. Some like 67 are super flat, super flat look. Others are more contrast. Makes your brights brighter, darks darker, but just a completely different range of looks, all in black and white. So if you'd like black and white photography, this is a great pack for you as always, you can download this pack from the course, from the lesson or from the course wherever you do downloads and enjoy it. If you use this pack and you like it, make sure if you're posting on Instagram to tag us. We'd love to get those tags so I can share your work with the world. That's part of learning and growing as a photographer nowadays at Phil Webinar and at the video school page as well. We'd love to share your work. And if you haven't done so, leave a review for the class. Those help us encourage us to make more freebies like this to add to the class. Now it doesn't matter if you do a good or bad review. I take all of them, so thank you so much. I hope you enjoy this pack and we will see you in another video. Bye. 74. Preset Pack 8: Tropical Teals & Oranges: Hey, there, here is another preset pack, the tropical vibe, Orange and Teal pack. This is all for that specific sort of orange and teal vibe or style that you see a lot of, not only in photography, but also in filmmaking, where you're making your greens a little bit more teal or your blues a little bit more teal. And then also pushing those yellows and reds into the orange. And so here, as I run through, you can see some examples of what this looks like. This number three looks really cool for this photo. Lots of greens are golds and tails. They're going on some a little bit more contrasty than others. You can find these presets in the downloads of this course, and so check those out. You get it for free as a member of our course. And we're just so excited to be able to provide presets like this that might help you speed up your photography, give you some inspiration. I know Preset, we are always fans of presets because I don't think it's a great way to say that you're a good photographer by slapping a preset on your photos. But I do know that there's a time and place for presets, and that's why we're going through creating presets for you to give you those options. If you're using these presets, let me find the photo. This one, it's really, I think better for the nature scapes. It doesn't look great on portraits of people because I think it just makes skin tones a little bit funky sometimes, but like this one, it's generally a good shot. This is in Y key, key, but the colors don't give off that tropical vibe that you might want. So slopping on one of these presets, it makes that sky and the ocean a little bit more of that blue or that teal that you might be going for him. So I think that's where this works best. You can see this example of the photo of me and my wife and our twins way back several years ago. It's crazy when we went to Hawaii. It looks a little bit of funky. Now. Some of them might look a little bit better than others, but I think in general that the colors for skin tones doesn't look great. But for ocean shots where like this, where you're just trying to give it more of that tropical flair might be the perfect option. Alright, thank you so much for watching this video. If you're using these presets, make sure you tag us on Instagram and also leave a review for the class. We'd love to see what you think about the class, even if it's a bad review, whatever, we just like hearing your thoughts. Cheers, thanks so much and we'll see you in another video.