Adobe Lightroom Classic Part Two

1. Lightroom Part 2 Introduction: In this class, I'm going to introduce you to some really powerful editing tools inside of Adobe Lightroom Classic. The nice people at Adobe, I've added a lot of new and exciting features that really can help you to edit and enhance your photographs. So perhaps think of this as a par to class to my previous Lightroom class. If you've completed my previous Lightroom class, this would be the natural progression to learn about all the new features. Or maybe you have experience using Lightroom. But if you have too, take a look at the new editing options that have been added. Either way, you are more than welcome to join the class. So probably the biggest addition to Light room is the new mask and feature. And I'm going to show you how to use that in great detail on a number of examples. The new mask and options replaced the original adjustment brush. And now you have far more control where to make those local edits to your photographs by using masks to completely target a specific area. Using AI technology and machine learning, the masking feature can accurately select a subject or select the sky. You can make selections using luminosity and Color Range Mask. And of course, we still have the linear gradient and the radial gradient and the ability to use the adjustment brush to add or subtract from a selection. But now it's far more accurate. I need to time you create a mask. It's almost like creating a layer, which makes it so much more intuitive to use that as well as the new mask and feature, we now have the ability to adjust the strength of a preset, a preset amount slider. Well, this is a fibrous addition and something that has been missing from light room for some time. So you can now apply a preset and then decide how strong you want it to be. So maybe you want to back off the strength or maybe you want to increase the strength and the ability to be able to do this with a preset amount slider is extremely useful, allowing you to use a presets as a starting point and then to be able to adjust the strength. And in combination with the basic tools, get exactly to where you want to be. Now we also have a new color grading option which replaces the old split toning tool. And this allows us to use color wheels to adjust color and luminosity in the shadows, highlights, and midtones. And this can produce some amazing results. And it's much better than the old split tone and oxygen that we previously had. Throughout the class. You can watch me edit photographs in real time As I use all the new features to create major changes of fibrinous results. I've also included an assignment that you can download a number of photographs and create your own edits. And I would love to see results. You to join in and make some edits using the new tools we've had the opportunity to upload your results on. I could take log and ask other students who are watching the class, which is quite exciting this now. So welcome aboard. And I look forward to seeing you in module number one. 2. Module 1 Introduction to Masking: Before I begin, you need to make sure that your version of Lightroom Classic is up-to-date. Now it's very simple to do. Just navigate to where your creative cloud is on your computer and simply check for updates. You can see that my version of Lightroom is up-to-date. Now if yours isn't, simply click on the button and Lightroom will be updated. Once Lightroom has been updated and you launch it, you will see a message letting you know that your catalog needs to be updated to be compatible with the latest version of Lightroom. Now, there's nothing to worry about. All that will happen is that Lightroom will indeed update your catalog to be compatible with the new version of Lightroom. And it doesn't do anything to your photographs. Everything is safe. But as I say, it needs to do this to make it compatible. So with that said, let's take a look at the new mask and panel. So on this left hand side, we can see how light room used to lock. In the previous version, we had this little toolbar here. And this is where we could make our local corrections using the adjustment brush, the radial filter, the linear gradient. Plus we add the red eye reduction button, Spot Removal tool and the crop tool. Now on the right-hand side is the new version. So we still have the crop tool, we still have the Spot Removal tool, and we still have the red eye reduction tool. But now the local adjustments can be made using this mask and feature. And this is so powerful and it honestly is a game changer because you can make really accurate and very quick as well, local corrections to your photographs and it really is super. So let's take a look inside the mask and panel and take a look at what options we have. Then we're just click on the icon here. The panel will open up. You can see our options. We have indeed still got the adjustment brush and the linear gradient and the radial gradient. And you can see as well we have shortcuts. So if you're into using your shortcuts, they are listed there. We've got Color Range and luminance range. Now we had them before two in the previous version. But there are a lot more powerful now. And then we have the two new options at the top, which are a machine-learning options. And they are absolutely fantastic. And they really are a game changer honestly. We have the Select Subject and the select sky. Now what we do is we use all of those in combination with each other and all will be revealed as we move forward. But the ability to be able to select the where you want to make the adjustments and then the watt. That's probably sounds a bit odd, but honestly as we go forward, you'll see exactly what I mean. But allows you to make super accurate selections and create super accurate masks, which allow you then to use the sliders to make those changes exactly where you want them to be. And it's just, it really is easy to do. In the following modules. I'll take you through plenty of examples and you can see how that all works seamlessly together. Okay, I'll see you in the next module. 3. Module 2 The AI Masking Tools: In this module, we're going to take a look at the new AI machine learning tools. And they would be the select subject and the Slack Skype. They rarely powerful tools which do a wonderful job of creating a mask of the subject or the sky. And then in Houston, combination with other features, we can be more specific about where we want to create those adjustments. But first of all, let me show you how the new AI tools work. So in this photograph, I simply want to change the background color. Now the opposite color to skin, because believer on our skin is orange. So on the color wheel, the opposite color is like a teal or bluish green color. So that's the color I want to make the background. To do that, I'm going to create a simple mask. So to do that, I'm going to click on the Mask icon and the panel will reveal itself. And I'm looking for select background. Now of course, there isn't a select background. So I would choose Select Subject. And I'll show you why in a second, but I'm going to click on Select Subject. When I do that, the all sorts of mask and panel or fly out at the side. And also you can see that almost instantly it's selected the subject. And that's how quick it is. Imagine trying to paint that with the adjustment brush and B, rarely accurate. So all the hard work's done for you now, although I want the background, but you'll see how I do that in a second. So it's highlighted in green. Now I can change the color of that overlay by clicking on this color swatch just here on how you can have any color alike. Plus I can change the opacity of that color as well. So it just depends what photograph you're working on. Obviously, if you're working on a landscape and has a lot of green, then perhaps you choose maybe a pink or red, something that's sort of complimentary and you can actually see it. But in this case, green works fine. Now you have other options here as well, and you can experiment with them. Let's see image on black. And you can see that the background has disappeared and just the subject is visible. Now, one of the ones I like is this one here, white on black. And the reason I like that is because as a Photoshop user, I often create masks within Photoshop. This is the way masks are visible in Photoshop. And what happens is anything in white is going to have an effect applied to it. And anything in black is going to be left alone. So the saying is white reveals, black conceals. So you've got all those options there. I'm going to switch it back to just the color overlay. So you can see that there, but they are options. And as I say, as I worked through various examples, you'll see me switch between the different overlays to just help me get an accurate selection. So we have the subject selected, but we want the background. Now it's easy. Watch this. If I just go over to the panel over here, we're still in Select Subject, the mask is active. We have this option here, the invert option. And if I click here and just check that box, then lo and behold, we have the background selected. How simple is that? Now that was ready for me to start making corrections. Now all I'm gonna do is change the temperature and the tint. So let's change the temperature to drop it down to say, roundabout, there should do it. And we'll add a bit green as well. And also I want to soften that. So I'm going to take the texture down quite a lot. Maybe around about there. And a bit of clarity. You want to reduce that as well around about that. And there you go. How simple is that? Now? It was a bit longer because I was explaining how the panel locks and the various overlays. But that literally would have taken me less than a minute to do. It's amazing, isn't it? So always rename your masks. Because later on you'll see that this gets populated with a lot of options and a lot of different masks that you've created. So it's always helpful to rename your mask there. We're just going to double-click on it. And I'm going to type in background. So as I say, it's always a sensible option to rename your masks. This is almost like a layered system and you'll see how all this works as we move along. You have your eyeball option just here. So you can see the before and after, which is really useful. And also you have the ability to just mouse over the icon of that particular mask. And it will show you where the mask is. Now in the previous version of Lightroom, you'd have to source a search for the pins. The little located pins on your image. And it could be really confusing. But with this feature to just be able to mouse over it, it makes things simple. So let's take a look at another example. In this image, I want to enhance the sky and enhance the river. So this is the Liverpool's skyline. And as I say, I want to put more detail into the sky and just sort of bring some color into the river because it's looking a bit gray and murky, isn't it? So I'm going to click on the Mask icon. And in this case I'm going to select sky and let's see what happens. So it instantly, almost