Adobe Lightroom Essentials Course

1. Intro to Lightroom Tutorial Training Course: Hi there, my name is Dan Scott... and together, you and me, are going to take your photos... and transform them into beautiful dynamic images using Adobe Lightroom. First up, who is this guy, what does he know? Well, I am an Adobe Certified Instructor... and I've been working as a professional retoucher... and a kind of creative professional for about 16 years now... kind of balancing professional work with teaching that whole time... I've won multiple Adobe teaching awards, and recently... I crossed over 1 million students for my online courses, like this one... let's talk about what's in the course. You'll learn best practices for white balance temperature and color correction... we'll unlock masking together... this will be a real turning point in the class... where we really get our images to flourish... we'll try and cover all types of photography, portrait, landscape... wedding, night, wild life, automotive, event, architectural, drone... travel, product, food, Dan, and dress up... what? That is totally a genre. You learn how to color grade like a professional, simple grades... and then we'll move into more distinctive powerful color grades... to make your images really pop... your retouch images, making skin smoother... eyes and teeth whiter, make hair, eyes, and lips stand out in portraits... need to remove parts from an image, no worries, Lightroom does this easily... do you have a video that needs color grading as well, boom... the same tools that we learn for photos can work for videos. We'll even learn when and how it's appropriate... to jump out to Adobe Photoshop... do you have noisy and grainy images, don't worry... after this course you'll know the tools and techniques used to remove it all... need to work fast, you'll learn how to find and how to use... the best presets, Luts, and profiles... editing is exciting for sure... but just as important is Lightroom's amazing organizational abilities... quickly sorting, comparing, searching, grading, and backing up your images. Now this course is aimed at people brand new... to photo editing and photography in general... we'll assume nothing and we'll start right at the beginning... and work our way through step by step... you might be using the biggest fanciest camera known to man... or you might be a photographer using your cell phone... that's mostly held together with sellotape... it doesn't matter, Lightroom is amazing for both. We'll be using the newer Lightroom CC in this course... not the older classic version... though most of the techniques will cross from one to the other... but we'll be focusing on Lightroom CC desktop. I set class projects throughout the course so that you can practice your skills... and develop your own unique images, ready for your portfolio. If you've never opened up Adobe Lightroom... or you've opened it and struggled a little bit... come with me, and together, you and me, will take your good images... and transform them into beautiful dynamic photographs using Adobe Lightroom... see you in class... and I promise that I will only use the words, make it pop... I think, 48 times in the course, promise, that's it... 49, including that one. 2. Getting Started With Lightroom Essentials Training Course: All right, getting started... first things first, is download the exercise files... so there will be a link on the screen here, you can download that... all the files that we use in this course, so do that first... in that same file there'll be a shortcut sheet... so kind of get that and print it off, and stick it next to your desk... and you can circle the ones that you use a lot. Make sure you got the software installed, if you haven't done that yet... and if you haven't signed up, there is a link here, it's an affiliate link... there is a discount for you and there is a commission for me, so we all win... also, just make sure you're downloading the Lightroom... Adobe just call it Adobe Lightroom... there is Adobe Classic or Lightroom Classic... not that one, get the Lightroom version. I talk really fast, I try to keep it slow for this... I talk normally a lot faster to my friends and poor family... but there is a code in the corner down here... a code?, a cog, you can click on that and change the speed to half speed... or if you-- some people think I talk too slow, that's weird... but you can speed me up as well... also things are changing fast in this particular software... Lightroom, this version of it is reasonably new for Adobe... so they're adding things all the time. If things do change have a look in the comments below the video... if it's just something simple I'll just write in there... or one of the other students will write in there... if it's a really big change I'll re-record it, just let me know... all right, that is it, getting started over... let's get into the course. 3. What Is Lightroom Compared to Classic Camera RAW Photoshop & Bridge: Hello, hey, this video we'll talk about what Lightroom is, who it's for... and how it compares to things like... Bridge, and Camera Raw, and Photoshop, Lightroom Classic... if any of those sound interesting as a topic... you're completely new to this world... then continue on... if you are like, "I know all that, just get on with the course"... that's okay, you can move on with the course... I won't be offended if you skip along. First up, let's talk about what Lightroom is... so let's start actually with who it's for, it's for photographers... beginning photography, super experienced photographers... they all use the same product... so that's what Lightroom is designed for... and what does it do? It organizes photographs and edits them... and then exports them, ready for either print, or sending to your client... so that's who it's for, and what it does. All right, first let's compare Photoshop with Lightroom... they do-- there's a lot of overlap... and in this course we'll do a bit of round tripping... where we go from Lightroom to Photoshop, to Lightroom... so it is handy to know both, you don't need to... the differences mainly are, the things that they do the same... they do basic retouching, the same... you know, fixing exposures, and your highlights, and colors... and doing all that sort of stuff can be done in either. You can work with raw images in both... because Photoshop has Camera Raw built in... so that's, that's where they overlap... where they're different, is Lightroom is a lot better at organizing... if you've ever opened stuff in Photoshop... and you're like, "I got to open my photo shoot that I did today... and I took a thousand photographs"... open in Photoshop, Photoshop melts... it wants to open a couple of photographs at a time... and it's designed to do that, and it has no way... of organizing any of your photographs. So you've shot them all, and they all say DSC14742... Photoshop's not going to really help with that, in bulk... so you need to open every individual image, do the edits and save them... and as a, say a Graphic Designer or a Web Designer... Photoshop's great, because you're only dealing with like the cream of the crop... the things the photographers finish with, or stock photography... so you just use Photoshop... but as a photographer you've got a thousand photographs... and what you might find is, you adjust one of them... and let's apply all the settings to all of the photographs... can we do that in Photoshop? No way... can you do it, you kind of can, you can do actions and weird stuff... and you can force Photoshop to do some of these things... but Lightroom just copy and paste all the settings... that I've made these adjustments for... on these thousand photographs, it goes, "Okie dokie"... so that's where it's really beneficial using something like Lightroom. So great for organizing, naming, and applying to bulk edits... great for retouching, where Photoshop is better... is when you get into things like masking... you can do some basic masking in Lightroom, that allows us-- we'll do it in the course... we can mask different areas to do adjustments... but say you want to clear cut somebody out, you want to cut me out of here... and put me onto a different background, and then, I don't know... graft and alien's head on top... compositions and montages, and collages... that's Photoshop's land. So often, as a photographer, you're not going to be making... every photograph into clear-cut alien head Dan... so it's a special kind of things, or special effects... that's where Photoshop is really great, and I'll show you that... we'll show you how to-- it's intended that... a lot of the licenses for buying Illustrator... sorry, Illustrator, that's completely different program... a lot of the licenses that you use to buy Lightroom... will actually combine Photoshop as well as a kind of package deal... because there are just some things that Photoshop are good for, clear cutting... adding text, and all that sort of stuff is Photoshop's throb... and Lightroom is the, doing great edits, getting everything looking great... doing it for lots of them, organizing your photographs. So yeah, there's a place for Photoshop, and it's not an and/or... if you're a Graphic Designer you often just use Photoshop... if you're a Lightroom, you know, if you're a photographer... you'll just use Lightroom... but if you're doing a bit of both, like me... I end up going between the two all of the time... let's talk about the two versions of Lightroom... why do they have two versions of Lightroom? I do not know... but they do, that, I do know... so there's Lightroom, which we're doing in this course... let's call it, they actually call it, I think, Photoshop Lightroom... even though-- I think they just threw Photoshop on there to give it a bit of... like, brand recognition, but we just refer to it as Lightroom... then there's Lightroom Classic, which is not the, like it's the old version... but it's still being supported, if you know what I mean... it's not like an ancient one that nobody looks at anymore... they just split it, they fork the program, and said... we want to do all this new stuff... and Lightroom Classic has become so full of amazing amounts of detail... and adjustments, but it's been built up so long over so much time... that they didn't want to say... "Hey, existing photography world, we're going to cut it down... because half of this stuff nobody uses"... probably, you know, only 1/8th of it actually gets used... and the rest of it is, is in there, and a couple of people use... but we don't want to, like forget those people, so here you go. We're going to keep supporting Classic... we're going to call it Classic, and we're going to keep supporting it... so you've got all of the switches and dials... and what they did was is... okay, let's remake this program to something a lot more usable... for the the person who, like... in Classic there is a hundred ways of doing the same thing... whereas Lightroom, there's two... so they kind of just went... "All right, there's new technology, this is what most people use... this is up to date, we're going to support that in Lightroom"... and it just makes it easier for somebody like me... who doesn't want to get into the super granular detail... or at least just once, one or two ways to get into the super granular detail... it's not a cut down version, they just give you-- they've just kind of removed some of the complexity... if you open Classic or Camera Raw, it's a little bit like, whoa... like, it's heavy going, like I'm pretty experienced and even then I'm like... "I don't know what all this does, I'm freaking out"... whereas Lightroom, I open it up, I'm like, "Ah" ... like you can get a handle on everything... be able to do everything, so that's, that's why there's two versions... they supported the industry, they didn't want to alienate them... and continue Classic... but Lightroom, the one we're going to do in this course is the... is the one where, it's using a few more... it's got all the good stuff that you need for kind of traditional photography... they're introducing a kind of bunch of AI... and some other cool stuff that we'll do in the course... which is pretty exciting for me. Let's have a quick little look at... some of the things that get people confused about Classic versus Lightroom... so let me quickly jump on the screens, over here, clearly, I'm pointing. So these are the two different bits of software here, compared on the Adobe site... I feel like it's just really interesting to know what both of them do... so you can make informed decisions... there's a lot of stuff online with like... "Oh, you have to use Classic," or "You've got to use this one here"... you can use either... neither tool will make you a better photographer... neither will the camera or the lens... it's about experience, and like, there's way-- I prefer Lightroom but there are way better photographers... with way better shots that work in Classic, than me. So it's not really down to the tools... but let's cover what the differences are between these two... so the main difference for me is these... down at Ease of use, Most comprehensive, and Intuitive, and Streamlined... so you're not missing out on anything in Lightroom... there's just like one or two ways of doing stuff... rather than the 10 or 20 ways of doing stuff in here. So there's just stuff that people prefer to use... and they'll stay with Classic, because they have work flows... that work better in Classic, or they don't particularly want to use... the cut down version in Lightroom, and cut down is the wrong word... just, they've chosen the best options, you get what I mean. So let's have a look at here, some of these, like... Desktop only is the classic, kind of like a traditional way of photo editing... you save everything on your hard drive... this one here has the same desktop version... that's what we're going to focus on in this course... but there's also a Mobile and Web version... you can access and organize your photographs, do editing... these are a little bit more cut down than the desktop version... there's only so much you can do on your mobile phone and through a website... but they're updating those all the time. We're going to focus on this course, mainly on Desktop... we'll jump into Mobile and Web towards the end... but we're going to focus on this, so, there they're pretty comparable... this one here, where are the originals? This one sometimes gets a little bit freaked out... is that this one here is on your hard drive, like, you know and love... and you've got a big storage drive, and you've got them there... and you own them, and they're all sitting there... this one here says Cloud, what, first put me off... it's like, I don't want them all in the Cloud... I don't want them on my hard drive as well... you can do that, there's an option here that I'll show you, to say... and also on local hard drive, so you can have both, best of both worlds... but the nice thing about having Cloud option here... is that the files are backed up automatically to the Cloud... you're given a chunk of storage through this version here... and they'll just automatically get backed up... whereas in this one here you'll probably still use backup... for, you'll probably use Dropbox or Google Drive... or OneDrive, or whatever you're using to do file backup... just a little bit more manual, whereas this is just kind of all built in. Ease of use, we've talked about... this one here is a really cool feature, doesn't seem like much... but Organizing and photo search... this one here, you have to kind of start tagging things yourself... with keywords, when it was done, whereas this one here has some... I like to say AI machine learning together... because I don't really know the difference... Adobe calls it Adobe Sensei, which is pretty sweet... but basically it does really cool things... where they're leveraging some more of this AI/machine learning... and to do things like image searches... you might have done it on your phone before... some of them starting to do them, some don't... but I can do things like find pictures of Daniel Scott... and it will go through all my images that I've shot, and just find me... or it'll say, you can say, I want to find a red car, with a blue sky... and it will go through and find red cars, but only if there's a blue sky... or you put it in a location, even though they might not have been Geo tagged... AI learning starts to do cool stuff... about knowing what things are, and what they look like... and that's getting better and better, and one of the cool perks for Lightroom. Okay, Lightroom Classic, awesome, Lightroom, also awesome... we're going to be focusing on Lightroom in this course... a lot of things will translate back and forth... so if you do learn Lightroom... Lightroom classic won't be a particularly hard challenge to get into... but neither will make you a better photographer... practice, experience, those things will... and that's what we're going to do in this course... practice, get some experience, get better, all right, next one. So let's talk about the difference between... Adobe Lightroom, and Adobe Bridge, and Camera Raw as a combo... so a lot of people will use those too as a photographer instead of Lightroom... basically Camera Raw will take your raw photographs and do your editing... and Bridge does the organization... whereas Lightroom does those two things together... there's no reason why you can't use Camera Raw and Bridge together... there's nothing wrong with it, loads of people do... but Lightroom isn't all in one... and if you're new, especially, Camera Raw, can be quite daunting... like, you know, like Classic is, Lightroom Classic... there's a lot of ways of doing stuff... it gets into, there's a lot of options to do the same thing... whereas Lightroom, they've cut it down a bit. You can still do all the same stuff, you just don't have... so many dials and so many different switches to go and do, to get to the... you know, get to the result that you want... and Bridge is great for organizing stuff... but it's kind of designed for not just photographers, but videographers... and all sorts of other use cases for Bridge. So it does a-- there's again a lot of depth to that program... for organizing stuff, and it does great things... but Lightroom is geared for photographers... and does some of the kind of Camera Raw photography stuff... a lot faster than Bridge does... in some cases, on some computers. So there'll be people out there waving their hands at me, "No, it doesn't"... but yeah, Lightroom is... especially the Lightroom version is really good at organizing... and kind of doing bulk edits... whereas Camera Raw and Bridge together... can add a little bit of extra complexity... so if you're new, yeah, do Lightroom, because it combines the two... if you know somebody doing Camera Raw plus Bridge, works perfect... just a little bit more extra work, potentially... those are those ones, yeah, Camera Raw, Bridge, versus Lightroom. 4. Compete Run Through of Lightroom Process: Hello, hey, this video what we're going to do is... a kind of a complete walk through of, like a typical process in Lightroom... we're going to take this image here... and we'll transform it into this one... so what I want to do here is kind of a typical workflow from... importing images, organizing them, doing some color correction... doing some color grading and editing, and then exporting them... because I want to do that all quickly now, so you get an idea of like... "Ah, this is what Lightroom does in all its different parts"... because I don't want you to get in later in the course, and going... "Ah, that's how it all goes together," I want to do that in this video... trouble is, I'm going to do it quite quickly, not be, go into too much detail... I'm just going to show you how I do stuff, we're going to do it together... so we're going to do something together... yeah, the rest of this course is going to break out all these different things... like color correction, organization, color grading... I'm not sure why I'm doing this with my hands... exporting in more detail... but for now I just want to give you a quick little run through... get excited, see how it all works, and then... we'll work through kind of more step by step with the course... all right, so let's jump into the computer, and Lightroom. All right, so first up, open up Adobe Lightroom... and there's going to be lots of like welcoming, and tutorials and stuff... so skip all of that because that's, that's my job... you might have used Lightroom before... regardless, what we need to do is get to this little panel here... so you can open and close it, if it's not already open here... it's called the Photos tab... and we're going to go to 'Add Photos '... we're going to go to browse, 'Browse'... and what we're going to need to do... is we're going to say... I would like to find the 'Exercise Files' that I've downloaded... and let's go to '01 Datsun', open that up, and I'm going to select all of these... so I can drag across them all you can 'Shift' click them all... select all of the images in this folder here and go, 'Review for Import'. One thing to note when you are bringing something in, just make sure... at the moment we're going to create a new album, going to call it 'Datsun'... I'm just going to group them up together... if you've already got lots of stuff in Lightroom... we're going to talk about, obviously albums, later on in the course... but just a way of grouping our images, call it Datsun, let's click 'Create'... let's go to add these six photos... and down here there's our album, let's click on the 'Datsun' album. All right, this is my little weekend car, little Nissan, or Datsun Bluebird... I had it off the road for a little while... got it back on the road yesterday, I was like... you know what, I'll take photos of it, in a car park... and it'll be the subject matter for this video... so depending on your Lightroom and your screen size... down here you can drag up the sizes bigger or smaller... can you see this little slider, just makes our thumbnails bigger, drag it up... I'm on this first option here, be on this view if you want to... just so I can see them all, and what we're going to do is just real basic... like or disliking of the images. So this one here, with it selected... can you see this little white box goes around it... I'm going to say, you are a-- do I like you, are you a 4-star?... are you, like that one there I don't really like, 3-stars... this one here, I do like the depth of it, 5-stars even... these two here, don't like the composition of this one... but I like this, kind of part of the-- maybe we can crop into this one... this one here I do like, 5-stars... any that I haven't numbered, 4, this one here, 4... so you can do some basic grading at the beginning... just by selecting on them, and yeah... choosing your stars down the bottom here, very exciting. All right, so you do the same, go through and grade the ones... that you like, you don't like, or at least the ones you like the most... even if you don't like any of them... then what we can do is, imagine this is like... a thousand photographs or a hundred photographs... not just-- I've just kept the file size small here, we just got six... and up here, under Filters, we can say, actually, show me the ones that are 5-star. We can start working on just these ones, potentially... you might just grab both of these and say... actually, let's just export these as a JPEG... we can send them to the client, go, "Hey, what do you think of these ones?"... before you start doing your editing. What I'm going to do is, up here I'm going to clear the filtering ... click on, that actually, just closes it... you can say, "I don't want the ones that are 5-star or above"... come out of there, make sure you're still under your Albums, and under Datsun... and the one we're going to edit in this one is this... even though this one only got 4-star... I've already written my notes, and it's all around this one. So to get into this one and start editing it you can either just double click it... or switch from this Grid mode over to the Detail mode... 'Detail', what do I call that one, 'Photo Grid'... so let's just double click it, it gets really big... you can see down the bottom here, here's the rest of them... and you can still work through them... but we're going to work on this first image here, so I have that one open. now what we're going to do is kind of two parts of the editing... first of all we do correction, so it's going to fix it... because it's really, underexposed at the moment, and, you know that... it's hard, the sky nor the car are in a good space... but we can fix that while we're here in Lightroom... once we get it kind of, you know, fixed, looking natural... then we'll go through and add the color grading and the effects afterwards... which is not always what you're going to do, maybe just fixing them... but we'll go through the whole process here. So I'm going to go through a really common process... I'll leave out any of the really difficult stuff... because we'll do that later in the course, but let's go through a nice easy edit... and what you want to do, this is your editing options here, click on this one... and the cool thing about Lightroom... is that they've organized them basically in an... like an order of what you should probably do first... so when you're new, start with Light, work with Color, work with Effects... and then get into these other ones later on, if you need to... often, you don't have to get into these last ones, which is really cool... they've put them in a consistent order. The other nice thing is, under Light, they've put in the most important... all the way through to the least important at the bottom... and actually, least important, is not the right terminology... it's more to do with like, which you do first and which do you do last... which are the big tweaks, and which are the little ones... and the first big tweak is, not even a tweak... what I like to do is grab the exposure and just move it down and up... what you will find is, there's going to be lots of pop-ups everywhere... trying to get you to do stuff, you're going to have to try and skip that... if you are new to Lightroom... back to this, a lot of closing pop-ups... but for the moment, like the first thing I do on any image... is just drag this all the way down and all the way up... what I'm looking for here is, I'm not trying to correct it... I'm just looking to see what information is here, watch this... so this is it, in the middle, if I drag it all the way up... can you start to see, like in the middle... check out, like the information above this wheel here, it's gone... there's nothing in there, it's all black... except, when I drag the exposure up, look at that... there's plenty of information in there, I don't want it... because there's an ugly old power box for the, for the aerial... I don't want to see that, but that information is there... I can see through the grill here, through the radiator fans... there's all sorts of information, that particularly I don't want.... but there will be some images where you're like... "Oh, look at all that stuff in there, it's awesome"... I'm going to get that out, same with coming down here, let's have a look... can you see all this, really cool detail, all the LEDs, in the headlights... look at these tiny little LEDs in here... with it back up here it looks like kind of one big smoosh... I click once to zoom in... we're going to do our first shortcut... which is 'Command' on a Mac, 'Ctrl' on a PC, and hit '+', let go... and you should get your little hand here that you can click and drag around... if you don't get it, tap 'spacebar'... spacebar kind of toggles between the two... and can you see in here, I've zoomed in enough... they all look like they've blurred together... but if I do the exposure right down... look, they start, oh, all this individual information in there... look at that good stuff, ah, Bluebird... that gives me a kind of a good indication... of like what information is available... before I start correcting, or fixing, or editing. What we're going to do is go back to 'Fit'... see down the bottom here, let's click 'Fit'... and that was it, that's all I do, give it a shake to see what's in there... because sometimes, look at the clouds, there's loads of cool stuff in there... but here, it all looks like it's all overexposed, so that's my first step. The next little shortcut I'm going to show you... is double clicking these little guys here... if you wanted to get back to 0, and fit it in this... oh, come on, come on, come on, get to 0, too far... just double click them, they go back to where they started. So the first thing I do now is, one of two things... I fix the exposure, or under Color, I fix the Temperature & Tint... depending on-- it's called the White Balance... depending on which is worse, the white balance is not bad in here... the camera shot it okay, and it's not too, like here, it's not too blue... and it's not too orange... so remember, double click it to get it back to where it was... so I'm not worried about that, so it's either that-- because sometimes it's really way out... and there's no point fixing... like going through and fixing all these finer details... when this thing is like completely... like shot at the wrong white balance, or something just weird happened... I fix either temperature & tint first to get the white balance right... or I fix the exposure depending on what's worse... and in this case it's the exposure, it's dark, the car is really dark... and the sky is, yeah, not good either. So we're going to work in Light... what I like to do, and what you'll see in this course is-- I'll close these up, you can have them all open, it just gets a bit scary... you're like, "So much information"... so what I like to do is just close them up... and-- I do it when I'm working professionally as well... like, it's not like, I like to keep them closed... so we're going to start with Light, and the cool thing about it is... you just work your way through all of these... and if you hover above the names it'll tell you what they do... but basically, don't worry too much about the definition... if you're a photographer you probably know... Exposure, Contrast, and a few of these, I'll explain them more in the course... but when you're editing what you're doing is you're, click, holding on this one... and not so much looking at... oh, you know how much exposure am I going to go over... all right, we're going to go up 1 or 1.2... what we're doing is just dragging and looking at the image... not caring where it ends up... and what I find is, especially when somebody's new, they're like... just dragging in, they're looking, they're dragging and looking... what you want to do is, don't be afraid to give it a good old jiggle around... and what I do is I'll juggle it, quite big... moving my mouse back, I'm looking at my image... and what I'm doing is, I'm just trying to find... where I feel like the middle ground is for this thing... and another good tip is, don't worry about trying to fix everything... I've picked an image where we can kind of fix everything... this guy and the car in one shot.... just to make this, this introduction easier... but later in the course what I'll do is... you know, there'll be a really over saturated sky... or, you know, over exposed sky, and under exposed... you know, focus subject... there'd be night shots where we've got to break those up... but for the moment what you want to do, just identify the most important thing... it might be the foreground of a landscape image... it might be the object or the model, in our case it's the car here... don't worry about the sky, don't be trying to fix that at the same time... that can be fixed separately... and what I'm doing here is, again, not trying to fix it all... just trying to get some sort of happy medium of where I want it to be... and you're like, "Well, how do I know if it's better or worse?" You can use the long way, see this button down here, before, after... just give it a click, and what you'll find is a really handy shortcut... if you've printed out your shortcut sheets... you'll see it there, at the top, there is the backslash, '\' key... your backslash key, if I hover above it... this one here, can you see, this says, Show Original... so if you are looking for the shortcuts for something you do all the time... can you see, there's a forward slash, '/' and a backslash, '\'... make sure you're using the backslash... can you see, the back one leans back... you got it ... so before, after, you're going to be hitting that button all the time. So start with exposure, then just work your way through... again, with contrast, now contrast is an interesting one... basically, there is a basic rule, it could be just my rule... is move it up a little bit... 10, 20, it just looks nicer, in my opinion... everything needs a little bit of contrast... especially if you're shooting raw images over jpeg... if you're not sure what that is we'll cover that later in the course as well... but often, contrast, just drag it up a little... it looks better with a bit more contrast, again, use our '\'... Highlights, again, we'll explain these in a bit more detail... but just work back, highlights is kind of, not quite white... but close to white, you're adjusting those... so a lot of the clouds, a lot of their sparkles in here... that's what we're going to be doing. So dragging it along, yeah, there's not much to do in this particular image... I want to get a bit of the sky back... but I know, later on, there's going to be a better way to get it... so I'm going to kind of just get it, remember, forgetting about the sky... just looking at the car, because we can get the sky separately... there's not a lot to do here... and I had no idea where it was, I was just dragging it back and forth... and I left it at -24, you might leave it at 0. Shadows, let's go... quite a lot of work to do in here... what do I want to do? I want this kind of compromise of... seeing some of the details of the wheels without seeing my dirty inner wheel base... so, funny, I left it at -5, it might as well be 0... because I haven't done a whole lot... so I'm going here, here, here... yeah, we don't need that, -9... cool, that's consistent, works... again, I'm not trying to fix the clouds, I'm trying to fix the car... and moving the whites, the whites are kind of like pure parts... highlights are kind of everything that's in the lightish space... whites are the pure whites, let's just go, you... I like this contrast that appears in here... against the, the useless wing mirror... let's look at the blacks... quite a bit of work to do down here in the foreground... well, it just, it can control light of it... remember, we're not worrying about the ground... so much worrying about the subject, the car... and I feel like there's, making the absolute blacks a bit blacker... is what I want to do... '\', on, '\', off, '\', on, off, on, off, on, off... better, worse? Now I'm going to be honest, I always over edit my images... subtlety is not something I'm good at, I like to... like bam, look, I'm here, I've done something awesome... ask me who edited this... whereas there'll be a lot of you out there who'd be like... wanting to capture it great, any camera and just doing subtle tweaks... and there's, just that something to know about me... if I say, always drag up contrast, you might decide that... you do not always drag up contrast... you might be dragging it down, Dan is an over editor. All right, the next one that I do a little bit of work in for correction is color... and this will depend on your image, ours is not too bad... under Color, the white balance here... and depending on your image, mine doesn't need a lot of work, it seems to be okay... drag these left and right, like do I want to do warmer or cooler... double click it to reset it... does it need to be more green or more magenta? I don't like either of those, I'm just going to double click it and leave it... but that's something you might have to do... the other thing as part of my process is Vibrance... vibrance just bumps up the color a little bit, like too far... and I always move it up a little bit... remember Dan, the over editor though... so just a little bit of vibrance, I don't touch Saturation... what I do touch is this thing here, Color Mixer... so this is where you can go through and say, actually, the reds in this image... I want them to be more saturated or less saturated... and you can just pick a couple of colors, especially if it's landscape... it might be the greens, yellows... in my case the focal, you know, the focal point is this red color... so I'm going to grab the reds and say, just be a bit more saturated... and the luminance might be up or down a bit, depending on what we want to do... here we go, '\', on, '\', off... what you can do... is backslash turns every bit of editing on and every bit of editing off... what you can do is, see these eyeballs... you can say, just the color on, you hold it down, click and hold... that's the color changes that I made, so subtle... you might not think so... and you can work on the light, just the color... you know, just the light changes leaving the color alone... so just a way of individually turning these little adjustment bits off. So what I'd like to do is, probably the greens... I don't want them in this image, just want to pull them back... it's not part of the focus of this image... they can stay there, but the greens can be, lower the saturation... and often, that's it for kind of correcting images... getting it as good as it can be... '\', on, '\', off or remember, you can toggle it down here... you know, fixing images, that is color correction... and that's kind of the most of the work that I do... grab Exposure, check what you've got, see what's in there... what's actually available to dig out, and have a look at... and then just work your way through, contrast, up a little bit... highlights, shadows, whites and blacks are all... very individual for the image, and your tastes... but just work your way through those... and then, under Color... make sure your Temperature & Tint are something that you like... Vibrance, up a little bit... and potentially for some little tweaks go into the Color Mixer... pick the colors that you want to adjust... and either change the hue of them, the saturation or the luminance... and get it to a point where you're happy. Now we haven't added any, like really specific... you know, grading, or effects, like you saw at the beginning there... we'll do that next, but often, sometimes you're doing this to this sort of point... and what the next step for this, which will be later in the course... will be masking out the sky and working on that separately... that's a bit advanced for this earlier in the course.... we're just doing a quick run through here... but Color Correction is boring, let's do Color Grading... and that's where this Effects panel and a bit of color comes in. Now in terms of order, these aren't particularly in any order... maybe it's just me, like the first thing I do for anything... video, photograph, vignette... drag it to the left, job done... you know, generations of photographers spend time... trying to remove vignette from lenses... and the first thing I do is go and do it... because I feel like I draw the eye to the center... drag it to the right, it becomes white... I'm not sure why you'd want to do that, you might love it... but a vignette, and again, I overuse vignettes, just do, all the time. So remember, you can turn the eyeball off on effects... on, just click and hold it down... and decide whether you're into it or not, I love a good vignette... and then the next one is Dehaze, Dehaze comes with great responsibility... this is like Lens Flare from Photoshop, shouldn't add it to every single image... but you're going to, because it's so awesome... watch this, Dehaze Left or Right... it's meant to be used for skies, or for, like mist or haze... that's why it's called Dehaze... but it just looks good for everything, we're going to drag it up... it's obviously crazy, but look how cool that makes things look... you might be shaking your head... but just a little bit of dehaze, look at this, oh... on, off, on, off, oh... especially in the sky, watch this... I'll turn it all the way up just to see the sky... look what it's done here in the sky... dehaze the sky, look at what it was before, look what it is now... so much cool stuff in there. So obviously too far, what I have to do with myself... is go, "Oh, that looks really cool"... and when I'm really happy with it, go back a little bit... so Dehaze is a lovely way of kind of exaggerating some of the effects in here... we won't go too-- we'll go to it in bit of a detail later on... oh, I want to go through so much more here in this video... but we're kind of just leaping into the course, not explaining too much... we've done enough, we've done color correction... so kind of got it to a nice point... then dumped into the effects... and I want to jump into it all and just start editing this forever... but I feel like it's a good enough point, we've added some effects to it... actually, one last thing I want to do, can't stand the blue in the sky... so I'm going to my 'Color', 'Color Mixer', blues, don't be so saturated... not all the way down... but just something more believable than that crazy thing that the dehaze did. Okay, one last thing, can't help myself... Color, Color Grading, Shadows towards the teal, highlights towards the orange... before, after, before, after, I love that effect... anyway, we'll cover it properly in the course... amongst a load of different options and styles... what I want to show you now, is the real power of Lightroom... because we've done this correction and grading... and what we can do down here in my film strip now, I can click on this one... and I can go to 'Edit', and go to 'Copy', I can go back to my film strip... see down here, little icon, and say, you... actually, let's open up this one and go 'Edit', 'Paste', get ready... mind blown, automatic vignetting... and all the corrections from that last image came along. So often photo shoots are all done... at the same place, same lens, similar lighting conditions... you can go through and just dump them onto all of them... once you're happy with them... or at least your client's happy with them... I'm going to go back to the grid here... remember, I've got mine quite big so you can see them all... so I can select on this, hold 'Shift'... click on this last one to select them all... and you're like, "He's going to," yes, he is... look at this, paste all of them, watch them all change... look at that, that tealy orange goodness... that is Lightroom superpower... double click on it to get into Detail view... '\' on, off, oh, very exciting... then you go back to here and you say, all of you... go back to my Grid, select all of them and say... give me a large jpeg to send out... man, I love Lightroom, and that tiny little car... but for now it's class project time... let's get you set up for that in the next video. 