instantly anyway, selected the sky. How good is it though? Now if you want to go peep and to see how good it is, one of the options you have, like I showed you earlier, is the white on black. I can see that there is some built-ins part of the buildings that are included in the mask of the sky. So what I can do now is I can erase some of that mask by clicking on the Subtract button. When I click on the Subtract button, I can select the brush. So just like we've done in previous versions, we can just paint away on the mask just to remove parts we don't want now I'm not gonna do it all but you get the idea. I could go in there and tidy that or I don't really think it would have made a massive difference to be honest, but you can go in there and say fine tune that. But later on when I actually apply the correction, I can see how good it is. Maybe I can fine tune it a bit more. But that's what you can do. You can go in and sort of get that mask a bit more accurate. But you can see now what's happened. I selected the sky mask, which is here, this first one. And then they just changed the overlay back to color. You'll be able to see this. So I selected the sky first. So I'm mousing over just to reveal the mask in the green color. Then of a mouseover. The Subtract brush option, where I painted on the buildings. You can see where that mask is two. So that's quite clever, isn't it? So as I said before, I'm just going to double-click here and then rename that particular mask. So we now have that selected. So what do we want to do with the sky then? Well, I'm going to dehaze it now. You can either switch the overlay off and start that way. But it doesn't do any harm to leave it on because as soon as you move a slider, that overlay will disappear anyway. So it doesn't really matter. Whichever you feel comfortable width. So I want to drag the Dehaze slider just to bring detailed back into the sky, will take her up to around about 60, maybe 65. And that's brought a lot of detail, isn't it? Into the sky? I think I'll lift the clarity up a little bit as well, not too much. And maybe drop the highlights slightly. So that looks great, doesn't it? Now, I can do before and after. And that's the way it looked before I applied the correction. And I can see as well, if it's made any effect on the buildings below because the mask wasn't 100% accurate, was it? I can see on this building over here on this left-hand side, this high-rise building of a mouse on and off. You can see that there is indeed a little bit of spill over here. So I can select the Subtract brush. I can make that active again. And I can just come over here and just erase from the building there. Now, if I wouldn't have pointed that out, you probably wouldn't have seen it, but that's the way you can source would be really super accurate and get a really nice sorts of results. Now the river, Let's take a look at the river then because I want to put some color into the water. So to do that, I'm going to use a linear gradient. So I'm going to pop over here, click on create new mask, and then just select linear gradient. And then I'm going to just position the cross hairs around about here and press the shift key to constrain it to make sure it's level. And then just let it go. And you can see where the mask is. Now I can readjust that, move up or down, just like we've done in previous versions. But that looks okay. So I want to change the temperature then of the river just to put some color in. So I'm gonna take it towards blue. Let's take it to round about the, um, maybe put a bit of green and as well. So let's take it to, I don't know, roundabout there. And I would also take the saturation up just so you can see the effect a bit better. Pos up to about there. And I'm going to drop the clarity a little bit. And lastly, maybe drop the exposure just to touch. And there you go. That looks great, doesn't it? Then of course, DoubleClick. And I'll just type in River. So we know what we've done. Now. An on and off. So that's the way the image started off. And then just with making those simple corrections, it looks completely different, doesn't it? It looks really good. So in the next module, we'll take a look at something that's a little bit more complicated. But as I say, it's this little journey of how to use the masks. It's really interesting, isn't it? You can see already the massive amounts of difference it makes to your photographs and just how easy it is as well. So I'll see you in the next module. 4. Module 3 Colour Range Masking: In this module, I'm going to introduce you to the concept of using masks to select the where a subject for instance, and then the what, what would you like to change about the subject? The color, e.g. so we can add or subtract from the worst selection to target the what. Now all will be revealed in the following examples, where I will change the color of a specific area. So let's jump in and take a look. So in this image, what I'd like to do is to change the color of the car. So to do that, obviously I'm going to use a mask. So I'm going to click on the Mask icon and use Select Subject because that is my where. Where do you want to make the correction? Well, to the car. But of course, I don't want all the car corrected. I just want the color of the body work. So to select the color of the body work, I need to create an intersect. So to do that, I'm going to jump up here and click on these three dots. And then select intersect with color range. I'm going to use the mask that we've created the car, but I'm going to use the color range. So just select the color of the body work. When I click on that, I get little eyedropper and I need to start selecting colors of the body work. So I'm going to click just here. I've selected this particular red parts of the car. Now obviously I need more than that. So if I hold my finger on the Shift key at all, plus icon will appear next to the eye dropper. So keeping my finger on the Shift key, I can now click on other areas of the car to include all the colors. Let's jump up there, just try there. And maybe there were more. Now what happens is you get five attempts to sample those colors. So it kinda maxes out with five samples. But you have the refined slider just here, and you can make sure you've got all of those colors selected. So I'm going to probably popped around about there. So now I just have the color of the car selected. Now, I don't want the wind screen. And then either source of sorts of Chrome work of the car. But it's done a pretty good job. So not what I can do now is use the hue slider to change the color of the car. And let's take it to a nice source of color around about there. It's a little bit too saturated, isn't it? So I'll just drop the saturation down. And that's pretty cool, isn't it? So I can use this hue slider to change the color to whatever color and either green color is quite nice. And you can always still carry on using the refined slider if you think it's missed any parts of the car. But that I am pretty happy with. And of course, if there are some missing bits, you can always use the ad with a brush and just go in and paint any areas that you think it's missed. So if you wanted that bit stronger there, for instance, because it did look like it was a little bit weak around that area there. I can do that. But as a starting point, it's fantastic, isn't it? And I say all these tools are meant to be used together to create your finished look. Now I don't know if it's put any green over here. So I can use the subtract with the brush and just paint that back in there. It did actually make that go a little bit greened in it, which didn't look too bad actually. But I can go in and fix that. And perhaps I didn't want to go green, I wanted to to remain red. Again, you can do as I say, that combination of using all the options you've got, we'll get you to where you want it to be. Eventually. There you go. And as I say, I can change the color to whatever I want it to be. It's so quick, isn't it? Let's look at something similar, but a little bit more complicated. So in this image, imagine if I wanted to change all this red area and for whatever reason. But for the purpose of this tutorial, I'm going to change the color of this red area. So I'm going to select a mask. I'm going to select the subject first. And that's done a pretty good job of doing that. Then I'm going to create a new mask. But this time I'm going to go for color range. And it's a color range mask that I want to create. I'm going to click just here. Then All my finger on the Shift key and I can add to that selection. And that's done a pretty good job of selecting all those areas. It has spilled out onto the actual subject though. So I can subtract from that mask that I've just created. I can subtract the subject. So now the lady is not included. And again, just click on Color Range. I can refine that selection. Now obviously, the slide with that way, I'm including these black shutters which I don't want to include. So I can do that. So that's pretty good. And then I can just change the color so we know how to do that. Don't meet. I'm just going to drag this this way. Let's see maybe that color there and just desaturate it a little bit. Now it's missed areas. It's not perfect. So I can now, from that color range, I can add with a brush. And I can just make sure I've got those missing bits included. And you can be as accurate as you like with that. So all around they're kind of missed a nib. And over here as well, so that it just speeds things are rarely There's a little bit down there as well, isn't there? But they're now included. And I can also use the Subtract brush and bring some things back. Maybe I want that did actually include that part there, which I didn't want. But by enlarge, that's done a pretty good Java's name. That's just have a look over here. No, that's fine. They add that sort of cast on anyway. Yep. So there you go. That was pretty easy. Now, obviously, I haven't renamed these masks, but I could do. I can just call that building and subject. Okay. And that's easy, isn't it? So that's just using the same tools and the options you have in combination with each other to make those changes. It's all very simple, isn't it? So let me just jump up to the Add brush and I think there was a bit missing there. There's always room for improvement. And as I say, you might just miss the odd little bit. But as I say, using all those tools together, It's so easy to do. Okay, I'll catch up with you in the next module. 5. Module 4 Luminance Range Masking: Using aluminous range mask, you can target areas of a photograph based on its luminous step, so dark areas or light areas, and that way you can make an adjustment to that specific area that has that particular luminance range. So let's jump in, and I'll show you how that works. I'm going to use this image of a gradient to show you how the luminance range works. First of all, I'm going to create a luminance mask. I'm going to click on this little luminance range option here and I do indeed get a little eye dropper. I'm going to click. Let's click over here in this dark area. And what has happened, it's created a mask with the luminance of those darker colors. What I have over here is a aluminous range, and I can adjust that to include or to remove parts of that mask. I can also slide it along to make those adjustments. As you can see there, I'm slideing towards the lighter areas. This little triangle on the bottom, that will give me a smoother transition. I can do that type of thing. Now you can be really accurate then in selecting parts of your image that have a particular light or dark luminance range. Let's jump in then and I'll show you how that works on a specific photograph. In this particular image, what I'd like to do is to increase the detail in this rusty rail that's making its way into the River Mersey. Then I'll probably put some color into the murky water and maybe do some work on the sky. It's like I've mentioned a few times. Now, it's like a combination of all those various options that you have and various masks that you can create. The first thing I'm going to do is select luminance range. I'm going to come over here and I'm going to click on this rusty rail. Let's click about there. You can see where it's selected. Let's just change that to white on black. You can see it's included part of the water and the background as well. This is where I can use the luminant range slider to hone in on exactly what I want to select. Obviously, I go to the right hand side, I'm selecting lighter areas, so I don't want to do that. I want it to be in the dark parts, so I can really hone in and just get that dark selection and maybe something around about that. Now, that's not looking too bad, is it? Now, as you know, I can click here on the mask and select subtract with a brush, and I could just remove bits that I don't want. I'm not going to be too accurate doing this, but I could go in and I'm sure when you do it, you'll take your time and maybe roundabout here. Maybe I don't want any of that in. But to actually use a brush in the face instance to select the rail. It's time consuming, isn't it? To do it that way it's a lot quicker, isn't it? Let's switch this back to color overlay. I've now got that selected, I can indeed now let's see what we do. Let's lift the shadows, for instance, I can bring the detail back and that looks really good, doesn't it? I switched on and off that mask, you can see what I've done. It really is just affecting that rail. That's the first thing. It's say I can even click on the luminous range and make further adjustments to that, but I don't feel that I need to. That's a good starting point. When you create any mask, you can always revisit it and make further corrections with the sliders, which I may do later, but for now, I'm going to leave it as that. Of course, I'm going to rename that rail. Oops. There you go. So what's the next thing then. Let's select the sky. To do that, I'm going to create a new mask, and I'm just going to simply select sky, there you go. Now, let's take a look at the white on black and see what it's done. Again, it's selected a little bit of the buildings. Now, as you know, I can just use the subtract brush option and just go in and just remove any of that. Again, I'm not going to be too accurate, but that should do it, shouldn't it. Because I don't think it's going to make too much difference, but yeah, I could be a bit more accurate than that, but there you go. I've got the mask of the sky. Let's switch this back to color overlay and let's make some adjustments then. So I'm going to add some dehaze, maybe up to about 26, something like that. A little bit of clarity as well. Take some of the highlights down. Not too much though, and then maybe put a bit of color. Just change the temperature slightly. Let's see on on on and off with that. I've just put a suitable amount of detail back into the sky, and I'm happy with that. But as you know, I can always change that. I I feel I need the desire to do so, but I think it's fine at the moment. That is the sky done. The next thing to do then is to have a look at the color of the actual river. Let me just rename this as I say, because it just keeps things nice and neat. We've got two masks at the moment, the rail and the sky. Now, there's a number of ways that I could select the river, and I'll show you the way that I prefer. So I'm going to click here and select a new mask and this time, I'm going to go for linear gradients. I'm just going to pop it just here on the horizon and Press my finger on the shift key, so it will give me a horizontal line, and then I can move that where I want it to be. I've by and large, got all of the river selected. But of course, it's also selected the rusty rail. We need to remove that. I'm going to select subtract, and this time, I'm going to choose luminous range, and I'm going to click here. Let's see what that's done. So we're going to do white on black again. That has done a pretty good job, hasn't it? It really has. I'm happy with that. Now, I could play with the slider. But actually, let's do that. Let's just take it across a bit more until we've got pretty much all of that selected. I'm happy with that. Let's go back to color overlay again. Now I can change the color of the water. To do that, I'm going to use the temperature slider. I'm going to drop that to say, Let's see about 20 should do it and then add a bit of green as well. And that looks marvelous, doesn't it? Again, I can go in and I can fine tune areas and I can zoom in and just make sure everything's okay. Let me just rename this. That looks really good, doesn't it? Just to go over that again, I created a linear gradient, and then I subtracted from that within luminance range, and that's what I come up with. Now, I'm just going to do white on black again, show the overlay. Just have a quick check. It looks fine, and back to color overlay, I can switch that off. That looks fab doesn't it? Again, as I say, you can go in refine stuff if you're not happy with it. But let's just have a look at before and after then. This is the way the image started off. And this is where it looks like now. It's a lot more vibrant, isn't it and a lot more alive. As I say, if I wanted to add to any of those particular masks, I can use a number of options arn. I can use the subtract or a brush, or I can use the range slider in the luminans mask to make adjustments. But overall, I'm pretty happy with that result. So as I say, it's always that combination of using all the options that you have and combining masks together to create your finished log. Okay, I'll catch up you in the next module. Okay. 6. Module 5 Intersect With Luminance and Colour Range: In this module, I'm going to show you how you can use the intersect option combined with the luminance and color range to target specific areas of a subject, to just make adjustments to a particular luminance or Color Range. And the Intersect option allows you to modify the mask to accurately target those selected colors and tonality. So let's take a look at how that works. So I've got this great image of Sophie, but he's looking a little bit pale, so on to sort of warm the Skinner and maybe soften the skin. Now she's got a lovely soft skin, but there's always room for improvement. So I'm going to start off by selecting the subject. So let me just switch this to color overlay. So I have the subject selected. Now it's missed a little bit here. So you know, I can add with a brush and just add that little part of the skin. So I've got the objects selected, but what really wants is just the skin. So I don't want the eyes, I don't want the lips, don't want the hair, and I don't want the clothing. So I'm going to use an intersect for this. So if I select these three dots here and just click here and select intersect with luminance range. And of course I get the little eyedropper. And I'm going to click just here on her cheek. I'm going to switch to the white on black overlay so I can fine tune that selection. Now obviously what I'm looking for is I'm looking for the skin to go white, predominately white. And then then anything in Weis is gonna be adjusted. And of course, anything in black is going to be left alone. So let's leave it as that for now because I can always adjust it later on. So let's switch it back to color overlay. And let's see what we can do them. So I'm going to warm the skin up. I'm just going to drag the slider, temp slider across. And then I'm going to drop some of the texture and some of the clarity as well. So that's going to soften the skin even more. I'm just gonna lift the saturation up a little bit too round about. And that's looking pretty good. Drop some of the highlights maybe to bring in a little bit more and have a go too far. She looks likes it got really bad suntan. So round about there. Maybe lift the shadows up a little bit as well. So to check me progress, I'm going to just turn the mask off and then turn it back on again. So it's looking really good. Maybe warm up a little bit more and maybe put a bit of red in as well. So that's looking pretty good. With the luminance range selected. I can now drag the slider and see if we want to include anymore. But that is looking pretty good. I'm happy with that. She looks suitably warm. It's only affected the skin. The clothes remade the same, the backgrounds remained the same. And I hair is as it was, and it's just the skin that's been adjusted. So again, if I just switch on and off. Now, as with all adjustments, It's always subjective. And you may well prefer the aren't edited image or nothing you can do if you press the letter Y, you'll get the two images side-by-side. So this was the original and this is the corrected version. But I prefer Sophie slightly warned off. And I'm really happy with that and that was really easy, wasn't it? So again, a combination of the subject mask and then intersected with the luminance range. Just to make those adjustments. Let's take a look at another image then. Let's do a similar thing to this photograph. Then I just want to warm Sophie Skinner, but we'll try it by using the color range instead of a luminance range. So I'm going to start off by selecting the subject. And then on the mask, I'm going to click on the three dots again. But this time I'm going to intersect with color range. And then the little eyedropper tool, I'm just going to click on Sophie's CI, just here. Now again, I'm going to change the color overlay to white on black. And I can make adjustments to that. So sores around about there. Now I could rub away all this area, but honestly, it's, it's it's not really going to make that much of a difference, but I think it does. I can always do it later on tonight. So I'm going to leave it like that for now. Let's switch this back to color overlay. And I can start to make some changes then. So I want to soften the skin. Let's go down to say -50. And the clarity. Let's take that down a bit too. Now I want to warm the image slightly. So I'm gonna take that up to about, say, plus nine source around about there. I'm also going to dehaze it as well. So let's take it up to about 21:20 are due on it. That looks quite good. What else can I do? Contrast. Let's take the contrast down to say around about, don't do too much, rarely. Roundabout 50 should do it. And that is looking pretty good. So I can switch on and off. Now it's only subtle, but it made the world a difference of thing because previously I thought she's looking a bit pale and obviously probably the exposure was wrong on the camera or the lights are too bright. But just by doing that, it just looks so much better than us. And on the mask itself, if I select Color Range, I can make an adjustment now and drag this across over. Think it needs to. I'm thinking round about there looks really good. I'm happy with that. I'm going to click on, don. Don't forget, you can carry on editing outside of the mask and feature. And that's what I'm gonna do. I'm gonna put an effect on, I'm just going to put a vignette around the outside which really draws your eye to where Sophia's. And then I will add some grain as well. I'm going to add a little bit of film grain into there like that. I think that looks great. So if I put the two images side-by-side, you can see the difference. So Sophie is looking quite pale and it's a nice photograph. On this side. She's looking a lot sorts of warmer and the skin is looking a lot better, isn't it? So it's only a subtle change, but sometimes assault change can make a massive difference. And I think what I've drawn here, it looks really nice. Okay, I'll see you in the next module. 