5. Class Project 01 - Reckless Blind Editing: All right, it is not homework time... it is fun class projects set by your teacher, they're very different... so I'm going to do class projects throughout this course... it's going to be one of many, you can choose to do them, you don't have to... the goal is to put what you've learned into practice... now at this stage, what have you learned... "Very little, Dan, you didn't explain it very well"... so we're going to call this one reckless blind editing... because I give you permission to do it terribly. I've added a few extra little things there, but yeah... it is about picking up what you have... from that last kind of session we did together... and just giving it your best or worst shot... you have permission to be new at it. I want you to do a couple of things, three things... I want you to pick a photo... actually one, two, three, four things, four bullet points, Dan... so pick your own image, your own image, or, there you go... or something from a free website... I've given you some websites to get photography from... particularly raw format photographs... if you're unsure what that is we'll do that in a bit... so you just pick jpegs if you like, so something of your own... or something from one of these websites... they change quite a bit, so one of these might not work... that's why I've got only four of them, grab an image... I want you to do two things... correct the photograph and then grade the photograph... so correcting, remember, is getting the contrast right, the exposure right... getting the highlights and darks, getting that kind of... like spending a lot of time in this Tone panel, over here... so under the Light panel, sorry, and maybe touching it up in the Color panel... and getting it right, and then-- or getting it how you feel is right... and then saving it out as a small jpeg... so that is in the top here, click on this... and be-- you know, export for a small jpeg. The next step is, I want you to grade the photograph... so grading, or adding effects to it, is giving it a theme... like you don't have to go down the... like Batman Gotham City vibe that I did in the last one... because that's what I do on all my images... you can do anything you want, or nothing, don't put too much pressure on... like getting a style right, we'll go through this course. I'll show you how to do all that different styles... you'll find a bit of your own technique... but for the moment this is the reckless blind editing... so just get in there and get stuck in... so correct the photo, grade the photo... and if you're doing the course upload it to the Assignment section... or the Comments, or the Projects, depending on where you're doing this... just love to see what you're up to... if you use the hashtag starting lightroom, that gives you permission... you can even write it in your comment, like, "Hey, my first ever edit"... because it can be tricky when you are sharing creative work... but if you add this, and just explain, "It's my first ever edit... hey, I'd love some feedback," especially if you share it... with these Instagram groups for bringyourownlaptop, Instagram groups... all the groups, there's a great Facebook group, as well as Instagram... there's Twitter, and Linkedin... whatever is your kind of like home on social media... tag me, share it in the group... it's a great place if you are new to anything... especially in the creative industry... to share work without it being kind of like... "Hey, that's not even that good," it's not meant to, you're getting started. So use that hashtag as well, so people know... and it's great to actually have that online because it's brave and scary... and do it, but it's also great to go back to... when you are a bit more experienced, and go, "Ha... look at that guy," or girl, and say-- it's embarrassing at the time when you're just learning... I know it, you're like, you make something, and you want to burn it afterwards... it's like, "I want to be better, and I don't want to share this... because I don't want to be judged on this version"... but your future self will look back and go... "Man, I wish I had that, copy of that first ever edit that I did"... or, I don't know, "composition, or thing I made." People have a tendency of abandoning them... because they're like, I don't know, embarrassed by them... but if we get started sharing them now... you'll be able to go back to them later on... and especially in these sorts of groups here... Instagram, Facebook, Twitter, LinkedIn... these are great places to share it... because it's full of other people on the same sort of journey. So grab an image, either your own, or for one of these sites... correct it, save it, grade it, save it, and then upload it... to the Assignments and/or social media, tag me... and we'll keep doing all the different edits... and class projects throughout the course... and we'll see your progression, it'll be fun, we'll do it together... all right, video over, we'll see you in the next one. 6. What Is a Raw Photo in Lightroom: Hi, hey, lets talk about RAW format images... if you are experienced, and know what RAW format is... you can skip along, that's okay... but if you have never heard of it... or a little bit unclear why RAW is so important... stick around, let's explore it in this video with some examples. All right, RAW versus JPEG... RAW's evil twin is JPEG, there's nothing wrong with a JPEG... and often people will shoot both, so let's talk about the differences... in the real world, you'll have lots of information coming in... like there's lots of tone, color, and... and all sorts of information that your camera can absorb through the sensor... way more than it can put into the little rectangle is your image... so covering loads of it, and that's what you're doing... you're adjusting all the settings to see... what of that information you want to keep, and what you want to throw away... and that's what you do when you hit 'Click' on a JPEG... you decide, you make a decision on the color, the exposure... the lights, and darks, the highlights, what you're going to do... like this image here, if I go, if I make this video... you can shoot raw video as well, so if I make this super dark, or super light... I probably want it somewhere in the middle, like this... so you make those decisions, you take a snapshot... and that's great, you got it, you're done... what RAW does, is it actually captures more... information than that little rectangle can... you know, that you can see on that rectangle, like going back in time... you can-- your raw image, you go... actually, I want to change my exposure, want to make it darker, or lighter... or somewhere in between, or mask parts out... mask me out so that the background's darker, and the foreground is lighter. So it gives you more information to work with... can only ever see the one rectangle, but you can kind of go forwards and back... and find the parts you want, kind of exaggerate different parts... so that is-- is that a good example of what a RAW-- let's just-- I'll show you in Lightroom... I'll show you some good and bad examples of RAW versus JPEG... so you can play along, I'm in Lightroom... I'm going to open up Photos tab, add some photos... and what you'll see is, in your Exercise Files there is a RAW folder, 02 RAW... and I want to bring in everything from this folder... and what you might notice is that there's actually only two images... a JPEG and a RAW version of it... same photograph, you got two formats, you're like, "I can see JPEG"... that's not RAW, that's mixed up RAW, A-R-W. Every camera manufacturer actually has a different extension for them... it's not a generic one... the generic one is DNG, for a digital negative... it is still a RAW file, they're just called something different... Nikon like have NEF, for a Nikon raw file... clearly that is Sony, ARW, Canon have like... CRW, CR2, and CR3... so you'll get used to whatever your camera raw file is... will be right next to the JPEG... there'll be something, I'm going to bring in all four of those... I'm going to bring it into an album, going to put it into a None album... just going to dump ours into Lightroom, and, depending on yours... it will probably default to, show me all photos that have been put in just now... or you can see all the photos that are in Lightroom. I'm going to look at the ones just now to tidy it up, just got these two... these two, these are really good examples, so there's my JPEG, and there's my ARW... so let's open up that ARW version, the raw file, double click it... and I'm going to go to my Settings... and all I'm going to do is drag the exposure... you're like, "It's a cool shot, I love it"... but let's just say you want to go back in time, and you're like... actually, I want to bring in some of the-- look, surprise... loads of information that was potentially lost... it is all in and around here... but let's do the same thing for the JPEG, so down the film stroke... you can't see the film stroke, click on this, go to the JPEG version... how do you it's the JPEG version... because we've started on the raw folder yet... it's not super easy, you can go to the information option down here... that's the JPEG version, that my friend, is the RAW version... JPEG, RAW, can you see it there? That is the Eyeball there, I'm going to go back to editing... I'm going back to this first one... I'm going to say, do the same thing with my JPEG... no problem, look, here it comes, here it-- oh... it's there, but it's not just not as good... it's just not as much information captured... JPEGs, you'll get away with a lot of it... and you can do some amazing things... just with the JPEG, you can make some adjustments... it's the big adjustments that you might want to do... you just can't do in JPEG format, you need RAW... same with this one, which is which? I'm going to hit my little Eye down here, so it's the JPEGs first... and my RAW file is second... so I'm going to start with my RAW file... I'm going to say, 'Edit', 'Exposure', I'm all the way up... I'm not fixing that photograph, but I'm like, "Hey, look at all of that"... some ugly looking cars down there... something you probably don't want there, but hey... let's say we do, we need the ugly looking cars, I can drag it all the way up... and I'm going to click on this same one, JPEG, it's the same size... dimensionally, it's the same quality shot... there's just not as much information in there... and you're like, "That looks all right, what's wrong with it," same, same. Let's have a little look at comparing the two... so we'll do cavemen compare, let's zoom in... so we've learned the shortcut, 'Command +', or 'Ctrl +' on a PC... so do that a few times, a few times... I did it about four, you get the tricks, four or five... and then, nothing selected, just click and drag this little hand... and let's find, I don't know, some bits... let's look at this building here, and bit of the trees... and if I just click on this other, the RAW version... it will kind of comparably go to the same place, let's be clear that way... look at all the information in here, it takes a little while to process... so away, but you can see all of this, there's no color, there's no real tone... it's still grainy because it's, you know, you can't go back and change the ISO... but look at all the information that it did capture... amongst the trees and the cars, these are the cars that we definitely need... and they're actually right... look at the Audi badge, let's have a look at that... it's just the smoosh, JPEG format. So you don't always need it, but it's handy to have... and if you can shoot it, shoot them raw, awesome... even there, shooting raw and JPEGs, you'll find most cameras shoot both... so that if you just want to go quick and easy... and just use JPEGs, awesome, you got it... but if there's that one photograph, you're like... "Oh, I wish I could get into those"... you know, into the bushes a bit better... or see some of the internal parts of the image... look at that versus this one, uh, ah. 7. Navigating Lightroom Is Kinda Weird: Welcome back, this video we're going to talk about... the weirdness of navigating Lightroom... it's a little bit strange compared to... other creative programs or any other program... it's got its own little way of doing things, they get easy as you use it... by the end of this course you will master it... let's go through some of the interesting things that it does. First up, make sure you can see loads of stuff... if you can't, go back up to here, and say, 'All Photographs', please... just to see everything you've got so far, and let's look at the first one... let's open up an image, any image... I'm going to pick a dove chick... and I just double click it to open it... you can double click it to go back to Grid view... double click it to open it, double click to go in, double click, you got it... double clicking, now zooming in and out, now there is a couple of ways... the boring way, Fit is just going to try and squeeze it into your screen... and then 100% is like as good as the pixels can be... any more, if you zoom in twice as much... you'll start to see a lot more details, but you'll start to see some of the pixels. So this is the boring way, zoom in and out... we don't want the boring way, we want the good way... so I've gone back to Fit, and let's do it the fancy way... the way I do it is... I hold down my 'Command' key on a Mac, 'Ctrl' key on a PC... and just drag around something, so give that a go... 'Command' key on a Mac, just hold it down, 'Ctrl' key on a PC... and just drag around something, and you're in... to get back to Fit, the default is, Always Fit, hit 'spacebar'... it kind of just toggles between where you were... back to Fit, it's just really handy... if you're kind of like-- remember, hold down 'Command' key, 'Ctrl' key on a PC... drag around something really detailed... and you're like, "Oh yeah, that's great, great"... but you're making changes, making editing changes... but you want to see what it's doing to everything as well... so 'spacebar', toggle in, toggle out, toggle in, toggle out... you get the idea, that's the way I do it... If you are not quite a shortcut person there is... there's about 10 different ways, I'm just going to give you two... you pick one for the rest of the course. So we're going to go 'spacebar', back to 'Fit'... remember, my Command or Ctrl key is one way... the other way is just to click hold for a little bit... can you see the cursor change... so click hold for a little bit and then just drag right or left... right or left, up to you, same thing happens though... once you've let go spacebar, back to where you were... 'spacebar', back in, there you go. There are other ways of doing it as well... if you find another way and you're like, "Huh, that's the way for me"... good, and congratulations... one of the many ways of zooming, took me a little while to get used to it... so spacebar, come all the way out. The next thing I want to show you is... well actually, just to mention, the hand only appears when you're zoomed in... you see that, like I didn't do anything... I just hit space bar to get back to my old zoom level... or let's go to the caveman way, let's go zoom in to 400%... so you see, the hand appears, just appears all by itself... it's best about to get back out to Fit. Another thing we have talked about is Grid view versus Detail view... so we're in Detail view now, hit 'G' on your keyboard... go back to Grid, so G and D, look at your keyboard now... look down there, look at that D, and there's a space... and there's a G probably, I don't know what language your keyboard's in... but what's in between? F, wonder what happens when we hit that one... hit that one, go... you have to have something selected, hopefully, we're at full screen. This is handy when you are doing that, like, have I made it better or worse... like I often hit F to go full screen and then I slide back off, way back here... and I'm like, "Oh, looks terrible, what have I done?," or, "I'm a genius"... so slide back in here, so F is just a nice way... of kind of looking at the entire screen all together... back to D or G, gets you back to kind of this, you know, these different ones... so here you go. They're all down here, if you want the long way, there's two grids... so if you tap G twice you get this one, which I quite like... or the other one, which is more rectangles... and gives you a bit more information, both are useful, D and F... look at them, right next to each other on the keyboard... it won't go from F to D, will it, F to D? It won't, how about that? All right, so those are our settings, kind of for different views... one thing you can do is, see this film strip down the bottom here... sometimes it's really nice to see it, sometimes it's just a bit distracting... so let's say we're working on this image here... and actually we don't want to see this film strip... you can just pop it in down here... see this little option, just collapses it down. up, down, up, down, you can still do your edits... but sometimes it's not really helpful to see, sometimes it is... because you're actually in Detail view... and you're actually just having a hunt through stuff... what you can do is, like there's dove chick here... if I'm in the middle here I can use my left and right arrows... I don't even have to click on it down here but I'm working on this... and I'm doing my contrast, and I'm zoomed in, and I'm like, "Oh great"... here he is, just use my left and right arrow... and it will just toggle through the different images... down here on my film strip... which can be handy when you're zoomed in to like... just to make sure the focus is, you know, which image has the best focus... just left and right on your arrows, on your keyboard. All right, that's going to be it, just enough to get us going... if you're like, "Wow, it's all too much too early," don't worry... I'll mention them all throughout the course... remember there's a shortcut sheet... and there's probably another four or five ways of doing everything... so if you find it, awesome, all right... for now though, let's carry on with the course... actually, before I go, he doesn't look as friendly in this, does he? Beautiful bird. You'll also notice that there was a bit of a delay here... it's another thing to notice, pixelated, not pixelated... it just happens, it tries to load things really quickly so you can... you know, like scrub through things really nice and fast... and it takes a little while to get the, like high quality version... it's a bit of a trade-off of speed... and then loads it up, you might not even notice... you might have a better computer than me, it might be fast... you also might be on a really bad computer and it may take... a really long time to load and adjust these things... and yeah, RAM is what you need, lots of it... all right, that is it, navigation in Lightroom, and its weirdness, over. 8. Auto Light & Color to Multiple Images in Lightroom: Hi everyone, in this video we look at this Auto button over here... ready, steady, fire, oh it's pretty good... and before you think, hey, Auto's cheating, and useless, it is not... this one is powered by Artificial Intelligence... I'll also show you how to do it individually... to different settings here in the Light panel... we'll discuss these eyeballs, some sweet shortcuts... and some interesting Lightroom organizational weirdness it has. All right, first up let's bring in some photographs... so let's click this little icon up here... or we're going to introduce some shortcuts, can you see it there... kind of pops up, P for photos, use that all the time, P, P... P on your keyboard... let's just go, hit the icon, it's better... don't be on your keyboard, everyone... let's go to Add Photos... and in your Exercise Files, there is a 03 Light Corrections... and there, I want to bring in these, where we are, images... so there is one, two, three, four, five, six of them, so bring in all of them... I've got a couple of raw photographs... because I, I've made the rest of them jpegs just for the file size... can you see, raw files can be really big... so just to keep this Class exercise files not so ginormous... I've just converted those to jpeg, so bring in all of these... and I'm going to have them all ticked, I'm going to click 'Add Photos'... and I'm going to work on this, like second one here, it's kind of dark... you can kind of make out the bird in there... remember, I've got these little sliders, to decide how big these are... get yours appropriate for your computer... and we're going to work on this, where we are, it's called a... what is it called, Dabchick, it's a native New Zealand bird... the photographer is Phil Botha, friend of mine, amazing photographer... check them out on Instagram... there's this guy here, just amazing native New Zealand birds, is this thing... that man is up early in the morning with a giant lens... amazing stuff, follow him, thanks, Phil. . All right, so we're going to work on this one here... so let's double click it to open it... and we are going to look at the Auto settings.. so we're going to go over here, to the Edit... and we're going to click this button here and be amazed, ready, steady... Auto, oh! Now Auto settings in the past, if you're like... "I don't use Auto settings, I'm professional"... it's kind of changed lately with the Auto settings... like if you've done Photoshop Auto settings... it's kind of like a canned, well, earlier on in computer world life... Auto settings was kind of like a generic thing... that kind of worked okay on some images... what happens now is that it's using Artificial Intelligence... Adobe call it Adobe Sensei, and it actually looks at the image... and works on that particular image from a huge database... of other birds shot in similar situations, it's pretty amazing... and it's always getting better. So Auto is not just generic, it looks at specific things in this image... and artificial intelligence stuff happens, it's pretty awesome... even more powerfully is, if you go back to G for grid... to get back into this grid mode, G on your keyboard... you can just do it for a bunch of them... this is really handy when you've got loads of images... and they all just need this similar sort of adjustment... so select all the ones you want to adjust... I'm just working on, clicking on this first one... hold 'Shift', go on these ones, right click it... and you can go apply Auto settings to four photos... think Auto, think crazy smart... Artificial Intelligence, that's what I want to say... so 'Edit', 'undo', 'Edit', 'redo'... nice... and that's super handy when you've got a big photo shoot... and you just want to like get it in, do some basic edits and get it out... it's not something super special... where you're going to spend a lot of time on... Auto settings can get you there, then you, with them all selected... you can go and export a small jpeg for whatever they're being used. Let's bring in another image and let's do Auto just for each of these settings... so 'P', and go to 'Add Photos', let's click on that one, grab 'Adare'... let's grab 'Adare5' for the moment, let's bring it in... that's the one I want... let's go to my 'Edit', 'Settings'... now the shortcut for this... if there's too many shortcuts, don't worry, I'll cover them loads... can you see, if I hover above it, says E, E for edit... we do that all the time, P, bring stuff in, E for edits... you just toggle it to close it again. So Auto's cool, but it does it for everything... and let's say you don't want that, you can go to 'Edit', 'undo'... and you can just hold down the 'Shift' key... can you see, I'm just holding the 'Shift' key on Mac, or PC... holding it down, you can see, they've all changed to Auto... and you just click on them. Let's say you only want the exposure, that's it, and carry on your merry way... or you want to look at Auto Vibrance, because that's something... maybe, like me, you can get carried away with... like I'll let the Artificial Intelligence decide where a good starting point is... so holding down Shift you can do individual ones or... to click them all so that's just a optional way of adding Auto. Another useful thing in Lightroom is these little eyeballs here... so we've been looking at light... and I've been using these little chevrons to close things down... anything that has a little eyeball next to it, is something that you've changed... in our case it was Auto, we clicked on Auto, it changed stuff for us... can I go back far enough? You wait down, I'm going to undo loads. All right, we're back to the beginning, I'll just hammering away at the undo key... and watch this, there's no little eyeballs, these are quite-- if I hit Auto it means that something's happened in here... some things happened in here, like there's lots going on in here... but it's just handy to kind of know those eyeballs... and nothing's happened in here, here, here, here... so it hasn't gone through everything, just these two ... and what you can do is you can say... "Well, what did it do in light?," click hold the eyeball... clicking, holding with your mouse, let go... hold down, let go, hold down, let go, it just toggles, a way of going... what happened to light, just, because remember, we use that backslash... which is awesome... this is the option down here to turn everything... from when you first imported it from the camera... to everything that's been applied, so that's really good for that... that's backslash key, but in here you can break it down and say... "Just show me the color changes," you can see in here, you're like... "Man, it's done very little in here, just a teeny tiny bit"... you can kind of see it around here, and click once... and I'm going to say, you, can you see the door... actually, let's go into, let's go into 300%... clicking and dragging with my hand, you can see the color is... it's quite a bit of a change in the blue, but there's not much else... whereas the light, there's quite a bit of an adjustment... so you can actually just click on these to see what's changed... let's go back to Fit. All right, so that's the Auto settings, great way to get started... great for bulk editing, and you can do little individual Autos... by holding down Shift... but if I'm honest, often I'll just hit the Auto button... and then go through, and go... oh, that's just, that was a bit a little strong there... like, so often I'll do it that way rather than trying... to go through them individually. Now that was meant to be the end of the video, and I did finish it... but I've come back because there are some strangeness with Lightroom... in terms of the file organization, so if we go back to... remember what was the shortcut for getting back to Grid view? You remember, G, hit G, just one... what happens is, let's open up this little tab here... it's showing us not all photographs, it's showing the recently added... that were recently added in the last five minutes... just a way of Lightroom trying to kind of stop it being a big mess... which can be a little tricky when you're new... because you're like, "What happened to the dove chick"... the bird, where did that go?" Well, that one's in the last 15 minutes... so it's kind of broken them into these little groups without you asking... so that can be useful, but also... sometimes, when you're new just click on All Photographs... and there they all are, everything you've got... which after a little while will become useless... because you'll have thousands of them, so that's how that works... if you do find something's gone missing... it's probably been, separated them out by Lightroom trying to be helpful... All Photos, let's do that, be on All Photos... and I'll see you in the next video. 9. Resetting All and Individual Changes in Lightroom: Hi everyone, in this video we're going to go backwards... I'm going to show you how to undo, reset... reset partially, all of the edits we're doing over here in our Edits panel... first up, I quickly showed you edit, undo... I use the shortcut, 'Command Z' on a Mac, 'Ctrl Z' on a PC... it just goes back one step, back, back, back, back. So I'm going to turn the Auto back on there... so undo, you probably know already... we do know the backslash, not the forward slash, the backslash... it's on all sorts of different keyboards, it just kind of toggles on and off... edits that you've done versus the original... but the big one is, I don't want to just toggle it... as in, just show the original, I want to go back to the original... and just get rid of everything, because if I toggle this back... can you see, it grays out, and I can't go and adjust anything now... so it's this option here, remember, backslash... just kind of toggles it on and off... but it means that that's disabled, it's not really reset... it's just kind of previewing it, what it used to look like. So with that back on, actually, I'll make a note of that... because you will get to some point and you'll be Googling... "Why are all my sliders grayed out?" It's probably because of this button, or your backslash, same thing... the trick, you want to get back all this messing you've done... you can go to 'Photo', and there's this one called 'Reset Edits'... now you can see here, I use the shortcut... you might be head popping with shortcuts... but 'Command R', or 'Ctrl R' on a PC... these will all be on your shortcut sheet... so print that up, circle it, I use that one loads... and what it's done is, it's gone back to the original... and kind of reset all of these sliders, every single thing about it... now if that's a bit too much, I'm going to go 'Edit', 'Undo'... so back to where it was, and let's say I want to reset partial, parts of it... just like the color or the exposure, or just some part of it... you hold down the 'Option' key on a Mac, 'Alt' key on a PC... and can you see, it says, let's reset all the light, but not the color. I'm going to undo that, so let's reset the color but leave the light... so if you hold down the 'Option' key on a Mac, 'Alt' key on a PC... and any of these become resets, crazy old shortcuts, I know... maybe you just want to reset everything completely... use the long way, because you're like, "Shortcuts suck"... I'm going to go this way and go, reset all edits... and just start again, that's totally fine... after a while though you'll be like... actually, I kind of got it close, I just want to reset part of it... because you've gone through effects... which we're going to get to in this course... text your way up, or dehaze too far... hold down the 'Option' key on a Mac, 'Alt' key on a PC... and just click the word 'Reset', that particular group of settings... but if you're like, "Oh, I want more control, Dan"... you probably don't at this stage... but I'm wrapping it up into a video... so you can come back to it later on, you can... let's say you want the slider back to a certain point... you can just either double click the... this little slider, and it goes back to where it started life as... just double click them, or if you hover above, you just click 'Reset'... just not holding anything down. It's the shortcut for people who don't like shortcuts... just hover your mouse above the word... and you can click on it, and it resets it back... or just double click these sliders, both work. Now one thing that I come across every now and again... is let's say I do make some Auto settings, and I want to hit Reset... and I'm in this, like other panels, comments... we haven't covered these yet, I know... but I want to throw it in here to mush it. into this resetting video... if I'm on this and I hit my shortcut, 'Command R'... you can probably hear, I'm smashing away at the key, it doesn't work... you have to be on Edit, that little Edit panel, then it works... that might catch you out at some stage. The other weird thing about Lightroom is it's undos... so let's say that I go through and add a color... I make it all this color, and then I go over here...... and I come back to this, and I go to 'Edit', 'Undo'... it remembers that I clicked on these selections as an undo... it's kind of weird, so if I go to Edit, Undo... the last thing I did really was change the color of that... but it's quite literal, it goes, I'm going to undo... to where you were selected, over here... it's sometimes useful, most of the time not for me in particular... so I'm going to go 'Edit', 'Undo' again... so the selection's gone back to here... and then go 'Edit', 'Undo Temperature change'... so just know that sometimes if you hit undo, it might not undo it... depends on when you've clicked, does that kind of make sense? If I click on this for, you know, if I do this for 10 minutes... I'm going to have to go and click Edit, Undo... 10 minutes worth of undos, just so you know. The other thing is non destructiveness... because if you're like, "Great"... I've made this change and I close Lightroom... what happens when I open it? Two things have happened, when I go over here and I add an image... let's add a new one, I'm just going to add this one here, Adare04... you can just watch me on this one, can you see over here... once I add it, can you see, it's uploading to the Cloud... where you can't, it's syncing, syncing one item... so as part of your subscription to Lightroom... you get a bunch of Cloud storage, and it's sending it up there now... and the cool thing about it is that if I go through now... and I make some mad edits... just dragging things around... so I make my edits something more obvious. So I make these edits, the original is always preserved... it's non-destructive... every time I open this up in Lightroom it's going to say... would you like to reset them? There we go... here's my shortcut, 'Command R' on a Mac, 'Ctrl R' on a PC... so never worry about, you know, in Photoshop if you open up a... say a file, and you save over the top of it, it's kind of changed forever... so often you'll make a, you know, make another copy... you never have to do that in Lightroom... jpeg images, raw images are all protected... up in the Cloud, ready to go, your original on your machine ... and the exercise files, that's not needed anymore... you can use it as backup, totally great way of backing it up... just keep it on a hard drive somewhere, back it up to Dropbox if you want to... but Lightroom is doing that for you... it's uploaded it to your cloud storage, just like Dropbox... and the cool thing about it is... all these settings are applied on top of your image... and you can always go back to them and reset them and start again. All right, that's all I have to say about going backwards... undoing, resetting, all in one little video... all right, that's it, on to the next video. 10. Setting Light Exposure Contrast and Highlights: Hi everyone, in this video we're going to work through this image... and transform it into this, we're going to work through... this light part of the panel, sometimes it gets called Tone... and we have worked through all of these options right at the beginning... but we just kind of flew through them. The goal of this video is, actually explain what they do... without too much, like minutia, is that the word... minutia, whatever it is, just give you the broads... so you know what you're doing when you are dragging them... all right, let's jump in. All right, let's bring in some images... now we've been using this way, Add Photos... there is a shortcut, I don't use it very much, loads of people do though... under 'File', you can go 'Add Photos'... and you can see there, the hieroglyphics... let's 'Shift Command I' on a Mac, or 'Shift Ctrl I' on PC... and you're like, "Why don't you use that shortcut?"... you seem to love the shortcuts... I do the drag in option, it's the way I use the most. So in Grid mode I just go to these, go to the Exercise Files... find the images that I want, in this case I want you to bring in 01 to 04... because we already have 05, and just drag them into Grid mode... that's what I like doing, and adding the photos, up to you... use the shortcut, use the long way, clicking the button... the one thing with that dragging in version... it won't work if you're in Details mode... remember, Grid mode, one of these two, these are both Grid mode... you can either go Grid Squares or Grid... it tries to squeeze them in as nicely as it can... in Details mode, is this option at the end here... let's say we double click to go inside this one... I can't add images while I'm in Details mode. If I grab all these and try and drag them in... it goes, "Oh," so you have to be in G for Grid mode... then you can go and add them, and it will add fine... that's the way I do it, but that's not what we came here for... we came here to look at the light settings, so let's work on this one here... all of these images here are from the Adare series... this is my local little village, it's really pretty... thatched houses, thatched businesses, cool roofs, and that's the local school... just some cool old buildings, Ireland is awesome. So with this open-- I'm going to close this down because that's a bit messy... and we're going to 'E' for editing, or just click this little button here... and we're going to work through these... we kind of covered them quickly at the beginning... but with no real example or explanation of why you were doing them... and you came here to be Pros, let's be Pros together. so the exposure is, it's a really broad slider... everything lighter or darker, the opposite of that, lighter or darker... sometimes, or very often an image will come out... and the exposure will be actually pretty good... depending on your camera, depending on the lighting conditions. So sometimes you don't move exposure very much... but it's very big broad changes, so you've got to decide... where you want to go with exposure, very broad... contrast adds a little bit of magic... the way it does it is it makes the whites whiter and the blacks blacker... if I crank this up, can you see, it just made the sky really white... and everything else very dark, it's really cool. I'm going to leave that off for the moment... because you can do a lot of that in these last four. So where it gets confusing is highlights versus whites... these seem very similarly named, and shadows versus blacks... what they are is, I've got a little image here, it's in your Exercise Files... you don't have to open it, but I'm using this as an example... so Gray Scale, there it is, so when I just, these ones here are easy... the easiest to understand, when I adjust the whites what I'm doing is... I'm grabbing the whites, either this pure white... or anything kind of really close to it, and making them lighter or darker... same with the blacks, if I adjust this slider, I'm adjusting this pure black... plus probably this tile here, that's what I'm doing... as opposed to highlights, which is this larger chunk towards the pure white... but not quite there, you can make some really big adjustments... with the highlights and shadows, because shadows isn't black... isn't quite black here, but it's, most of this last chunk of all the dark colors... and even though this is gray, think of it more of as tone... if I had a really red image, the really dark reds... are going to be affected by blacks and the really pinky reds... or the pinky whites, are going to be affected by whites. Think of it not so much as the color gray, but as a tone, dark versus light... so does that help?, maybe not, let's just drag them. So highlights, remember, not quite white, but drag it back, forth... just get to see... oh, look at the information in the sky, look at that... awesome, so I'm going to drag that down a little bit, what a lot... again, when you are dragging these don't be thinking, like... "Oh, I don't want to drag it too far, that seems too far off"... like Lightroom's quite protective, it's not going to... you know, being out here isn't like maximum super power... completely wrecking it, you can end up quite far out here... and not be destroying your image, let's say... don't worry about where the slider is, just look at your image... be dragging the slider back and forth and decide where you want it to be... the other photographer, you get to decide, or the editor... depending on how you're approaching Lightroom. So that's the same, back and forth, I always start with. a big drag... everyone kind of like starts, in my classes, they go like this... "Oh, is this good, or is this good?" Get in there, give it a shake, see what it does... oh look at that... look at all this stuff in here, that's pretty nice, the tree... I'm going to go about here. Often, you can do most of the work in highlights and shadows... and then smaller parts in whites and blacks... it depends on the image though, that's why they're in this order... broad, broad, less broad... oh, look at that stuff in the sky... there we go, blacks... oh nice. I'm dragging the pure blacks... to make even the ones that were close to being black more black... these guys here, I'm going to try and push them along... towards the pure black because the-- I like the contrast in these windows... in real life they are just kind of dirty, and not quite... you know, they're quite old and mottled... but I want this like really cool contrast between them... remember, backslash on your keyboard, on, off, on, off... the long way, remember, is down there... I'm not going to mention that anymore, I'm just going to say, backslash... you can go down that button if you prefer, oh, I like it. So start at the top, broad strokes, crank out the contrast... because I do like it, but really, contrast is adjusting these options in here... kind of all in one go. All right, so that is the Light panel, where you do most of your work... explained a little bit more, so you know what you're doing... remember, just a quick reminder, how to reset them... you can, I always double click them, you'll see me in the course doing that... it's because that's really common... on other Adobe programs, it's much easier just to click the... you know, click the word, because it says Reset... but you'll see me in this course doing it the painful way by double clicking them... because it's really common in other Adobe programs. All right, so that's it, we've got a couple of other photographs that I took... you can play around with these just to practice the settings along here... resetting them, having a play with some images that maybe aren't your own... it's always fun, you don't need to submit these particular ones... just have a play around with them... and in the next video we'll set a proper class project... all right, on to that project. 11. Class Project 02 - Light Correction: Hi everyone, it's not homework time, it's Class Project - Light Correction... so we're going to use the skills we've learned so far... what I want you to do is stick to, this panel here, Light... the things that we've worked through in the previous video... and I want you to either use your own image, that's the ideal... if you've got your own images you can work on... or if you can use some of the free sites... I mentioned them in the earlier class project, here they are listed, here... I won't reiterate them for this next project, but that's where they are. What you're looking for is an image that needs a little bit of work... something that doesn't have strong lights or darks... that you can actually do some work for... that's why something like Unsplash... which I've done in other courses, is brilliant... but the photographer has already done the correction work here... often it has a color grade as well, so not as fun to work on... or at least we don't get to practice our light correction skills. So check out signature edits or photo traces, they are listed here in your... the original project, and just have a look for something... that needs a bit of work, like this one here... the balance of sky versus, the kind of foreground... you know, the foreground is really-- or the mid ground at least... is, you know, too dark, this one here, there's no strong whites... so look for things that need a bit of work... this one here as well, there's no real strong whites and darks... it's kind of like stuck in the middle... that's why these images are so handy when you are learning. So have a look through the sites and see what you can do... yeah, so pick your own image or something from a free website... use those light settings and then export before and after images... we'll cover saving in a more detailed, later in the course... but for now it's pretty easy. So what you want is a before and after... let's find this guy here, remember, backslash, before, after... obviously not this particular image but just as an example... and what I want you to do is just do this... use the Export option or the Save option... up in the top here, this little icon, and just use JPG Small... and where are you going to put it? I've just created a Lightroom Class Projects folder... or just dump it onto your desktop, depending on how you roll... put it in a folder, go on, just this once, and put it in there. So that's the after, how do you get the before... who remembers how to reset it? Oh, you remember, 'Command R' on a Mac. 'Ctrl R' on a PC... or you can go the long way, 'Photo', 'Reset Edits', then do another 'Save'... same folder, and just remember to go to 'Edit', 'Undo'... so you can go back to all your sweet edits, let's have a look. We've got our two options up here... I want you to upload them to the Assignment section of this website... depending, they've got different names on different sites... but also share it on social media, love to see your before and after... just mention, "Hey, my first edit, Class Project 02"... like correction, credit the photographer, if you can... if it's yourself, use yourself, some of these sites here are a little bit tricky... they don't have a really good way of tracking the photographer specifically... but they do ask at the top here, have a little read of the different licenses... they just say, hey, you don't have to, but link to their website... helps them do their thing. All right, that is it, go over, practice... find some images that need some work do some light correction, and share it... all right, you go do that, I'm going to go start making the next video. 12. What is Color Grading vs Color Correction: Hi everyone, this video is some definitions of terms... we're going to be doing some color correction in this next section... and then later in the course we're going to be doing color grading... what is the difference? Color correction is just fixing colors... and color grading often, is stylizing it... so this is an image from yesterday, a couple of days ago, at a car show... so this car here, I've done some color corrections... so that was like it was as shot, and this is how I wanted... or at least how I felt like it shot in real life. The colors of the car, I've messed with the greens down the bottom there... can you see the before, after, before, after... I lifted some of these oranges, they were in the roof... they were just kind of like washed out in the photograph... kind of folded them up, so that's color correction. So we're going to do a bunch of that in this section... and then later on I'll show you... this is where I ended up with the color grading... so this is kind of my final piece that I used and sent out... this is like a style that I've added color grading, you got it? Color correction, fixing, color grading, styling it, there we go... got that done, on to the next video... or if you want to mess around with that... there's two in your 03 Corrections, there's two raw files... there's this one, compositionally not particularly great... especially because, you can see my bald head in this one... but beautiful car, if you did want to play around with them, not essential. All right, that's it, color correction, color grading, done. 13. Auto Temperature & White Balance in Lightroom: Hi everyone, in this video we're going to take this image... and bam, we're going to look at the Color Auto feature... and if you're looking at the length of this video, and you're like... "Is he just going to click the Auto?," that's basically what I'm going to do... but I'm also going to explain what it does... we're also going to look at the differences... sometimes between JPGs and raw files, Temperature versus Kelvin... we'll look at the drop downs in these. Some images have lots of presets, some of them don't... some useful information for those people new to white balance... all right, let's jump in. All right, before we go any further a little side note... I went to another car show on the weekend... that's why my Lightroom is going to be full of cars, and you'll be like... "You didn't have cars in the last video"... so yeah, they'll be here, I might throw them in later in the course... there might be too many cars in this video already... but the cool thing about the weekend was... well, it sucked because it was raining, but raindrops are really cool to edit... plain car, oh, nice car, wanted those people to get out of the way, anyway. So what we're going to do in this video is... we're going to bring it in, we're going to ignore the cars and bring in two images... so 'P', bring up photos, let's add those photos... and we've got a new folder in your Exercise Files called 04 Color Corrections... let's open that up and bring in these two images, Color 01 and Color 02... and let's bring them both in, we're going to work on Color 01... and yes, already throwing one of the images in, whoops... but it's a good example here. So let's open up this one, 'D' to make it nice and big... now the auto feature is pretty easy to use... so it's under 'Color', sorry, it's under 'Edit'... and then I like to remember to twirl these down... so I can just see color on its own... and then, as shot is just as you shot it with your camera... the white balance you set there, and you have an option that says Auto... so click on 'Auto', and then let's turn the eyeball on and off... and the computer has decided that it needs to be a tiny bit warmer... a little bit, just +1, and it's been -15 for the tint... so let's just go and push it a little bit to the green. So do I like it? On, off, on, off, I find all of the awesome stuff... that Lightroom does in terms of the automatic stuff... I love color, and the white balance is one of those things... where, I don't know if it's me being like a squishy brain human and going... "Hey, computer, what do you know?"... I always go, I always click Auto just to see what it thinks... why is it judging my in-camera white balance settings... which is more often set to Auto, anyway... but I do it, I check what it is, and I'm like, "Hmm"... it kind of informs my decision, before I start dragging it, I go... okay, I'm going to make it a little bit warmer... and I'm going to make it a little bit further this way, too far... and you can see, it's changed to Custom. So often, start with Auto, and it just gives me a kind of... you know, an indication of where I'm going to go, or where I might should go... might should go?, there you go... you understand what I mean, good starting point. Now the other thing I want to mention in here... is that we've got Temperature, and this one here, like default... you know, the auto setting said, all right, you be +3... let's open that other image, I'm going to use my arrow key and go back one... just to toggle to the other image, or, remember, hit 'G'... and just double click the one you want to open. So the difference between a JPG, which is this image here... using my arrow keys, the right arrow, left, right... so the difference between JPGs and raw files often is... you'll get just different options over here... can you see, this one is shot in what's called Kelvin... so it's giving me my Kelvin settings... it's more science-ey, Kelvin is like the unit of measurement for temperature... and the camera, or at least the raw file has the Kelvin information... so gives it to you here, and if you do know a little bit about light... and you know what like daylight Kelvin is, that's right in the middle there... it doesn't really matter, it doesn't change it... but it's going to be, it might be confusing if you open up some images... and like this one here, you're given just numbers... because it doesn't know what the Kelvin was... so it just goes +3 of whatever it was... whereas this one here, because it's a raw file... it's actually recording a lot more of the temperature information... including what Kelvin it was set to, as shot... I can always, I can go over it just like the other one, but there you go... that's why you'll have two. All right, let's see what Auto does here, before, after... warms it up, moves the Kelvin up... and it hasn't adjusted the tint, there you go, left it alone. One thing you will do as well is that... you won't often start with Color and go to Auto, you do Tone first. So I'm going to go back to that other image using my right arrow key... and what I'll do, it doesn't matter which order you do it in... but you'll probably find that it's better to go... let's say I want to do Auto for, Auto does light... and it does a tiny bit of color, but not temperature, watch this... if I click it, did something for vibrance... I don't know why, it does everything in Light... so let's undo that, you see, if I hit Auto, we've looked at this earlier... with Auto it goes and adjusts our light sliders... it does a little bit to vibrance, which is cool... it doesn't touch Tint and Temperature, you do that separately... so what you can do is, I'm going to reset it all... who remembers how to reset everything, go right back to the beginning? That's right, 'Command R' on a Mac, 'Ctrl R' on a PC, just reset everything... and what you can do is you can just open up an image... go Auto... Auto, and that might be enough... you can see here, before, after, pretty good result. One other thing I want to show you is... here, on this JPG image... remember, temperature is just done in the numbers here... the other thing is the drop down menu here is a little a lot shorter... you've got As Shot and Auto... and Custom is just when you start dragging on your own... but let's have a look back at this car here... and let's have a look at the drop down... remember, this is a raw image, and you can see here... there's a lot more options in here... it's just because there is Kelvin information... it's going to give you options to say... "Hey, let's make this a cloudy shot"... can you see here, it's basically balancing out a cloudy shot... and kind of raising the Kelvin up. So I'm going to hover above them, the editor will zoom in... so you can see that Kelvin number changing... you can see, it drops all the way down... to kind of counteract what would be done in Tungsten... Tungsten lights, really kind of orange-ey lights... so to counteract that they'll make it bluer, that's why this image is blue... so that's what it's doing... if you've shot cloudy it's going to raise the Kelvin to make it warmer... to counteract the cloudiness... in the daylight here as well, like these are just... yeah, just work your way through them... a little helpful use, or a little shortcut for them... is let's say that you're looking at this, you're like... "Does it look any different?," I don't know... because it's hard to go back to as shot, cloudy, as shot, cloudy. You can actually hold down the Option key... let's get one that's more obvious, like yeah, Tungsten... so hold down the Option key and it toggles back... can you see - the editor will zoom in again, thanks Jason. - to the auto versus-- let's see what you can see there... let's go back to As Shot... so that's the before, and then Tungsten... if I hover above it and hit the Option key... it just toggles it back and forth... man, I made a meal of that, what do you reckon? So have a look through these... and if you want to see what it looked like before... just hold the 'Option' key on a Mac, 'Alt' key on a PC... and it just toggles between the two, that's handy. You can kind of see what it's doing over here... in terms of the tint and temperature as well, which is fun. All right, that is it, automatic features, some of the drop downs... why JPGs are different than raw files, and Auto can be awesome... especially as a starting point, before you get all fussy... and just drag it one or two more points along, take that, computer... all right, that is it, I will see you in the next video. 14. White Balance Eyedropper in Lightroom: Hi everyone, in this video we're going to look at removing... some of these strong color casts, this one's quite blue, that's how I remove it... but we're going to use this Eyedropper tool here, the white balance Selector tool... we'll do it for a few images, that's after, before, quite a warm image... some Magenta in there, removed, and same with this one here... quite a green tinge to it, we're going to use... the white balance Selector tool, this Eyedropper tool here. I'll also briefly introduce one of these Color Checker cards, the 18% gray... to help correct the white balance... and get consistency across different photo shoots, all right, let's jump in. All right, to get started let's bring in some images, it's in 04 Color Correction... and we're going to bring in these last, 03, 04, 05... now you can use the method that we used in the last video... I'm just going to mix it up here and show you the way I do it... remember, I'm on Grid view, so 'G'... and then I'm just going to drag all of these guys in. I'm going to add all three, and we're going to start with this one here... so the woman on the log, and double click it, or hit 'D', then click 'E'... or click this option up here, and what we're looking for is... under Color there is this Eyedropper tool. So what we can say, you can see there... it's called the White Balance Selector, what we can say is... actually I, as the human know what is white in this image... or at least what is neutral, doesn't have to be white... it has to be the absence of color because what it can do is... if you tell it what is-- has no color, it can go "Oh"... well, if there is color in there I'll remove it. So if I say this boat, I know is white, because I'm a clever human... and you can see, it's kind of like, I can't really point to it... but the big zoomed up bit, if I zoom it up... you can see that there's some strange colors going on in there... so if you click it, it's going to try and remove them... and make this thing neutral colored... unless, in this case make it white, there we go, there, there you go... on, off, on, off, now it can be useful, so let's try this. I'm going to undo it to reset it, so 'Command R', or 'Ctrl R'... and I'm going to do it to the shirt, you're like, "The shirt's white"... let's click on this, can you see, you get a very big... you know, a different result... you can see it's bumped up the temperature quite a bit. The other thing to note, just out of hand, like that's where it started... if I undo it, you see, it gives you a nice little, just visual reference... I'm going to do it again, click there... you can see how far it's jumped up from as shot to where it is now... because otherwise, yeah... it's just a little handy little measurement there... and it's done the tint, just a tiny little change in the tint, -10... before, after, so you can use the Eyedropper tool... and it works sometimes, great, and sometimes not, so great... depending on where you're clicking. If I click down on the shoe here, so I'm going to reset it... W is the white balance selector, too many shortcuts... but just click on that and go, you... there we go, nice. Now choosing something that happens to be white... in the image afterwards is useful... you can kind of force that to happen a little bit more scientifically... I was having to dig around there, I pause the video... and I was trying to find something, and I found this, my Gray Card. So let's bring in that, it's in your Notes now, it's just called Gray Card... and I couldn't find a good image of it, this is all I could find... and go into Detail view, you can see there... often, when you are, like you know, when you've got a proper photo shoot... it's in Studio, you've got some time to set up... you can hold up one of these gray cards to do a test shot... so that you can kind of like, you know, get your settings right... so you can say, actually, here, you need to do it in the camera... it would be optimal, with your camera... set your white balance based on this card here... often, people will use that kind of 18% gray there, or white... actually, that's the 18% gray there, that's just a really, white is tricky... because it's kind of like, can be quite a blown out color. So often they'll use this gray, it's still neutral, still has no color in it... but it's a good way of kind of, a nice big easy thing to go, there you go... you can see here, in this particular shot... it's lowered the temperature a little bit, and the tint a little bit... but it's a lot more scientific, is that the word, probably not the word... but at least you can get consistency across different shoots... maybe different rooms, different venues, different lighting conditions... so before, after, not the greatest shot, I know... actually, let me Google something, wait there, there you go. So you can buy these cards here, and you buy them, hold them up... and it's just easy to get the white balance... better to do it with the camera first... but you can do it afterwards in Lightroom as well... using the Eyedropper tool. One last thing I'd like to mention is that... when I'm working, I'm kind of like, what should I... you know, how do I get started, often it's Light, then Color... unless the Temperature is off... so the Temperature, if it looks off, if I'm like... "There's something just obviously wrong with it"... I'll go and do the white balance first... which is the temperature and the tint... then close that down and come back through my light and exposure... so I'll do a speedy version of my light settings here. All right, you're back, that's where I've ended up... so yeah, white balance first, if it's off then start working through this... if a white button isn't off, I'll just start straight at the top here... and exposure, when I'm doing just kind of regulators... now for you what I'm going to do is I'm going to hit 'G'... and you've got two other options here... that have got quite strong color casts... this one's quite a rare magenta, this one's quite green... what I want you to do is practice with both of these... and I want you to have a work through the White Balance tool... the Eyedropper, pick a spot... nice white dresses to use, but then use it as a starting point... and maybe make some adjustments on top of that, don't be afraid. You can also see, there's lots of different kind of colors going on in here... so have a play around with different parts of the white dress... and the same with arrow left, left, this one here as well... pick a white from the dress and see how you get on with the white balance... also for practice, have a play around with the light as well... all right, that is it for this video, I'll see you in the next one. 15. Class Project 03 - Color Correction: It's Class Project time, this one is Color Correction... so I want you to find an image that has a really strong color cast... either something of your own or something from some of the free sites... I showed you earlier, or try Unsplash. It doesn't have to be a raw image for this... but you're looking for something that has a strong color cast... you know, it's too orange, it's too blue, too magenta, it's too green... something needs adjusting, something that's going to look good... in a before and after, very important. What I want you to do is, do all of the ways I've showed you so far... just to see what works for your particular image... whether some of the auto features get you where you need to go... or whether you always end up at custom. So try the Auto, the drop down presets... the Eyedropper tool which we just did, and try Custom... just like reset it every time just to give an idea... and a bit of practice to those different options. Now if you're unsure, the one that you might be unsure is the drop down... so let's have a look at this one, 'D', 'E', and the drop down is in here... can you see, if it's a raw shot you'll have these... if it's a JPG you won't, and you can skip that one... once you've done it, can you export, like we did in the last one... just export before and after images, we did that before... I'll show you one last time... this option at the top here, export a small JPG, then do your reset... you know the shortcut now, you know it, yeah... it's 'Command R', or 'Ctrl R', and then export another one... so you'll have two, before and after. Make sure you undo it, so you don't get rid of your good work... and then share both of those... and some of you will have the ability to share... like smoosh these together in something like Photoshop... so you can see the before and after, like in one image... go ahead and do that, that would be the most awesome. You can do it in lots of other programs as well... but it's not an expectation, if you can't do it... just share both images, just separately, share the before and the after... so that we can see what happened. Share it on social media as well, all the options are down here... if you are still feeling a little bit nervous about sharing to the group... have a look, you'll see other people's work there... you'll see that nobody's attacking them... for their lack of being new to Lightroom... or potentially, Photography in general... if that's you, get it out there, share it, love to see what you do. All right, that is it for the class project... try all the different settings... see which way, leave a note in the comments as well... just like, "Hey, I tried this, and this one worked the best"... you can do it for more than one image... then upload it to the assignments and social media as well, love to see it... all right, next video. 16. Apply Custom Settings To Multiple Images: Hi everyone, let's look at copy and pasting settings... we've done it before but we're going to add a little bit of extra pizzazz to it... pizzazz, we're going to add some extra complexity... because there are times where you want to copy some of the settings... to all of the images that you've got in a photo shoot... but sometimes you just want a little bit of it, so let me show you. So the reminder, let's do the reminder first... because, something like a wedding, where there's lots of images... I've done a basic edit to this one, both light and color... and what we can do with it open, or selected down here in the film strip... we can go, copy, so I'm going to use a shortcut... 'Command C' on a Mac, 'Ctrl C' on a PC... and you can click on one or lots of images... and just go paste, which is really cool... because it brings those settings through... but there'll be times where you actually just want part of what you've done... maybe it's just the, you know, the white balance needs to be fixed... and you're going to work on the light, the tone in here... exposure, contrast, all separately for the images. So let's undo that, go back to my original... and what I can do, either down here in the film strip or in gallery view... is instead of just using that shortcut for copy... I can right click it, and I can say, 'Choose Edit Settings' to copy... like I will pick, I will decide that I don't want anything... except for the color settings... and in color I only want the white balance that I did... so you've got a huge big photo shoot, you only want some parts... it might just be the light, it might just be the exposure... it might be just one part of this, I want to show you that you can go... just you, then click on this one... click on the thousands of images in your photo shoot... I've only got a couple to keep the file size down... I'm going to select you, and you... holding 'Command' on my Mac, 'Ctrl' key on a PC... to select those two separately, and I'm going to go paste... and you notice, very slightly, it just pasted the white balance. I'm going to go into this one now, double click it, and before, after... it didn't bring through the tone, just the color... that can be really handy sometimes... we'll use that a couple more times throughout the course... but yeah, I want to introduce it here while we're working on color... and to remind you basically that when you are doing color adjustments... you just copy and paste them across loads of images... all right, that's all I had to say... over and out, see you in the next video. 17. Saturation vs Vibrance Lightroom: Hi everyone, in this video we are going to look at vibrance versus saturation... they both do a similar job, and they both lift colors up... but they do it in different ways... and let's see which of them is better, subtle Dan. All right, it's a new day, maybe not for you, but for me it is... you can tell, caffeined up, ready to go... I'm going to show you a different way to import images... well, we've discussed it, but I wanted to start using... mixing it up a little bit so you can get a feel for which you enjoy the most. I'm going to use the shortcut... we're going to hit 'Command Shift I' on a Mac to import our image... on a PC it's 'Ctrl Shift I', so tap that, it might be the one for you... let's bring in 13, 14, and 15. So we've got these three, bring them in, the one I want to start with... is this DJ set here, so have that selected, hit 'D', hit 'G'... no, not G, sorry, 'D' to bring it up, and then 'E' for editing settings... and close down light if it's open... we're just going to work on color, and vibrance versus saturation... so to explain it, actually, just show us... let's keep an eye on this orange wrapper thing here... if I go saturation up, can you see, it just goes a bit mad and gets over saturated... so reset, drag it up, it just gets all blown out and gross. So let's look at that compared to vibrance... so vibrance, all the way up, oh, can you see this... that was already saturated, got mostly left alone... and everything that was kind of a little bit saturated... got raised up to join his bright orange friend... so it looks after the ones that are already saturated... and brings up those lower ones to meet it... you very rarely would go full vibrance... I guess it's just an example, but you get the idea, right? I'm going to reset it, let's look at saturation all the way up... so I'm going to use my '\' key, before, after, before, after... you can see, it works, saturation is great, it's bringing up all this.. but it's also wrecking this, so I'm going to reset it... and vibrance all the way up, on, off, on, off... you'll notice that this stays fine but all of these come up as well... so that's the secret recipe, just don't use saturation, use vibrance... I never use saturation, there you go, I said it, sorry, saturation... but vibrance does a better job in almost all cases. What it's also really good at is protecting skin tones... so again, saturation all the way up, see his skin went orange... because it's kind of, just went orange, everybody... everyone get brighter or more saturated, I don't care what you are... and skin just gets dragged up... and you end up with like pink skin and orange skin, and sunburnt skin. So let's reset it again, and vibrance, watch what happens... oh, like it fills out a little bit, the skin just gets a little bit fuller... but there's some amazing goodness going on... inside of that vibrance technology that protects skin tones... and doesn't drag them up... dragged up this kind of like stained glass stuff here at the back... whatever that is, but protects the skin tone. So you'll never drag it all the way up, you end up... you know, my rule, just to pass on my rules to you... is I drag this up, so I'm going to start at the beginning, I'll drag this up... looking at it, and I'm going too far... I find where I want this to be, and then I'll drag it back a little bit... because I know through experience that wherever I get it... I'm like, "Okay, perfect," I'll go away, come back... and go, whoa, way too much vibrance. So what I do is, you know, kind of, I don't know, cut to the chase... and go, yeah, perfect, back a little bit... so even now that's probably a bit too much, there we go. So yeah, don't overcook the vibrance, or at least overcook it... until you work out your own kind of calibration... of how much vibrance is good for you. I've got this example in here mainly to show you that sometimes... it doesn't matter, like saturation all the way up... is actually quite nice in this image... and it's not much difference from vibrance, there is differences... but there are times where actually... vibrance and saturation do a very similar job... it's when you've got clearer skin tones... hers has quite got an orange cast on there as well... but that's from lights behind her... but sometimes it does do a very similar job, let's look at this one here. So I'm on this one, these first two are just jpegs... and the second one here is a raw image... and I'm going to show you a couple of things that might happen to you... so I'm going to hit 'Auto', did you notice, vibrance just went up... first of all, auto, we've learned in an earlier class, does these things... does the exposure, contrast, highlights... so I'm going to undo, so that's what it does... but it also does a tiny bit in color, and often it's vibrance... why?, because raw images have a tendency, as they are shot... to be a little washed out, not washed out in terms of color... it tends to be muted because they're trying to... like capture all sorts of color data that you can adjust later on... they end up looking a little bit flat... so Lightroom goes, hey, that's always the case... as part of auto, let's bump up vibrance. So you might notice that sometimes vibrance is already bumped up... and you're like, "Why is that?," it's because you've used the auto setting... and so my auto got me close, let me go through this... I'll just zoom, and I just want to fix the image a little bit more. Okay, fixed it, I'm doing air quotes, so I've got it how I want... now with vibrance, watch this, if I... well, a good example is saturation, watch her skin here... so let's zoom in on it, who remembers the Zoom tool? Hold down the 'Command' key on a Mac, 'Ctrl' key on PC... and drag a box around where you want to go... saturation is going to push your skin way too far... and make a kind of red and magenta, but if I do vibrance... can you see, it's still doing stuff, like it's still affecting the skin... but it's protecting it a lot more, and you'd never jump it all the way up... because that's just too far, let's have a look... zoom all the way out, just click it once, and let's have a look at vibrance... look, it's doing everything else, it's kind of awesome, too far... but there are so many cool colors going on in this... and if it does start affecting the skin all the way... say you want it like this, is affecting the skin... later in the course we'll do a mask to protect her specifically... but for the moment let's just drag it up, so it's not affecting her skin... but it's doing some nice stuff to the background, so before, after... oh, look at all that good color information that was hidden there... hidden, close to the sky. All right, that's about all I've got to share... saturation, you can drag it down, I allow you to drag it down... I said, don't use it, you can drag it down, that's fine... it gives you a black and white, but it's not really a good black and white... there are some amazing ways to make black and white images... which we'll do in the color grading part of this course... so save yourself for that, don't use saturation for that... but you can sometimes just knock down saturation... if you want everything to come down a little bit, it's fine... it's probably still better just to knock down vibrance. All right, that is it, vibrance versus saturation... use vibrance, use it sparingly... and I'll see you in the next video. 18. How Change Specific Color Using Color Mixer in Lightroom: Hi everyone, in this video we're going to look at this... the Color Mixer, it allows you to pick specific colors... and change the hue, saturation, and luminance... look at our little parrot here. I'm going to change the blues, and look at that, very cool, all right. So it allows us to pick specific colors and make adjustments, this is fun... but we'll also do more of a real world example... where we're not changing the colors so much... as exaggerating individual ones, rather than dragging them all up... in the vibrance, like we did earlier on... we're going to pick specific colors and make adjustments, that's what it does... let me show you how it works. All right, let's bring in some images... 'Command Shift I' on a Mac, 'Ctrl Shift I' on a PC... and you can bring in Color 16 to 19, bring in those four, import them... and let's open up the parrot, so double click it... click 'E' for editing settings, and what we're going to do is... look to change the color of this handsome girl, guy, his face. So what we can do down here is we can say... actually, I want to change the blues, and I want to change the hue of it... watch this, drag... very cool, so give that a go. Grab the blue, drag it around, pick a new color... do the same for another color, let's go for the greens... let's change the hue... oh, very cool... so this is a little different from say, like Photoshop... where you're completely changing the colors... you're just kind of shifting them... it's not giving you like the full color spectrum... it's just kind of like, it was a little bit green... I want it to be a little bit more yellow... and yeah, let's grab the oranges, you get the idea. So often, we're not changing colors, that's kind of cool... but that's still mostly a job for Photoshop, it does it better... what's really good about Lightroom is working on-- because that's, I don't know, you might be... trying to change the color of parrots all the time... most of the time, they were doing things like... let's grab this, well, we're not changing the color a huge amount... we're often just raising it up... so that's why this hue, saturation, and luminance down here. So what we're going to do is, we're going to pick kind of the tealy color... and we can adjust the hue, depending on what I like... the teal, you can change it if you like, but what we want to do is... grab the saturation, just drag all the way up to see what it does... look at that, tropical amazingness... eyeball on, eyeball off, so often that's what you're using color mixer for... grabbing a color and exaggerating it, accentuating it... so that's the saturation, we've yanked it up a bit... luminance is how dark and light that color is... so you can make it a darker teal or a lighter one... depending on what you want to do, so just real subtle adjustments. What I often like to do is, because sometimes you're like... "Is it teal, is it blue, what color is that... is that sand, is it yellow, is it orange?"... so if you click on yellow just give it a drag and just see what it is changing... it's, yeah, it's grabbing a lot of the sand... so you might have nailed it, let's go to the orange... give that a drag, back and forth, there's a bit of orange in there as well... so we're going to have to do both. So let's grab the yellow to start with... and I'm going to increase the saturation a bit, luminance, back and forth... I think I like it a bit darker... and grab the orange as well... because there's a bit of both in there... I'm not going to adjust the hue, things like grasses, often all green up... and skies, maybe make a little bit more blue... but often, it's the saturation and the luminance that we're working on... so back and forth, don't be afraid, be scared of the saturation. I know we've done, I said don't use saturation up here... yeah, that rule doesn't apply down here, there is no vibrance, why isn't there? It's because we're dealing with just one single color... whereas up here we're dealing with all the colors... whereas down here, being a little bit more specific... so we can use saturation down here... great way of breaking your own rules, Dan. before, after, there's blues in the boat, lids as well, boat lids... Dan, the sea captain, welcome to my boat lid. All right, so I'm dragging that up, it's affecting here as well... so I'm going to have to kind of keep that in mind... luminance, brightness, oh, look at there... preview on, preview off, preview on, preview off, nice... and you can just click on this... and if I grab this magenta here it's not going to do anything... there's no magenta in there, sometimes you're surprised... you're like, "Oh, look at that," there's a Magenta in there somewhere... but there doesn't seem to be any in this photograph... yeah, eyeball on, eyeball off, have a play with both of these... have fun changing the color of the parrot... and then see if you can accentuate the water and the sand in here... greens, I won't touch as well, can you see, there's greens in here... and there's nothing wrong with dragging the saturation down as well... like my-- like if we don't want our focus to be up here... we might decide to pull some of the saturation out of that green... so that, that kind of focuses on the boats in the water... or we might drag it, probably not all the way up... this trigger, all the way up... so we can see what it's doing and then we can adjust the hue... can you see it, can make it more yellow, or kind of more minty green... let's have a look. I'm going to leave it where it was, and saturation up a little bit... before, before, before, after, nice. Now we're focused on the color mixer... you should be working on the light as well, so let's do that afterwards... let's have a look at this... oh, I think I'll lower the exposure a little bit overall... and then bring parts back in with contrast up a little bit... with the highlights and the whites... I kind of made everything dark, using the exposure down... and then kind of counteracted that with the lights and dark... so preview on, preview off, oh, I'm liking it... shadows and highlights... yeah, maybe kind of remove the focus of... this kind of cloud side, sorry, shadow side of the-- here we go, I believe that’s where it was... all right, backslash, before, after, before, after... probably a little bit too far, especially kind of in here... it's getting a little purple-ey, but it's good. All right, so that's the color mixer in Lightroom... we'll do more color mixer in the next video as well... got a little bit more, tiny bit more advanced, I'll see you there. 19. Target Adjustment With Color Mixer in Lightroom: Hi everyone, in this video we're going to look at the Color Mix... but we're going to take it a little bit further... we're going to look at this, like little target guy... allows us to click on the artwork and make adjustments... actually, on the artwork, to these sliders... by dragging rather than trying to guess which color we're adjusting... super awesome, let me show you how it works. Let's work on this image that we brought in from the last video... what image is it? Click on the eyeball down here, or the 'i'... actually, and this is Color 18, just a reminder... that this little info panel is there, let's go to 'Edit'... and what we might do is do a quick light adjustment, so you wait there... I'm just going to speed this up... actually, let's click 'Auto', let's see what we get, so, good start... and we'll leave it there... what we want to do now is twirl up light, and let's look at color... let's get down to the Color Mixer... and we manually went through and then... all right, I need to change these, they're kind of a yellow-ey color... and I can change the colors of them. What you can do is, see this little guy here, little target... it's called the Target Adjustment, what it does is... if you click it, this little panel up here appears, which is cool... so we can adjust the hue, saturation, and luminance... which is these three here, which we did in the last video... but we can say, actually, I want to adjust the hue of the thing. I'm going to click, watch this, if I hover above it... can you see, it's kind of a rusty brown and yellow-ey copper-ey color... so it's going, "Hey, I know what colors are in there"... and if I click, hold, and drag it, I can adjust the colors of them... can you see the slider over there on the right... you can see, it's doing the exact same thing... as you would be doing, over here, adjusting... but you're doing it on the actual artwork, which is really handy. So I'm going to reset it, so sky, if I hover above it... can you see, it's going hard, there's blues in here... click, hold, and I can make them more teal or more purple. So it's up to you, we're not, often we don't use hue... we might do, we might go, okay, it's quite a blue sky, I want to teal it up... or it's, you know, too teal, and I want to make it a bit more blue... but most of the time it's bumping saturation and luminance... that's just my experience, so we might say-- actually, I won't grab the saturation, grab the sky and yank it up, whoa... and then find some sort of happy medium, so all we're doing is... dragging that slider up like we did in the last video... but we're doing it on the artwork. So let's close it down and start again, so hit the target, that appears... you choose what you want to do, let's say it's luminance... and what you do is you hover above the thing... that you want to change the luminance of... it goes through and says... I'm not doing anything, it just, that appears... and you click, hold, and drag it, and you decide... I want all of this to be brighter, this is too dark in the foreground here... but I also want to go and change the hue... because it is kind of too yellow-ey, I want to go... actually, push a little bit more green, not too far green... somewhere in there. Now another good way of using this is... sometimes, I remember, when I was learning this... it's a little bit hard to do it on the artwork... you know, kind of drag these sliders, grabbing the hue of the sky... and dragging it around, it's a bit disconnected from over here... so you might want to just use the target to do... just to make the selection and then use these manual sliders here. So let's click on this and say, all right, click it... can you see, it jumped to blue, if I click on this and say... click on this one here... to the target, on, and then click on this... can you see, it jumped to my yellows here... now I can make my adjustments and say... actually, I want saturation to be up... and I want it to be like nuclear green... so you might just use the target for that, and you can turn it off. I'm going to undo that, also, what is quite interesting is-- I'm going to turn the target back on... can you see, if I hover above something, can you see, it says... I'm going to, if I click it, it jumps to blue, and I kind of know that... because, can you see there, it’s got like, next to my cursor there... the Edit All, zoom in, I've got a big giant blue circle... and a teeny tiny something, or other, from this distance, maybe teal... but it's saying that I'm going to adjust most of the blues... and a teeny bit of the teal, down here, it's going to say... I'm going to adjust a lot of the oranges... but also a bit of that yellow-ey copper color... you know, a lot more evenly. There's two colors kind of going on in here... down here you might be like, there you go... I'm adjusting teal and a little bit of green... and that's kind of weird... because sometimes my brain goes... hey that's, you know, if I'm going to adjust these trees... trees are green, of course, they are, so I'm going to go pick green... but actually if I let the computer decide, it knows that... actually if I zoom in, remember, Command, or Ctrl, we'll drag across... with all the distance, and the kind of... I don't know what I want to say, the haze in the... you know, the far, far background, they're getting quite white... so it actually is, this teal color. All right, so I'm going to go back to Fit... so that might be handy, you might just go... all right, I'm going to turn this target on just to go, over to you... and then work your way through the saturation-- hue, and luminance... there you go, that's what that thing is, it's awesome... allows you to adjust directly on the artwork... you can click it and do it manually... or you can make adjustments down here and decide... luminance of this color, click, hold, and drag... oh, look at there, discovery. Now what I want you to do is experiment with this one... and have a play around with this other image I've got in here... so play around with the tone, the color mixer... and try and work on this targeting, like work on it, on the artwork... and make sure-- hue is fun. So down here you can adjust the hues of these things, which is cool... but also looking at saturation and luminance, just a bit of practice... not a class project, just an extra one in there you can have a play with... we'll do a class project in a little bit. All right, my friends, that is it, that is using the color mixer... a little bit more advanced, using this targeting feature... it's awesome, see you in the next video. 20. How To Use Lightroom Remixes: Hi everyone, in this video I'm going to show you what a remix is... a remix is a way that a photographer can share their... both their original image and their edit; original, edit, original, edit... and the cool thing about it is there's loads of images in here... you can see befores and afters... oh... and the nice thing is, when you go into them... it actually shows you all the steps that they've done... I can even hit 'Play', and look, it'll take me through all the different steps... that that photographer went through to get to their final result... you can start to see and learn where some of those big changes happen. So I'm going to pause that there... you can also see other people that have remixed that exact same image... and start to see what they did and how they got to their different results... all listed here... gets better, you can remix it, you can go back to that original... and make your own adjustments and upload it... here's the one we do in this video, where is he, it's my cat... here's my As Shot, and we're going to use the skills... we've learned so far in this course to get to here... oh, mesmerizing, cats are awesome, remixes are awesome... let me show you how to do it in Lightroom. All right, remixes, where are they? They are over here in your photos, so 'P' to pop that out... under 'Discover' there's one called 'Remixes', click on that... so what are remixes? It allows you to edit other people's photographs... up until now what we've been doing is grabbing stuff from... like that signature edit site, and a few other free image libraries... or using your own... but sometimes you don't have the chance to, I don't know... find a sunset, or a building, that's really cool... so you can find other people's images to do it, and edit... and that's what a remix is... the original photographer uploads it to this remix here... here it is, here, you can-- so me as the photographer can upload an image... and I can share it with other people, say... "Have a go, have a crack, see what you can do." You can kind of tell, when you hover above these ones, they kind of toggle between... the original, As Shot, and the edits... so hover above it, before, that's after, before... before, after, so you can start to see, sometimes they're kind of side by side... and sometimes you need to hover above them, before, after... so yeah, it's really amazing, so up until now we've been using kind of... other people's stuff through signature edits... now we're going to start in this course using remixes... now the thing is, I'm going to show you the interface here... and I bet you, Adobe are waiting... just for me to release this video to go change it all up, that's what they do... especially with remixes, they're changing this quite a bit... because it's new, and it's awesome, so the interface might change a bit... but the fundamentals will be the same... so before we go and remix anything... let's have a little look, about what's cool about it. I'm going to use this one here, yours is not... you know, it's going to be different for everybody... so just click on one, not the remix button but the actual image itself... because we're not going to remix it just yet... we'll do that in a little bit, just click on it... and what I like to do is switch it to this view... you're going to be defaulted to this view... I like to go to this Comparison view, As Shot... and this is the original photographer's edit... so that's the way they got it, and that's where they ended up... the cool thing about it is you can play it and watch all their steps, can you see... moving down there without me doing anything... it's moving through all their edits... so you as a newbie editor can start to see like... where did all of the good stuff come from... where is the bits that you might be up, color mixing, that's what we just did... did a lot of color mixing... color grading, sharpening... there's going to be things in this list that you don't know about yet... because we're going to go through the class still and get to them. You can pause it by clicking it... you can get it started again by playing it... and just have a look, where is the big adjustments... the tone curve here was a really big one... we'll look at the tone curve later on, but like temperature... just subtle changes, can you see, and then they get to the color mixes, pause it... just to see what they've done, ah, they went up 14... or they changed the temperature to this... or I didn't even know there was a color grading option... which we're going to get to in the course. So it's really nice to see other people's edits... yeah, that's the original edit... but look, all the other people, other photographers... other editors who have done a remix on it, there's loads... you can go through and say, "Oh, that one looks cool, I wonder how they did it"... 'Play', As Shot, cropped it... profile, tone curve, point curve... point curve, what did they do, temperature, let's do more of that... and you can kind of get ideas about how other people got to a place, super handy... and you can copy them, you can save it as a preset... we'll cover presets a little bit later in the video-- course as well... but it's just really nice to see how other people got to where they're going... and it's really nice to kind of see that As Shot, the comparison. All right, I'm going to do a remix here now just to kind of take you through it... and in the next video we'll do a class project where you have to do your own. So at the moment you just watch this, so I'm going to go to my remixes... I want to find an image I want to remix... and it has a really good search option up here... up until now it's been tricky to find good raw images but now we've got remixes... we can decide, I only want to show remixables... because that's what I want to do... let's say you want to pick animals, food, or whatever you want, really handy... you can do more specific searches, you might be, I don't know... it depends, let's go animals, let's do cats, here we go... and what I'm going to do is pick one that I want to remix... you're going to be seeing a lot of the edits that people have done... let's have a look at something, you wait there, I'll pick one. All right, I found one, that took way longer than I thought... because I want to do a demo of, like some of the color mixer stuff... so I'm going to remix this one... so basically it opens up Lightroom, with like, like we had shot it... but the original is Lila and Lindsey Robinson... and this is the As Shot, so now I get to start my own edit... so I'm going to do some of this light adjustments, done that loads before... so I'm just going to kind of speed this one up... and what you might have seen in the speedy version... there's a lot of me going like this, all the way... that's what I do a lot in my editing process... I kind of don't do small adjustments, I do big stuff... and just see what it does, and how much, and how far... and then I kind of just get jiggly jiggly down, you know, like... let's get lower and lower, and lower... so that's going to be my light adjustments... backslash, '\', backslash, '\', and now I want to use my color mixer... because that's why we practiced, before... so I'm going to use my little target and I'm going to say... actually this, I'm going to work on hue, no saturation... I want to make... this brighter, I'm just clicking and dragging it up... before, after, before, after, can you see, it's a bit tricky, it's only subtle... luminance as well, do I want it to be brighter, darker? I think I want it to be darker, and I want the saturation to be higher... before, after, before, after... often I just do the eyeball on the color mixer... because if I do the backslash it's going to do all my tone adjustments... I keep saying tone, it's light... at the same time I feel like it's too big a change... I just want to see what I'm doing in the color mixer... I'm using the target because the target's going to allow me just to grab... specific things, like I'm going to grab the eyes, and like, what color is that? Yellow, turns out, what is it... yellow, and a little bit of, I don't know what that little dot is, too small... but I'm going to exaggerate it, what are we dealing with? Saturation, and just the hue... luminance... too far, Dan, too far... kind of cool... feel like it needs a vignette, we haven't done vignettes... but I think I've thrown this in a few times... it's under Effects, I think it's cool... oh, look how more dynamic he looks. So that's my remix... obviously, you can go through everything that you've learned so far... and we're going to go to Next... this is the name of the image... the original was done by this, we can add any comments... it's a good way to help express what you were trying to do... I'm going to post my remix, and it can take a little while... for your remix to actually get processed... and that's the first remix on this particular one... oh no, my one hasn't appeared yet, let's have a look... there's one, there's my one coming along... so it's just the original photographer's remix so far... As Shot, and my one will process, and be there in a second. All right, so there's my edit, cool thing about it is... you can play it as well and see what you did... even though you were just there because there's As Shot... and you can see it working through over here... shadows, whites, contrast, blacks... oh, very cool. So now to share this with the assignments in social media... there are, you can share the link, but what we're after is... before and after photographs... so you're going to use screenshots... so what we can do is go to the top here, As Shot... and take a screenshot of this, get this last one, take a screenshot... and those are the things that you can post... make sure you credit the original photographer... so jump in there and figure out who that was... and make sure you credit them if you are posting on social media. Now in terms of taking a screenshot... on a Mac, I know it off by heart, it's 'Command Shift 4'... and you just got to click and drag... and wait for the play button to go away, it does go away eventually... and you end up with a screenshot on your desktop... and then you go to this last one and do the same thing, 'Command Shift 4'... drag a box around it all, and just wait until it goes... and you'll have two before and afters to submit, on your desktop... on a PC it's different, you have to check what it is on your version of Windows... just do a Google, "screenshot on PC"... and you can use that to post your before and after. All right, we'll leave that one here... I was going to show you how to send your own images up... we'll do it in the next video because this one's already too long... everyone needs a wee break, and a cup of tea, you go do that... I'll see you in the next video. 21. Share Your Own Work in Lightroom Remixes: Hi everyone, in this video I'm going to show you... how to post your own work so that other people can remix it... so you upload both the original, as shot, plus your edit... and you can turn on an option to allow other people to remix it. So I'm going to show you how to do that... and I'm going to show you how you can remix my image here... all right, let's get going. All right, so I'm going to find a photograph that I took, and share it... so I'm going to open up this one here... this is like my before, and after my edits... and I want to share it so people can work with the, as shot... and also see what I did, and then do their own remix. So I'm going to share it up here, there's this option that says Share to Discovery... and what I want to do is make sure I enable, where is it, Enable Remix... can't see it, yeah, Allow Remixing... so other people can have a play around with it... and I'm going to fill in the description, you wait there. All right, so I've added some basic descriptions and categories... let's click 'Share', all right, so here's all of my recordings... the stuff that I did when I was editing it... again, remember, you can play it through... the big crop there at the beginning... don't worry, we'll do cropping in a little bit... but all my different settings have been recorded... if you want to remix this one, let me show you, this will be the link here... I'll actually post it in the class projects... there'll be a links option right down the bottom... and I'll post that in there, if you want to have a go at editing it as well. I'd love to see what you do, just in case, there it is, there... there's a links option down the bottom of the document... there will be a link, Datsun Remix, have a go at that... I'll get notified when somebody does a remix... and I'll be able to see yours. All right, that is it, that is posting your own work... for other people to remix in Adobe Lightroom. 