7. Module 6 Adding Light With Masks: One of the things we can do with masks is to add light to a specific part of our first graph using a radial gradient or a linear gradient. Now this is great because we can emphasize light that was already there. Or perhaps I'd like that was never there. A mask really help to create fabulous lighting effects? So let's jump in and take a look. In this image of fan. What I'd like to do is to put some color into her face. And also I can see that there's light coming through the trees. So I'd like to warm the light of behinds fans had and maybe put some highlights in her hair as well. So let's start off then by selecting the subject. The subject selected. So as you know what I've done, I've selected the wire, but now I need to select the wash. So to do that, I'm going to click on the three dots and select intersect with and then color range. And then I'll just click on fans face. And then I can drag the slider. And so to make sure it's just the face that I have selected. And then what we're gonna do is just increase the temperature to around about say 40. And put a little bit of red in as well. Pump it up to around about there. That's a good start on points now a switch on and off. You can see I've just added that color. Two firms face. So let's just rename this mask then. So the next thing to do then is to add a radial gradients behind firms had. So click on the new mask and we're going to go for radial gradient. And I'm just going to drag a shape. It's non-destructive so it can always change the shape, but I'm going to put the shape round about there. So what I wanna do now is I just want to make sure that the light or the sorts of warm and adjustments I'm going to make. It's just apply to the light areas are not the dark areas of the trees. So I'm going to use the subtract for that. So I'm going to subtract a luminance range. And I'm just going to click on the dark areas here. And you can see, I've just got this sort of area between the trees selected. Now of course, it's affected firms face as well. Now I can possibly drag this sorts of luminance range, but it's not gonna make much of a difference. So what I'm gonna do is I'm going to subtract from that with a brush. And I'm just going to pop in there and remove those parts that don't want those selected. Now, I don't mind it being on a hair because it will almost look like highlights. So I'm just going to take that out there. Now I have that selected. I want to change the temperature and that's warm the background. Then I'm gonna take her up to round about the and increase the saturation as well. So now we have that source of light coming from behind. And it's only source of effect in the lighter areas are not the trees. And that looks quite good to snip. So before looking rather cold and pale, and then we have this lovely warm sorts of lock. And it looks great, doesn't it? So just going back to my just introduced a bit more pink into it. And that looks quite good, doesn't it? Then back to the source of light area of here, I could change the luminance range and just see what we can get with that. I don't think yeah, possibly around about there. That looks really good, doesn't it? All I've really done is pop color into ferns face and then sorts of God that sunlight coming through the trees and buy a combination again of using masks and intersex and subtractions. You can quickly get to where you want to be. And as I say, so I've just switched all of those off. It looked kind of cold in it. And then just with those corrections on, it looks really nice. That's name. And you read your eyes rarely taken to where fans faces. So I'm going to click on Done, and that is finished, but I can carry on and maybe just put a little bit of a vignette and just to dark on the outside as well, because it looks kinda nice, isn't it? Made me put a bit of grain and I think that looks wonderful. So again, this is a combination of those options that you have in the mask and feature. And you rarely can be solely specific way you want those corrections to be. In this shot. I'd like to really emphasize the light coming from the sun on the right-hand side. I'm probably put some detail back into this man. This is an Antony Gormley's installation on Crosby Beach in Liverpool. And it's basically an Iron Man. But I can put some detail back and just play around with the colors. So the first thing we will do is select the subject. When it's done a great job of doing that. And I'm going to lift the shadows on the subject. And you can see we've got some detailed common back. Um, some crustaceans and roast on the back of that Iron Man might put a bit of color in it as well. So that's a starting point there. So let me just rename that as the subject again to keep everything nice and tidy. So that's the subject. And then I'm going to create a new mask, and I'm going to select the sky. Again. It's done a great job of selecting the sky. What I wanna do here is perhaps warm up at the sky a fair bit and maybe saturated a bit more as well. So we'll leave it as that for now. I'm happy with that. Now I need to select the wars are one of the ways to do that is to do an inverse of the sky. So let me just rename this sky. What we can do is click on the three little dots again and duplicate the mask of the sky, but inverted this time. So I'm going to click here and you can see where it's selected. Done a great job of selecting everything else will put the sky. But we need to subtract from this subject. Now we perfectly have the sorts of wars are selected. And I can now go in and change the water to whatever I want it to be. That's quite nice, isn't it? That color. So sauce around about there. Let's see what we've done so far then. So it did look like that. And it's looking a bit more vibrant now, isn't it? So how about we put some haze into the sky? So that is the next job, and I'm going to use a radial gradient to do that. So let me create a new mask and I'm going to select the radial gradient. And I'm going to place it just over the sun. And I'm going to drag it out to round about here. Of course, you can adjust the fall off and that type of thing, but I'm going to leave it there for now and come over here and I will take the Dehaze down. You can see it's creating that Hayes. And I'm going to increase the saturation and put some color in it as well. So we've got like a haze now and I can move that about. But what it's done, perhaps the dehaze is a bit too much. So what it's done is it's actually put the effect over the Iron Man. I need to sort of take that affect away from the Iron Man because they need that sort of effect to be behind. So I'm just going to make a little correction there. I'm just going to drag that out a little bit more just so you get the idea what it's doing. Okay? And as you can see, the haze is actually on, say, on the Iron Man, we want to take that away. So the easiest way to do that is to subtract the subject. Then that will just disappear from the mask. Now, let's play around with this D Hayes and see what we can do. Know you can really can't create that haziness. Let's drag it down a bit, I think lifted. So we've got a lot of haze there. Now it's a bit too strong, isn't it? So we can play around with it. But really put that color in. I didn't know what it's put a bit of red and maybe possibly look at the D Hayes again. Take enough some of the texture as well and some of the clarity. So they go. So if I switch that on and off, you'll see what it's done. It's amazing isn't it? Doesn't need to go up a little bit pups. So around about there and I think that looks really good. So I'm just going to rename that haze so I know where it is. And we'll leave that as sky and that's fine. So let's see what we've done so far. It did look like that, which is kind of flat, Isn't it? And then we've got that now that the haze works fantastic. And just being able to select, select the subject to take that away from the haze works really well. Now Sky inverted, let's, let's call that where it should be, which is the c. And I can play around with the colors in there, make it a bit more teal colored. Not looks quite nice that snip, the actual subject. Let's say we can warm that will attach. That looks quite nice. I think that looks great. Now we can add some more effect here may be to increase the sorts of reflection. And I'm gonna try, let's try on this one, the linear gradient. And I'm just going to drag just here. Um, you can spin that around. So just kinda round about there. And then I can just lift the yellow just over there. And then drag that out just to make that the source of gradient a bit softer. And that, so an on and off with you can see it's just subtle, but it just adds to that effect, I think. So a before and after then. This is the way it started off. As I say, it's quite flat as it's a nice photograph. But using the masks and all the options, it looks so much better, that doesn't it. Okay, Brilliant. I'll see you in the next module. 