22. Class Project 04 - Color Mixing: Hi everyone. It is class project time. This one is going to be color mixing. We've learned that over the last couple of videos, and we're going to tie it in with a remix. Color mixing, just to remind you, is in light room and it is the settings under the color and it's down in here where you adjust specific colors. I don't mind how you do it because I can't check. I don't know if you're going to use the target or just click on these options at the top here, but be messing around with hue, saturation and luminance. That's the goal. The other thing is you need to do is use the light options as well. Probably do the light first, then do the color mixing. Light has this options in here, Exposure, Contrast, Highlight, Shadows, etc. You're going to be using a Remix. We learned that in the last video as well. Remixes are under our little tab here under Photos and under Discover is Remixes. I've set the task of remixing in animal just to give us some boundaries, spending two hours trying to find a great photograph. Under the top here, make sure it show the re-mixable images and then have a look under Animals. Pick your favorite or at least the one you think you're going to get the best. [LAUGHTER] Well, it's great. Find one that you're going to work with. Do your own edit, remix it. Once you've done your remix, I want you to share the link to remix. Can you get that at the end when you post it? Also take the screenshots like I showed you in the last video. Before, like As Shot as well as your edit and share them. Make sure you credit the original photographer, especially if you're sharing on social media, use their name. You can even link to them. To say if we do decide to use this one here by Ashley. We can up here, share their link, there it is there. Just to recap, find an image remix. Find an animal to remix and then do the light and the color mixing. I want your to focus on color mixing at the moment. You can sneak in a vignette there if you wanted to as well. But just focus on the tools we've learned so far. Share both the link in a before and after. Make sure you share it in the assignments section, but also on social media as well. Love to see your before and after. Exciting. Happy practicing. I will see you in the next video. 23. How To Import & Find Photos in Lightroom: All right, we'll start with the real basics... let's add a photo by clicking the option up here... click 'Add Photos', and up until now we've been using... this Browse option for the files you've downloaded... but I have connected my camera, and I happen to be using a Sony... sorry, a Panasonic SD card, so it appears here... so you can connect your device directly to your computer... and when I say device, your camera, through USB... or you can pull the SD card out and connect it that way, up to you. So I'm going to click on this one, and what you'll find is... depending on how many images you've got, what file sizes you're shooting... raw versus JPG, you might find that it takes a long time for this to preview... and that's just normal, mine spit along pretty well... but you can see, it's still trying to get down to here... like thinking about it, there is more images... they just take a chunk of time to load, cool. So let's bring in the images without-- I'm going to bring in a chunk of them... without actually going through and adding them to an album... we'll do the albums in the next video... now by default it's probably going to have to select all on, which is tricky... because I've got lots that I've already imported... and it's a huge big file, amounts of images, so I'm going to turn that off... and I'm just going to bring in some images, you can do it individually to say... "I want this one," and, "I want this one," because I've shot... you can see, raw versus JPG, so maybe just want the JPG ones in... so you can do it that way or what you might do is... see this white line around the outside, you can click on this one... and nothing really happens can you see the white line around it... hold 'Shift', and click on this one here... and you get this big chunk to come in... and with that, you know, with them all selected, it's not-- I can't actually add them, but with them all selected... I can click any one of these texts, and they all will come along... not these ones, because I didn't select them, but these ones will. So let's add them, just make sure that it's got none... in terms of the album up here, we'll do albums in the next video... so let's add them, you can see at the top here... depending on your computer and how big the images are... it can take a little while to import them, it's working a little bit slow today... it's because I'm probably recording at the same time, here they come. So other things that I want to show you... so albums and folders are great for organizing... and I said we'll do that in the next one... but there's lots of times where either you forget, you're lazy... don't want to do albums, and what you can do is... over here, 'All Photos', we've looked at... Recently Added... it's just a really handy one, you can see things that I did yesterday... there we go, that's what me and you were doing yesterday... that's a really easy one, but this eventually drops... you know, what happened the day before yesterday, there's nothing. So what you can do is close it down and go to 'By Date'... you can say, 'This Year', let's have a look at 'This Date'... and let's have a look at the things that were imported on... what we're doing on Monday, oh, yesterday, Tuesday... that's yesterday, Friday, oh yeah, the gray card guy. So that's a nice way of just finding and organizing your images... you don't have to do much other than that... the kind of self-organizing that way, you can just search from By Date. Another handy one is, let's go back to 'All Photos'... let's go to 'Recent Edits', so I've imported a bunch of images... but I haven't edited them, what I can do, I can go, show me recent edits... and right here at the top is the last one we edited together... so that's really handy, kind of cleans everything up, and say... just the ones I've worked on, starting by the first, the last. Now also just want to reiterate the-- down there, here... you've got two kinds of grids, you've got this kind of one that tries... to fill up all the space, and then this one, which is more uniform... up to you which way you like, up to you, which you prefer working. I end up working this way to kind of get the most space out of it... but I can see why you'd use this one... especially because it's got things like the JPG, and the different stars... which we'll cover in a second. The other thing to note as well, to remind you... is down here, if you've got a big screen or a small screen... or lots of images that you want to go through... you can drag this little slider, and get some really large images... especially when you're in this First Tile view... and you can just decide how much you want to fit in there... you can get quite small, and you get quite a lot of images. All right, so that's just a little recap of how to bring stuff into Lightroom... from say your camera, plus how to sort things out... without actually doing anything, using the Recently Added... Recent Edits, and By Date... all right, on to the next video. 24. How To Organize Lightroom Photos Using Albums: Hi everyone, in this video I'm going to show you how to use albums... I will show you how to use folders, a way for organized people... to do, organize organization, and at the end... I'll show you the lazy way where you don't actually do anything... you just kind of search through these options here... plus using filters to find the images that you want to work on... all right, let's jump in. We'll start with albums and then we'll do the lazy way... so what we're going to do is we're going to add a photograph... now we're going to click 'Browse'... now I haven't really done this yet, I've got my camera connected... so I can get them directly off my camera... and bring them into an album which I'm going to do. We're going to do that with our Exercise Files... but the only thing you might want to note is... if you have a connected device... sometimes it can take a really long time for these previews to load... depending on how full your SD card is, how high res the images are... and how, maybe crappy your computer is, so it can take a little bit of time. What we're going to do, so we can do it together... is you go up to 'Add Photos', go to 'Browse'... and we're going to go to a new folder called '05 Organization'... open that up, I'm going to grab all of these DSC images... there is a total of, counting, seven, this could be 107 or 1007... let's review for import, and the big thing to note here... is we can now, instead of just adding them to No Album... I can say, let's make a new album, please, I'm going to name it... might be the client, it might be the event... in my case it is the name of the show that was I at... let's click 'Create', and we're going to add all the images to that... and we're creating an album as we bring it in. You can see it down here, there is my little album... it's syncing to the Cloud, that's the little dial going around... and that is a good way, like the official way of organizing your information... put them into albums, you can add things to albums later on... I can have my album selected, I can be in, not Details mode, but Grid mode... and I can go and do the drag method, so I can say... actually, I want to add, like this one here, to it... and as long as your album's open I can bring it in. Another good point is, can you see this, I try to add it... and said, hey, you're previously added... so it doesn't want to add it twice, which is super useful... not good for my demo just there, but you get the idea. You can just add images to existing albums, if you've got stuff imported... and it should be in the album, but it's not... what you can do is, you can go find it... so let's say we go to our All Photos... and we decide that this, or at least all of these need to be in that album... so what we can do is, I've clicked the first one... held down 'Shift', click the last one, click, hold, and drag them... and you can just drag them straight into the album that you want it to be. So I went from 7 to 13, you can create an album in here... so you can create an album, it can be empty... can you see here... while I'm creating, thank goodness, we don't have any of those photos... but can you see, I had six, I had already selected... so it's going to include it in that album... it's up to you whether you want that to happen... you can create an empty one and then start dragging stuff in... or you can select it first, create a new album and say, come along for the ride. What you'll also notice is that images can be... both part of this LZ Festival in here, and photos of Dan's feet... it doesn't change them, like, they're not different copies... they're the same ones, let's have a look, let's open this one... edit it, let's do something very exaggerated... and let's go back to 'G' for grid mode... 'P' for bringing out that little side thing... and you'll notice that photos of Dan's feet, that image... same in LZ Festival, it's just a way of organizing them... you can also create folders, so folders is just a higher level... like if you've got-- if you're say, a photographer... and you do weddings on the weekends... and you do kind of portraiture, headshot stuff... during the other parts of the day, or different clients... you can create a folder, so this folder might be "Weddings"... and you can start adding albums to that folder... just to kind of separate them up. So let's say that-- is the photos of Dan's feet wedding... you can put them in there, you can see, they're all hiding in there... it might be a nice way of organizing your albums... if they start getting-- I'm going to undo that... now funny, undo there, just under my editing... but it didn't get rid of my folder... so I'm going to manually go through there and delete it... so right click it, "Delete Folder," yes, please. All right, albums are awesome when you use them... they're pretty distracted by that, I don't know where that came from... it's distracting me, so maybe something else... actually, let's delete the album and see what happens... so when we delete the album it's gong to say, we're deleting it... but the photos will remain, which is awesome. So just a way of organizing it... not actually kind of moving them around anywhere... I'm back from the end of the video, I've got to show you something... I'm going to come back and squeeze it in here... one thing I want to show you with albums before we moved on... was that you can change the thumbnails, it's quite important, like... for me at least, that the album image... I use the image, the little thumbnail here... often more as a reference than the name. So at the moment somehow it's ended up being this dark one... so what you can do is you can go through and say... what represents this album very well... it might be this blurry Mini, and you can right click it... to say, you have to be in your album, so click inside of it... pick an image, right click it, and there's an option in here that says... says, the album cover, you see here, now, it's down there... you get the idea, anyway... that's what I wanted to share, carry on with the video. All right, let's look at this super lazy way... and you're like, I tried to use albums, it didn't happen... so what you can do is you can use... a couple of different ways in Lightroom to find photographs... let's cover some of the basics, so Recently Added is awesome... things I added four minutes ago, and you can see... you know, what we're doing yesterday... oh, look at us, doing wedding photography... but obviously, those are a limit, it only goes to Yesterday... and what was I doing the day before yesterday? You can go into this one here, it says, By Date... and you can say, I want to find the year, and find... you know, the month, and here you can find the different days... so that might just be an easy way, you're like, "Oh, it was last Tuesday"... and I can go through, or last Friday, and see what I was doing... giant blurry Dan. So that's one way, another nice way of working is under Recent Edits... so say you're on All Photos, and I'm in the Grid view... I can say, I just want to show me my recent edits... I want to go through and try and search... just show me the things that I've been working on, and it's cool... it's kind of in date order, so that's the last thing I worked on... then that, then that, then that, there we go... that is the stuff we've been working on in this course... and that might just be easy enough to go through... and just find the stuff you need to work on next... Recent Edits, click on that. Another useful thing is on All Photos, up the top here... I can say, see this filter, there's a filter up here to say... actually, let's look at "Show me all my photos that have been edited"... basically we get to, back to Recent Edits. So maybe I'll turn that off... and by off, it's weird... so-- not weird, interesting, so,when I say, "Yes"... it showed me all of the photographs that, yes, have been edited... if I say this, I haven't turned it off... I just said, show me my images that haven't been edited... which is cool, to get rid of it, see up here... it's searching for things that have no editing on them... I'm going to turn that off. Another way is at the top here... you can say show me only my raw images, that might be handy... I'm going to turn that off, and-- or maybe the camera that you're using... you're using a couple of different cameras... you know that you've got your B-roll shots on one camera... or you know you've got different lenses and different cameras... you can go through and say... actually, show me everything that is on my Sony E7 S3... or maybe, you know, and it will just show me the one shot on that camera... that is in All Photographs. So by clicking on Canon EOS R5, show me both, this and that... so you can decide which ones you want on... That's Phil Botha's work and his camera. There's other settings in here, we're going to cover them in a little bit... but that can be a handy way of doing it... now we've been on all photographs, you can tie it down... so say you're in something like LZ Festival... you can say, I want to see ones that are inside... search just this album, and I want to find ones that are not edited... because those are the ones I need to work on next. So albums are good, you can be lazy and just use... I say lazy, but it's just another way of working, using all photos... and just trying to work out dates or recent edits... and you can combine the both of them by using albums... and searching within them by adjusting it in here. The one thing you'll need to remember is to turn it off afterwards... because sometimes you're like, you can quite... you know, you can kind of work for a while... and not realize you've got all these kind of like search options on... and you're like, "Oh, where's my images, where's it gone?" It's got to make sure you turn this off up here... and we'll clear that out, and if this little bar gets annoying... because it's taking up your sweet screen real estate for your images... you can just click on that and it will get rid of it. All right, that is albums, there's folders... bit of a whirlwind organization in Lightroom section, loads more to cover... I'll see you in the next video. 25. Storing Lightroom Images Locally vs Cloud: Hello friend, it is time to melt your brain... we're going to try and talk about... local versus Cloud storage for Adobe Lightroom... I'm happy for you to end this video... actually, just delete it from your brain, forget it ever happened... but there'll be a few of you out there going... "Where are my images, where are they kept... are they local, are they Cloud, what happens... what happens when I run out of Cloud storage?"... all those sorts of questions are going to be answered in this video... prepare yourself. Now let's do a demo, I'm going to add a photo from my camera... I'm going to pick something that's not already added, wait for it to load... so we're all sick of cars, so let's bring in a photograph of my neighborhood... dilapidated castle, I'm gong to add them, and what you'll notice is... it's going to add it, and what you'll see is... this little Cloud thing is going to start, well, first of all... it's preparing to add it, my computer's a little stressed out at the moment... once it's actually added it to my photos... Come on preparing I'm stalling for you preparing... it will then send it up to the Cloud, you're like... can you see it there, doing this little thing... here's currently syncing one item to the Cloud. "So where is my image, Dan?," good point... it is actually still on my SD card... that's totally fine, hasn't like erased it... but it's kind of like detached it from it... and in Lightroom now you are viewing the Cloud version... it is saved to the Cloud, basically a hard drive on the internet... and that's the image that we're dealing with now. So we haven't actually removed it from our SD card... we can leave it there, it's a good backup... you can copy it off manually and back it up if you want... but the nice thing about using Lightroom is that... you have now a copy online... now what happens when you run out of Cloud storage, a couple of things... you get quite a chunk of it as part of your Lightroom subscription... but you can upgrade it if you need to, if you're a heavy user... or you can just let it run to the top, and when it runs to the top... it'll still work locally, it'll save a document to your hard drive... but it won't back it up for you, and you can live that way if you really want. The reason the Cloud storage is great... is because it's backed up, and if you're like most people... you'll back it up anyway, so you might as well use Lightroom. Let's say that that you want to not only have it in the Cloud... but you want a local copy as well... because you're going to end up formatting that camera... what you can do is you can go up to Lightroom... you can say, I want both, you can't turn off Cloud storage... but you can turn off, by default, local storage as well. So we're going to go to Preferences, so Lightroom Preferences... I think on a PC it's under 'Edit', 'Preferences', not pretty sure... so let's go 'Lightroom'... 'Preferences'... and I'm going to locally store it... what you can say is, actually, store me a local copy as well... and it might be in a Dropbox folder, or a Google drive... or something else that you're backing up... you just want another copy of it... you can click 'Browse' and decide where that's going to go. All right, so grab an image from your SD card, bring it into Lightroom... Lightroom sends it up to your Cloud storage for Adobe... which is awesome, because it's backed up... it's also awesome because you can actually access it from any computer... all you need is your Adobe ID to log in... so I could go to random other computer, I'm not sure what computer I'm at... some work one, somewhere else, and what I can do is... I can load up lightroom.adobe.com... I can sign in with my username and password. So this is not Lightroom, this is just a website... and the cool thing about the website version is, it has all my images... because they're synced, it's the same on a mobile device... I've got in front of me here, my mobile app, Lightroom... you can download it from the App Store or the Google Play Store... and they're all my images, not only have you got them... for kind of like organizational stuff, you can actually edit them. So let's say that we want to work on... I don't know, let's pick on this one here... I want to click on it, can you see, I've got the editing settings in here... now they're not, it's not as full as the one that is off in Lightroom... the app version that's on your computer... that you've downloaded and worked on, has more features... the web version, they're kind of catching up... they're, you know, it's a different team developing that bit of software... and they're just pulling through most of the settings... can you see, I've got lots of it but I don't have all of it just yet. So I've got the Color Mixer, most of... everything we've done in this class so far... there's just a few things that aren't in the web version... the same with the mobile version... the mobile version, you can open up your images... and you don't need your SD card because it's backed up in the Cloud... and you can work through your settings, and you can see... it's actually remembered all the settings that I had in Lightroom... and like before I can go in and make changes... I'm in the web version, how cool is that. Let's actually make a really bizarre change, so we can see it visually... I'm going to close this image down, and what it's doing is... can you see it there, it's kind of updating, let's go back into Lightroom... all right, hands up, who remembers how I find stuff that I've recently edited... even though it was on a different place, it was on our website... you remember, Recently Edited Photographs, there it is there... so on your phone, through the website, through the app... they're all synced, and it's all non-destructive... so I can go back and unwreck it. What you'll notice is, eventually it'll start syncing to the Cloud again... and my desktop version will come back to life, there it is, there... there is a little bit of a lag between them both updating... so with-- I need to refresh, there it is there, the updated one. So that's some of the perks for the Cloud... and if you want to store it locally, you can do that in preferences. 26. How To Delete Images Permanently in Lightroom: Hi everyone, this video we're going to talk about deleting stuff... sounds simple, it is simple but there's kind of two ways of doing it... and there's some backups, "Just get started, Dan," "Okay." What we're going to do is delete something... so there's kind of two ways of deleting something... if you're in an album, which often I am... and you want to get rid of something... I just don't want this image here, it's kind of out of focus... have a look, details, I want to delete it, go back to Grid view... and with it selected we can hit 'Del' on my keyboard... and you can kind of see, it says, "I won't be deleted"... that's a terrible delete, it's just going to delete from the album... this might be in different albums, it's not going to get rid of it... just going to remove it from the album, let's do it... but it's not gone, if I go back to All Photos, and go to Latest Imports... there you are, so if I delete it from All Photos... or at least any way of finding this, you might go... I'm going to find it, using a filter, finding the right camera that-- that's enough, you know, that hasn't been edited... and you found it, you can hit Del from in here... as long as you're not in an album... it's going to say - oh, it's red - it says, "Are you sure?"... it's going to delete it from both... your photos, from Lightroom, and any albums... so it might be across multiple albums... you might have shared it with somebody, you're going to delete it... you can see here, it can be restored for 60 days, let's do that. So I'm going to delete it, and it's gone, forever... it's syncing to the Cloud, it's deleting the Cloud version... but if within, say in 59 days you're like... "Aren't there many, I really need it," what you can do is... you can go to your deleted items and then go... can you see, how many days it's got left, you can say... actually, for this one I want to restore it, so I am going to that one... so it's going to restore it, undo, go back to where it was... or you can right click it and say, 'Restore'... and it will be back in there... where is he? Oh, he's back, hello... so you do want to clear them out, you can go to delete it... and you can say, actually, you know, permanently delete it... so if I go to this one here, and I say, delete it... this one's going to delete it permanently and cannot be restored... there's no like 60 day leeway, it's gone forever. You can clear them all out, see, there's a bunch in here... you're like, actually just get rid of them all, see the dots up here... you can see permanently delete all, or restore... or just leave them there, 60 days, they'll delete themselves... it gives you a bit of breathing room... just in case you do need to go back, a little trick, slightly advanced... but because I do it all the time I'll share it with you... I'm inside Albums quite a lot, this is like a demo account... that I've got for this course... so my albums look really tidy but let's say I've got hundreds of albums... and I'm working in them, I want to delete this one for good... actually, I just want to get rid of this image here. I'm in an album, remember, if we hit delete... it says, "Are you sure?," it's only going to delete it from the album... you can actually force it to... you hold down your 'Option' key and use backspace... instead of delete, so 'Option' on a Mac, 'Alt' on a PC... and hit 'Del', doesn't work, just, still get through the album... but if you use the backspace it's kind of like... the backwards arrow one, there's two deletes on your keyboard, right?... try both of them, one of them will say... you know, I'll delete it both from the album... and in, you know, from the main photos as well... so I use that one quite often to clear it from the album... and from Lightroom in general. All right who'd have thought we could make a video on deleting images... but we can, we did, we've got a little advanced there at the end... all right, that is it, I will see you in the next video. 27. Pause Syncing in Lightroom Before Cloud Storage: Okay, so I'm working off my camera, I'm going to bring in... all the raw files of this building here, I'm going to click... actually, I'm going to add into an album, so I'm going to go, 'New Album'... this is going to be the, this is going to be the "Famine Houses"... oh, this is the Famine House on a little mountain... near me, place called Lockfeller... I'm going to create and add the photographs, and there is going to be... you can see them up here, they're importing... they're going to start uploading to the internet... and what I'm going to do is, I'm actually going to sync them... oh, pause the syncing, why?, because sometimes I'm just importing... like a whole SD card that's taking forever... and I know I'm going to go through and clean things up and delete things... and I just don't want to be spending the bandwidth... uploading and backing them up just yet... the kids are watching the internet, and I don't want Netflix to stop working... because they'll come start hassling me, parenting at its finest... but it does, yeah, it's going to start uploading to the internet... and I don't want it to happen just yet, because I'm like, I'm not even sure. So this one here, Detailed View, I can see, blurring, out of focus... I don't want to back that up, so I'm going to delete it... just hit my 'Del' key, and I'm going to say, you're gone... and I'm going to do some basic tidying up to see... like, you know, are they too noisy, this was like, it was beyond sunset... I was trying hard to get up for sunset, and I missed it miserably... so the light is not great, I want to go back up there and do it... but you can go through and just delete them... get to the ones you want... and then you can turn syncing back on, they're still, like they're in this... like temporary zone on your computer before the syncing starts back up... so you can edit them while it's paused... but eventually get the backup going, and it's going to sync them... all right, nice easy one, I'll see you in the next video. 28. How To Compare Two Images in Lightroom: Hi everyone. In this video, we're going to look at a comparison view. It's this little button down the bottom here that we've ignored so far in the class, and we're going to do two things. I am going to compare two different images, and try and get them to look the same because you can edit in comparison view look. That is my attempt at trying to get these things to look the same. Another good use is these two images, shot at the same place but at different times using different camera settings. What we can do is zoom in and start to see the differences in details, and decide which one we want to potentially keep and continue editing and which one we might throw in the bin. Comparison view, super handy. Let's jump into it. First step, bring in four images, 09 through to 12. Comparison view, you probably like, this is not going to be hard to explain. Why is the video so long? It is because it's a little bit tricky. It just needs explaining. I want to compare these two. They look similar. I shot them at the same time-ish, but I'm playing around with my camera, different IOs, different shutter speeds, different F-stops. I want to see which is better. What we can do is just switch to it. It doesn't really matter where you are. I'm going to close this down all photos and I'm going to click one selected. Looks confusing but it's interesting. My film strip down the bottom here. I had one selected to start with and it's ended up there. I can click on this other one here and it compares the two. Actually, let's do these two first because these two are too semi. I'm going to click on this city, and then if I change to this other city, it changes this one. You're like, how do I change this one over here? What you do is you click on this one over here because there's white liner on the outside, means I'm going to change this one. You pick that one and pick the other city. Click on this side and click the cross in front of the church, my local church. That's one thing, is choosing those two. You can be in grid view and actually just be a bit more careful and say, I want this. I'm holding Shift and clicking both of these two and then going to compare mode, job done. When you're in here, you can switch them around so that on that side, you can change the orientation. It'll depend on your screen size, and the aspect ratio, and which one you want. You probably always want left and right. The other thing that is interesting is this parallel. Let's start with these two. I'm going to click on this side. Click on the side and so the white borders around the outside. I want that one over here is this one and you're like, these are the same. There are similar. Let's have a little look at both of these, the differences. I'm going to click on this little eye. It's going to bring up the Info tab here. We haven't really looked at that yet, but it's going to tell me all things. It's going to tell me what my camera settings were, and then if I click on this one, you can compute the two. This is you. I'm sitting there on a seat trying to work with my camera and decide what I want to do. I decided to just a shot a bunch of different settings and I'll figure it out later. We are here together figuring it out. One of the nice things we can do is we can zoom in. Now that option down the bottom here might be off by default. I can never remember what it is. With it off, you can zoom in. Remember, you can hold down the Command key on a Mac, Control key on a piece and you can zoom into some detail. But with parallel on, can you see they do it together? Now because this is a shot, I'm hand-held, so they're not perfectly lined up, but close enough for what I want to do. What I want to do is click, hold and drag and get a sense of which is noisy, which is clearer. It depends on the detail that I want. Down the bottom here, there's like water running on it. There's different shutter speeds. I'm like what I'm looking for? I'm looking for this lovely sushi long exposure, or do I want all the blobs of water? Again, I can zoom out, click once and I just use my normal zooming, but because they're in parallel, they'll move along together. It's just really handy to see which one you might end up using both of them. I'm going to click on auto for both of these just to bring them some a little life to them. There you go so that's one use case. You can decide on which image you want to use based on a zoomed-in detail or this other version that I've got here so I click on this one. Both of these. Let's say that you need to not only just see which one you want, but you need them to actually match. It's handy to use this comparison view here. These are two different photographers. Where are they? Frank and Pedro. Thank you very much for sharing your photographs. Different cities, sorry, America. They look like American cities. I don't even know if that is true, but different photographers, different angles, but they need to be consistent for, let's say a magazine layout or for a website film strip. What I am going to do is you can actually edit in comparison view, whichever one you have selected. Let's do this. If I crank up the exposure, watch the exposure. When I click on this one, it's back to zero. You can work on these separately, which is really handy in a newish upgrade to light-room. I'm undoing using my shortcut Command Z or Control Z on PC. You can leave now actually. I'm going to start adjusting this one to see if I can get them looking the same, and it has nothing really to do with comparison view. Just a bit of a taste of my ability now to see if I can get them to match. Hang around if you want, you don't have to. Nothing new with comparison view. First things first is exposure. This one's really dark, probably a lot it's going to come in contrast. Highlight, the colors really often. It's a little bit off-putting. There's going to be like dragging this around to see if I can get these to match. There's just a lot of over-exposed like they're exaggerated. The contrast is right up. There's lots of light. Lots of things are too light and lots of things are too dark, but it's cool. That's what we're trying to match. You might just be shooting in different rooms, different lighting conditions, cloudy, sunny, and you're trying to match them up. I'm doing a big city for no real reason. There's not much going on in here. I need to work on the color, so we can look at the white balance. I'm going to warm it up tint-wise. Again, remember just dragging these around to see where we're at. I think that tends okay. Vibrance needs to probably come down. We haven't done vibrance in much detail. We'll do it in a little bit. I'll talk more about it, but it's not hard to understand. Vibrance, more vibrant, less vibrant. That's what I'm trying to do here. I'm trying to pull some of the color out of these oranges here to get them to match. Now, I might go back up to my highlights trying to decide what to do with this. I don't want that definition, this guy, I want it to be washed out like this one here. Now I'm just dragging sliders. I'm just looking back between them to see what I can do. Feel like it's getting worse, not better. I think I need a bit more vibrance back in there. I'm going to do the lights. One of these two. There it is. There's the magic. Before, after, before, after. Better. I think better, a possible match in a bit of it. Needs to be warmed up more. Vibrance up. A little boring. I'm going to leave it there. But you get the idea. You can put two images up, and you can be working on either of them. You can say actually what I need to do is get this one looking like this now into maybe pull out some of that contrast to get them to match up, bump up the whites, try and match this other one. Whichever one you have selected, you can adjust. You can see if you can get them looking semi-consistent. You might be doing just more subtle things. But that is it. The comparison view. Super handy. You can edit in it, and that is it. That is the end of this video. To the next one. 29. Sort by Flagged Images in Lightroom: Hi everyone. This video, we're going to look at these flags, both the reject, the except, the no flag. I'm going to show you some tricks for being able to go through and add them very quickly using shortcuts, plus a way of filtering by them and deleting the ones that you don't want so they don't sink. Great way to decide which images you want to keep from your epic photoshoot. In this case, Ruru or Morepork. Lovely New Zealand native owl, let's jump in. Let's bring in the images Command Shift I, Control Shift I, and under organization there's a folder in there called Ruru. Bringing all of the images in here, I've made them quite small just because we're doing organization, we're not going to do much editing, so I've just shrunk them down, bring them all in. The Ruru is an owl, it's also called a Morepork in New Zealand. Such a cool noise it makes at night. Native New Zealand. Now I'm going to just bring them all in. You do the same and what we're going to find is this particular shot, this is filled both through again. He did that bit earlier in the course. He shared these as well. Thanks, Phil. These are shots I get at dawn, so a lot of the shots are dark to try and keep the noise low. What we need to do, just to go through really quickly and decide which one should be flagged and which one should we should keep, and which ones we should not work on. It's often really easy just to select them all so click the first one. Select this one and right-click, and I'm just going to go to auto. Apply auto settings for these three photos. It's just going to drag up the exposure. Later on, I'll go and get rid of auto potentially, but at least now we've got some stuff to work on that is easily viewable, or at least more easily viewable. Let's select them all and let's add them to Album because we are being very good. Selected them all first thing created the album and it's going to include them in here, and this one's going to be the Ruru named because of the noise it makes. I'm not going to try. [LAUGHTER] Google Morepork or Ruru sound. [LAUGHTER] It's really cool let's be honest. They're all in there in my album, nice and tidy. Let's go through and do our flagging. I'm just going to start with the first one by double-clicking it. What I might do is zoom in just a tiny bit because probably when I'm doing this particular one, it's not so much composition is to do with noise because I know Phil was going through, if I look at the I over here, he was playing around with different shutter speeds and the compensation. But I also want to see how noisy they get compared to some of the other ones, so that's what I'm doing. I'm going to probably zoom in a little bit. Command and I'm going to drag, just make it a little bit bigger, just so I can get a sense of the noise. Then I'm going to go and hit flags or not flags. Ones that are unusable, so you can click on this member. Let's use some of our shortcuts, the left, and right arrows to go back for. I'm just going to scrub through to get a sense of what we got. This one here is going to be unflagged, not flagged, bad flag, [LAUGHTER] cross flag. So reject, there you go. You'll notice there as well is that clicking this can be a big pain in the butt, so this is a good one. It's a good shot but I don't like the bird's eyes, so you can use your X and Z keys. There are next to each other on your keyboard. Can you see Z it's been picked and ZX is rejected. Come on Dan. Often though, all I'll do is just take the ones I want to keep. You might want to add the reject as well, but basically, what I do is I just take the ones that can keep and the ones that have no flags are the ones I'm going to get rid of. X arrow key to the right. I'm actually clicking on actual lightroom Dan, so X for that one. I'm going to go through in X and Y. Well actually, you don't have to watch me do that, do you? [LAUGHTER] I will do it in a second, but just remember those two shortcuts as Z and X. There is one that sometimes is handy as you for unflag. Sometimes, if you are using the hole and instance where I said before, I decided if I don't add a flag, that's my [inaudible] get rid of it. You might have clicked that and you're like, no, I want to be unflagged. You can just click it again to get rid of it, but the U key unflags that as well as a shortcut. Z except X, reject U, unflag. One other thing before I go and do my flagging and unflagging, you can do the same. If you go back to G for grid, you can often do it from this view. Hit G again to go into this first grid option and you crank these up. Especially if it's just composition, you can easily click on these things and use your Z and X. I probably need to look at that one better like this one is definitely a go. Look how poor and happy that guy is, even though it's quite dark, so he's Z. This one here, that's in the way. It is because I've got some other ones that are better. I'm just clicking on this view, it can work. This one here I'd probably have to zoom in a chunk because I am looking for noise. Let's look for some bad ones together, as in the bird is not doing what we want. I'm probably going to drop all of these X because even though it's looking at us, this is the view that I want sideway of the eye. Let's look at filtering first. What we want to do now is this sometimes, because at the moment that backing out to our cloud and that's fine and syncing them. Sometimes though, I want to delete them, just so they don't sync. What I might do if it's huge files and I need the Internet is I'll just pause this thing and just delete the ones permanently that I'm not going to use. Remember up here, we've got our search options, we can say actually just show me the ones that are unflagged, the non-flagged, rejected. I'm just going to select them all, and who remembers the shortcut if I hit Delete key, it's going to remove them from the album. But I've had option and delete key or Alt Delete on the keyboard, or Alt Delete on a PC. It'll delete them from both the photos and any albums. The longer way, and it's not even that long, if you go up to Edit, use this option here. Sometimes, there's a few shortcuts I don't want to get into here, like the Z and X1 we're learning for flagging and unflagging. E for edit, P for photos. Those are handy, sometimes though, remembering too many shortcuts, especially if they're complicated, just use the long way. So edit, delete these photos, I'm okay with that. I love it. Also, where I'm at now is I want to go back and finish because there's a few that I haven't flagged at all. I'm going to turn that off, show me the ones that I haven't flagged because the ones I've picked, which is great. There's a chunk down here that I haven't even done anything too, so I'm going to go back into this view here. Zoom in a little bit and the command drag, control, drag on a PC. It's going to be noise and all of them because of the time of the day. It's super dark in the forest. Here's Z. This one here, I'm probably going to have to edit before I have a look, and just do a real quick auto color. Some weighed colors going on in there, so I'm probably going to X him. It says deleting because we've got this current search running. It's looking at Rurus and show me the unflag one. As soon as I add to them, they start disappearing. So if I go to this one here, no, too noisy. This one here, too noisy, not looking at me. I think there's better ones. Little blurry, that's pretty good. He can stay noisy. Some things in the way. This one here, too sleepy. [LAUGHTER] We've got rid of everything so there's no unflagged ones now. I'm going to turn that off but stay in Ruru and yes, show me the ones that I've got rid of so filter. Show me the ones that have been rejected. I'm going to go to Grid View for G, select them all, and you remember the shortcut is. It is Option or Alt Backspace. I said delete earlier, didn't I? You knew what I meant. A little pop-up from the editor, that helped. So Option Backspace or Alt Backspace on a PC. Let's have a look what we ended up with; not many. What I'm going to do now is we will put the stars on them. Flagging first is just an easy reject key; figure it out later on. Which one you like the most? I probably would have liked to have a few more here to pick from, but I don't need one. Let's do that in the next video. Let's look at these starring. 