8. Module 7 Adding and Subtracting From a Mask: Using a combination of masks, you can be really specific about where you would like to make your adjustments. So it can be a matter of creating a mask and then modifying it with the adjustment brush or the gradient tools or the color and luminance range to fine tune that mass to target exactly where you would like to make your adjustments. Now I'm going to use the following example to show you how all that comes together to refine a mask. So let's take a look. So in this shot, I'd like to make some corrections to the sky, to the subject, and to the river, maybe to the foreground as well. But we'll see how we get on. So how would I start to do that then? Well, let's make some masks. The first one I'm going to do is select sky. So there you go. We've got the sky selected. Now, as I showed you previously, we could probably go in and tidy that up. But it's fine. I'm not going to make too much of a correction, so it's fine. So I've selected the sky. So let's do some stuff with it, then let's dehaze it like we did before. Put a bit more detail in. I'm going to drop a little bit of the saturation and this one as well. To about there. Now can always come back to that and do some more corrections. But for now, I'm just going to rename that sky. Since that's that particular mass created. And you can always just click on an off the mask and it will open up a collapse or open up and you can see what changes you've made. Some at the moment, we've just selected the sky in that sky mask layer. I'm calling them layers that guess they're not Layers bar. For me, being a Photoshop user, I'm kind of familiar with layers, so I'll call them layers, but they won't eat layers. Let's stick with layers. So the next thing then is I'm going to select the subject. So click on the Create New Mask icon just here. And I'm going to select subject. And again, lightroom does a fantastic job of selecting the subject. So what do we want to do with the subject? I'm just going to turn the overlay off for now. What I wanna do is I want to make hair darker, more of a silhouette with just a bit of light on her face. So let's just switch that back on. Pop over here. And I'm going to drop the shadows. So we're really going to darken those areas there. Maybe take the exposure up just a little bit. And then she's more of a silhouette. And because she's kind of more of a silhouette, I want to drop the saturation, a torture as well. So again, we've got that all goods so far. But this rarely this photograph is an exercise for me to show you how we be really specific, where we want to make these corrections. And like I always say, with mask and it's about the where you make those selections as in sky or subject. And then you can hone in with the watt. So in this particular case, I've selected the sky and the subject there, the wire. But the watt in this case is the river. So I want to make some adjustments to the river. So how would I go about doing that? So that's my next mission. So I'll just rename this mask layer subject. And then to target the river, it's a combination of subtractions. You'll all become clear as I do it. So the first thing I'm gonna do is select the sky layer. And these three little dots here, I'm just going to click and you'll see this little fly out menu will appear. And I'm going to duplicate an invert the mask. And they go off now got that selection there. So I'm starting my journey to isolate the river. So Sky inverted. It's named for me. But again, we'll rename that latest river. So I'm going to click on the Subtract button just here. And I'm going to select the subject, and that'll be subtracted from that particular mask. So let's click on that. We now have a mask that has all this foreground detail, the post and the subject removed. Now clearly we don't want the foreground and we don't want these posts in the mask. So that's the next mission is to get rid of those. So to do that, I'm going to click on subtract again. This time I'm going to select a brush. I can just brush away anything that we don't want. We don't want these posts. And we don't want any of this detail at the bottom or these buildings here. So to do that, There's a little trick for your eyes. I'm going to click here. Then I'm gonna put my finger on the Shift key. And I'm going to move over here. Now it only really works with a straight line, but you'll see all that's disappear. That's quite cool, isn't it? Now the same here. I want to click just about there. And then across on this side as well. And that has got rid of that. Now can make the brush a bit bigger. And just get rid of this bottom detail here. Because we don't want to put any effect on that. So we're getting very close now to just having the river selected. So what I would do now is I need to do the same thing here. I'm going to click just about there. And then hold the shift key down. So I just want to get this stonework removed from the mask. So I'll click there, hold down the Shift key, and then come across to round a bump there. That's got rid of that. And then I can just go in and tidy these parts up here and just remove those bits there. And finally these posts. So again, I'm just going to click here and then hold the Shift key down. It just constrains it to a straight line. There you go. It just all a lot neater, isn't it? It's a lot quicker as well. So I'm just going to do that too. And then just get rid of that bit there. So we're almost there now. I've just noticed a little bit over there on the hair which I'll just take out. We're almost there except the steel rails along this seawall are selected. They are still selected. So we need to remove them from the mask. So to do that, I'm going to click on the Subtract button and select luminance range. Luminance is just the dark areas or the light areas depending on what you click on. So in this case, I want to click on the dark area of the steel rails. So I'm just going to click around about here. And has done a good job. Now, sometimes it does, sometimes it doesn't, it's not too bad. But when you do use the luminance range, you get this method of being able to adjust the range. And you can drag this along. So if I drag it to the left, you can see now it's perfectly selected all the river, but omitted the darker areas which are the rail. That's really clever, isn't it? So that luminance range can help you sort of isolate it, as I say, a dark area or a light area. And in this case, I was able to select those rails. Now imagine if you've used in the adjustment brush to do that, it'd be a really difficult thing to do, wouldn't it? So once that's done, I can now go in and start to change the color of the war. So there you go. That's how easy that was. And it's not affecting the rail in any way. I've gone a bit too blue there. It's not the Indian Ocean as a, It's the rhythm. There's you in Liverpool. So just to let better color in and they go about doing it. So it was just a little exercise to show you how you can combine all of these options to completely hone in on what you want to adjust. So as I say, you start off with the where and then using those options that I showed you there, we can hone in and be more specific and affect the what and the what in this case was the river. So switching all the masks off, it looked like that. And then switching all the mask on, it looks like that. Now they're all selected. Sky inverted. I did say we would change that to river. So if I just rename that to river, and again, I can carry on working on that particular image. But I'm going to click on Done. So anytime you've done any mask work and you're happy with it, you can just click on Done. Now the other thing is you also before I do that, you have an amount slider as well. So you can back that off or make it stronger. So that's another thing you can play around with as well. So I'm just going to put it back to where it was, which was on 100. So I'm going to click on Done. Now of course, you're not finished because you can carry on working on that image now. So just back in the basic, I can warm it up and I can do a whole heap of other things, as you know with that image. But I say this module is all about showing you how you can combine all of those sorts of methods of making a selection to really sort of be specific where you want that effect to be. Okay, and I'll see you in the next module. 9. Module 8 Putting it all Together for the Assignment 1080: In this module, I'm going to use masks to add a two photographs. And I would like you to join in. So you can download these two particular photographs and you can have a go using masks. And I would love to see what your edits look like. But if you don't fancy join in and don't worry, you can just simply watch me make the edits. I'm going to use a combination of quite a lot of what we've covered so far. So here we go. So this is the completed image of this particular photograph. So let's just take a look at the before and after. So this is the before and then after the corrections using the different masks. It looks like this. So let's start from scratch then. So something I haven't showed you previously is how to delete the mask, this mask of the sky, for instance, I can just right-click and then select that particular mask. In this case it's sky. Or if I right-click on any of the masks, I can delete all masks. There you go. We're right back to the beginning. So let's make a start on this particular image. So first of all, let's create a sky mask. So let's suck the sky mask option. And you can see it's an, a great job of selecting the sky and also the reflection in the water of the sky. And that's quite clever, isn't it? So as always with the sky, I like to add a bit dehaze just to bring back the details. So let's take it up to Mount about maybe 60, something like that. That looks quite good. I'm gonna do that. I do like to drop the saturation, a torch as well. So let's take it down to around about there. And the highlights, I'm going to drop down as well because they're a bit too little bit too bright for my liking. It looks quite good. And then I'm going to add a little bit of a tint into it as well. So let's just take that to say -20. Somewhere around about there. Yeah. Okay. So before and after on the sky. That's a good start. Let's rename that layer sky. And we'll take a look at the trees next then. So the way I'm going to select the trees is two. Click on these three little dots. And I'm going to create a duplicate and invert the mask. So let's do that. Let's see what happens. And you can see it's pretty much got all of the trees selected. And I can now make an effect on those trees. So I'll do a general sorts of adjustments and then I can subtract certain parts of it. I don't particularly like where it's done. So with that said, I think I'm just going to gently overlay off. I think we could lift the shadows in this particular photograph. So I'm just going to lift the shadows or to say around about there. That looks okay, doesn't it? And I'm going to drop the clarity because I think everyone's a little bit too sharp. So now every photographs difference and you don't have to follow exactly what I'm doing. But in this case, I just think all those leaves and the way the light is hitting them habitants a bit too sharp. So I'm gonna do that, take that clarity down and then the hue. I can give it a more or tunnel feel. So watch what happens. So that's amazing, isn't it? Now, I don't think that's quite right. I think it's a little bit too strong, so I'm just going to take it to about there. Now I want to switch that on and off so you can see what I've done. So I kinda like that. But the thing is, I may want this area here to be unaffected. So, so do that. I can subtract a color range. So that's what I'm gonna do. So I'm going to select, subtract and color range. And I'm just going to click in this red area