30. How To Use Stars To Grade Your Images in Lightroom: Hi, everyone. In this video, we're going to go and add the stars to the images. It's another level of grading after the flags. I'll show you the shortcuts, a couple of other little tips there as well. Let's go adding stars to our owl. There you go. It's a owl. We have cut down our images that using the flags already, we saw that the flags first and then the stars next case, especially, when you have got a lots of images. Just do a really big heavy cut with the flag. Yes, no, and then leave everything that's a maybe and you can star it later on. So starring it, it's much the same. Let's open up one of them and we can decide by clicking down here. We can say this is four-stars, five-stars, three-stars, or you can use your numbers on your keyboard. I always start at a four-star. Even if you'd like this one the most, they might be another one, and then where do you go. You got nowhere to go from five stars. Start at four. Four could be is where you end up. This one here using my right arrows. This one here, like three composition is not my base. This is my favorite, I think. I've got a mixture of inquisitive bird versus quality of image, so I like this one better. So there's going to be my five-star. This one here is going to be four. This one here might be five as well. I'm going to compare these two. You might have a lot more than me. If you want to get rid of stars, you can hit the zero key. You see zeros stars, you just click it down here. You can just click it again. It gets rid of it. That's my five-star, like before you can filter, so if you can't see these filters, remember, click on this and say, "Show me my ones that are above four-star or above five-stars." You can switch it over here to say, "Is equal to exactly four-stars or show me things that are less than four stars or four or less, three or less." When I got one of them, you get the idea. You probably just want to leave it on the default greater than. The symbol I can never remember and have to Google every time. It has something to do with the crocodile, then I'm stuck. I'm going to look at the five stars only and I've got two of them. This gets down to a really nicely when we get to use the feature that we looked at before when we use the comparison. I've got one compared to the other. Now unfortunately, I can't use parallel because the cameras move too much. What I'm going to do is I'm going to keep zooming in, and I'm using another shortcut. I'm using Command Plus to zoom in. It's just another way of zooming in. We've been using Command drag or Control drag. You can click on these guys and say Command Plus or Minus, or Control Plus or Minus on PC. You too guys, who's the best? Who's the winner? There's a lot more going on in this one, lot less noise. Which one do you like? On the left, right? More fuller eyes, and I think probably to have a look at it. I think, it's just more detail in this one. Tricky shots to get, and so let's zoom. I got more. Which one did I pick? Make sure you actually this one. I'm going to keep this one as five. This one is going to go down to four and it will disappear off my little list. I'm going to get rid of that filter, and this is the winner, so I'm going to start editing. What I might do is just reset it now so I'm not using all the auto settings. I'm going to hit Command or Control on PC and begin my editing process on this one. Now a couple of reminders, like in the last video, you can actually do this starring system using the grid mode. You just click on them and hit the numbers down there, or use your shortcuts, if you've got your thumbnails quite big, that can be helpful. The other thing to remind you all this full screen, so we do a lot of D and G. Remember that little lonely key between the two if we're going to go full screen, sometimes that is just really nice. I've got a really big 4K monitor. You might have a laptop and you might need this full screen for everything. Anyway, what am I doing? I'm looking at the bird escape to get out of it, and that is it for staring things. I'm going to turn my sink back on now, because I'm down to these last lucky five I'm going to work on this one, keep these guys around, and what I might have done is I was probably a bit ruthless with my flagging and declining, and then I deleted all the ones I didn't want, I probably want to backup a chunk more. I want to go through and probably delete the ones that are super bad. Just pushes off my feet, because just in case I need to go back, and then have you got one where he's looking to the side, you're like I deleted them. I showed you how to delete the ones that you'd rejected, but maybe be a little bit more careful, and then I was in that pause video a little bit to Keller Stan. That is it starring images in library. I'll see you in the next video. 31. How To Rotate Images Left or Right in Bulk in Lightroom: What are we doing? what is the meaning of life? I thought this video was about rotating, it is... look, it's Dan in a chicken suit, but rotate it around... let me show you how to rotate images and flip images in Lightroom, oh dear. All right, bring that in, let's go to 'Import', any way you want... and in your 'Organization' images you'll find that, 'Rotate Dan'... and just happens when you are shooting... you know, for Instagram, or if you are shooting for that portrait shot... sometimes the camera doesn't know to flip it back across... so it's really easy, you just right click it, and rotate, left and right. I have to draw the clock on this guy, is that one, here we go... that's how to rotate them, to do a big group of them... say there's a bunch of them that have come in... you can select 'Multiple' in Grid mode... so make sure I hit 'G', and select them all... and then you can just right click a bunch of them and do it. The other thing I thought I'd show you in here as well to... I don't know, I don't use it but we might as well throw it in... right click it, there is a way of flipping horizontally and vertically... not right clicking, you've got to go up here, 'Photo'... there's this one here, Flip Vertical, Flip Horizontal... you might want it for like a composition... but I just wanted to make you aware that it can be done. There are shortcuts to all of those, I never learned them... because I don't do it enough, and right click's not too far away. All right, that is how to rotate Dan as a chicken... you notice I haven't brought that up really big... you can look at it yourself, not my proudest photo shoot, but funny... we had a good day, thank you to Tayla Coman and Taylor Sloan... for helping with that one... yeah, especially Taylor Sloan, who did all the photography... all right, on to the next video. 32. Auto Add Your Copyright Info Using Info Panel in Lightroom: Hi everyone, in this video we're going to look at this Info panel... we'll look at it just in the terms of the metadata that it captures... things like camera and the lenses, etc., but also how to add your copyright... we'll start doing it manually then I'll show you how to do it for bulk images... and then I'll show you how to do it automatically on import... all right, let's get into it. All right, pick an image, any old image... I'm going to try and find some of the ducks, there they are... or the dab bird, click on one of them, and you can use this 'i' down here... to get to the Info panel ... or I use the 'I' on my keyboard as a shortcut. So this is where it shows the metadata... if you have never used metadata before... basically it's information that's part of the file, in this case, an image... you can't visually see, but it's all in there... and it tells the camera, the lens... the, you know, all the different settings that were on the image... and depending on the camera it might record things like location and city... often, cell phones do it really well, but cameras don't... or mirrorless, or DSLR cameras don't, you can add that afterwards. It's a good place to find the file name as well... and what I like to do is, often, right click it and copy it... to know what the file name is, to paste it, to go do searches... go look back through old hard drives... but you got to right click that one to grab the file name... and just copy to your clipboard. Now the one you came for was copyright, this is where it gets used the most... and I can say, this one here is Phil Botha... he was the photographer for this one... 'Enter', and now when this image goes off into the internet... to clients, to customers, to websites... when they download it they'll be able to see who the copyright holder is... and who the photographer is. My only problem with that is, like let's say one of my images... let's go to 'P' for photos, I'm going to go to Famine House... this is one of mine, if I hit the 'I' key again... Daniel Scott, there's a lot of Daniel Scotts... I'm better as a Daniel Walter Scott, you can find me a little easier online... but still, what I like to add is a website... might be your portfolio or an email... just a way of getting hold of you... so that if this images are going out and you want to be able to be contacted... use one of these title or captions, not explicitly meant to be used for that... but it might be something you do, I do it, not many people do, there you go. If you want to do it in bulk, after you've imported... you can just click on one, hold 'Shift', click on it... and you'll see that it's showing me that they're all the same camera... or the same lens, but it's all mixed here... because they're all different settings on the camera... but consistently I can say, all of these are "Daniel Walter Scott"... and we'll add them to all of them. You can do it automatically when you bring it in... so if you go to, on a Mac, up to 'Adobe Lightroom'... and go to 'Preferences', and on a PC it's under 'Edit'... and down here somewhere is 'Preferences', there is an option in here... so it's 'Import', and you can say 'Add Copyright' as they're being imported... so there you go, that %20 is weird bit of code... that represents a space... yeah, in the metadata. So you can put it without it and it will keep adding it in there for you... to make it work on all sorts of different systems... so just put your regular name in there, and you will see later on... it'll be %20, it's code for space, there you go. I'm not going to do that in this case... because I'm importing a lot of other people's work... and I don't want to be adding my copyright to their images... I'll just do it, but if I'm honest I forget to do it all the time, there you go... I got it out, I forget to put copyright on everything... but you won't, you know where it is... you know, how to do it automatically through import... and manually for multiple images by selecting them all... and going to the Info panel... plus the Info panel, we've learned as other useful information... we've kind of used that a little bit in the course already, but here you go... gets its own video... that is it, my friends, I will see you in the next video. 33. Amazing AI Search in Adobe Lightroom: Hi, everyone. In this video, we're going to look at artificial intelligence search. Adobe calls it Adobe Sensei. It's one of those things where artificial intelligence actually meets the real person. Because you hear about it and you're like, "Yeah, yeah, yeah." There's a robot dog. Stop pushing the robot dog. Does anybody know that Boston dog? It has no head, which is creepy, but this artificial intelligence, let's look at this. If I want to type in a red car, it's going to go through everything without me doing anything and it knows what a red car is, too good. Let's dive in a little bit deeper and I'll show you how it works. To enable the super amazing search, you do nothing. You just search up the top. It's fantastic. What you had to do in the past is you added these keywords down here, these tags, and you selected your image and you say, "This was a red car, a Datsun 510 bluebird shot on this day by this photographer." So that made search work before, and then nobody actually did that. I never did it. Nobody did it, because it was one of those things we we're supposed to do but never did, so that's why we're not going to have a tags in this course because, that's like keywords option, because the search option is so much better. Now, let's do a search. Just type in, "bride". How cool is it? I added no tags, it just goes and haves a look, and artificial intelligence takes control. The robots have a look, and there you go, see the bouquet, I love it. Now, it is getting better, because sometimes your like, "Okay." and we're just going to type in, "Give me everything with a man in it." Nicely done there, robots. Although, that seems like that's a funny one, there are some amazing ones, like type in a "building". Everything with the building look at that. Watch this, I can type in a bit more specifics a stone building. So cool. Let's type in "bird". We've got lots of birds. But I want the owls. Can it pick owls? It can, so good. Though it's missing one, there's five of them. It is getting better and better, but often it can get you in the right zone. Then what you do is you right-click any of them and you say, show me all the other photos that were taken at the same time. Where is that? Show photos from the same date, and there you go. Sometimes you just get close, robots get you there and then you can use your right-click and show photos from the same date to get there. Now I'm stuck in the search for this date thing. I want to get out of it. I can hit my back button to get back to where I was before, or I can just clear everything out. Or if you want to go back, you can go to your photos and just go to "All Photos" and just come out of that search if you get a bit lost. It's amazing. I want to find cars, but I want to find red cars. There you go, red cars. Grab them all, put them into an album. Just remember though, there are times like I want the sea, and I've got lots of pictures of the sea or a couple more and they're just not appearing in there, they do get better. That is search using artificial intelligence. Adobe calls it Adobe Sensei. In Light Room, super fantastic. 34. Saving for Print Web or Social Media From Lightroom: Hi everyone. In this video, we're going to look at saving files. You're like we already did that, I'm going to get into a teeny-tiny bit more detail. We'll look at saving for web versus saving for print, JPG versus TIFF is a nice battle to have. We'll talk about what is this quality slider, what does 60 percent mean, and how to do some bulk exports using some shortcuts. Let's jump in. Let's talk about exporting or saving what none of us calls it. It's called sharing, but that's what this button is called. It's called the share button. We've used it before. Let's click on it. Let's talk about a few different use cases. Let's talk about you going out to print. When you get this thing printed at a local coffee shop or a proper art printing facility. Hey, probably I'm going to go out there and say, just use this one here. I've had great results. Basically, it's going to keep the physical and size, and you can tell them what size you want it to be. It'll keep your images large as possible and keep the quality as good as possible that a JPG can hold. The alternative to that is JPG nemesis. Sorry, I just jumped in there. We went to custom settings and we said, no, I want TIFF because that's what I've heard is good. You can say dimensions. I want it to be full size and we want no compression. The people that love TIFF is mainly because of this. There is no compression. JPG does a lot of compression. But if the quality is set to 100 percent, you're not going to see a difference. There'll be a few of you out there like gasping and holding your mouth. That's if you can see the difference from wherever you are getting yours printed I'd be surprised, but also like this is totally fine. Send it out as a TIFF. But you will find a JPG at full size, at full quality. You just can't see the difference. That's just my opinion though. There'll be people out there that really want to do TIFF and totally do that. That's fine. Why TIFF is nice is that if I ask for a TIFF, there's no way that you can give me a compressed, low-quality version. Whereas if I say send me a JPG, I can say quality 80 percent. But if I had 100 percent at full size, there's an amazing amount of color that is retained in the file and the TIFF has more definitely, but that doesn't translate into getting printed in my opinion. The color spectrum just can't be reproduced. There you go. That's my opinion on the matter. Let's come out of that. If I want to go to print, go JPG, you can throw up. If you've got more information. I'm not a commercial printer, I've done a lot of printing through the years. Big commercial printers and Fine Arts Printing and JPG [inaudible] . If you've got more experienced, throw it in the comments. I'd love to hear what's worked for you, what doesn't work. Let's make it a conversation, not a JPG versus TIFF battle. There you go. Print, go for JPG Large. If you're going out to anything else, you're just sharing it with clients for a preview. You are scamping a website, it's going to any social media. This one here is great. JPG Small. It lowers the quality a little bit, lowers the size a little bit because often you're capturing these massive images. Are just too big in file size and going to get resized on websites and social media anyway. The next thing I want to look at is this. This is awesome. Because if you don't like these two, you can say, I actually I want to do my own one. Then you can use a shortcut and it'll just export whatever you've decided. Whatever you like. The thing is though, that you need to do it once up here first. You pick the custom settings and then it's going to do your previous settings, whichever one you pick. If you pick JPG small and hit "Command E" on a Mac, "Control E" on a PC. Just going to do that one over and over, which is awesome. Let's just have a little look in custom settings. If you're not already be on JPG, it's the one we do most of our work on. Dimension is obviously full-size. Let's go to a custom. You got two options. You can put in physical sizes or pixel sizes, depending on where this is going. If it's going digitally, it's going online somewhere or social media, you'll deal with pixels. If it's going out to the real world, you might want to save it as a physical size. Inches high by width or centimeters. We're going to do with pixels at the moment. You do with the long side, if I say 1,200, which is the default in here, it's going to be 1,200 pixels across this side. The original is a lot bigger, but it's going to cut it down to a more manageable size. It's not gigantic. Obviously, the long side is going to change if it's a portrait vertical, the epi downy one, the long side is going to be the epi downy side. Let's say we need this to be 2,000 pixels for our project. Now, when it comes down to quality, basically, there's a mixture of how many pixels you are allowed, how physically wide it needs to be, or the long slide needs to be, the more, the better quality it's going to be. But the bigger file size and lots of the time it's not needed. Again, it depends on where it's going. But then the other metric in here is quality. Basically, 100 percent is going to try and leave it untouched, as good as it's going to get. Then when you get down to 10 percent, let's have a little look. Did you notice it? Ten percent gets all this goo. Let's zoom in on this admin, but command drag or control drag. You can see just it has to cut out stuff to make the file sizes smaller. Basically, that's what it's doing. This is quality, but basically, you're doing it for file size. Whereas 100 percent was changed. It's cool that it updates in there's Windows you can stay. Can I get away with same thing. Can I? I think I'm going to stick to 80. If I go back to fit, the difference between here, 80 and 100 you will notice it's super zoomed in, but nobody can super zoom in on digital stuff on websites or on social media. If it's going out that way, then you can get the quality a lot lower. How low? For me, these two here are my magic number for online web images or social media images, because it's really hard to tell the difference between 60. Because you're going to be watching some video, it's tricky to do this via video. I've got my nice big monitor in front of me. I'm going to do it for you. Really. I'm going to click 100 and I'll be looking at the sign. Was a little bit there. I'm going to go to 70. But there was a tiny change. But also you got to remember if it's being viewed on a website homepage, I like this size, then I can go easily down to 60 because nobody's going to see that because it's so small. You'll play along with custom dimensions for your project. Whether it is a physical size you need, or pixels decide on that size and then play around the quality slider and to see what you can get away with. For me, there is good for small stuff online. If it's print, always 100 percent. If it's large, a really big, large background image, I might still have to go down to 60 percent because I need it to load fast for the website. But if it's a large product shot that I'm trying to sell things with, then is my 80 percent. Note that if you've got an image that's poor quality like it's just noisy, it's not a great image, the lower you go, the worse it will look. A good image goes down quite low. A bad image will look bad even run the 80 percent, so you might have to keep it up around 90. Yours probably you can name it here as well. Often I just keep it as the original name. It's up to you, but you can name it at this section as well. Let's export this one here. Now that we've done this export, where we're going to put it? I end up with loads of stuff just dumped in here by accident because I forget to change the location. On my Mac, it's under pitches and Lightroom makes a folder for me on a PCM or something similar. I'm just going to stick mine there. You should put it in your proper organization folder. I'm just going to stick it there. Now, the cool thing about doing that now is that I don't have to go back into here. It's going to say previous settings. You're like, yeah, my previous settings. Why that's handy is I can go to this one here and just say Command E, Control E on a PC, you're like, I didn't do anything. What did watch up here? I'm going to hit the shortcut. Jason will zoom in. You're ready? Anybody ready? Maddy, did you see the exporting? That was very quick and it'll end up on my hard drive. Now, if you've got a really big image that is going out to a really big file format like TIFF, it'll take a while up here, keep an eye on it because sometimes they jump out to my hard drive and I'm like, where is it? It's not working. Why are you there? It's because it's still in Lightroom chugging away at the top here. Let's keep an eye on that. You'll see these are my images. There you go. You, you. They are the right dimensions, the right quality. All I had to do now is hit "Command E". Let's go back to grid mood. Go all of use. I shift, click them all. "Command E", "Control E" on a PC. See what make's putting up here, 05. It's slow today. Come on. There we go. These are all my images. All ready to go. All the right sizes. All the long sizes are 2,000. Perfect. That is sharing, aka exploiting, aka saving. It hasn't overwritten your raw file or the JPG that you initially upload and you can make it teeny-tiny as part of your save and the big version will still remain in Lightroom. It scrolls it away on the Clouds? You can always go back later on. Turn off any edits that you might've done and re-save it as a different file size or file type. Brilliant. That is it for saving, or at least in this video. I'll see you in the next one. 35. What To Use When Saving for Instagram in Lightroom: Hi, everyone. This video we're going to look at saving specifically for Instagram. The principles here can be used for other social media platforms, especially photo sharing platforms, where you want to get the best quality out of what they're doing. There is a couple of little quirks that are specific to Instagram and some of the other ones, Facebook, etc. I'll show you what they are. Let's jump in. We're going to do Instagram, but all the different social media platforms have different rules and you might have to Google those, and we're not going to cover them all, but I'm going to give you a heads-up to a bit of insight to in particular Instagram because it is quite heavily used for photography, even though it's trying to follow TikTok into video, but that's the main place that I share my photos. What we can do is when we go to share, I'm going to custom settings, JPEG is what we need. Dimensions is going to be custom. What we're looking for is not long side or short side, we're looking for the width. What do I mean? This width here. We know what this Dan. If it's alongside, that's not what I'm doing. I want whatever the width is. We're using a portrait image. The short side, in this case is the width, so short side alongside, it makes sense. What you want to do is you want it to be 1080 or less, 1080 is the maximum. What is that? Why is 1080 so important? Basically, if you upload anything to Instagram, say it's the full size is massive or even 2000 pixels wide because you're like, sounds good. Instagram is a little algorithm. It's little machine goes, "Hey, there's a photograph, it's above 1080." I'm going to shrink it down to 1080, so it does it without asking. The little machine that does it, the little hiding in your app, it's pretty ruthless. It's actually on their property Cloud server. It actually scrunch, has a density 1080, but also plays around with quality. Whereas you can be tricky. You can say, "As long as 1080, the little machine goes, it's 1080, it's fine let's let through." You can say, "I'm 100." That's the trick for sharing for Instagram. It's different on different platforms. Have a check, whatever your main go-to for sharing stuff is, figure out what the size is that the machines doesn't go in and have a play with your image. At the moment, an Instagram, it's 1080 on the width, go google and type in Instagram best settings, like room and your year, and look for something up-to-date. Because the file size is so small in terms of pixels, we can have the quality maxed out. Might as well include watermark. I don't want it here. The other thing is metadata. A lot of information gets captured on your photograph. A camera type lens, sometimes geo-location. It's probably best just to use that as copyright only. It says Daniel Scott made this photograph, but it doesn't tell you that that was shot in Limerick, Ireland, gained GPS coordinates. That's information can sometimes be passed along. That's the tin foil hat at me. I don't think they'd do anything with it. Nobody can trace you. Well, actually the data is actually still part of the image. I'm not sure how much of it is scrubbed out of Instagram, but not all websites will scrub out the metadata. It might be included in the image and people will know where you've been to holidays or my case where I go for my coffee. I go with my coffee 1, 2, maybe four houses down that way. There's a nice cafe anyway. But let's do stew copyright only and that is it. The other thing to note about, especially Instagram, is that actually if you upload an image, even if it is 1080 or lower, you got to say 1080, by the way, it's the correct way of saying it. They will actually do some processing to your image. They often add a little bit of sharpening and they will make it look a little bit nicer and nicer in air quotes, you can't see my air quotes. We've made our image is nice as we want it to be. Don't touch it Instagram. You can't do anything about that. They do a little bit of processing to sexy up images. It's just so that in the regular person who doesn't have super mad Lightroom skills, uploads an image, it looks a bit nicer than the one that actually took. If you do find this a little bit of change in color or a little bit of sharpening, everything's a little bit crispy than it was in Lightroom, that's Instagram adding a little bit of the magic on it. Just in case the short side thing was a bit confusing, what I'm going do is I'm going to export that one. Thank you very much. I'll put it in there. Let's go to this other image from my left arrow. I'm going to do the same thing. But for this one, I need to say not the short side is 1080. Remember, the rule is the width. It's saying that I'm going make this short side of this landscape image 1080. No, I need the long side now to be 1080, which is this way, and then see any difference in a landscape, portrait, the width needs to be 1080, makes that 100 percent. We'll look at cropping in another video coming up just to separate this course and disjuncts. We're going to ignore cropping for the moment, but skip ahead if you want to go to there. I'll mention Instagram in particular. Another thing is that this one here you like how it's looking, not looking great at that width by 100 percent, you got to remember, people are gonna be looking at this at 100 percent. That like scaled up to fit, It's showing some of the pixels and not goodness, but when it said 100 percent and it's going out to a cell phone which is Instagram's home, it will look amazing. Got to get rid of those power lines. That is it, saving specifically for Instagram, but there'll be a certain type of wizardry that you left a workout for the different other platforms. Instagram might be so last year there might be a cool new one that everyone's using. Figure out what that is, work you're exporting magic and I'll see you in the next video. 36. How To Share Multiple Images With Clients & Family in Lightroom: Hi, everyone. In this video, we're going to make this mini website. It's great way of sharing your images, either with family or with clients. You send people a link, this opens up, it looks nice. They can go in, they can add comments. Those comments end up back in Lightroom. You can see it there. How did they get to it? They're really easy to make and a whole lot better than dumping them into an email. Let me show you how to do it. To share an image, have it opened in detail view. Not gallery, detail, and go up to Share and say, Get a Link, and that will share this image. It'll upload it to a special little website, looks really cool, and you can share the link. You can decide whether anybody with the link can view it, or only the people that you invite. You can type in their email address there. We'll go through these other settings with sharing albums because it's very uncommon. It's not uncommon, but I don't often share just one image. [inaudible] email that, but it's a group of images. You want to share it with, it might be family, it might be contact sheets that you're sending off to the client to decide which ones they want to start retouching. The exact same settings are in an album. First of all, you need to make sure you've got an album. Just to remind you, I'm going to go to G, I'm going to grab these, hold down Shift, I'm just grabbing a chunk of them, and I'm going to put them selected, go to my Albums, go to Plus, say Create an Album. This is going to be Adare Limerick. Cool. If you go in to that album, there's the settings in here. This is Share and Invite. That's better. Same screen, except it's going to share all these images. It looks really cool. I'm going to create this shareable link. You can see it's copied to my clipboard. I'm going to bring that up to show you. There we are, a sweet little website with all our photographs. You've got this cool little thumbnail view. People can go into them. People, once they're into them, they can add comments. You might have to explain that [inaudible] clients where they just go, "I can't add comments." They've got to go into a particular one, then you get this little comments option. Actually, let me show you. Let's say I'm the client of Dan. I'm going to add a comment. I'm going to like it and say, "Oh, that's awesome." [inaudible]. Then I'm going to add a comment. Then if I post this comment, what's really cool is it can give you feedback on which ones they want. Maybe they want their creative direction for them. Maybe just your friends and family saying, "Hey, that's awesome." Let's check it in Lightroom. I'm going to click "Done". What happens is there's a Shared option in here. You can see all the things that you've shared, I got a Shared Album, and it is there. I can click on the "Shared Album", and then I can say, "Show me the comments, man," and it takes some time update, right there. Now, I just spent ages trying to the editors cut that chunk outward. Just roamed around like, where's my comments? You know it. There it is there. It's that image. Because remember, I just told you, you can't just add comments to the album. You got a comment to the actual image here and you go. It's up with the power lines. What would you know, Dan? Got to wait later in the course. That's really nice. There's the link for it there that you can go and share. Let's say that you want to turn things like commenting off, how do you go back and edit it? You can do one of two ways, is go into the album again and go up to here and go to that Share and Invite. You just get back to where we were before. You can go to Settings and say, Allow Comments and Likes, turn it off, up to you. Other useful stuff in here is you can say whether you want to make it easy for them to download and export, show the metadata or not, which is things like copyright, camera location. Anything else that's been edited? Location, it's the same place you can stop sharing as well. You can turn this off from in here. You can get to it as well, and the photos, you can either just right-click, go to Shared, right-click it and go to that same thing, Share and Invite, or you can double-click that little icon, the little globy one. Why did I show you three ways? I don't know. I feel like we're getting into the course now. We're able to expand a little bit on various ways of getting to places. You will find it eventually. You have got some customization on how it looks, you can make it light or dark. Light mode. Let's check out a couple more. I'm going to remove the title and the author. I'm going to change the theme to column. Done and jump. There we go. Column view. No title, no author. Let's try another one. Go to the last one, one-up. Let's go back to Dark mode. There you go. Just one at a time, please. The recipient can go up to here and you can turn whether they can add photos on and off, they can hit "Play". You can kick back, watch and just cycles through everything. Close that down. That is a handy way to share your images with the client or family members, whether it's to anybody with the link or when you want to invite specific people only. Just remember, when you are finished, you can come into this option and stop your sharing as well. That is it, sharing images with people. 37. How To Add Watermark in Lightroom: Hi, everyone. In this video, see down here? Added a watermark to my image. You can add your name, just plain old text, or you can do what I did here and add a graphic, in my case, a logo. This is my image. I really want to get rid of this here. I'm going to do that with the healing brush in a little bit on this course. Remind me to come back and fix this one. To add the watermark is under Share, go to Custom Settings, there's an option in here called Include Watermark. It appears down the bottom here. If you're like mine and it's doing some weird stuff where it's got the %20 in here, you can get rid of it in two ways. You can do it in here. I'm going to say, actually, I don't want the %20. Thank you very much. There you go. You can pick a font. I'm not going to go through all of this. It's all pretty normal, drop shadow. You want to put it at the top, or the bottom left, or in the middle. Size wise, up to you. The opacity, how see-through it is. If you've got it on the left, you can have like offsets to push it left and right. I'll let you mess around with those. Double-click them to get them back to normal. That's how to add text to it. Add a graphic. You can click to this tab here, Add Graphic. Go and find a graphic. I have got something, you wait right there. Here's my business logo. It'll only import, it'll say either JPEGs or PNGs. It's up to you. JPEGs don't have any transparency, that's why I'm using a PNG here. I'm going to use this one here. [inaudible]. Let's click "Choose" and you see it down there. I'll remove the opacity, add the opacity back in. PNGs allow for transparency, a JPEG will be a nice cube. It depends on how you're saving your logo, or you might just use text. You got similar settings here for the image as well. I'm going to lower the opacity and hit "Done". As long as that is ticked on now, it will include watermarks whenever I'm doing exports, including my little sweet shortcut Command E or Control E on a PC. Let's do that one. Where is it going to go? In here. Let's have a look. There it is at the top, there's my little watermark. Fancy. Feel like a pro photographer when you're adding copyrighted stuff. Now, why do people add watermarks? If you're a professional, you add watermark, send the client proofs, and then they need to pay you before the watermarks come off. That's the unwritten rule. Let's get these ones. Can I get them without the watermark? For a new client, at least, it can be a conversation around making sure your invoice gets paid. "Hey, I know you're great, but in the past of not being paid, I just keep my watermarks on there until the invoice is paid. I know it's not you. I hope you understand." That's the kind of conversation often you have to have with a new client. Then once you've worked with them, when you trust them, you can be sending stuff without watermarks. It's also good for social media to get your name out there as a photographer and also just to be credited for work that you've done because the Internet has the habit of spreading things around and you getting left out of the conversation. Watermarks are good that way. Your watermark could be a cool little signature that you've drawn in something and put down the bottom there. It's artistic stamp to it. But yeah, you know what a watermark is. Quit talking, Dan, move on to the next video. [inaudible] , I'll see you in the next video. 38. Rotate Flip & Cropping Overlay in Lightroom: Hi everyone. This video is all about cropping. We'll look at the basic cropping, we'll look at flipping and rotating, we'll look at these options here, these different overlays to help you get a good crop plus locking the aspect ratio. It's a cropping bonanza. I'll show you in this video. Let's get going. Let's import some images. We're going to use the command shift I, control shift I on a PC, and we're going to go into the exercise files where there is a folder called 06 Crop. Let's bring all of these in. Let's bring them in. I want to get you in the habit of where is it going to go? Not that old album that we put in before. Either none or let's make a new one. Otherwise, you just end up getting a bit mixed up. The reason that we're into Adare is because we had that one open at the time. We're going to go new. Let's just call this one Cropping because clearly, there's no consistency through the images. You can see him, I can see him. Let's ignore it. Let's edit. Let's start with Crop 01. You're like, "I don't know which one Crop 01 is." What you can do is, remember, if you click on one and hit the I key for information or just click the little icon down here, you can see that's Crop 3, that is Crop 1, that's the one I want. You can use your arrow keys to move across as well. Keep an eye on the file name if that's useful. Most of the time you're going to have like DAC 1,000,002, which is not that helpful, but in this course, I've named them. Let's open up this one. A couple of things we need to crop out. That thing and that thing there. Old-worlde. I don't even know what car that is. Renault Megane, Ford Focus, something like that. But it's ruining our shot regardless. What I want to do is go to the crop. It's the second option down. That's where the button is and you click that. I'm going to use C for the rest of this key, of course, because it's super useful and you do cropping a lot. Cropping has come a little bit later in this course because it's hard to know which order to teach everything. But one of the first things I do is crop first and then start doing editing, but it's a bit of a boring cost for me. Start with cropping. Here it is now, but it's one of the first things I do. Get my composition right and then go through and start doing things like my exposure and then the white balance. If you go into here, what will happen is you can just grab the corners. You can say I want there, and I'm going to grab that corner and drag it up. You'll notice it's locked. Not most of the time, but there's a lot of the time when you want to keep the aspect ratio the same. When they say aspect ratio, they mean the height versus the width. You can distort it by grabbing, see this little lock icon here? You can click on it and say, "I would like something that's just a bit skinnier or a little bit wider." Often though you keep it as short and you will lock it and adjust it that way. If you grab one of these side bits, because it's locked, it will bring them all in. Drag around the edges here until you get something that you like. For me, I don't know, the dirt floor's ruining it. I'm trying to get a lot more sky because I know there's some information in the sky and I'll get it out when I do some editing, but it's really what I want to do. When you're cropping, you can drag the crop around or you can just click and hold, drag the image. Can you see? If you drag it to something [inaudible] then you can reposition the image by just clicking and holding. There's no shortcuts, just move it around. Sometimes it's easier than grabbing the sides. It's a bit of both. Now, the cool thing about it is to confirm it, you either just go back to your D for details or you can click on this Editing option or hit "Enter" on your keyboard. They all work. Sometimes it's easy just to see it cropped because if I hit "C" again, it's hard sometimes to even have that here, that messiness, because it's hard to feel like what the composition is going to be. I'm going to click "D" for details, which actually doesn't work. Hit "Enter" and that will confirm it. You can see it there. It's not particularly happy. It's okay. But the cool thing about it is that cropping is non-destructive. If I hit "Enter", it's not gone forever. We know if I go back into C for cropping, it's always there. When I export this, say if I export this as a JPEG, it will crop it off, but Lightroom will always protect all the other stuff that you've chopped off if later on you want to come back. You don't have to do anything. It's what's called non-destructive editing. Thank you, Lightroom. While you're in here, you can do the basics. We've looked at this before. You can rotate it, you can flip it. Do I like it better flipped? Upside down house. Stranger Things, upside down. Anyway, so those are those basic ones in here. The other thing I'll show you is the crop overlay. You'll notice that when I hover above, I'm not sure what the default is, it might be grid. You get this. It's just a way of you helping line things up, get things boxed up. I find the best crop overlay is this thing called thirds. It's called the rule of thirds. It's just compositionally a nice way of working. Helps you frame things. I'm not going to go through the rules of the rule of thirds, but it helps me like 2/3 is the front and then I've got this 1/3 of the back here. This is a bit of a stretch in terms of the row, but here are the other ones as well. There's a bunch of them, fifths. Wow. You can hit "O" to cycle through them on your keyboard. The ones that I use, I can use two. I use the rule of thirds, that one there, and I use center, which is there as well. There is the golden ratio spiral. You can have a little bit of research on how those work. You can decide which one works for you. But rule of thirds is a lovely one for me. There we go. That is cropping. Enter, image cropped. Now we're going to go to do our editing. That's what I do. First thing, crop. If the white balance is out, go fix that. If it's fine, start with exposure and work my way through. Super quick edit. There was a super fast version. There we go. It's what I ended up doing. Probably the one thing that was interesting was the color mixer. I grabbed the target and I clicked on both saturation. I was going to do the blues, but I'll just use the target, and I clicked and dragged up the saturation of the blues, too much, then I switched it to luminance and did the same thing, darkened it. That came through a bit more. Before, after. I warmed it up a little bit in temperature. But anyway, that is it for this video. Cropping, over and out. Actually, there's two more videos for cropping. I'll see you in the next one. 39. How To Straighten Images in Adobe Lightroom: Hi, everyone. In this video, we are going to straighten an image. This slightly wonky shot is going to go, look at that, nice and straight, straight-ish. I'll show you how to do it automatically and manually in this video. Straightening images. Let's dive in. To straighten an image let's use not yet, let's open this one. Go back to G, so you can see it. This one, if I hit I, it is Crop-3. We've skipped Crop-2. We can do straightening a couple of ways. Let's see for Crop or hit the little icon here, you can hit "Auto" and it's reasonably good. I'll show you both a win and a fail. This one, I feel like it's a win. There's obviously, it depends on how far away it is, the lens distortion. It's going to try and figure it out and it's done a nice job of straightening it up, especially, based on this fountain here. But the crop is probably not right because that's touching the top, but we can adjust that afterward. It just rotates it around and what we can say is actually I probably want me to make it smaller so that I can drag this down. Still we're not messing with the rotation, but so that I can get some more sky in there. Let's hit Enter and go back to G for our grid and let's open up, not yet. Let's open up this one here. D for details, C for crop. Look out to the sweet shortcuts. You can see here, that's why I like center and if I hover above it. You noticed what I didn't mention the last one is crop overlay you can change it over here and it doesn't work. I should have mentioned that in the last one, it's not until you hover above it that it appears so center is quite good. Now let's look at doing the Auto here. Auto just makes it worse I feel. I know this is like my property. I know that that fence is hitting away and it's probably right, but it doesn't look right. What ends up happening with Auto is let's reset it and it's this option on the top here. Phi at Auto, watch this little dial here just kind of moves along so we can go while moving more or less. You see you get this grid pattern. It likes grid even though it's set to center. Okay, I can say that feels about right. It's a bit weird, they're really tall. I had my cameras sitting on a weird aspect ratio on purpose for this course. I'll show you in the next video, but I feel like needs to be about there, even then I probably want, isn't using a full. Aspect ratio is probably in the next one. That's about a four-by-five. Use Auto sometimes it doesn't work and you can just drag it around. Another way instead of dragging this slider, which is, I don't know, I prefer doing just watch this. I've got nothing selected, I'm just clicking, Holding and Dragging over here. Can you see a little cursor changes? Remember, we moved it around. If I just move out here doing nothing, click hold and drag it, I find that it's a little bit more tactile and what I prefer, Enter, done power lines everywhere. That's okay. Let's get onto the next video. 