here, click and drag. And it is taken out anything that is red. Basically, now it's taken quite a lot. So what I can do is let's switch this to white on black and switch the overlay on. Of course, I can use the refine slider to do that. So I can take out all of that. So only the white areas are being affected. So this black area here, which is the source of red leaves, will not be affected. So I'm going to switch the overlay off and have indeed got that area there now and that's now being removed. So if I make a dramatic adjustment. For instance, and make the trees purple. You can see that these are staying the same. These particular readily used to stay in the same color. So let's reset that and just pull it that way. Okay. Now with that said, I might want to make this area a lot redder. So I'm just going to rename this layer trees. Okay? I'm gonna make another selection just of this area here. So to do that, so it's a new mask. And I'm going to select Color Range. And I'm just going to drag here. Okay? And that is what it's selected. And again, I can refine that to about there. Now it's also taken in all of this area around here as well. Now, I could actually go in and erase that, but I'm going to leave it for now. Let's just see what happens. So I'm gonna switch the overlay off. And with this, I want to lift the shadows. So remember it's just this area up here. I'm going to lift the shadows. I'm going to increase the saturation. And also let's change the temperature and the tint. Okay, So that looks pretty good, doesn't it? If I do an on and off, it is indeed affecting these areas here and this area as well. But is it looking bad? And to my mind, It's it doesn't worry me there, it's doing that, but it looks quite nice. So I'm going leave that. But you know, I could I could get a brush, subtraction brush and take these areas out. But I kinda like that. I'm going to rename that Xbox. We call it red trees. So three masks so far. What can we do next? So perhaps I would like to make these little pink flowers a bit brighter and a bit more colorful. So to do that, I'm going to use a color range mask. So click on new mask Color Range. And I can use the command or Control Plus to just zoom in a little bit. So I can make sure I'm definitely selecting this pink area. So let's select that. They're going to zoom back out. So that's what I've selected that I can use the Refine to really hone in on there. Now a has selected all the parts. And in this case, I am going to use the brush to just take away anything that I don't want and I don't want any of that. Just quickly go around and just rub up those areas there because it really is just the pink flowers that I want. Now it's taken a little few extra things that doesn't really matter. But that is predominantly the area I want to adjust. So I'm going to switch the overlay off and let's see what we can do them. So I want to take the ten top, rarely putting the color back in. Let's say take the tinsel to roundabout, should do it. And some of the shadows as well. Let's lift that. So it's just stands out a bit more. Let's take up the saturation as well. So a before and after on the flowers. And you can see it just popped that pink rarely vibrant. And again, if I just select Color Range, I can just make sure I've got all of those selected. And that looks really good, doesn't it? So let's call that flowers. As I say, if you name everything could just makes things a lot neater. So let's do a before and after. Then let me just collapse this panel here and then use this little toggle to toggle on and off. So it did start off looking like that. And so far, it looks like that. It looks completely different, doesn't it? So what can I do next then? What it would be nice to add some haze in the sky. So to give the effect that the sonars common through the sorts of clear and in the trees. So I'm just going to expand the mask panel and let's create a radial filter. I'm going to click roundabout here and put radial filter there. Now let's change the overlay to color overlay. And then we can position that and obviously make it more feathered and a whole bunch of things. But for now I'm just going to leave it there. And I'm obviously and the pink area is what it's going to be selected. But really, I want to start to subtract them from that. Some of the trees and quite possibly the color of the sky as well. So to do that, I'm just going to use the subtract and then color range. And I'm going to click in this blue area here. So let's now look at that white on black. And we can see what's being selected. So it's the clouds have been selected, but also the trees. So really I need to take away that as well. So if I put my finger on the Shift key, I can add to that subtraction using the color range. They go. So you can see now it literally is just the clouds and little bits of leaves, but that's okay because the sunlight would hit the leaves. So let's just leave it as that tan the overlay off. And what can I do here then? Well, I can use the texture and clarity to just soften that area there. And a tiny little bit, D Hayes, only a little bit. And then I can add some color to that. So we just get a little bit of color coming through. Now I can be stronger ever used the hue. I can really adjust to a lot, but I don't think it needs that thing good, just needs that little bit of temperature treatment. There. May be a bit of saturation just to torture saturation there. And, um, just try a little bit more of the texture to take it down the clarity. A bit more D Hayes maybe. Okay, so that is really sort of I switch that on and off. You can see it's subtle, but it's nice as it is quite nice now I can always go in and change that. One of the things it's doing is it's affecting the red part here because it didn't subtract that. So if I just switch that on and off, you'll see. But I actually like it and sometimes you get a little happy accident. And I kinda liked the way it's done that. So I'm going to leave it now. I could use the subtract color range to take that out, but I'm going to leave n because I kinda like it. Now again, that is just really subtle. And at anytime I can click on here, Let's put this back to color overlay. And I can adjust that and move it about and to where I want it to be. Maybe make the fade a bit more. But I'm happy with that. It's subtle, but I like it. So I'm just going to click in here color Hayes. And that's another that will mask we've created. So let's take a look at before and after. So it looks kinda lifeless, doesn't it? Just shows you just using those masks and it hasn't taken long, has it? And you can sort of change it to look like that. So one last thing I want to do and that is to take all these sorts of sharpness and detail out of the water just to soften it up. To make that wars are softer. What I'm going to use is a new mask and I'm going to select the linear gradient. I'm just going to click and drag here about all the Shift key down. The line will become horizontal. Probably around about that. Now I only want the wars are selected. So what I'm gonna do is subtract with a brush. And I can just take away anything that isn't water. So just take that away, softened that area there, and then come around here. So I don't particularly want that. So again, you can be more accurate than what Ambien. So I've got that selected. I'm going to switch the overlay off. All I'm simply gonna do is take down the texture and the clarity. So let's take the texture, write down this and say minus r1 about -60. And the clarity as well. And it's just really soften that reflection in the water. So I'm going to rename that water. And there you go. So I'm just going to collapse the panel. And we can see now this is the finished image. It started off looking like that. And it's quite a nice photograph. But I think by adding those masks and those adjustments, it looks a lot better, doesn't it? Okay, so that's that one complete. So in this image, I'd like to make the background softer and to change some of the colors just to give it a completely different look. And I would say there's nothing wrong with this particular photograph, but it could be different. That's what I'm gonna do. Want to start off with the background. So to do that, I'm going to select the subject first because obviously there isn't a select Background option. So start off with the subject and I can see it's a pretty good job, but it's included little bits of green as well. So I'm going to subtract from that with a color range. And I'm just going to click just here. And, um, let's do a white on black. And I'll probably include, let me just turn the overlay off. Yet sinners more green here as well. So show that overlay and I'm just going to click there as well. And then I can refine that selection. So round about there. Let me just add that little bit. There you go. The course that's the subjects selected, but we want to affect the background. So to do that, if I just click on these three little dots, I can invert that mask. And now I do have the background. So let me just rename this background. And I can start making some adjustments. So let's change this to color overlay. And we'll just switch that off. And then I can start to make some adjustments. And I can say I want to take the clarity down to around about to say there, I'm saturation. Take a bit of Colorado and the contrast as well. So we just dropped dark contrast down. And the temperature, I'm just going to warm it up slightly. Okay. So before and an after, I've just taken the strength out of the background, which will help that flower to be more vibrance and a more detailed. And really draw your eye to where it is. Now to make a selection of the flower, we can simply use the background mask that I've already created and click on the three little dots and select Duplicate and invert the mask. So we now have the flower selected. What I can do is I want to make the changes to the color, but then I'll have to go in and rub away where the actual beers. So let's do that then. First, I'm going to change the hue on this. And I'm going to go for a kind of bluish flower. Let's say go the other way up to around about say 71, something like that. That's too strong obviously that particular color. So I'll just reduce it down to say round and round about 50, somewhere around about there. And as you can see, we've now got the be the same color as the flower. We don't want that. So I'm going to use the command plus or control plus if you're on a PC and I'm just going to zoom in, then I want to select the Subtract brush. And I'm going to put the flow and the density on 100. An icon now rub away to reveal the color of the B. Now, I'm going to speed this part up. But you can take as long as you're like, I don't I don't particularly want you to sit here watching me do this, but I'll be super accurate. And as I say, I'll remove all of that. Just reducing the density and the flow sometimes as well when you get to the source of these parts here and it needs to blend in a bit more. That helps. Anyway, I'll carry on doing this. Okay, So that looks pretty good. So let me just zoom back out. That