40. Aspect Ratio & Cropping Multiple Images in Lightroom: Hello my friends. It is time. Creepy Dan in a chicken suit. What we're learning here is aspect ratios, the width versus the height. What ratio of those should be? We'll look at social media posts as well as going out to physical photo frames, how to get them right. Don't worry, we won't do this image too long. Look how intense he is. That is me trying to hold back a smile, very hot. It was a very hot part of the year and that chicken suit wasn't particularly breathable. Let's go and crop sweaty chicken Dan. It's time. Let's click on this one and bring it up. Hopefully bringing joy to your day. Creepy joy. Let's go to the crop tool. We're going to look at aspect ratios. At the moment, I'm an original. This is how it was captured by the camera. What we can do is drop it down and you can say, all right, this is a head shot for a website. Clearly a very professional website. We can just go one by one. Or it might be like an Instagram post is a square. There's lots of reasons to have a square, and you just drag the corners. And because you've set it to one by one, you can notice it'll force it to always be a square. Then you can make your decisions on how you want to crop this. Again enter to come back out. Let's jump back in, see and now we've done one by one and another one that's common, I'm going to talk about Instagram. But again, you can apply these to any output. A really common one is for Instagram post is one by one, but also they use this four by five. Even though it says five by four, it doesn't really matter which way they put them around. You click on whatever one has the two numbers that you know. You Google not the size of the image that you need for Instagram, it's the aspect ratio you need for like an Instagram post. One of the common ones is four by five. If you click on that, and it comes up the wrong way, you can just flip it over. This little icon there, just rotates it. It's still the same ratio, but we've turned it on its head. Instead of five along the top, it's five down the side and four along the top here. Now we're going to go more and more into aspect ratios and you'll find it harder and harder because this blows my mind. I hate Maths and fractions is tricky. Anyway, we've got that one. Another one is if you google Instagram stories, it'll say the aspect ratio is this one here, this 9 by 16. If I click on it again, if it's the wrong way round, I can trim it, but that's a really common cell phone size. You can get you crops ready, get the size by dragging it. It's still the right aspect ratio, doesn't matter what size it is. It's the height versus width. Get that right and then hit "Enter", and then move to the next image because man, that's a bad one. Open the door up for me. We'll work on this one. Less creepy. This is an interesting one, and I want to go to crop. What you'll see here is if you open my image here, it's As Shot versus original. As Shot? What's all this other stuff? Where did that come from? That is super cool and that's another one of the perks for broad images. My camera, I had the aspect ratio shot at this. My camera, I've got my settings out and I went, I want it to be 9 by 16 because that's what I was shooting for in the end. I wanted to frame it up nicely in my view finder and get it right. The cool thing about it though is it says, well, the scenes can actually accept more than what you can see through the viewfinder. What we'll do is we'll just capture that as well and crop it down. But later on if you come back, you can say actually, let's go to the original, and we'll go to the full size. It depends on your camera. Some cameras have different aspect ratios for the sensor, what they can capture from the camera and like me, I went through in my Camera said," I know what you can do, but I wanted to crop it to this so that when I'm looking through my viewfinder or on the back of the camera, it's cropped down to this. But raw images says, I'll capture this stuff as well, just in case. Awesome. That's what I want here, is I'm going to go to the original. Let's look at some of the photo aspect ratios. I live in a metric world, except for things like wheels and photo frames will come in inches. I don't know why. Let's talk about really common photo frame size. If I go to a shop now and buy a pre-made photo frame, it's likely going to be 4 inches by 6 inches. If you're like, "Oh, how do I get my image into that?" Instead of looking for measurements, look for a ratio. You can Google, "What is a 4 by 6 inch ratio for a photo frame?" and it will tell you, it's this one here. It's this 3 by 2. Remember, it doesn't really matter which way it's around. Perfect. My sensor captures that perfectly. I could get this printed and it wouldn't have to crop anything out. I can still crop it in terms of artistic cropping, but the ratio would be the same. I'm going to hit, actually I'm going to go back to original. Let's say I go a different photo frame. Weirdly, if I want another common photo frame in my shop would be 10 inches by 8 inches. That's different ratio. That is a 5 by 4. I Google it. I've got a 10 inch by 8 inch frame and it's just not as wide. We've looked at as an aspect ratio of 5 by 4 or 4 by 5, remember, no matter. But it's just a bit squatter. Or if it was that way, I wanted to print it this way, I could do that. It's the same aspect ratio. It would fit perfectly inside my 10-inch by 8 inch frame. It would be horizontal, vertical portrait landscape. That's better. Get my crop down. That is Dan's guide to aspect ratios. Drag it that way, Dan. Well, please. There we go. I like it. I like it, get in there. It needs some editing, but I think it's pretty cool. That is it. There's actually one more cropping video. I'll see you there in a sec. 41. How To Crop Multiple Images at Once Lightroom: Hi everyone. In this video we're going to crop multiple images. The way to do it is to crop one first. Pick any one from our images C for crop. I'm just going to do a simple one-by-one square crop, there around. Click "Enter", go back to our grid view. G, we'll click on this little icon down here. But what you want to do is do a special copy. Because we've been able to copy and paste things like the washes if I copy it, so just select it. Go Command C or Control C on a PC, or Command C on a Mac, control C on a PC, and then paste it on this one. It'll bring through all of the color changes that we did, but not the cropping. You can do it special, watch this, you can right-click it. There's an option in here that says choose the edit settings to copy. That's what we've been doing. It's a long way. But this one here, let me choose. You can say actually, I don't want anything. I'm going to say none except for the crop. By default, the default is everything but cropping is not on. I'm going to say give me none, just give me the crop, please copy it. I'm going to see you. I'm going to hold down my command key, go you and you, whatever the aspect ratio it needs to be. I can now go and just hit my shortcut for paste. Command V or Control V on a PC and look at them. Jumped around a little bit. But square, nice. The one thing to note though is that if I now go and say, I'm going to copy it from this one. I'm just going to use my because I've changed it. I'm going to use my copy and I'm going to paste it onto this one. Let's go. Notice I brought the tone and color changes but not the crop. That thing we did is only a special once off thing. By default, it's always going to do the default stuff. But if you want to do the crop settings, which is something you don't want to do all the time. You have to right-click it and say, actually I want to do it all plus the crop. Let's load it into your copy and paste right now, but it goes away after you've used it. Now I can say you and you, I'm going to go paste. I can keep using it because it, you paste, it is loaded in there. It's square crop and add my tone. But if I then go, this one here, I'm going to copy that and then paste it to the square one, it will bring just the tone and color, not the crop. Is that understand? You want to do multiple cropping. The short answer is right-click it, click on that, and then paste it everywhere. But it doesn't last forever. That is it. That is multiple cropping in Lightroom. 42. Add & Invert a Linear Mask in Lightroom: Hi, everyone. Welcome to read skies. Is it a red sky? It is not. It is just a mask and that mask, look what we're going to do before, after, but we're only going to work on a certain part of the image. That's what a mask does. It helps us isolate an area and an image. In this case, we're going to be doing the sky. Why am I so enthusiastic is because masks are like the missing ingredient that we've had from this course so far. It's like hard in this course, going like trying to get it, go in. Then like, "Oh, we should know masks. Oh not yet. We're going to get there." We're here. Mask time. This is going to unlock all the amazingness that we're going to be able to do in lightroom where we can say just this area here, do this certain thing, but not the bottom, not other parts. It's all very exciting. Enough for all the enthusiasm, Dan, show us how masks work. Rodger. Let's bring in an image. Let's go to File, Add Photos, man, I've been doing it different ways in this course or the shortcut. Remember "Shift" "Command I" or 'Control" "Shift I" on a PC. There's a new folder called 07 Masking. I want to bring in the one that says Mask Linear is an 01. Grab that one. Let's edit to an album, new album. We're going to call this one Masking and we'll throw everything for this next section in here. We've got it. Let's hit the details. Let's look at doing some basic editing. A great night chart. We want to bring out the midground and leave the sky dark. But the problem is, let's just raise the exposure. We won't do too much work on this foreground here. We're going to focus mainly on the linear gradient. I say that. I'm ignoring the sky for the moment because I know I'm going to be able to fix that with a mask and that's something that we're going to have to learn as we go on now is that there's going to be some ignoring of pots because we know now that we're going to have these sweet masking tricks and tactics, we can focus on one area and then fix the other later on. Good enough for the moment. Now, what I want to do is go to the masking option here. It's this one here, click on it. You've got a few different options. Some of them are amazing, some of them are just nice and easy to learn. Now, the linear gradient and the radial gradient, we'll do in the next two videos. Why they're not very sexy, but they're easy to learn and they are the workhorse of most people who are doing editing. These things are cool and automated, we'll do them, but you'll end up using a lot of just simple linear gradients. What is a linear gradient? Basically what you do is you just click hold and drag on the sky. You're like, "Huh, that's weird. I read the sky." It's cool though. I just clicked, held, and dragged down. At the moment, I'm just moving my mouse. Clicking, holding, and dragging, if you hold, "Shift", it will lock it into 90-degree angles, I'm going to lock it down. What I'm looking for is something half the sky, half the background. To adjust it, if you've dragged it in the total wrong area, you can just move this center part. I want it there and you can drag how the extent of it. If you get really sharp, it's going to be a really simple mask. This one is a nice feathery warfty one. That's what I want here. What does it do? First of all, it's red, which is weird. It's just a nice view. For your one, I think the default on is if you go over here, it's still red until you start working on your mask. If you can't see your mask, now they are adjusting this, sometimes you need to slide all the way down to the bottom to see the mask normally just defaults to it. I think my version now is a little bit strange. If you can't see the word Mask 1, and it's right over here, just scroll down this little list. Here we go. We're on a mask and let's just adjust the exposure. If I start dragging, can you see that red thing goes away? That red thing is just a visual cue to say that's what I'm going to be changing, the red stuff, "Oh, look what we can do." We can do it, get it close and then come back over here and say actually I want this more graduated linear gradient. Clicking and dragging. What I tend to do depends. You might like the red stuff everywhere. I turn that little switch off. Actually, I don't like the red stuff on. I know where it is. You might leave yours on because it's handy. You can turn it off there. There you go, that's our mask. Look what we can do. Before, after. We can turn the mask on and off. You see this option here, turn that off. Before we edited the mask, after. See the little eyeball at the top there, cool. The possibilities are endless. You can work your way through. Do that one, work your way through, and I'm going to work my way through what I want to do. I'll want lots of stars, but I want a dark and still a night sky. I'm going to try and get rid almost whites and then try and drag up the whites to try. Now we're going to zoom in. We don't do all zooming in have we? I'm going to use my "Command" and drag. Or you can use your "Control" drag on a PC or hold that same key down "Command" or "Control", and use the plus or minus keys. I'm just dragging it until I see some of these stars, so I can then be a bit more accurate with how intense I want them. So good. To zoom all the way back out, that's going to fit. Now a couple of things I want to show you is I want you to get used to this little icon here. That is the icon you've added a linear gradient. It's the icon version. If you ever look in here and actually just click plus, see there it is the icon, the radial one, the brush one just so you can see which one you've added. That's what that does. I'm going to come out of there and sometimes there's [inaudible] down. If you can't see it, there it is there. This little icon just shows you what the white stuff is, the actual mass that you've applied. Remember, and you can turn it on and off if you want to see that red stuff, you can hit the eyeball before, after a mask, before, after a mask. Not that useful with the red thing on. Lovely. Other things. We're working on the mask now, let's say I want to change this front part. What do I do? We're inside the mask, just come out of the mask back to this main editing here. Now we're back to changing everything. The mask is still applying and trying to do its work, but this is adjusting the entire image again. Now we can work on this foreground again or mid-ground and decide what we're going to do. I think the color's in here, I'm going to say color mixer. I'm going to say the target. I'm going to see whatever that is. I'm going to pick luminance saturation, let's just see what it is. The greens a bit and maybe the luminance of them as well. Before, after trying to pull some of those greens up. That's how you get back to working on the overall option. To get back to the mask again, just click on your masking option. You'll notice the sliders have not gone back to where they were before. You can click on this, there's that mask. Now I can go and adjust it again. Into the main editing, editing everything, and then editing the mask. Click on this and click on the mask. One last thing I want to show you is you can invert your mask. Let's turn the grid on. Let's say you're dragging it and actually wanted to work on the bottom part, the opposite, the inverse, if you will. Okay, there's an invert option at the top here. When you're inside your gradient, you have to be inside the gradient. You have to have your mask made first and then you can click "Invert". Send it off and you can see it's darkening down this block. Back there with that was that is it, that is your first mask. Now that mask, linear masks are easy-ish, masks, in general, are tricky if you are new to the software which you all are. I just want to get you ready for the pain. That is mask. I'm going to try my best to make it easy. But if you do find it a little bit tricky, you're the majority because they are tricky. I found a tricky when I first started using them. They are different from things like Photoshop if you have experience in there, but they are awesome. Onto the next video. 43. Class project 05 - Linear Mask: Class project time, fam. We've had a bit of a break from class projects, learning some organizational stuff. It's hard to prove [LAUGHTER] through a class project, but now you can show me your magic with your linear mask. Use your own image or one from the Lightroom remixes, and find a landscape that give you some boundaries. Find a landscape, and I want you to do the overall edit for the image, like we have done up until now, and then add a linear mask and do some additional edits to exaggerate, embellish, correct, fix that part of the mask. It doesn't have to be the sky, could be the foreground, midground, anything you can drag a linear gradient on. Then like before, share the link to your remix if you do have it, but more importantly, it's hard to see, sometimes go into all those links, so for both the TAs and for other students, love to see screenshots of the before and after, and maybe explain as well if you've done a subtle edit that, hey, been into the sky, that's how I did it, or I did the foreground, I did the ocean, or I did the beach, I did the sand. Let us know. Just take a screenshot before and after, and upload that to the assignment section. Make sure you credit the original photographer and love to share on social media. Love to see the before and after. Again, credit the photographer. If you can't remember how the remixes go, it is under this Photos tab. At the top here, under Discover, twill it down, there's remixes, and you should be able to only show remixable options. Down here let's pick command landscape, L for landscape. Here we go. You can pick anything you like. You'll be doing the clouds, you'll be doing foreground. It's mainly going to be skies. You can be doing the foreground of this one. What a cool edit. There you go, or your own images, that'd be great too. It's cool seeing what other people do. I'm going to leave you to go do it. Look at that. That is the class project. Go do that. Class project number 5, linear masks. Enjoy. 44. Multiple radial masks & deleting masks in Lightroom: Hi, everyone. In this video, we're going to go from this to, look at that. It's more masking, but not just any kind of masking. This one is round masking. It's very exciting. I laugh, but it is. It's one of the workhorses for masks, radial gradient. But we're going to add some extra complexity with more than one mask. Look, there's another one in the sky. Look at them. Plus there is a third one for the background. It's a masking extravaganza. Let me show you how to do it in Lightroom before, after. I've got my masking album open. I'm just going to throw in masking radio O1. Our photographer is William Mitchell. Thank you very much, William. Some of these other ones from Signature Edits don't have the author's name or at least I can't find them. If you are the author, let me know that author. Our photographer, and then I'll update the naming in here. Grab masking radio O1, great image, and let's double-click it to open it. First thing I want to do is crop it. I'm going to hit C for crop and I'm just going to get something. I want all the sky. I think there's a little bit to grass in this one. Feels about right. Radial gradients, they are this option over here, click on it and we're going to deal with radial gradient. You can see the real common ones have a shortcut. I could use R and L because they can use lots. I'm just going to click it. Let's go old school and click hold and drag out. In the old size, I'm going to get this thing like this. I want it more over the body and the head. Grab the center and I can drag it down here. The edges that you squish it. If you do squish it, something like this and you want to rotate it, just hover out here. There's this like no man's land not there. I can drag this around. I don't really need it. The last little line in here is the extent of the feathering. If I drag it right up, can you see, it's got a really sharp edge. It's going to be very, quite distinctive. I want to drag that back. I want it nice and fluffy and around the head, not too much of the sky. All right, so you've got your radial gradient. You can see it over here. You see the little icon. Get used to those. Again, this little guy there. What we're going to do is remember, I've got mine turned off, so that it turns off when I'm working over here and we can mess with the exposure and contrast. What I want to show you is that in a mask there's actually a preset to change these. Because there's some common things you're going to be doing. We'll cover things like enhance eyes, and smooth skin, and white teeth later on. But there are things like lighten and darken, and warmer, and cooler. I do like the warmer one. What's fun about it when you are new is you can actually just see what they're doing. So they did, just drag the temperature slider. I could do that. What do they do when they're making it? Light up a little bit exposure. I think that was it. Just raise the exposure a little bit. I can do that too. Cases sometimes it's nice to see inside of these sliders and see what they're doing. I need to realize that they're just drape it up. You forgot about the most important one. Increase contrast on everything. What am I going to do? I'm going to go through and do a little edit. Let me talk you through it because I speed through some of them. Let me talk you through this one. Exposure needs to probably happen on all of them. I'm going to go back to my first one and increase the exposure a little bit. Increase the contrast a little bit because the background could use it or this stuff could use it just as much. Probably, I want to get it just to a nice medium. When I say medium, I'm looking just to pull the blacks darker and the lights lighter without anything getting to extreme case, this one is just subtly. Because what I want to do is just a little subtle here. A little bit of blacks in here. But what I want to do is go back to my mask. Actually, probably want to adjust this woman up a little bit. The tint is a little bit of magenta in there. Let's pull it back a little bit. Don't like it. Double-click vibrance, I don't want, I want to leave the grasses alone. But then I can go back to my mask. Back to my masks here. I want to click on my mask to adjust it. What I really want to do is exaggerate the darks in here. Let's look at doing it here. Now, inside the mask is only saturation, so I don't have much of a choice. I want to warm her up even more than the background. Remember, tune your mask on or off. It's the eyeball up here. What else do I want to do? There's some whites that need to probably come up here to go nice and warm and awesome. There you go. Let me show you now how to add a second mask. I want to do this plus the sky. So I'm going to add a mask. Click on here. You can't see this option up here. Go into your masking option, and then go add. I want to add a linear as well. We've got two masks. How exciting. I'm going to click hold and drag from that middle here down. Why the angle? Because I don't really want it to affect too much of the horizon there, a little bit of her forehead, probably not good either. But we want a nice blending transition. This is why I showed you their radial and linear gradients at the beginning and why are they mostly used. Well, heavily uses, because some of these ones are awesome, like Select Subject, which will do. But there's sometimes not a great transition between the background and the foreground, which sometimes you want, but sometimes you just want these subtle edits, and this is nice. I got my mask too. I'm going to see what's information in the sky. There is some stuff in there. I'm not really going to play in here. I'm just trying to like see if I can grab everything that's a bit of contrast in the sky. The cool thing about the sky is that it's a bit unwieldy at the moment, so I can't really wreck it, down a little bit. Now, when it comes to this, you like, what is he doing? Why are you doing it? I guess you got to decide what the use case is. For me, I really want to focus on like, I could make the sky, "As good as I think it should be." But really, I don't want it to take away from the focus, which is our model here. Even though I like where I was going with it, I'm probably going to back it down a little bit, there is a bit of contrast in there now. Let's turn it on and off. But I pulled the saturation now because I don't want it competing with mainly the hair that's the bit that I like the most out of this one. You can add as many masks as you like. Sometimes they get a bit confusing when you're new. If you've got all of these open and you're like, "Oh, does that do?" Just showing you that that mask is a linear mask. Then close it down. I'm going to add another one, and I'm going to add another radial gradient. I'm going to go from the chin out and all the way around it, I want something like this. Because I'm going to do a different way of doing a vignette. Vignettes are the darkness around the outside. I want that, but more just to focus around here. What I'm going to do is I'm going to invert it. Then I'm going to lower down the exposure of this outside part. The nice thing about it is you get a little more controlled, hard to end and you've got lots of settings and masks and a bit more confusing, but you get a bit more control than a vignette. Again, you can decide on how feathered it is. I'm going to make mine quiet, maybe a bit more. Here we go. Maybe even a bit bigger. [inaudible] . Before, after, before, after. It's probably a little bit too much. So I'm going to work on this particular mask. I'm going to click on it. I'm going to exposure was maybe just a bit too much. Again, you don't have to just use exposure. Backslash before, backslash after, backslash before. I like where you're going with it. It's cool. There are times we like, actually, I want to get rid of the mask, so you can click on it. You don't want plus or minus. That does something more advanced because you right-click it and you can say, delete all masks. No, let's just delete this one. Delete Mask 3. Thank you very much. Now we've just got these two again, twirl it up. Here we go. We've got our linear mask and our ready one. I actually like it, so I'm going to go back. One last time, back to general editing for the whole thing, if you need to. Then back into the masks, pick the mask you want to work on, and then start making your adjustments. I'm happy. I hope you're happy. I will see you in the next video. 45. Class project 06 - Radial Mask: Are you ready for super fun radial mask class project time? It's good, because that's what we're doing, same as last time. You're going to use your own image or something from the Light Room remix. I want you to focus on our portrait, please. I'd like you to do the overall edit like last time, I'd like you to add a radial mask, and do some additional edits, exaggerate parts, draw focus to your model, and then I want you to make sure you do a second mask. Find an image that works that you can do both the image, and you can do the person in the portrait plus the background. You can do more than one, but at least one second mask. It can be another radial one, it can be another linear mask, and the deliverables, so share the link if you do use remix. I want to see your before and after screenshots that you upload to the assignments and to social media. Also, I'd like you to send a screenshot of showing the multiple masks, just to show what you've done. For me, I would do a screenshot. On my Mac it's Command, Shift, four and I can drag around this, so I can see all of these as well. That will dump onto my desktop. That's Command, Shift, four on a Mac and you drag around. PC, it's slightly different. You'll have to work out exactly. It's different for lots of different versions of Windows, so just google your version of Windows and how to do a screenshot, then I'll add, show me your image plus all the multiple masks. Then like before, upload them to the assignments, credit the photographer, and I'd love to see on social media your before and afters. I am really excited because man, learning how to do masks, especially some of these radial ones, just simple ones, you can get some amazing results. That's it. Enjoy doing the radial mask and I'll see you in the next video. 46. Multiple Radial Masks & Deleting Masks in Lightroom: Hello, this video, we're going to look at the brush mask. It's a way that we can actually just custom paint stuff out, like that. Different parts of the image. Before, after, we're going to try and accentuate the food just a little bit, and we can do it with all these weird custom shapes. Some circles, some not circles. We're going to use the brush mask. To get started, let's grab a mask, brush 01. Thank you, Brooke Lark. Bring it in, and add it. I've added it to that library. Remember if you're adding yours in random places and you're like, oh, it's in the wrong place, you can click on it and drag it into the library that you want, or you can right-click it, and you can add a photo to an album and put it in masking there. But we've got our image, let's open it up and it's up in our Masking tab. Who can guess what the shortcut is? You get a prize. That's right, it's M. Your prize is a high-five, hand out ready. [LAUGHTER] That's what you get. What we're going to do is use the brush, and as you would imagine, or as you imagine, I'll show you what it does, you can just paint over stuff. Let's just paint over this. Click hold and drag, you're like, it goes red. What we're going to do in this one, we're going to go edit undo, and we're going to go actually brush again and we'll crank up the flow. The flow just means how much of the mask is applied. You can be really subtle and that's great, later on. You can get it down to 50 percent where it was, but it's easy to just when it's at 100 percent. Click hold your mouse and drag and just run around it, and you're like, excellent, we've got that. We could have done that with the radial mask. But what I want is also this rag, so I'm going to adjust the size, and the feather is how fuzzy it is on the outside. At the moment it's quite fluffy, feathery on the outside. You can drag that down, I never do. You might want it to be really sharp, and that's totally fine. You're going to spend a bit more time zooming in and masking around it, I'm going to go to undo. What I want to do is have it just quite subtle. I'm going to have my size up about there, clicking and holding and just dragging. I want this painting the cloth here, and probably this one as well. I'm going to click once on the top of it. You can see how brush is quite good. You don't have to keep adjusting or keep adding. We'd have to have 1, 2, 3 radio masks plus a separate brush mask for this, so sometimes it's easy just to go. Get the brush out, crank up the flow, and just go over everything you want to keep looking nice like you saw at the beginning there. I don't want the coffees to get brighter because they look a bit milky for me at the moment anyway, so I'm going to let those get darker. There we go. What you're going to notice is if we go down, so the brush occupies this top part, you're like, where's my mask? Just underneath, here it is. If I grab the exposure and darken it, you're like, oh, it's not what I wanted. What I want to do is I'm going to reset it, double-click it, and I'm going to invert the mask. You also get another high-five if you know where invert is. You remember? That's right, right at the top there. Another high five, there you go. I've inverted it now. I'm going to turn this off. Now when you're painting, sometimes it is nice to have this red stuff on, because it gives you a bit more clarity about where it is. I've inverted it, I'm going to move down the exposure because that's the look I'm going for. I want to make the background more moody and bring them more contrast. The focus into the food and the various items. Before toggle backslash on, off. Now, that red thing being the button now on, off, on, off, or use your eyeball up here, to show masking before click, hold it off, click hold off. There we go. Pretty cool. What you might notice is like, I was a bit rough with the old mask, how do you delete it? With your mask selected, we're going to turn this back on so we can see all the red because it's helpful now. To remove a mask, we're going to hold down the Option key on a Mac, Alt key on a PC. We've inverted it, so do I want to add it down here or minus it? That's always the trick. You'll get it wrong first time you go, I want to just click it. I'm going to hold down my Option key or Alt key on a PC and remove it. This where I might go and say, I'm going to be a bit more careful with the size of my brush. I'm going to zoom in a bit, hold Command and drag around a chunk. To remove remember hold, Option or Alt, I'm just going to say actually, I'm going to be a bit more careful here and, I want that, want that if you get a chunk there, you just let go of everything. You don't want to be painting it. Can you see the middle of it is 2 minus 2 plus, you'll get the swing of it. [LAUGHTER] You'll get the swing of it eventually. Holding spacebar while I'm in this masking mode to click and drag. Normally you don't have to hold anything when we're in this close, but spacebar transforms it from the brush to the hand. I'm going to maybe make my size a bit bigger, minus that. Now I'm going to color. I might speed this up. I spent way too long on that. Let's go back to fit, and let's do our adjustments. I'm going to turn that off again. Get rid of stuff, and I'm going to look at my exposure, contrast. Again, I have no real goal here other than I want the food to stand out and I'm not even sure what I need to play with. See, I feel like there's lots I can do here with the highlights. That's a really great one. Exposure down so much was cool, but it wasn't looking as great then I think I can get a lot out of here. The coffee gets a bit darker as well as I edit. Now I'm just dragging it back and forth again just saying, what you can doesn't go a bit far these masks, and that's okay. Because the nice thing about these masks, because you can get to a certain point and see at the top here it says Amount. That is how much of that mask is applied at the moment, so let's do it in a really big exaggeration. If I lower the amount, can you see it's just like toning back my mask, it's only applying a little bit. You can double-edit, so it's like completely covering the background. I'm going to double-click it and I'm just going to lower it down, put my exposure back just a little bit lower. Again, my goal here is to exaggerate the food without people knowing it being here. I'm using my backslash, I feel like it's pretty nice. You will see this little icon here. Those icons are just showing you that there's a brush mask added to it. Up to you, I'd like to just look up here and see which ones have been edited and click on them up here, totally up to you. You can turn those off like a show pins and tools, that'll get rid of the little brush icon. I'll leave it on for this course. I normally turn it off because those things, they just get in the way and so you can move them, and that's probably the biggest problem I have with them [LAUGHTER] and they're cool, but I'd like to turn them off. I'll leave them on for the course though. Click and drag to add, hold down the Option key on a Mac, Alt key on a PC to remove parts, turn this on when you're working with a brush because it's easier to see that red stuff in this case. Let's have a look before, after. Fancy. All right, that is a brush mask in Lightroom. 47. Class project 07 - Brush Mask: Hi there. This class project is to practice your brush masking. Like before, I want you to use your own image if you've got it, otherwise use the Lightroom remix feature. Actually, I don't mind where you get your images from as long as you credit the photographer. I want you to focus on food at the moment. Do your overall edits of the image, then use the brush mask to add some additional edits. Just practice adding and removing the brush mask, if it goes horribly wrong and you want to start again, you can right-click it, remember, and just hit "Delete Mask" and start again, add another brush mask. It can be a little tricky. The other thing you need to remember when you are doing it is that this on is actually handy when you are creating the mask, but not as handy on when you want to adjust the settings of the mask. You'll toggle that on and off a bit. If you want to get fancy, you can toggle this on and off using the O tool. Okay, the O toggles that on. It's a shortcut you want to remember for overlay. Now, you might do, if you fall in love with the brush mask and you do it all the time, you might want the shortcut. There you go. Like before I want you to share the link of the remix if you have done it, make sure you show before and after screenshots or before and after exports of small JPEGs, its up to you, upload them to the Assignment section, credit the photographer, and share on these various social medias. Looking forward to what you do. That is it. I'll see you in the next video. 48. How To Use the Select Subject Mask in Lightroom: Hi everyone. In this video, are you ready for this mask? Look, whoa, Select Subject is awesome. It is Adobe Sensei or Adobe artificial intelligence powered magically and simply selects people out of an image and we can do this correction here, just a subtle one. It's really easy to use, so why is the video so long? Because after we learn that, I go off on a little bit of a tangent talking about the meaning of life and how to get that really good edit, what makes a good edit. Then we start talking about purpose of photography and culture and it gets a little fluffy at the end there. Beginning bit, learn subject mask and then woefully on a little bit. Hang around if you do want to listen to that, but let's start with Select Subject. Start by bringing in Masking Subject 01. Bring it in, open it up, click on that "D" and go M for masks. I am going to use this one called subject. This is brilliant. This uses the power of Adobe Sensei. Look, it does nothing, because that's off, turn it on, that underwhelms it. Make sure that it's on. Now look, it's phenomenal and it's getting better. Depending on when you're watching this, you might get an option that says, was this successful? Was it good? It helps teach the algorithm, or at least the artificial intelligence, what's a good mask? It's brilliant that way. I'm going to turn that off now because what I want do is be able to see my image while I'm adding things like, let's say, I want to make a woman. Toggle on, toggle off. Now it depends on what you want to do. That is Select Subject. It's pretty brilliant. That could be the end of the video. I get asked a lot though like what is the editing technique to get a great image? I guess I'll take you through my process right now. But I guess what I want to share is that, there's nothing right like what I would have told you is a great edit. Like last year and the year before, are all going to be different, and there are two things at play. There's my own style, as I do things I'm like, "This is the best, I love it so much, and I love doing this thing." Then I look at it in a year from now, I'm like, "Oh gee, I went through that phase." Everything had to look like Batman from Gotham City. That's the face woman. Everything gets, there's green, orange, mainly green tone, I pull out a lot of greens, I pull out a lot of the saturation, dark and everything up. It's awesome. I pitch in next year, I'm going to look at it and cringe. There was a style before that and a style before that, and then there was lens flares on everything when I learnt that in Photoshop. At the moment I'm using dehaze way too much and I'll get over that too. There's your own style, and then there's a mixture of culture and purpose. Purpose is an easy one, because it's like if this is an art piece, I really like this as it's end of worldy type feel to it, so I'll probably leave a lot of the colors and leave it quite drab. It's awesome. It's perfect for what it's going for. But if this is a marketing piece, we're selling crazy helmets with head pieces, we'd be focusing on raising the colors up, picking the ridge, making them vibrant, pushing the background back, so its purpose in life is very different. That's great when you've got that control. When you're doing your own work and there is no purpose, that's probably where you got the most trouble, and that's why you'll find like, I don't know what to do. You need to give yourself a theme, a motive, a purpose. It's great when you're stitching a few images together, if it's just holiday snaps, then yeah, it's just a little bit of exaggerating some of the colors and focusing on a certain area that you like, cropping it down to things you don't. If you are a photographer, you probably got a style and a theme that you're going for. If you're new though, giving yourself a purpose like this month is going to be my landscape, but I'm going to go for the dawn theme. By theme I mean getting [LAUGHTER] the crack of dawn K, and I'm going to go for low light misty and I'm going to try and recapture that in lots of different images, then it gives you a purpose. You might decide black and white is what you're going to do. I'll show you how to do that properly later in the course, and you're going to do a series of black and white. It gives you some boundary or direction. Other than purpose, culture, it plays a big part, like I've got students at all sorts of different areas, and if you have a look at some of the Facebook group and social media where everyone shares their work, sometimes you're like, "My goodness, that is spectacularly overdone," but other people in the same culture are like, "Perfect, nailed it, that's exactly how it is." In some cultures want it to be, there's just different expectations and cultures, in where you grew up, in different places, so there will be different factors playing in on like, what adjustments get done, how far you go on edits and how maybe simple your edits are. Again like fashion, that it changes over time. Wow, that was big long video. What am I going to do now? I'll just going to take you through my process. First of all, I look at white balance. There's nothing wrong with the temperature and tint, I think it's fine. You notice we don't have all the settings here, masks for the White Balance tool. I might have go back to this edit here and do my white balance in this. But I'm happy with the way it is. I like this dystopian look to it. I'm going to go back into my mask, find that mask there, and I'm going to looking at my exposure and just drag it back and forth, just to see, there's a lot of information in here that I don't like. I don't like that denim shirt. I love all of this going on. I'll leave the exposure as is, contrast, a little bit up, highlights. I can't help myself but pull some of the richness into here. It looks good with the highlights down a little bit. This here, I'm probably going to lower it down, just to try and get rid of any focus on the denim shirt down here. Look at that, lots of dragging ended up plus 2. It's basically doing nothing. Again, same with that one, I'm just dragging it back and forth, not looking at a slide, I'm just looking at this, and again minus 3. Nothing. It might well be at zero, but that's okay. We'll leave these ones because we'll focus on them later, but there you go. There is my edit, backslash before, backslash afterwards. I've just filled it up and may be overdone here. I like it. Thanks for hanging around for that rant about editing. But what we really came to do is look at the Select Subject and how awesome it is. Thank you Adobe Sensei. 49. Select Background Minus Using Brush in Lightroom: Hi, everyone. In this video, we're going to go from this to this. We're going to use the select background feature, which is pretty simple. We're going to take another level where we actually add another mask to the same mask, like a mask combo. Because you can see this first one selects the background, but it misses this little bit down here by the foot. What we're going to do is we're going to add to that background selection, this guy. Together they're going to do this. Before, after. Nice. Let's jump in and I'll show you how. This one is called masking background. Thank you, Kaiman Photo. Let's add that one. Let's open it up, M for masking. Actually, before we get into masking, I'm going to go E for edit and just do a basic edit. I'm going to focus on this person here. I don't want to do too much. I like it. I just need to maybe raise the exposure a little bit. Contrast doesn't need to be done, it's really high contrast already. I'm just focusing on the person. I do like the Stranger Things vibe going on, a little bit dark and gloomy. I don't think it's actually anything I want to do here. Here you go. Did nothing. [LAUGHTER] Let's go to M for mask, and we're going to use select background. Subject and background, the exact same thing. One selects the subject, which we just did, and I'm going to undo that, and background does everything but the background. You can invert it afterwards and it does the exact same thing, just so you know. I selected background, this is what I got, and I'm going to just lower the exposure. Look how cool this is, the upside down. That's what I wanted to do. Before, after. Really bring the focus into this person here. Probably a little bit too much. It looks a little bit surreal, but I'm okay with that, like hyper-realistic. I'm okay with that. That's cool. One of the problems with this is down the bottom here. It didn't get that. If I turn the red on, you can see, look, there it is there, there's a big hole in his foot. Select subject. You might be doing this exact same thing in the future and it works. If it does work, it means that Adobe's artificial intelligence is getting better and it does get better all the time. Every time I load it up, it gets better and better. What I want to do is add this. We're going to get complicated. You with me? It's going to freak us out. Everything at the moment that is red is the mask. I would like to add more red. I'm going to add to the mask. What I want to do is add to this mask, so I've got it selected. See this little icon here? That is the background icon. I want to add to this mask using the brush tool. What do I want to add? I want to maybe move my size down. I've got my flow right up, so it's exaggerated. Often I do. I'm going to make this size something appropriate. I'm going to hit "Command" and drag my box around here or Control and drag a box around, and I'm going to [LAUGHTER] make my brush a little bigger. It's appropriate. The brush size is relative to the application, not the zoom. You know what I mean? Can you see how big my brush is? If I go out this far, it's the same size. [LAUGHTER] But it's ginormous now, it's the size of his head. But if I zoom back in, Command or Control drag, can you see, it's the same size, but it's only the same size of his foot. That makes sense. Now, I'm adding to this mask, not doing anything, just paint this bit in, and I'm going to be relatively careful around here. I'm going to turn off that brush because it's always in the way. Goodbye. What have I done, Dan? What have you done? I've got this bit, but it's actually adding it to that overall mask. It is not. I broke it. [LAUGHTER] Messing around somewhere along the line, I broke it. I'll leave this in the course because you're going to break it too. Look, it's added to it. It hasn't. [LAUGHTER] That's two separate masks. I'm going to right-click it and I'm going to say get rid of mask 2 and start all the way back at the beginning. Let's do it again, people. I want to add that, click on the mask you want to add it to. Let's add a brush to it. Don't mess around now, just go and zoom in and I'm going to pick a size and I'm going to paint it in. Look at that. It's painting it in. There's still a little bit of contrast in that puddle and it's okay, but the mask is at least complete. Now there's two masks. There's this thing which is the complete thing you've done, but there's two things working on it; the brush and the select background. Get the idea? That's why I was hassling you about these icons earlier on, because it means later on. Let's do our mask. Let's turn the mask off. Let's zoom all the way out. It's got to fit. So cool. Before, after. There's still a bit of contrast in that puddle, but the mask is differently covering it and doing it. But I love it. But later on if I need to edit my masks, I know that I've got two of them. I can grab this one and I've got this one. I might delete that one. Gone. There you go. That mask is gone. I'm going to undo it so it's back. You can keep building on that. We're not going to do it in this course. We're not going to add mask over top of mask because it gets really confusing. Once you're a bit more advanced it would be fine. But for the moment, we just got to using the AI feature and fixing anything that it didn't quite get with the brush. Look at the whole thing. Let's say for just giggles, we want to minus the whole road out of it. I'm going to minus with the brush. I've got another brush there, but this one is minusing it. Let's turn on the red so it's easy to see. Actually, let's just minus all of this because I want this to be bright. I don't even know what it's going to look like. This is a tutorial on the fly. It's going to look horrible. [LAUGHTER] Let's turn that thing off. I don't know. What do you think? Before, after. Too cool. But now I've got my original one. I've got this one that I added some stuff to, just down there, and then I've got another one that have minus stuff for. If you don't like it, guess what? Right-click, delete that one. Go back to those first two. If that freaked you out, practice, give it a go. I'll set a class project in a second so you can practice more, but use this one. But mask on masks are quite advanced. If you are finding them tricky, it's okay. They're tricky, you might just stick to using the brush tool in general for the moment until your experience gets up throughout this course. That is it. That is using the select background, which is easy, and then adding an extra mask to minus or add little bits to that mask. 50. Class project 08 - Select Background: Hi everyone. This project is about selecting the background or the subject, doesn't really matter. Remember, they're just inverse of each other. So your own photograph or something from Lightroom Remix. While I'm here, I'll show you a little upsell for Remix. Remixes, again, they might move. They're developing this. But if you do find something you like, "Hey, I want to find people like Dan said." But I also want to find, you can keep going. You can add people that have travel. You're going to find people in travel shots, which might be a great way to get started. You can see remixable, which is this little switch here. There are people, there are travel, that are at the beach. There you go. People that are traveling at the beach. How good is remixes? How good is that search? Love it. Let's back to the class project. Find an image with a person in it. Do your overall edit, then do the background. Looking for this high contrast background, foreground, you have permission for doing an edit that's maybe not subtle, push the boundaries a little bit. If you do like little simple edits, go a bit further this way, exaggerate the foreground and background or the subject in the background. What I want you to do is practice removing something like we did in this edit here. Where do we go? Back to all photos, recently added, 22 minutes ago. This guy. When we had this problem down the bottom here. Then there was the bit where I just added the entire or removed from the background this entire part, the street here. I want you to do the same thing. I want you to practice basically being able to create a mask and then go in and remove or add something, depending on what you want to do with the brush tool. Just to practice it. Then like always, I'd like you to share. Share the Remix link. If you use that before and after screenshots, upload them to the assignments, credit the photographer, and share on social media. Looking forward to what you do, push those boundaries, get a bit further, go a bit past where you want to go. Doesn't have to be all dark and gloomy like this one. It could be opposite. It could be all bright and happy. That is it. Enjoy the class project, and I'll see you in the next video. 