looks pretty good. So now I can rename that and I'm going to call that flower. So the next thing to do then is to just concentrate on the B itself and sort of bring out the colors. So to select the B, I'm going to use a range mask. So click on Color Range. And I'm just going to click and drag over this orange area just here. Let's change this to white on black. And we can see what we selected. And of course I can use the color range, refined slider to make any adjustments. Do I want all this area here? Well, let's subtract that with the brush. Again, I don t think it would do that much harm, but I'm just going to take away that part there. So it's just literally is just the B. Okay, let's switch this back to color overlay. And then we can switch this off. So what I want to do then, well, I'm going to start off by lifting the shadows. So let's lift those shadows or to round about there. And texture, the clarity I want to increase. So let's take the texture up to around about here. And the clarity as well. Let's bring that up a touch as well. The dehaze, I'm going to just drop the Dehaze down a little bit. Not too much though. And then boost the saturation up to round about here. Okay, that looks great, doesn't it? Now, with the color range selected, I can include more of that. So I think around about that. It looks fab, doesn't it? So before and after on the beat, you've just brought all that sort of clarity of the hours saved. I think I've done it too much. I can always refine it slightly. But by and large, I think that looks really good. Let's see. Before and after then I would just collapse the panel. We started off like this. And as I say, there's nothing wrong with that image, but it's just a source of variation of that. So click on Done. And that's that image complete. So I'll catch up you in the next module. 10. 9 A Few Extras: Adobe are finally giving us a better way to zoom into our photograph inside of light room. And it's very similar to something that we have inside of Photoshop. So first of all, we'll take a look at that. I also want to show you another way that we can use the eyedropper tool to make tonal or color selections. So instead of just clicking on an area, we can click and drag to make our selection. So let's take a look at those two options. So before I do any work on this photograph, I just want to show you something really simple, but it's so powerful. And that is the ability to be able to zoom in and zoom out with the new Zoom in Zoom feature. Now it's very similar to scrubby zoom that we have in Adobe Photoshop. So you can see I have my little magnifying glass in the center of the screen just on this window. Now if I press the Shift key, two arrows will appear and it's kind of indicating to move left or right. Now when I do, Let's put it over. This lady said, when I move left or right, it will zoom in and zoom out. So I'm just moving the mouse with the Shift key pressed down and then just moving left or right, just to zoom in and zoom out. It's fantastic, isn't it? Now we've had that sorts of options in Photoshop for a long time now, but it's great to see that it sort of made its way into light room. So imagine in this image, I would like to change the color of the shop front and then perhaps lighten up the inside of the shop. Now it's nothing we haven't already looked at. I'm conscious of the fact that there is a number of ways of doing a similar thing. So with that in mind, let's take a look at that. Then. I'm going to create a mask and I'm going to select Color Range. So previously, I've used the eyedropper to click in different areas to select a particular color. What you can do is if you hold the Shift key down and then drag. So click and drag. You can see what I'm going to do here. I'm going to select this particular blue color and the darker blue color. So it makes it a little bit quicker. Let's see what happens now. If I switch this now to white on black. See what's being selected. And it's done a reasonable job. I can use the refine slider to make it even more accurate. And then if there's any bits that are missing up here, for instance, if I shift, click and drag, I can add that particular color into the mask. And maybe some of this. So I'm going to click just above the door frame and add that too. And so you can carry on around that. Now, again, you have five attempts at doing it of creating that sample. So let's put another one there. If I put another one here, for instance, and I don't know, maybe put this one here. You can see I'm only limited to that, those five samples. So that's what I've got so far. And I can use the refine slider. And then let's switch this back to color overlay. And then I can change the color. I'm going to use the hue to do that. And I'm gonna go to about, let's say round about and just take some of the saturation out. Then I can use a brush. If I think it's affected the subject too much, It's just have a little switch on and off and it's not too bad. But if I've missed anything at you now, I can just click on Add with a brush and I can brush in anything that I think has been missed. Um, but it doesn't look too bad, does it? So anything I can add to that color range selection. Now we can do the exactly the same sorts of procedure. Let's create another mask then. And this time we're going to select luminance range. And I'm just going to click and drag in this window of the charity shop. And that's where it's selected. So let's do white on black again. And I can refine this selection. So possibly something like that. Now I don't want the outside areas, I just want the windows rarely. So I'm going to click on subtract from that luminance range with a brush. And I can just get rid of anything that I don't want to Justin when I start to make the correction. So let's get rid of that. And we don't want any of this. And again, I can be more accurate once I've done that sort of correction or adjustment, I can be more accurate than so. I'm going to just switch it back to Color Overlay. And then I'm going to just lift the shadows and the diesel in the shop or comeback. Now it's affected the left-hand side as well. I could rub that out, but I don't think that looks particularly bad. I don't mind that. So let's take a look then. That's the way the image started off. And then that's the way it looks. Now, as I say, it was just a little exercise to show you that you can use click and drag. And then of course, let me just click on Done. The fact that you can hold the Shift key down and zoom in and out that way. Okay, Great. I'll see you in the next module. 11. 10 The Preset Amount Slider: In previous versions of Lightroom, if we apply a preset, we had no way of adjusting their strength. And quite often that could leave you disappointed with the results. But now we have the ability with the addition of the preset amount slider to decrease or increase the strength of that particular preset. And of course, this gives us great control of the effects that preset has. So let me show you how that works. So let's add a preset to this particular photograph. So if I expand the preset panel, you can see there's a whole heap of presets. Some of them come bundled with Lightroom and some I purchased. Now there's plenty of presets out there on the markers. So you can simply add them. It's very easy to do. But what happens then when you add a preset? So I'm gonna decide to go for cinematic to see unforeseen. And that looks quite nice. Now, as you saw some mouse over the presets, it will show you where it's going to look like, but CAN foresee something guy like. So it works well on this photograph and it's kind of That's sort of teal color into the guy's sues and brought out the orange. But what is new in light room now is the ability to be able to make the effect stronger or to reduce the effect. So we add this preset amount slider just here. And I can increase the strength of that pre-set up to 200 per cent of a drag it to the left. Or I can decrease it. And obviously it will go back to the way it was. Double-click it, it will go back to the default which is 100. And in this case, I'm just going to make it a little bit stronger, maybe round about that. What is it actually done? Then? We can always investigate what the preset has actually done to your image by taking a look at the adjustments on the right-hand side. If I expand the basic panel, it made absolutely no basic adjustments. But what it did do is effected the tone curve. So that is what it's done. And so to achieve that specific lock that CAN 14 log, the tone curve was used. Now, something I need to make you aware of if I make an adjustment to any of the adjustments that the precesses made, then I lose the ability to use the preset amount slider. Let me just show you how that works. On the tone curve. I'm going to make the slightest correction. I've just moved this little control point here, just a slight amount. When I go back up to the preset amount slider, you can see it's grayed out and I can't make any adjustments to it. So just be aware that if you ever do that once you apply a preset, then you need to be pretty definite. Once you adjust that preset slide, if you are going to make adjustments to what the preset has done, that makes sense. So I'm just going to undo that. The Command or Control Z, you can, however, continued to make adjustments. So let's go to the basic panel. And I don't know, Let's lift the shadows and let's warm the image up a bit. Maybe. I've made a couple of adjustments there, and I still have the ability to use the preset amount slider. And that's because the preset hadn't had any corrections made to the shadows and the temperature. Whereas if I come down to the effects, for instance, it did make some adjustments to the grain. So if I just even just taped out to Thursday, I have now lost the ability to move this preset slider. Let's try put it back on Thursday to know, no matter what I do, it's not going to give me the ability to move that preset slider. So it's important that you are happy with your preset amount. If you are going to start adjusting things that the preset has already pre adjusted. So I hope that makes sense. But in most cases you'll be fine. But it's just in case you did see the preset amount slider grayed out on, wondered why it had done that. So let's take a look at another image then. This image, I'm going to use a black and white preset. And it's one of the presets that I've purchased. And it's a Kodak film preset. And I'm going to use this T max 100. And I can increase the amount, decreased the amount. So in this case, I'm just going to decrease it slightly. There you go. But I need to tidy this image up. Donee could be better. I'm gonna go off pieced. And you can see the adjustments that have been made to create that specific Kodak lock. But I am going to make some changes to it. I'm going to increase the D Hayes. I wasn't happy with how light it was. Basically, if I do that, I've lost the ability to use the slider, but that's okay. And now I need to tidy up. This will be c, how much of this you remember then because I'm using the Spot Removal tool and I just want to take that