51. Select Sky Masks in Lightroom: Hello everyone. This video, we're going to take this relatively drab image. It's fine but we're going to go to all this. We're going to use select "Sky" and we're going to create the Windows 95 background desktop image. We're going to use the select Sky definitely. I'll show you though. We're going to go a little bit more fast. We're going to duplicate and avert work on the foreground. We're going to add this little sun part to it as well that warm-up that area, and part way through, we're going to discover that I've had the small version the whole time and you didn't even tell me. There we go, big, small. We all discover something in this video. Let's jump in. Before, after. To start with bringing Masking Sky 01 from Signature Edits, and we are going to select the sky of course. We'll get a little bit more advanced. Let's start with our masking. Let's pick Sky. Again, artificial intelligence, goodness. Look at it. So yeah, the sky is selected. What we're going to do is I'm going to toggle this off so that I can grab my sliders and see where I'm up to. Now what I want to do is just see what's in there. There's a lot of detail in there. Hello. Look at all those lovely wispy clouds. You saw them at the beginning. I'm going to accentuate them. Too much contrast. I'm just dragging them back forth making little noises as I do it, [NOISE] just to see where we go on. I'm probably have to come back a little bit and fix this afterwards. Look at that. Sky appears. I'm going to have to jump ahead in the course because I can't help it. This sky here, you know what it really needs? It really needs dehaze. It's a hazy sky. If there was an option down the bottom here that says dehaze, imagine what that would do. Do that, but it's just really nice. I've dabbled in this before, but look at that. Before, after. Boring old sky, nice guy. I'm probably going to lower down the saturation a little bit. Dehaze was part of what it does is it accentuates everything. Nice good contrast, but sometimes it can overdo the saturation a little bit. It depends what you're after. You might love the full saturation. It's finely balanced there. Let's look at doing select the sky. It's easy. Let's go more complicatery because I feel like you're ready for it. Normally, what I do is I would say before I did the mask, I would go and do my basic edits and just work on one part of it, probably the grass first. Then select the sky and then start editing that, but I haven't done it that way. I've done the sky first. What I want to do is I want to select this foreground. What I can do is let's do a couple of fancy things. First of all, let's rename it. Has yours been out the whole time? It has, isn't it? [LAUGHTER] Yours has been out the whole time. I bet you it has. Here we go. Hopefully, it doesn't cause you too much trouble. What we're going to do is we're going to name this mask. We're going to call this one Sky, and we are going to do something cool. Right-click it, and we're going to duplicate and invert. It's going to make another mask, great, but it's going to invert it. It's going to select everything but the sky. Sky inverted, but we're going to call this one, I don't know, Ground. [LAUGHTER] We've got two masks, sky and ground. Now working on ground, I've got my ground mask selected over here and then masking and I can work on the ground. What am I going to do? Again, I'm just going to see what's in the grass. Some cool stuff in there's. I think the exposure needs to come up. It's quite low. Even that. I think I want a bit more definition, so probably some high contrast, even more than normal. I'm reluctant to do it all in contrast because often I can do a lot more control when I'm doing it down here. I can't quite because I don't know what I'm doing. I don't know where I want to go. Before, after. I'm looking at the grass here. Nice. What I might do is push the grass towards green. It depends. I am looking for that Windows 95, Windows 97, whatever the one is, the big cloud and the grasses. I want to go, and I don't have in my mask, this might change in the future. They might have all of the settings that we have here in the color mixer. We don't have that currently in the mask. Click on Mask, click on the Ground. I'm going to have to try and probably do it in my tints here. Too far. Luckily it's all grass. Saturation, probably not. Maybe. In the sky, I want to go from this blue to, I want to push it to more blue, less blue, get this teal going. A mixture of adding blue and adding green, we get teal. We don't have the color mixer, but we can make it happen and then go, too much saturation, more green, more dehaze. More dehaze, less saturation. Getting in the weeds here. Of course, we need to go to the overall settings and I'd like to add a vignette because, why not? It's very subtle for me. Before, after, before after. The grass is probably a bit of yellow than it was me moving at green, but I'm pretty happy. You happy? Let's do one last thing is, you're like, this is getting complicated because what do we got here? We've got two masks, ground and sky. Let's look at doing a third one. Let's create a new mask. I'm not going to add to these ones or remove from it, which we did in the last video. We're going to add another mask called radial mask and call this my Fake Sun because there's a sun going over here. It looks like it's in toxic waste sky sun. I'm going to try and get rid of the muddy browns and I'm going to drag this over here because I want it to spread over the land. I want this like sunset hot, look how great it is. Fake Sun, Radial Gradient. I am going to do what? I'm going to make the temperature a lot warmer. Look at that. Probably make it a bit bigger. I want it affecting both the sky and the grass a bit. Warm it up. Overexpose it a little bit. Before, after. Is it a little bit green over there? Maybe not. Come down a little bit. Now I'm going to just mess around with these to see where I go. You wait there. This is my Fake Sun. Let's turn just the sun off. With the sun selected, eyeball will turn everything off. There you go. You can turn the individual layers off by clicking the eyeball. Before, after. You can see what I did. I tried to add a little bit of, oh, sun setting, warmness to it all. Looked a bit murky there. Now, I know this Fake Sun here probably needs to be lowered down a bit to be a bit more less obvious. It's just like, basically lowering the opacity of that mass that you've done. Before, after. Let's have a look. Before, after. What did I hit? I delete. It's going to remove from this album. Don't hit your backspace key, everybody. It's right next to backslash. You've probably done it. Cancel. Backslash on, backslash off. I want to get rid of this mask, so I'm just going to go back to my general settings, so those lines disappear. Before, after, before, after. I don't know. What do you think? It's definitely Windows 95. I like it. You might like it, you might not like it, that's totally okay. You will have your own style. Your style will change. You will realize that I overshoot everything, but it all look great in the intro video, didn't it? Heavy days. That is it. That's selecting sky plus doing some extra advanced stuff where we duplicated it and inverted it. We added a radial mask as well, complicated masks, and [LAUGHTER] we all went down there. That then had his minus view the whole time, but you're clever, you worked it out, you worked out that I just had a small version. You probably even found a way to pop it in. Good work, you. Bad work, Dan. Better work in the next video, I'll see you there. 52. Class Project - Sky Selection: I hope you're excited for this one. It's cool. We get to work on a sky. You're allowed to use the dehaze. Not like I can stop you. [LAUGHTER] It's meant to be further in the course, but it's hard to separate them all out. I want you to use your own image if you've got something or Lightroom's remix. I'm looking for a cloudy sky. Not just clouds. We want a bit of landscape and a bit of clouds. I'll show you a nice little trick for remixes. Let's go and find a subject matter of landscape. You'll probably get something that you can use, but you can do things like add cloudy landscape and it will help you find stuff that is more appropriate. We're looking for not this one. We're looking for something where there's a bit of land as well as clouds, so a bit of both. That'd be cool. It's weird. Cloudy gets me what I want, but if I type in cloud, it's not. So just be, not be careful, but just be mindful that it's a computer, and just by using slightly different wording, with a y, gets me where I want to go. But without it, it doesn't. But there you go. Pretty much like before, find cloudy sky, select the sky, edit the sky, and then I want you to invert and work on the other parts of the image, whatever they happen to be. Like before, share the remix. Before and after screenshots. Upload them to the assignments. Credit the photographer. Share on social media. Love to see what you do. I'd love to see what you do. Post it to the Select Sky part of the course. How you're enjoying it. How tricky masks are. I love jumping into the different groups on social media. I don't get to comment on them all, but I love to see what people do. Part of my morning ritual, coffee, search through, see what students do, be amazed. That is Select Sky class project. Go off, enjoy, and then I'll see you in the next video. 53. Replace Sky in Lightroom Using Photoshop Round Trip: Hi, everyone. In this video, we are going to answer the age-old question; can I replace the sky in Lightroom? Not adjust it, not fix it, but actually, just put some other sky on there like this one. Look at it, how cool it is, and it blends in nicely and the answer is, no, no you can't do it. You need Photoshop. So that's what we'll do in this video. I will show you how to round trip from Lightroom to Photoshop and back again into Lightroom. There are just some things that Lightroom cannot do, just not designed to do it and it's got this buddy Photoshop. It's good friends with them. It loves to send them some of this hard work. Let's jump in and I'll show you how to do it. Hi, everyone. Bring in the image. It's called Sky Replacement. Bring it in. I've done a basic edit on it now to get it looking a little bit more gothic. It's up to you. We can't just replace the sky in Lightroom. We can enhance it. We can go through and play with the light and the dark select it and this is a bit of a boring sky, even without effects like dehaze would crank it up. Actually, there's some cool stuff in there. Ignored dehaze. Let's pretend there's nothing cool in it and we need to change it. It's a tourist photograph. We want to say Putney Island is always sunny, not gray all the time. All the time. Did I say that aloud? So we need to replace the sky and Photoshop is perfect for it. Let's do a little round trip and then I'll talk a bit more about Photoshop and we'll do a quick version. Come on, Dan. Be quick. Just right-click your image and go edit in Photoshop. You need to have Photoshop installed. You need some basic Photoshop skills and there it is. Look at some Photoshop. Lightroom, Photoshop. Let's just do it and then talk about it more. So I'm going to show you the most amazing feature and edit, there's one called, where is it? Sky Replacement. Hold your horses. You ready? Oh, my goodness. Like a terrible sky, but I wanted it that way [LAUGHTER]. I wanted this dark, gloomy one. Let's do it again. You're ready blue skies for the tourists. Bruce guy. I'll go through this a little bit more because Sky Replacement is cool. But I don't want to do is do the round-trip first. I'm going to click "Okay", Photoshop's edit a bunch of layers. I hit "Save" and I'm going to close it. You got to close it, because then it hands it back to Lightroom. Go to Lightroom, go to sick. It's set it up the top there was importing it. That's not working. Not working. Right there. Waiting, review. Here you go. I went into grid view and back into this view. I don't know what happened. Normally, it just appears. Yours might be the same, so I'll leave that in there. I just went into grid view and then back into details and magically appears. That round trip, one thing to remember here, if I leave it like this, I can always if I've finished this, my edit is done, great, did my last bit of Photoshop. If I now go and go back into Photoshop, I can open it up again and work on stuff, change stuff, make edits and those edits will appear again in Lightroom. I can close it down. Don't save. It will pass it back to Lightroom with no changes. But if I do make an edit here, if I go in here and, I can not change the exposure. Or I'm going to play around the highlights. I'm just going to mess around with it. If I do this now, that layered file in Photoshop is gone. If I go in here now and say it in Photoshop, there it is, I'm back in Photoshop and look, it's all smooshed down. So you got to be careful, it's a one-way street. Do you final things in Photoshop and then back into Lightroom to do anymore edits, but you can't go back and edit it. What also happens in Lightroom, and close it down, it'll jump back to Lightroom, is that if I go back to gallery view, you'll notice this. There's a tool. What is that tool? It's called a stack. It's pretty advanced, but I'll show you what it does basically, if I click on the "Tool", it shows me that this image actually has two versions of it. It's a stack of two images, groups them together. There's that original one that I bought in and I can work on that one and I've got the second one because we changed it quite a lot with the Photoshop. Lightroom like, I don't know what you're doing here. I want to protect you, want to look after your original, so it's there. It's still got those lovely edits that I did. There's nondestructive edits, but using Photoshop is destructive in this case. I sent it over, kept all the layers, but then I go in and edit it and it's smooshed it all down. That's one thing to remember when you're using Photoshop, is that if you do edits in Lightroom afterwards, it will stick them together. But don't worry, got you backup. To get out of this, I'm going to close it down. Go to grid view. Can you got two versions in there. This is cool, but when you're new, it's a bit tricky. So you can just right-click it and say ungroup stack and just show me the two of them, please. There'll be ungrouped. You just end up two versions. It's up to you that might be easier at this level. You just have two versions of it. They're both backed up and nice. I'm going to delete this one. I'm going to hit my "Option Backspace" or Alt Backspace on a PC and say, delete you from everywhere. I'm going to open this one up, and I'm going to go through in a bit more detail in Photoshop just for the Sky Replacement because that's cool. I want to show you it because I want to show you throughout this course that there are times it's just easier in Photoshop, and not just easier but only doable in Photoshop. This is one of those good cases where you need to physically remove things, not just enhance them, change them, mask them. You need to actually cut out something, make a montage. So let's dig into the Edit down to Sky Replacement. Let's go from the happy day. Now you'll see they changed it all the time. You might have a few other different images. You can add your own by going here, get more skies, import images. Then I'm just going to click on a few of them because they're awesome. I like that one. That one is probably going to be the one I'm going to use. What you'll notice though, is can you see that this image is actually reflecting itself in parts of the roof? That's what's really cool about it because without it, it can get really like contrast and you're like, well that doesn't look real. What it does is have a look at the one that I liked the most, on there. Click up here. What you'll notice is I'm going to zoom in. I'm going to use the caveman ways, just the slow stuff because not everyone has Photoshop skills yet, though I know a guy who's got a course, Photoshop essentials and Photoshop advanced. Even if you are reasonably experienced in Photoshop, you should do the essentials loads in there. I'm going to drag a box around it and I'm going to drag a box Photoshop, does it differently. Use the hand tool. What I want to show you is watch this. If I turn the preview on and off, can you see it? Doesn't just replace this sky, but it actually affects the image. Tries to cast itself on here. And the more color that's in your foreground, the more it's going to try and blend itself on top of it. It's really cool. It makes it really believable. I'm going to go back to shift back to full screen. I'm going to hit Command minus a couple of times or Control minus on a PC. These are relatively self-explanatory, but we'll go through them. Shift edge. Can you see blends too much in here? You can start playing around with, how much the sky blends in with what it considers the foreground and you can decide, you can go way over, so it really covers it. That's good when it's quite nature or cloudy or misty. But in this case is quite a hard edge, so I want to keep it reasonably off and the fade edge, you can keep it really fuzzy or you can keep it really tight. In this case, I probably want to keep it tight so it stops influencing that so much. I don't know. Pretty believable. You can flip it. Where is the flip? There it is. Depending on what you want out of your image. I think I liked it. It's broken into two parts, sky adjustments and foreground adjustments. So this is my building. What gets influenced, how the background influences this, which is really cool. Let's do that. You can play around with how the foregrounds lit. Does it brighten it up? Does it darken it up? This one he is probably the most interesting, how much of the sky influences the foreground? Crank it up and it will try to blend in even more. If you turn it all the way down, it'll leave it alone. It's not particularly obvious in this one, but in some cases it can look really contrasting, it needs to blend a bit. This one, crank it right up. It's going to change quite a bit of my image to match the background. Dan talks a lot. I feel like I'm talking a lot in this video. I've had a lot of caffeine, but it's interesting. It's interesting. Let's have a look, brightness, pretty self-explanatory of the sky. Just lightens it. Temperature. Do you want it to be blue? You can go brightness down and dark. Bring this up. Sunny day, or at least yellow day, decide what you're going to do. I'm going to go back to normal to reset in Photoshop. The generic thing to do is hold down the option key on a Mac, Alt key on a PC. Can you see it? Does it's reset. You can reset it all if you get lost. Scale, you can scale it up, but it will end up pixelated. It depends on the image originally that seems to be holding up. But if I get really big, you'll start to see all the pixels in it and get a bit yucky looking. It's pretty big image. Scanning down, you end up seeing the edges here. It'll depend on how much the background needs to cover, so it's quite dependent on the image. It's closed on sky adjustments, we've talked about this. The edge lighting is just around the edges here [LAUGHTER], it's the insulating then. It's an on and off just to give you how it looks. Just how much it affects just a little wispy edges. It's very cool. I love Sky Replacement in Photoshop. It is cool. To get back into Lightroom, you go to save it and you've got to close it. Then you can see it up here importing from Photoshop depending on your machine, it might take a while to import it and up until this be to copy that I'm working with at the moment, it just instantly changed. Yours are probably instantly changed. Me, I've just worked out. I got to go to grid view and then back into details view. Look at how cool that is, very menacing. Before and after, the backslash doesn't work because it's actually made two copies. Remember, under grid is these two. It's predicted the last one. It's used it as a separate one. We can compare the two. I have one selected, it's going to compare view. Click on the other one, we could see out before and after. So this is a great shot that when I sit your class exercise in the next one, you can take a screenshot of this using the compare view. Plus it's good to practice the compare view. That's what we're going to talk about now for Photoshop because it fits in with what we're doing. There are a couple of other parts of the course. We're actually just been doing in Photoshop and not even better. Just the only way to do it is in Photoshop. I've had to split these two programs up to give, Lightroom is fast, great for organization does great photo editing, but when you get into photo manipulation, that's when Photoshop needs to join the gang and it's terrible for organization. You can do really good raw image edits, but it uses camera roll instead of Photoshop. So there's just times where Lightroom is great for a photographer 95 percent of the time and then you need a hand stuff over to Photoshop to do things like this, like cutting out the sky. But we'll do a few more Photoshop things in this course. Have a little look through the contents and you'll see Photoshop appear few different times. Just when you thought this video was over, I have snuck in a class project. I put this the end of this video and not like as its own separate section because not everyone's going to have Photoshop or Photoshop skills, there is a free trial if you don't have it and you want to practice, but this is not required for the course. If you are doing the assignments, you don't have to do this one because not everyone has Photoshop, but if you are, you do. It's slightly different. You use your own image, but you can't use the re-mix feature. Why? Because in Lightroom, they don't want you doing too much with other people's edits. I've remixed this image. It's not clear. But if I tried to do this, can you see I can't do a bunch of stuff like it in Photoshop. I can't use that remixed function. What you're going to do is use your own image, Signature Edits or Unsplash. Find a shot with the sky you want to replace, just something that's got a nice chunk of the sky. Doesn't have to have bad sky, just a sky to replace. Seeing your image over to Photoshop, replace the sky, save and close it. Does it in Photoshop and Lightroom. When you're finished, you don't have to upload it to the assignments. Obviously I don't want your remix link, but I'd love to see your before and after. Just share on social media. Remember the compare view that we did in this video, is great for this to show your before and after or just do a screenshot of before and after. Remember you have to go into the stacks which is sometimes confusing. Let's go back to masking. There it is. You can even see the little two there. You can get to it a couple of different ways. Grid view. Where is it? There it is. They can click this to see the stacks. You can open up the before and after, take screenshots and share it with us. What dramatic sky you going to do? Remember to credit the photographer and share it with us on these places. Have some fun and if you get lost and crying and Photoshop, it's okay. It's a big expectation for you to get jump out and do a whole another bit of software real quick [LAUGHTER]. You do find it tricky. You're allowed to skip along if you have some school or game getting there. Start wrestling with Photoshop, see if you can replace the sky and share what you make. Next video. 54. Selecting Just One Person in Lightroom: Hi, everyone. In this video, we are going to isolate just one person. We can just say computer, pick one person. Hey, look, we can make changes just to one of them. Then we'll darken the background to push the bride and brides maid out. Before, after let me show you how it works. First up, your masking folder. Grab masking people 1-8, drag all of those in and add them. We are going to emitting them to that masking album. We're going to start with this one. So open it up until now, we've being able to go to mask and there's been this awesome subject selection. The tricky part of it, though, slicks everybody. You're like, I wonder everybody, I'm going to undo that. What we can do now is, you might have already seen it. You might have had this open. You're like, why is he mentioned this? Because now is the time. If you can't see it, what you might have to do on a PC, go to Edit, and down to Preferences. On a Mac though it's under Lightroom, Adobe Lightroom, go to Preferences. You might have to turn on general enabled people view. It's a really new feature. It's actually just being released to mean now it's they even public it. Behind the scenes. Even though by the time you watch this, it'll be out pretty fancy and new. It might change a little bit for changes heaps, I will come back and re-record it. If it's just small changes, you might notice that your UI is a little different. But the cool thing about it though, after it's analyzed look at this, I can say, I want this one person three or person two or one because their skin complexion is so different. I want to work on the bridesmaids here. Sorry the bright. I'm going to leave it at entire person for this video, we'll look at some of these other ones in a bit. Let's click Create. Now I've got a mask. Then I'm going to double-click and call the bride. How cool is that artificial intelligence working for us? For my version, I'm going to twirl this up. When I say my vision, I know that I'm going to change the layout a little bit. I'm going to come down too bride, what I've named it, can scroll down and say actually I want, what do I want to do? I want to remove a little bit of the magenta from his skin so I don't want to make it Kermit the Frog. But there is a lot of magenta in there in the skin. How far before, after. I feel like it's subtle enough, I'm using the backslash, remember? I want to brighten her up, probably want to move some of the contrast as well. This is just a really big contrast between her eyes and everything else, skins quite pale. The jewelry, the wedding dress so I probably want to move not all of it, but just removed some of the contrast between those two parts, so highlights. I do want to brighten her up though. The nice thing about working on just one person. It's going to distance here from the others because she's the bride. She's most important and she's probably paying our bill. What am I doing here? I don't know, so look see what's in there. Before After we want to warm up, just a touch. Before, after I like it a little bit more angelic was going for and what I'd also like to do is there's the background, there's a nice depth of field which is cool, but actually I just want it darker, really bright day, strong sun ruining this in here, the veil even then. What I'm going to do is we're finished now, we've selected one person. What we can do now is we can add another mask. I'm going to not add to this mask, but create a new mask and I can do one of two things. I can say subject, which will get all about people like before. Or I can say all people, okay, or select a person and then go all people, doesn't matter you end up at the same place. I'm going to go select subject. I'm going to invert it. You can do that by clicking in here and say invert or go to the top here and it should be the top there is a button because what I want to do is just remove the background. I will just push the background back. Now I've got it let me go to my little light tab. Actually, I'm going to go to the Mask. Where is it? Mask 1, it's called Mask 1, it's confusing because in the end of room bright background. With background selected, I'm just going to, I don't want to like make them look like they're cut out with scissors. But I do want to exaggerate the differences between them. Just pull some of specialty, the lights spec. Some of these bright ones. The whites and highlights or close to being cutting them out. You can see it's nice. I like it. It's maybe a bit much, It's funny. The longer I look at it, the more natural it looks. Then this looks weird. There you go. That's how to select one person in an image. Thanks to artificial intelligence, Adobe calls it Adobe Sensei, I call it awesome. It's one of those times where technology they promised will help us. The real person, the regular Joe, like me and you love it still no flying cars or hoverboards though. You promised us Michael J Fox, where are they? 55. How To Smooth Skin in Wedding Photos Lightroom: Hi everyone. Everyone in this video, we are going to smooth skin. We're going to select skin, and then we're going to go, bam, look at that. Before, after, before, after. We're going to try not go too far. You can go all the way far and smooth it completely out. We're going to try not to go too overboard. Selecting and smoothing skin. We'll have a couple of examples where we both smooth out the skin and do some color correction as well. Before, after. Trying to keep it natural. We'll do a more fuller edit where we remove noise from a high ISO and do some color correction and some skin smoothing. Look at that. Pretty good. Maybe a little bit too far, maybe. Then we'll go all the way the other way and take this handsome man and go, bam, look how more rugged he looks. We're going to add text to the skin and make his beard look more beardy. All that and more in this video. Actually no more. That's exactly what we're going to do. Let's open up this image here. We're going to go in from masking panel and remember, make sure under Edit preferences on a PC or Lightroom preferences, that you have people turned on. You can see down here we've got the groom and we've got the bride. We're going to click on the bride here. Person 2. In our previous video, we looked at the entire person but look at this. If you hover above it, you've probably already had a look. Look face skin, red, weird but body skin, eyebrows, lips, or teeth here. We'll cover these first two in this video, and we'll split the other ones onto the next video. Let's just pick face skin for the moment. It's up to you. Let's have a little look at her actually. I'm going to zoom in, in the Command or Control drag depending on PC or Mac, and drag around. What I'm going to do is pick face skin and let's click "Create". I'm going to scroll down to my mask. You'll notice here that there's a lot of information in the skin. She's got pretty flawless skin, but you take a photograph sometimes and it just catches the light and you can see all the little hair follicles and all the little bumps and dips in the skin. The magic potion for fixing it all is down here called texture. Let's just drag it all the way to the left. Look at that. We drag it too far like we just did here, it gets a little bit soapy. I think it's a word that I invented for retouching. I don't think anybody else uses it as the case. Don't be going using soapy anywhere. Or smooshy, too smooth, you get the idea. It's about the balance. You don't want to remove the personality from the person, but sometimes we want to just hone back some of the skin just so it's just a little bit more nice. Now when it comes to texture, what is it doing? Before we looked at noise. Noise looks at the teeny tiny parts of the image, basically pixel. But texture is like another level up. It's doing the same thing. It's trying to find them and remove them. But it's more looking at larger groups of contrast. Often it's found in skin so that's why it's really good to drag it down. Texture identifies them and now case removes them. Clarity is something goes in hand in hand with texture. We can raise the contrast, or in our case lower the contrast of that texture. Smoothing it out, lowering the contrast. Often that's ratio. More texture, a little bit of clarity. Let's zoom in. I'm going to use Command Plus or Control Plus. My zoom has gone a little bit funny. At the moment. I'm going to turn those little people off. I don't like those pins that appear. Let's look at carried all the way down again, gets a bit milky, soapy. Milky might be another one that doesn't get used very much. Texture do the most of the work and then clarity, removing it. How to remove a little bit of that contrast of these as well. Backslash before, after. It's nice. Click it once to come back out. Before, after, before, after. Probably a little bit too much. What you can do is once you get it, especially if you zoomed in you're like that's a bit much. Instead of going back and trying to drag all the different sliders, you can just say mask 1, just remove it or just remove it a little bit, just to back it up a little bit. Just to say I want a little bit in there just to tidy it up. Next. Now in terms of retouching skin, we'll do that later on. We'll look at the healing section of this. We'll separate that out with unmasking zone. Let's look at another image to practice. So G back to grid view. I'm going to open up this one here. In this case, I'm going to do something slightly different. I'm going to try and remove some of their skin texture, but also play around with things like the color. I'm going to Command, drag-out over that one, troll drag on a PC. You're sick of me saying that, but you know it. In there, it's embedded. I'm going to get a mask. I'm going to look down here at people. I've got one person. I'm going to pick both the skin for the face. Really creepy when it goes red. I don't know why they chose red. I'm going to pick the body skin as well. You've got two options here. If I just click "Create" now, it's going to join those two up so you've got one mask that's put the skin for the body and the face. You can separate those out if you want to work on those differently. I'm going to leave them together. Click "Create". What I want to do is I want to find my mask. There is there. I want to go do my texture magic. Too low, somewhere in there where the clarity is well. I'll get rid of all of our features but tone them back. They are accentuated by the lighting and by the makeup. That's the other thing I want to do is I want to go and look at some of the temperature. The makeup in this light feels too yellow for me. I'm going to make it more neutral. I just dragged a tiny bit out of it, but I think it's a big result. Let's have a look. Before, after. Let's do another one. Why not? Let's open up this one here. Let's, first of all, rotate it. Who remembers where I rotated? Well, that's right. It's on a crop. What's the shortcut for crop? We would see. We're doing it. We're going to rotate around. You can right-click it in gallery view, you're totally right. This is just another way. I'm going to hit ''Enter'' on my keyboard. I'm going to zoom in on the skin. Actually, let's do the mask first. M for mask. We'll look at all the shortcuts. Y for people, detecting them. One of them. I'm going to do just the face in this one. Face skin. Click "Create". There is my Mask 1. Then I go do my trick, I'm going to zoom in now. Now my shortcut doesn't work in here, does some weird stuff. I can't do my command drag. Yours might not work either. Because mine is a Beta version yours might be because it just doesn't work in here. You can click once and it zooms into 100 percent, or you can hit ''Command or Control Plus'' on your keyboard. It's another way. Click and drag. I want to go in here and I want to say magic texture, all good. Clarity up a little bit, perfect , down a little bit I meant. What you'll find is, I guess I had this one in here because I wanted to show you the difference between noise. See all that noise in the background and texture. The noise is still in there, whether you want that in there or not. Texture won't remove it. It looks at another level up, another size grouping of contrasting colors. Before, after. If you want to remove the noise for the entire image, those are the tiny little specks. Instead of doing it to the mass, we're going to do it to the overall image and we're going to go down to details. Just to remind you, remember noise reduction in here. I'm going to crank this up. Too far. It's going up pretty high because it's quite noisy. What's the ISO? I'm going to hit high on the keyboard for information. ISO is reasonably high, giving us our green. I'm going to go back to e for editing. You can't obviously click all these. I know. I like light room for shortcuts because there's a lot of times where you were just going through so many images and shortcuts are quite handy. Under details now, noise reduction. Noise is different from texture. Texture is bigger, but you can do both. Here we go. To get back to my mask, I hit ''M'' for mask and then just click on it here, then it will bring this back up. Otherwise, you're stuck back doing generic stuff. Let's click once, go all the way back out. Turn off those little people. See those guys there, you might love them. I don't like them. One last thing, let's look at the libel. It's like it's a cool photograph, very blue. But I want to go to my overall, not my mask. Let me go to this stuff up here. Mask down the bottom, light at the top. Color, white balance. I'm going to go and just say order. Good work, computer. Here we go. I think success, quite proud of myself here. Here we go. Texture, we rotated stuff. White balance. We're photo-editing people. Oh, actually, I felt like that was the finale. There's one more. Let's go the other way. We've removed texture, but this time we want to edit so G for grid and I'm going to go and open up this guy. I want to go all big cozy tech watch, advert, men, conquering nature look. You're at the beginning there. Again, we're going to go and say mask at the person. Now, in this case, we could go select subject. Because it will select, I want to do the whole person. I'm not just going to do a skin, but we could go and type person there. Same thing. I've got my mask on my person. Let's have a look down here under texture. We've been taking it off. It gets a bit soapy. We crank it right up. Look at that, going all the way up. I like it before, after. Same thing with clarity. Look at it. Where did it go? Down here. Clarity. Can you see it's a bit of a better explanation of texture versus clarity. The texture makes it more obvious, and then clarity really cranks up the contrast of them. You'll see a bunch of images like this. It's a cool look for a little while. How far am I going to go? That looks good. Let's also look at just contrast on its own. It's not just doing the contrast of the texture, the lights, and the darks, it's actually doing the same with the colors. Look at this bead, look how beady that looks. It's something with saturation. I want to crank up the saturation a little bit on this guy. Too far, there. Before, after. Who wouldn't want to buy a really expensive watch from that guy? I feel more outdoorsy just looking at him. Here we go. Texture; used normally for smoothing skin, but also adding a really cool effect to an image as well. Super handy and a big thank you to artificial intelligence for making that skin selection so much easier now. Previous versions of this course, there was a lot of painting [LAUGHTER] with a brush. Now, even in its infancy, it's pretty amazing. By the time you're watching this, it will be better, I promise, but pretty solid even now. Lastly, I've got some examples you can practice with. These aren't class projects that you need to submit, but just something to just play around with. You can play around with the ones we've done. Hope you have throughout the video, but there's a couple of other ones. There's this one in here, there's another one, there's another one. You can mess around with this. Look at this one. It might be a good one familiar. Just to have a practice. Well, look, another one. There's loads to practice on. Practice selecting skin, working with texture and clarity. But also some of those light settings: highlights, shadows, whites, blacks, temperature. Enjoy. I will see you in the next video. 