personnel matters done a great job straight away asthma and this person here, they've disappeared. And this little darker as well. Let's just pull that to the ok. And I think that looks better, doesn't it? A lover, clean image that hasn't got too much going on. It looks so much better, doesn't it? Okay. So that's that done. And then I'm going to come down here and I'm going to go to the Effects. And I'm just going to put a little bit of post crop vignette and would like to do is take the feather off so I can see where the roundness is, the mid point and be a bit more accurate where that is. And then I can re-introduce the backend. That looks really nice, doesn't it? All very simple. And a preset got me there so quickly. And it is one of the benefits of buying presets. And do you research though and see who's presets that you like and, and certainly wants that emulates film are really good. And let's just say that's a simple black and white conversion. Now, within Lightroom, you do get black on white presets that come bundled with the program. And there's quite a few actually, there's black and white down here, and there's black and white here. I have a little play around with them and they're all good. And as I say, it just depends what photograph you're working on and certain presets look great onset photographs. And that's just the way is even if you buy presets that you have researched and you really liked them when you put them onto your image, There's no guarantee it's going to look great on your image. So that's where you have to start using that preset amount slider. Because that will really help you get close to where you want to be. And then you can pop across to the panel on the right-hand side and make basic adjustments or Tone Curve adjustments just to fine tune that specific look for that photograph. Okay, I'll see you in the next module. 12. 11 Colour Grading: In this module, we're going to take a look at Color Grading using the new color grading panel. And this is a wonderful way of totally transforming your photograph by adjusting the colors and the luminosity in the shadows, highlights, and mid tones to race's cinematic look. So let's jump in and take a look at how that works. Previously, in light room, we had the split toning panel, and that's now being replaced by the color grading panel. It emulates what a colist would use in the TV and film world in that we have color wheels, and we can make adjustments to the highlights, shadows and mid tones with these color wheels. A colorist has a device that has track balls, which he can spin round to adjust the mid tones, shadows and highlights. Of course, we have something similar now with the color grading panel where we have color wheels. Again, it emulates what those track balls can do. Which enables you to put color or change the luminosity of the mid tones, shadows and highlights. Let's take a look at that in a bit more detail. So I'm going to use this gradient to show you how the color wheels work. First of all, let's take a look at the panel. So we have three color wheels to adjust the mid tones, shadows and highlights, and then we have a blending feature. So this little slider here, and then one below it, another slider for the balance. Now, what I find easier is to click on the individual wheels. Currently, we have all the wheels visible. But I click on this first circle, Just the wheel for the shadows appears. And the same of a click here, I just have the mid tone wheel, and then here just the highlights. Then finally, there's a global adjustment. Let's start with the shadows. I'm just below it, we have the huge saturation and luminant. Now if you can't see that, there's a little triangle just here and you can expand or collapse to reveal these three options. I suggest you have those switched on. Because you have a choice. You can drag from the center this little circle. So I'm just clicking and dragging to put color into the shadows, and in this case, it's blue. And as you can see, the sliders are actually moving as I do that. So you have an option to click here and drag or to indeed just use the slider. So the closer the circle gets to the edge of the main color wheel. That is the strength of the color, and then the outer circle here, if I drag that, that changes the actual hue, and you can see that moving on the slider just below. That's the way it works. As you can see, I have put color into the shadows in this gradient. However, on the far left, it's still black isn't it, and that's because it's difficult to put color into something that is black. However, if I raised the luminance, you'll see that I have now added that color into this area here. That's because I've lifted the luminance and instead of it being black, it's now gray. Let's move on to the highlights then, and I'm going to put some red into the highlights. There you go. I got a nice red color. Again, I can just do the same thing. I can drag this round and change that color. But let's leave it as red. Again, in the far right of this gradient, it's remained white, and that's because it's difficult to put color into white. Let's do the opposite then and drop the luminance. Now I'm tending it to more of a gray color, and that means the red can now be applied to that white area. I can now use the blending and balance sliders to fine tune exactly where I want those changes to be. Let's Move the balance sliider If I move it to the left, then I am making the darker colors more prominent. Now, of course, I've added blue to the darker colors, and you can now see that is the dominant color. If I drag the slider to the other side, I am making the lighter colors more dominant. You've got that balance and double click to get it back to the center, and then the blending, we can make that harsh or more gradual. In some cases, you may not use these particular sliders, but they do come in useful. Let's just add some color into the mid tones then I'm going to drag that up to green. So you can see, you've got total control of the colors in the shadows, highlights, and the mid tones, and you can blend them together and you can be really creative and almost create that cinematic look. Let's take a look then how that all works in a specific photograph. I'm going to try and make this photograph look more cinematic. I'm going to bring out the greens and the teal colors and then make it a bit more orange in the skin tones. And of course, I'm going to use the color grading option to do that. So let's start off then with the shadows. So I'm going to click on the little circle here to bring up the control wheel for the shadows and then have that choice of moving this particular point here or the hue slider. So either is fine. It's entirely up to you. Now do want a bit more saturation in there however it did, as you know, I can drag this to here, to put that saturation in or to reduce it, and I'm going to put it around about there the luminosity, I'm just going to brighten up slightly the darker areas in the shadows will indeed benefit from that color shift. So something round about there looks really good. You've got the little lill here so I can see what it looked like previously before I made the correction. That's a good starting point for the shadows. I'm happy with that. Let's take a look at the mid tones. And you can have fun doing this. You can experiment, as I say, and as you move the sort of wheel round or the point in the little sort of color wheel, you'll find yourself going backwards and forwards to make adjustments. I'm going to leave it round about about there for the mid tones then. So I've actually sort of added some yellow and If I took it too far into the red, you can see what's happening. It's almost override and what's happening in the shadows. So I'm going to leave it round about there. I think that looks rather good. And then the highlights, let's see what we can do here add that sort of reddish. So maybe round about there. Now, of course, I can make adjustments now to the blending and to the balance. Let's take a look at the balance then. Dragging it this way, I'm making the darker areas more prominent and they're taking control or to go to the other side. It's increasing the yellows and the reds. Again, you can play round with that and then that graduation between the two. I think roundabout there looks really good. Let's go back to the midtones and just have a little play with those. Maybe that's a bit too much, isn't it? Roundabout there should do it. Lastly, we can go to the global adjustment, which is the very end circle here, and we have again, huge luminans and saturation, so I could warm that image even more. Now of course, nothing's happened because I need to increase the saturation. So I can cool it or warm it. So maybe something ground about there looks really good. Now, the luminant I don't really want to play with the luminant in that particular case. I'm going to go back to the mid tones and just increase That looks a bit better, doesn't it? So it's a kind of little game you play, and trust me, a colorist would sit there with those track balls and would be spinning away until they're happy. And when you think about the amount of combinations of color and tonality, it's absolutely awesome. And the different effects and different results you're going to achieve, and it will vary every time you touch any of those color wheels. So let's say I'm happy with that. I'm just going to close that Okay. And then I'm just going to put a little bit of post crop vignette in there and let's kind of put it like that. Don't really want on your Honor's face. So yet kind of just add that little post crop vignette in there. Now, it's already got grain in it, but I might just put a little bit of extra grain in Okay. Let's see it before and after then. So I did start off looking like that. It's quite a cold image, isn't it, but after the color grade and it looks like that. Of course, it looks like it's still from a film. So I have fun with the color wheels. As I say, the results are endless. But it does give you that opportunity. It's an extra tool if you like to change the colors and the whole look of your photograph. Okay. I'll see you in the next module. 13. And Finally: So that brings us to the end of the class. And I really hope you've enjoyed it. And I'd really appreciate it if you could leave a little review because it gives other people or confidence to join the class. Also consider following me because Adobe often add new features and new tools to Light room. And of course, I will always update the class. So in this case it would be a par three. And when you do follow me, you'll be notified when that class arrives on Skillshare. If you do download any of the photographs and saws and try some of the mask and features. I would love to see your results and I'm sure other people would too. And don't forget any questions that you have. You're struggling on any part of Lightroom, just simply get in touch because I'm always available to help you out anywhere can. But the most important thing is take care of yourselves. Thanks so much for watching, and I'll catch up with you in the next class.