56. Class project 11 - Skin Smoothing: Hello, class project time. It's going to be fun. We have got some skin smoothing to do and some texture to be adding. So I want you to find two portrait images. I won't list where to get them from now. You know, see that yours remix and splash signature edits wherever you are getting your images from, just make sure you always credit the photographer. I want you to do two things. The first one is skin smoothing. Make a skin selection experiment with things like removing the texture and clarity, maybe adjusting the temperature. That's the first one. The second one is to go the other way and add texture, add that grunge to it. You might not do it just to the skin, you can, it might be the entire person or just features of the person, up to you. Experiment with not just the texture, but play around with contrast and clarity, and saturation and see what you get to the experimental time. The last video, I did, men with texture and woman needing skin smoothing, rather sexist. You can flip it around and add the texture to the woman, smooth the man's skin. It's up to you. But I do acknowledge my stereotype there. When you've done both of those, I want you to do the normal one. Shear if you use re-mix, I want to see your before and after and then upload them, credit the photographer, and share them on social media. Add a little bit of an explanation saying you're just learning the skin smoothing tool and the grimy texture adding effect as well. That is it, enjoy the class project and I'll see you in the next one. 57. How To Whiten Eyes & Enhance Eye Color in Lightroom: Hi everyone. In this video, we are going to whiten the eyes ready, then we're going to enhance the pupils, ready. Way too much there. [LAUGHTER] But it looks cool. I'm going to show you how to overdo it in Lightroom so that you can do it a little bit more subtly to make sure I'm selecting the eyes and then going doing the whitening and the enhancing. Let's jump in. We've got two images we can work with called Masking eyes 1 and 2. I'm adding it to my album. Here we're going to open up this one first, and we are going to go to mask, wait for People to do its thing. I'm going to click on the person and I am going to do probably the most common one is whitening the eyes. We're going to click on this eye, I don't know how to say that word, sclera. I just call it the whites of the eyes. That's the technical word, let's click "Create". Look, red eyes. Let's click "Create". Now what I find, first of all annoying is the two little heads. They are just saying, there's a selection here that I've used from the people icon or the select new mask people option. I'm going to turn that off, show pins and tools, and down here, mask. I'm going to go down too now. I'm just going to use the preset for whiten teeth. I know it's not enhance eyes, will do that to the actual pupils. Whiten teeth is going to whiten teeth. Now, it's probably going to go a little overboard for what you need, but it's just really interesting to see what it's doing. It's raise the exposure a little bit. What else has it done? It's lower the saturation a lot. I think that's all it's done. Let's have a little look. I'm going to drag a little box around it here, which is the Command Plus, and let's have a little look. Before, after, it just removes the color, brightens it up a little bit. Remember if it goes too much, you can either drag the individual slidos, just lowering this down a little bit. Or again, maybe you can lower the entire mask by the amount. You can just tone it down to find somewhere having a medium where it looks like realness. Now let's do the opposite. Let's look at looking at the eyes, enhancing those. There is a preset for that one, so let's create a new mask for this person and we're going to use the iris and pupils this time. Let's click "Create". Scroll down to Mask 2, yours might say iris and pupils, I'm not sure what mine sometimes it does and sometimes it doesn't. Anyway, let's go preset and there's one of the core enhance eyes. Again, even if you don't want it, it's just really interesting to see what it does. Again, raise the exposure, what else does it do? It increase the saturation, increase clarity. Clarity is a nice all-purpose image enhancer, we'll look at it a little bit later in the course. But it's just interesting to see what these presets are and what they've done. You can either back off from them or just do your own thing. There's no problem going through and for me, I feel like I need to lighten them up because it's trying to do generic stuff. It's not doing any artificial intelligence in there, well, at least not yet for those ones is just have gone to a precise, it's the same for everyone. I can see in there in the shadows, it's getting a little bit vampire zombie-isk, but I think I'm liking it. I'll leave that one, what do you think? Before, after, pretty intense. I think I like it intense like that though, but we can lower it down just to be [LAUGHTER] on the safe side, before, after, nice. The whites of the eyes looking really nice and enhance the color of the pupil there as well. As well there's this second version. I'm going to leave that for you guys to play around with. Whiten the eyes. There's two selections, remember, the whites of the eyes and then the pupil. Just to practice, nothing to submit. I just want you to have something you can easily get your hands-on and have a play with. That is it for this video. Enjoy your playing with the eyeballs. Let's work at making it creepy then. 58. How To Change Hair Eye & Lip Color in Lightroom: Hello everyone. Hey, and in this video, we're going to do some crazy stuff. We're going to change people. We're going to make them change their eye color and their hair color and their lip color. I will freely admit I shouldn't be in charge of anybody's makeup. I can barely do my own, but I'm going to give you the power to be able to change my color, lip color, hair color, all in this video. Let's get started. We're going to work on this image here. I, on my keyboard, it is masking people 07. Double-click to open. If you have edited this one already, you can hit Command R or Control R on a PC up to you, you can leave your edits, that's totally fine. We're going to work on just the lips at the moment. I'm going to zoom in a little bit. I'm going to hit ''Command Plus'' a couple of times or Control plus on a PC. I'm going to go into the mask and I'm going to wait for the people thing to do its work. Then I'm going to click on the person. Then I'm going to wait for what lips. Let's click ''Create.'' Now we've got a great selection for the lips. We are going through down here under my mask. I can say I can do what I want. Let's look at just enhancing what's there. You just grab saturation. You can get all the way up or pot the way up. We're just accentuating what's there. Before, after. It'll depend on how rich they are to start with. With you can like that one. I could go quite high without going overboard. If they have really strong lipstick already, we're just very colorful lips. The saturation can go as high. You can change it with your temperature as well. You can warm them up and change the color here, but let's say that we wanted to change the color a lot more. I want to make them green or something. That's what this slide comes into play. It's called hue. A tint is just dragging the colors slightly. A real natural way of working this one here. Click ''Hold and Drag.'' You can see you can do some crazy stuff with it. Now we've got isolated. It's really cool, and then we've got our masking down. We can actually select things and change the color of them. We're doing with lips here, but you can do with products, whatever you want to make a selection of. We can dress this hue. We don't want green lips. I don't particularly want purple lips. Once you've got them, maybe to the hue that you want, you might have to lower the saturation. What you'll find in here, if I click it and drag it around, it's going to change the color, but I really need to take back the hue. I'm trying to decide what I'm doing [LAUGHTER] I'm not good at this [LAUGHTER] I don't put on lipstick enough. Before, after. [LAUGHTER] I'm not going to retain like I know what I'm doing here. I'm going to pick something else. You wait there. I'm not a total caveman. That's better. What I did there was I picked a color that was relatively natural. Then I went back through on the mask and just played around with contrast, highlights, shadows, and white just to get something that I liked. You got before, and after. Correct in. It turns those little people off, you know where they are now. Let's look at doing the hair because the hair is the exact same thing. I'm going to go create a new mask. There's my person already selected. I'm going to go find the hair effect. This is pretty special. This one I love it because hair is really hard to select and I click ''Create,'' and what I'm going to do is I am going to do the colorized. Again, you can just play around with these, increase the contrast, play around with the lights and the shadows, but if you want to add color, we can't make it blonde. That's too hard. The light is all wrong. She's got dark hair. You can make it lighter differently. We can add color, but we can't reverse it out, just looks weird. What we're going to do is we're going to add some color to brown up here. We're going to use the same thing down here. We're going to use hue but watch this. If I drag hue changes a little bit, which might be enough, depending on the hair. If there's some color in it, you can change it. If there's no color in it, this one's there's not a lot of color in it, so it's hard to change where there is no color. You can false color in there by going to this option here and say, there's no color, add color eyes. Nothing really happened. Down here. You can drag this little dot up. You can say, ready, bam, right here, greeny, blue hair. You can drag this around. Basically, the higher it is, the more intense it is. You can see, you can drag, I'm clicking holding my mouse and you could drag it past the extend. Down here, you can lower it down. It's just subtle so say you want to make it just warmer or really open. Not sure the name for here, but good to hip. You can go obviously too far, but then come back down here and find that happy medium. Click. It wants to come fall out. Before, after. Instead of Richmond up the hair rather than going too crazy, but it's an amazing selection. I love it. You can just play around with the hue slider. If something already has color, like we did the lips, but if the hair doesn't have color, we can edit by taking this little box on the colorize. Force color in there. How much is by how high it is on this little rainbow slider here. While we're here, we've done eyes before, but we're going to combine it with this hue and colorized. I'm going to Command Plus a couple of times Control plus on a PC. I'm going to work on the eyes. We've already done this, but we're going to combine some tools. The whites of the eyes. Sure, we'll do that second. I'll do this one. While I've got this up. I'm going to say create two separate mass for both the whites of the eyes and the iris. Click ''Create.'' I'm going to work on the iris and pupil first. Down here again like before, if there's not a lot of color, you can't change the hue, but we can go and do the colorize. Took this on. What I might do beforehand though, is really trying to bring them out a little bit. I'm going to try and do it here like this, the enhanced memory, the preset. We can say enhance eyes, enhance. This done an okay job. They're in shadow. I'm going to have to go off and do a bit more work. What is it? Again, there's no rule here. I'm just dragging these back-and-forths, see where the information is. Some of them do nothing. Some of them do a lot. Probably too much. Let's go. There's some nice lines here in the eyes that are appearing way too much. Before, after. I like it, believable-ish. Now I've got some lightness, and then now, I can go down and say, let's see if I can just change the hue. You can, nice subtle change. You can say colorize and go the balance. Where is my blue, green? Come down somewhere around there. [LAUGHTER] I should not be in charge of making them. Sorry lady. I don't know. I'm going to turn off my Mask 1, my lips because it was terrible. You, my friend, might be doing it way better than me. Same with the here. I'm going to go down to my Mask 2. I'm going to name these ones. Good work, Hari. I'm probably going to just lower the amount because I can't be trusted. The one thing I definitely can't be trusted with is this last one. Let's do eyebrows. Whenever it comes to me retouching peoples' eyebrows [LAUGHTER] I shouldn't be allowed to. Let's just crank up the contrast. There we go. I'm not sure what is better. There we go. I'm not even going to do that one but you can mess around with eyebrows and get them to your liking. I'm just going to say eyebrows look great the way they are. I'm going to leave them alone. That's it. The big takeaway is we know how to select stuff now, like eyes and the whites of the eyes, and the ear, that's really easy to do. What happens afterward will depend on how much colors in there. Because you can just adjust the hue and the saturation. If there's already color there. If there's not, you can come down here and you can hit colorize and color them yourself. I'm quite proud of the eyes. Actually, what I might do is do the whites of the eyes as well. I'm just going to start with the teeth slider. Probably just turn it down a little bit before, after. We do run into a problem, the known now that let's say these are portrait photographs for headshots, for a model, they're going to turn up to the casting agency and go. You have blue eyes. Now you don't. You got to be careful about its purpose. We don't want to be changing people too much. That's it. I will see you in the next video. 59. Class Project 12 - Changing color: Hi everyone, class project time. This one is going to be changing color, basically what we did in the last video. I want you to find two portrait images, and I want you to do one subtle, one extreme. Changing the hair, eye, lip color, anything you want and do one that's believable and just like enhancing and then do a second one that is quite extreme. Punk rocker think, and share the link for the remix, but also the before and after shots. Upload them to the assignments, both of them, credit the photographer and share on social media. When you are sharing on social media, just make sure you write, one's subtle and one's extreme. Like Dan asked, sometimes people can be like, hey, they don't look believable, but that's the job here. Make it look a bit crazy. Explain it's the changing color class project from Lightroom essentials and how great the course is going, do a little bit of cross-selling for me. That's it. Go do the color change. Looking forward to seeing what you do. On to the next video. 60. Lightroom Noise Reduction: Hi, everyone. In this video, we're going to look at reducing noise. That crusty stuff that appears when your eye is really high, you're shooting in low light or at nighttime, going to go from this to this. Nice. Once we've done noise reduction, which is relatively easy, there's a few little tips and tricks for it. We're going to go a bit further and add a mask to sharpen up the really interesting parts of the app that might have been lost through the noise reduction to have a look at them. So we're going to go from this that's had the noise reduced, and enhance it by making his eyes pop like this. Handsome bird, before, after. Nice. We'll also look at adding a mask to the background to really separate him from the background. We're going to practice mask, but also look at some of the problems when you are masking something using some of the AI features that has a bunch of noise. It doesn't always work, but I'll show you a way around it. All right, friend. Let's get in there. I promised myself I wouldn't say make it pop in this whole course. It just popped out there, double pop. First up, we should have an album from earlier called Ruru. That's our owl. These are JPEGs from earlier and we can work on those, but, as we know now, rule files, we'll have a bit more information to clean up owl noisy images. Let's add those. I'm going to drag them straight from the exercise file. There is a folder called Noise, so owl noise, and bring in these two. Check them in. Let's add them, and we're going to open them up. That's why sometimes it's bitter. Like I'm normally on this view for GridView. Then there's this other option which is a bit more squary, but you can actually see CR3 is cannons newish raw file format. We don't want the JPEG. So I'm going to pick this one here, open it up. Now, this shot here, shot at night, it's got a chunk of noise. It's pretty nice. But let's see what we can do to get rid of as much noise as possible. Let's also have a look at the i-key just to see what the ISO is. Not crazy high, but still introducing a lot of noise. Now, we're going to flip between 100 percent and 200 percent on this one, because it gets into the detail of the bird. I'm clicking and dragging to move around. So we're going to toggle between 100 fit into 200. You can't just work in one when you're dealing with this noise. You've got to see it from a few different vantage points. Now, what you'll notice is if we hit E for editing, if you go down to this Details panel, so we've been in light color, I toggle them up just to keep them nice and tidy. Get into details. There's actually some noise reduction going on by default. Lightroom adds a chunk of color noise reduction 25 and sharpening to counteract that. So whenever we add a bunch of noise reduction, actually, I'll show you on this one. So there's color noise, and then, there's noise, black and white noise. If I crank that right up, everything gets really smooth. So it's really common to counteract that with sharpening. Two-degree, you want to crank them both up. So I'm going to reset that. Who remembers how to reset the panel? You remember? You don't. Hold down the Option key or Alt key on a PC and you can just click up there. We're back. There is noise in there, colored noise. Let's go in even further. Let's go into 300. Just have a look. Can you see all the colored specs? If I double-click that to put it back, before, after, before, after. Can you see it there? Color noise is gone. It's easy to get rid of because Lightroom does it for us. What's tricky here is how much to get rid of this other grain or noise. Now, what we're going to do here is I want to keep a good detail like that eyes are pretty nice detail. The trouble at the moment is that it's all quite dark. So what I'm going to do is I'm just going to go to light and hit the, actually, I don't even have to go to the auto option just to do some auto, contrast, and I can definitely go back, and work on this afterwards. But I need to get rid of a chunk of the noise first. So I'm just going to hit Auto. Then I'm going to use this to work through. So how much noise reduction? All of it, but it gets really milky. So there's just a balance of like back-and-forth. It's okay to have noise. I think we said that because there is noise. But a little bit of noise doesn't wreck the image. It's not like pixelization. It's all blocky and gross. It is just a bit of real-life noise that happens in these really low lights. So what I'm trying to do is find this medium. I'm looking at this edge. This contrast is a really good one, plus the eye, because I want to get rid of it, but also I don't want the eyes to go milky. There's a balance or a trade-off between milkiness and noise reduction. So I'm going to go sharpening up a little bit as well. You can see crank it right up. It's not what I want. I just want to increase the sharpening a little bit as I increase the noise reduction. Once you play with it a little bit, don't spend too long. Make sure you jump out to fit. Then toggle this on and off, on and off. I can see it going. Can you? Might be a little harder from far away. Who members had to go to full screen? If, that's right. I stick and gives want to say I was like asking you, I'm like, oh, is it if, I typed it, we did it. So this is large as it can be on my screen. It's quite big. It's got to be 29 inch and it's great for that. Also, 100 percent. That's is before it actually start zooming past it and start seeing pixels. This is as good as it's going to get, but also we want to get into the nitty-gritty. Either 200 or 300 percent depending on your image, I need to see the giant owl eye. Now, if you want to get fancier and often we do with noise reduction like this one is a pretty good example, pretty nice example. You're going to have worse images, but you've got to do a bit more work. These features here, we'll have this drop-down. They're pretty advanced, but I won't get into them too much except for noise reduction. There's a bit of extra stuff you can do. Noise reduction up and down, and then you can drag detail up and down. It's just like another level to our noise reduction. We can add more detail in, or back out again. This will differ depending on every image. There's no magic number, but it gives you a little bit of extra control. The other thing with that controls, I'm going to go in a little bit further. I'm going to go 300. Is that it's sometimes hard to see when it's all colorful because we want to get rid of the noise, and the noise is not colorful. It's just a slight contrast, lights and darks pickled everywhere. So what we can do is we're getting advanced. Prepare yourselves. Row shoulders. I'm doing it. We're going to hold down the Option key on a Mac, Alt key on a PC. What's going to happen is it's not going to reset it, which it does for these other ones. Same key allows me to drag detail. You can see just pulls all the color out. Often, that can be easier to see. You just keep dragging until you start seeing those artifacts. Can you see all those like goop? That's the technical term goop. Where it all just gets a bit splotchy. Another technical word. We want to just go. We find it and then come back a little bit. Then you can let go of that Alt key on a PC, Option key on a Mac before, after, before, after. It's pretty amazing how far you can get, but the balance always is how soft the image you get. Same with contrast, hold down the Option key, drag it up. Splotchy again. Different kinds of splotchy, Splotchy 2. It's not a lot I can do before it starts. I'm keeping an eye out here. It's a little bit more obvious out there. Can you see it? You have to play around with it as well. Actually, to be honest, there's not much different in contrast. Like up and down, there's a little bit, but the noise comes so much with it, and I'm not going to do anything with it. This is different for all images. How high the ISO is, how much noise you have. Is it full dark or is it like this pretty dark but full dark? Let's toggle that back up. So any of these sliders inside Lightroom are collapsible. If you are transitioning from something like Lightroom Classic and you like that full control, they're just hiding them up just to give you really good overall settings. If you do want to dive in a bit more, you can get into in this way, they will have it. Also, you can drag the overall slider by holding down the Alt or Option key as well. It gives you just some really nice contrast. I can really see it there getting perfect, but I know perfect means milky. So I'm going to find that balance of there or there were more. Before, after, before, after. So if you came for noise reduction, that's it. I'm going to show you some other tricks and tie in some of the other skills to try and get back to enhance this image before, after. The auto was good. Did some great stuff to my actual subject, but it has overexposed the background here. It's a bit too light. This bird's perfect with these really striking eyes and all these really interesting feathers in here. What we're going to do is we're going to throw in a mask and accentuate this and then push the background back because we know how to do masks now. What I might do is look at the auto settings that went in here, and I'm looking at my owl. The auto was good. Was it good? Just deciding what I need to change. Actually, it was pretty good. I'm happy with that. Now we're going to add a mask and I just close all these up. I'm going to go, masking tool. What kind of mask? There's no owl mask. There's a subject, but I don't want the whole subject. I just want this T cross-section of his face, so I'm just going to use the brush tool. I'm going to say brush size. I'm back. What happened? My machine crushed and died. Here we go. So I'm going to close that down. I'm going to go to the brush, go to this. That was all missing and then I started clicking and it all just went away. So we've done our noise reduction. This is just tickets, they're all still there. Light is there, the details. Remember, a really good option is under these two. Means something's happened in light, something's happened in color, something has happened in detail. We haven't done anything in these other three. Mask time, brush time. The size-wise. This slide is fine, but what you can do is I use the scroll wheel on my mouse and just wind it back and forth. If you don't have a scroll wheel, drag it over here. If you have the scroll wheel, wind it back in and out. So we're going to paint the bird, actually, just paint across its T section. So I'm going to make one that's the size of its eye. I'm going to paint there, there, and in there. I like these things here. I like it nice and fluffy, that's why I've got a big brush, because I don't want it to have too hard edges. I want it to be nice and fluffy. Oh, I don't like those guys. Show pins and tools. So we've got it. Let's go. I'm just going to work on my mask. Might have to scroll down for it. You should see mask here. If you don't, click on "Mask" and click on this option here, "Mask". I don't show it yet. I'm probably not going to do with the exposure. Maybe time, no. I'm going to leave exposure and probably do it with the rest of these. You have to come back to contrast because it's not doing a whole lot there. I'm going to be at 100 percent. That much in that one. I'm just looking for some contrast, especially on the eyes but also across those feathers. Now, I've got it. I can come back and maybe do a bit of contrast. Now it's losing too much detail. That's probably him here. I'll probably pull the whites down. The feathers are getting too much. We're going to do the mask on and off, so let's turn the eyeball on and off. Can you see? Oh, look at these eyes pop. Those middle feathers as well, nice. Let's go back to fit and just make sure it's not too glaringly obvious. What you can do, remember, the whole mask can come down. I've done some adjustments to it, but you can say, actually, I'm just going to pull the mask back a little bit. So everything that I've done here is just going to be toned down a little bit by that amount. There's a big problem. You can go up, add a little bit more of it. Actually, I was happy where it was. What I also might do is just warm it up here. A little bit, before, after, before, after. You got to click and hold it in. I like it. Let's do one more mask because I'll show you some problems you might run into with noise and trying to do a mask. So let's add another mask. End mask. I'm going to create a new mask. Slick subject is probably not going to work. Let's have a look. I'm going to zoom in. Maybe what are we going to do? Two hundred percent. It looks like it's done a pretty good job, but because it's noisy, let's have a look. Let's invert the mask. Can you see there? It's all gotten a bit scraggly around there because it's quite noisy in the background, starting to blend into him. So if I go in to make adjustments, can you see it's just not a great fit because of the noise? If I masked out the noise reduction, I probably would get a better mask. Try it first because that's a good way to get started and just invert it, and just do some crazy stuff to see whether the mask is going to be possible. This isn't, so I right-click that and I say delete. So we're going to paint them in the long way. So I'm going to go to Fit, and I am going to go to a New Mask. I'm going to say good old brush. I'm going to paint him in because it's easier and then invert. So I'm going to start with a nice big brush, just to paint up it's middle. Remember, with my brush over here, I've got the size up the feather, the flow I've got cranked up to maximum just to save time. I want to get to the edges. I'll do something slightly different. Just paint him in. Shrink the brush down either with the slider or I'm using, remember, my mouse wheel. Now, I'm going to go and do a really quick pass around this edge. I'm going to zoom in, hold down my command key on a Mac, control key on a PC to zoom into something like this. Brush size, something like that looks good. I'm just going to color it in. The feather, I'm going to lower down just a little bit because he has a pretty distinctive edge. Is not too fluffy. It comes with a little bit of experience. That's not really sharp. If it was like a box, we might, I can't talk and paint, lower down the feather even more. They have a really sharp, really definitive edge. But he's quite a long distance away and there's a lot of noise. He's got feathers. He's not a box. So I'm just going to work my way around. Make my brush size bigger and smaller. Hold my space bar key and drag it around and color them in. This is going to take a little while. I'm going to fast-forward it. The editor will pause it if I think of anything genius to talk about. All right, Genius. Hold down the Option key to remove parts. If you go over the edges, no colored over the lines. Hold down the Option key on a Mac, Alt key on a PC and get rid of it. Now, the other thing I want to add to you is I'm not being particularly good here because I know whatever I do is going to be wrong, and I'll show you what that means at the moment. So I'm just going to finish coloring this in, Spacebar to move around, a smaller brush to the edges, and then I can color in this gap here. I'm going to zoom out using a different shortcut command minus, just takes a step out, Control minus on a PC. Because now, I can get out to here. Actually, I can color in over here. Fast mode again. Why did he say, don't worry about it. Well, because what you can do is for this mask selected, you can say, show me on all these different options. You can see on white. Look how badly I did that. It looks fine in red, but I'm going to do it on white and paint the rest of this. Are you right there? The other little tip is that when I'm coloring in this chunk, the edge needs to be nice and feathered. When I get down here, I lower the feathered quite a bit, so that I'm painting on the lines but bit more of a block just to make sure everything's gone. There we go. There's my mask. Not perfect, but good enough. What we're going to do now is to go back to our color overlay and I'm going to invert it. So we're going to go invert because I want to actually lower the background, which is easy to paint the bird than it was to paint the whole background. You can paint the background if you like, it takes a long time. There's a little bit across there isn't it. So now, I've inverted it. I have to hold down the Option key to remove anything from the bird. There's little bits of red in the bird, which is interesting. It's making my mask go badly. All of that so that I could grab my mouse, and just lower the exposure. Now, with a mask pre-prepared, there might be a little bit of ghosting around the outside, so depends on how much you want to work on it. I don't want to do too much in terms of the exposure and making the background darker. I'm probably going to go too far and then lower the amount afterwards, so I'm going to work through it. Cool. This dark bits on the bird, which looks like a bird mask, but just parts of the bird. Let's turn the mask on and off. It's quite dark on the edges there. But the ghosting around here, we need to get rid of. So now, I'm going to work on my mask. I'm going to go from here to my mask. Make sure I'm working on this mask and what I'm going to do is zoom in. I'm going to go into 300 percent. I'm not going to go in there far, I'm going to go into 100 percent, and what I'm going do is, do I want to be adding to it or moving from it? That is the key. I might turn it on so I can see it. Actually, note it's tinted off. I want to add to it because it's red, I want to add more red. They're pushing a little bit to get rid of that ghosting. So I'm going to make sure my flows up my feathers up size-wise, and then can see I can just rub the edges. I don't want to go too far into them, because we don't want to go all the way into them because it'll make him dark, it'll bring that mask, that darker exposure in. But I can just go and touch it up. That's why I don't spend too much time getting it perfect on the coloring the bird in because I can touch up what's actually obvious later on because there's some parts that you can spend ages fixing. But there's just no need to. That's great. But here, doesn't miss any little bit of work. I'm going to go about my merry way again, going around, checking for any ghosting. Here we go. Back to fit. No informal ghosting. I like it and I'm just going to lower the amount of bit, and let's turn the eyeball off on that mask, so big change, I like it. Like always, I'm going to go back to my main one. I'm going to go back to my effects, and I'm going to add a little bit of a vignette to pull it into the middle as well. So we started with looking at reducing grain. That wasn't particularly hard. We can remember those little tricks, where we can hold down the "Option" key on a Mac, "Alt" key on a PC to convert it to black and white, so you can get a better look at what's going on. You need to be okay with a bit of noise, because to get rid of it all. It gets a little bit milky, and then we moved on to enhancing little bits with a mask because we can now without sweet masking skills. We learned that with a chunk of noise, some of the AI masking options need a little bit of extra help, like spending five minutes painting your outward. You've got to decide what its purpose is. If this is an art print than sure, probably spend an hour painting in the mask, getting it perfect. Make sure you're getting rid of that ghosting. If this is going out small on Instagram, I probably get away with that automatic subject mask and nobody would know. Now, to practice your new found skills, we have got one from earlier on. If we go to all photos and type in our sweet bird. I know it's called where we are or the dead bird but not everyone knows that, but we know it's a bird, so we can find it, hopefully. Go to all photos. I'm stuck. Let's go to G. Back. So All photos and we can say bird, and then, here we are. Look for the ones, not the JPEG, look for the ones that I can enroll files. Again, these are shot really early in the morning and we did some auto settings. But what you can do is you can right-click them and actually say, I actually open one of them. Which one do we want? Let's go is to reset it. Command R and start again with this one, and what you'll notice is if you get into it quite deep, you'll see there's a bit of noise in here. Something that you can practice cleaning up. How cool that is. Just for practice, you don't need to submit these ones, just another good example to work with. 61. What Does Dehaze Do in Lightroom: Hi, everyone. Welcome to the Dehaze video. Now, I have hinted at Dehaze throughout the course, but actually just used it. But this video here, we'll go into a bit more detail about how to use it responsibly, and how to fix some of the artifacts it creates when it does its work. This is before, this is after. It gets rid of the atmospheric haze. So good, plus it's super good for clouds. Also, I will show you how to use it within a mask because we don't want the foreground, we just want the background and the mountains to be dehazed, aka made more awesome. I'll show you how to mask and work with some of the more trickier skies. I'll show you that it's not just good for hazy mountains and clouds, it's good for seas as well. Look at that, check out the sea spread down here before, after. Very nice. I'll show you that it's awesome for taking photographs of your supercar in the rain. Watch. Look at all the drips. Drippy goodness. Let's get started. Let's create a new album and we'll throw all our exercise files in there. We're going to call this one dehaze. I accidentally hit one selected, so it's added that to it. Let's go in here. Now if I hit just my backspace key, it's going to delete it from the album, but not my photos, which is awesome. Let's add some photos to my album. In your exercise files, there is one called 08 noise and Dehaze, and grab all of the Dehazes. Now, I want to start with this one here, this mountain range. Let's just drag the slider up. I've teased the dehaze loads in this course already. There's a bit more to get into it obviously, but let's just crank it up and see what it does. It's like, I don't know, it's spectacular. It's amazing. It is also really overused. You're going to leave this course and be like me when I first learned it, you ink and have dehaze at maximum on everything. That's okay. You might need to get it out of your system. But throughout this video, I'll show you how to use it a little bit more considerably. Let's talk about what it's doing, is basically just doing up here, contrast and increasing the saturation. But it's not doing it, the contrast tends to do it just like really dark and really lights to bring them apart to have more contrast. That's what saturation does. But what dehaze does differently is that it's looking at all those the boring old mid-tones. They appear in the smoosh of clouds not right in the center, but things more like the highlights and the shadows, not completely in black not completely dark. I'm sure it's doing some other magic as well, but that's what it's doing, contrast and saturation. Now, have I reset all that? The thing you need to realize that when you do it, if I crank it up, let's do it to like a acceptable overdone level. You need to zoom in because what you'll find is dehaze will add a lot of noise to an image. I'm going to go to 200, and can you start to see all the artefacting and stuff going on in here? Let's go even deeper, it's got 300. Can you see it all like let's do it, so low? Let's crank it right up. You see all those junk that appears pixelation, interpolation. I'm going to get it down to an access-through level there is still a lot of junk in it though. Luckily, we have skills already for getting rid of noise. I'm going to close down my color I am going to close down my effects. I'm going to slow down because I'm super excited about showing you this. Just calm deep breaths stand. We're going to look at effects, dehaze, and then we can look at reducing noise. This is a jpeg. One of the reasons it's got a lot of noise is because it's a jpeg or this odd effecting in here. That's all right. We have to deal with jpegs loads. Let's look at doing that. Dehaze up gives us that, but we can crank up the noise reduction. The trouble with it, like we've learned before is let's go until it. Who remembers what the secret super-duper, secret handshake thing is to get that? All you remember Option key on your Mac or the Alt key on your PC. Let's hold that down and drag it up. It just gives us a bit of contrast like that is cool, but very milky. I'm going to find the way before it's just somewhere in there, and then I'm going to go back up to 100 percent and see how good I did before, after. I love it so much. The clouds have got a bit soft, but the clouds look at this. I don't know, loads of detail. Actually, I forgot to mention what dehaze actually does. Well, dehaze removes haze, you know that any mist or fog or any distance, distortion, or fuzzing. But it gets used for all sorts. I'll show you a few different ones in this video. Noise reduction it's got a bit soft so we can increase sharpening. Remember, part of the deal with using noise reduction often is increasing the sharpening so before, after. Love it. One thing it does as well is saturation increase, and I find that's probably too much. Let's go to color and let's look at lowering the saturation. Just a touch, and probably a chunk for, actually, I quite like the blues coming in here, but I want to remove it from the sky. Remember, go to Color Mixer, let me use my target. I'm going to set it to saturation, and I'm going to click "Hold" and drag to the left, just a pull of it out before, after. The other thing I probably want to do is change the hue so I can change it down here to hue, and say hue want to go more towards that [inaudible]. I want to just nudge it that way. Nudgy nudge. Here we go. Before, after. I have made too many groany moaning noises in this video. I will try and stop man, it's good. That is doing it for like, it's great. There's a shot that's completely everything needs doing. Everything is in the distance and has haze. But what happens when, if I use my right arrow to go back to fit? The one I want to find is using left and right, not these ones. All these cool things to do in this video. Let's do this one. I'm going to take it a bit further because it's dragging up the dehaze is good, fixing the noise is good. But what happens is if you've got an image with, you want stuff out of the clouds, which is really cool, but you don't want it doing this over contrasting the foreground. We're going to have to use our super duper new masking skills. Let's see what we can use. I'm going to say let's select the sky. It's going to do a pretty good job. It's up to you. It depends on what you want to do. Maybe it is just this now. You'll notice that in mask of my sky, I have dehaze is one of the options, and that might be enough. I probably want this as well. There are mountains, I want to bring those a bit closer as well, remove some of the distance. I'm actually going to apply it before what we did is we worked on the mask and then applied stuff. Let's do the other way around. We've got a sky. I don't want to make a new one, I want to add to this mask. There's an Add button. I'm going to add with just the brush. Size wise feather flow. I'm going to crank up the flow. The feather can be nice and fluffy as well because I want a nice graduation, and the size. That's all right. You can see I'm just painting in. Look at it, come to life. I have to load my brush size. I'm using my member, my wheel, scroll wheel. The other thing you might do is can you see here it's a bit of, I don't want it to be 100 percent which is the flow. I want in flow right down. What happens is it gets a little bit hard to see what it's doing by clicking once, clicking again. It's just applying a little bit. It's plying 35. What does that mean? Just a little bit, maybe even bigger. Just a little bit. If I keep going on this, lifting my mouse and doing lots, it'll apply the 100 percent. It will all be there. But if I have it down and I just do one little one, it will just apply, let's say 35 percent of my flow. Needs a bit near. Now I'm scared to check it. Let's have a look at how good the mask was. In red it looks good. How do we check how bad it is? You remember before down here you can say show me black on white. On white on black. Is that one? There's that one. Well, it's pretty good. Here's my brush. You can see here that flow. I'm hovering above these now. It's just showing me which one did I pick on black. I'm hovering above this and it shows me, can you see the flow turned down? I can't really get over there. But you can see the editor will zoom over there. You can see that, but it's just a little bit less applied because the flow is very low. Where the flow is very high on this right-hand side here, it's on super extreme. I'm going to turn that back to color overlay, and there you go. I'm going to work on my dehaze. I'm going to zoom in a little bit to check out the noise. There's quite a bit of it. I'm going to go noise reduction. Let's get a little soft, increase the saturation a bit. If I hold down the Option or Alt key to see, doesn't work for sharpness, works for noise reduction. It doesn't work in the mask. Weird. There you go. Let's try it again. Maybe it's my version. We all learned something. I'm holding on the Option key on a Mac, Alt key on a PC is not committing it to that black and white which could just be my version. I end up having these Beta trial versions. It's cool, but it also means sometimes they're not quite all perfect. But more noise reduction, little sharpening. Let's go back out to fit and click once before, after. It's nice. Now, another advanced feature for using the dehaze is that the dehaze doesn't do it all. You can crank it up, but you can actually get a lot more out of it if you then go up to use your light features gaming, but exposure contrast highlights, especially some of these ones highlights, shadows, whites, and blacks. Let's have a little look at these ones. There's a lot more control. You're not just stuck with like how much it applies. You can decide on how it's done. Can you see that? Look how overexposed potentially those were. You've got a lot more finer control with these light settings here. There wasn't much and this one normally is a lot more control. I'm going to lower the saturation because we know that dehaze probably adds a little bit too much, before, after. I love the dehaze. I want to keep editing this image, but I think that's fine for the moment because we've got more to cover because it's invention, or at least his namesake is dehazing, like removing that haze, but it's just great for clouds all the time clouds. Actually, let's find one of an image that we've done before. I'm going to go back to all photos and then I'm going to type in, I type in church. That's what I wanted to. I know it's in a folder, I know where it is, but I want to see if I can find it using the AI search. That was too good. There's only one church though and that's not the image that I want it is. Reset I'd be interested to know if yours turned up this one I've hit reset command R or Control R. Did we do this one earlier? Was I just messing around with it for this tutorial? I think that's the latter. Anyway, we're going to reset it to Command R or Control R on a PC. If you can't find it, it should be in limerick. I'm going to go to limerick, I'm going to go to G for grid. It's that one there. If you still can't find it, it will be in your exercise files. I clicked on it and type I and the information says to me it's a D01. We have done this one. There you go. We're going to do it again. We're going to reset it, go into it, and we've got some new skills. I'm going to do some editing for this stonework. See white there. All right, so that's my edit for the stonework. What we had to do before is we didn't have masks. We didn't really have dehaze and we had to make a decision on a balance between the sky and foreground. Now we don't just ignore the sky. Get this looking good. Now, we can go into our masks and say select the sky. Show me the overlay. Looks pretty good. Let's go down to dehaze, scroll, dehaze, and let's just see what we've got in there. Look at it all. It's beautiful. Little murky there, but okay. Remember, get it up. Lower the saturation because bitumen, probably need a bit more. Remember, you can get more out of it using the light options here, exposure contrast. Let's have a little look. Start with dehazing and then work, Oh look at all there. Humming to myself again, you know he's happy. I'm going to go too far. That's okay. I can either lower the mask image to bring some stuff in that's a bit more subtle before, after, or go to the full noise. Probably what I want to do is keep it below the saturation of the blue. What I'm going to do is I'm going to go back to my main edit. I'm not working on the mask now because the mask doesn't have everything, doesn't have the color mixer which I like. I'm going to go into the color mixer, set the target for the saturation. I'm going to grab you and just lower down and probably change the hue as well. Why do I always like a minty sky or a more turquoise sky? I don't know. Blue doesn't seem real, fishy after a bit of dehazing before, after. Dehaze is amazing for clouds. For me, I have a lot more clouds in my photography than I do mountain ranges. Even though that this one here, where is it, that when there is come on and you can go back to your dehaze. This one here is New Zealand. I'm not the photographer. This one here is shot by Tyler Lastovich. That's in the South Island of New Zealand where I'm from. But regardless, I spend more time dehazing the sky. We did an easy sky. Let's do a hard sky because you're going to do it and you going to be like, it didn't work and it doesn't work on everything. If it's just a milky sky in kilometers or miles thick, it's hard to get the detail back out of it without it just turning to crust. It does happen, but there are ones where you can get it. You just need a little work. I'm going into my Dehaze folder or my Dehaze album. I'm going to open up this one here, the trickier one. These ones here called Dehaze 3. First thing I need to do is I can't live without the rotation. Remember C for crop. Let's see what order does. I'm going to go to rule of thirds. I'm going to turn that grid on, be easier to see the horizon line. Nothing is perfect. We're going to start with a crop and hit "Enter" on my keyboard. Let's do a little bit of work for the foreground here. Exposures at quite low. Before, after. I'm not sure what I'm doing with this one. It's strange composition, interesting composition. I think I probably need to crop it again, and she needs to be in the middle. I'm going to go to center. I think this will make it a little bit more cohesive. They did. Again, this one here, we're going to do a mask of luckily this guy is going to work pretty good. Perfect. A nice, easy one. If I go to dehaze and crank it up, it's just okay. But it gets just crusty real quick. Don't be afraid to scale it up a little bit and then double back down to these light settings like we did in the last one and just see what interesting. This is India. Look at all there just appeared. There was a chunk of information in the highlights. It depends what you want like, I think the contrast's too high. Don't be afraid to mask it up. Do a little bit of dehaze, come up here, and adjust these light settings. Back to dehaze. I'm probably going to have to mix up the reduce noise, let's have a little look. Three hundred, too much noise. We'll look at how it's the most obvious down here. Sharpness up a little bit as well. Can't really tell on those clouds, before, after. Let's look back at feat. It wasn't my best example of a hard one. But you just got to remember dehaze, drag it up, do some adjustments, then double back to the light settings. Another really good use for the dehaze is sea. Let's use this one here. The ocean spray, all that sort of stuff fills the same help needed by dehaze. Often there is a big distance. Fade what do you call that, there's a word for it, distance fogginess. You know it. I don't. Let's have a little look. I'm not going to do any other edits other than dehaze. In total these up to have a look at dehaze. Let's just see what we get. There's lots of juicy stuff in there. Look down here. With it off, crank it up, you can add haze. I've never done that. You might want to add it for effect, some sort of artistic effect. Look at that. Nice. Are we happy with the extra saturation? Maybe we are, maybe we're not. Let's have a little look in here. There was some nice stuff in the highlights here, can you see? Let's actually drag this back and forth. Can you see there's a nice interesting information here that I want to recover out of the highlights here, darken them down a little bit. Before, after, the sea responds well to dehaze. Something else that responds to dehaze really well is drips. I'm going to open up the Lamborghini from the exercise files. It doesn't matter if it's like dripping down the side of a first EVA or beer. My wife thinks I say beer, like the grizzly bear when I'm asking for a logo. Anyway, so the water drops respond well, so actually, it's got to fit. Let's crank up dehaze and the adjusted contrast is lovely. It's probably a bit too much over here because I was dragged into hundred but just have a look before, after, before, after. You can see here, this guy did nothing. I'd be like dehaze doesn't work. No that is the thick Irish rain that cannot be penetrated, not even by full maximum dehaze. Take it back. There you go. Drips are really good as well. That's going to be it for me, harping on about dehaze. It's one of those things where it's very powerful, but with great power comes great responsibility. Overcook it for a while, but then dial it back down at it is like seasoning, It's like salt. Not too much can kill the meal. Terrible metaphor. But you get what I mean. Now to practice the things that I've showed you, I've given you some examples. We're going to get back to G for grid view. By default, lightroom, or at least my version is ordering everything by capture date. What you can do down here is say actually show me by the filename, because it's these last ones that are for you, this one, this one, and this one. They are called Dehaze 7, 8, and 9. Have a play around with them using the techniques you've learned from this class. Just to summarize, because this is a long video if you've got a pen and paper, the general rule is, for me at least, is to do your general light edits. That's the exposure highlights, shadows, etc. Then do a mask on the bit you want to dehaze, dehaze it, remove the saturation because often it's too much. Then go back up to that light adjustment, exposure, contrast, etc., to see what else you can get out of it. Then look at removing the noise and adding a little bit of sharpening. That is dehaze, long video, good video, but now it's time for a beer. Which one does he mean? Koalas. Obviously. 62. Class Project 13 - Dehazing: It is project time for dehazing. I want you to do two images here: one is going to be a mountain range and the other one is a photograph of the sea. It could be the ocean or coastal, or coast is another good word when you are looking for images in case you don't have your own. The things I want you to practice is mainly masking and dehazing. Dehazing goes hand-in-hand with sharpenings, some of that. I don't want you to ignore things like just the regular adjustments through the light settings: that's exposure, whites, blacks, shadows, highlights, that type of stuff. Maybe it needs cropping. Maybe it needs a color change, especially things in the sky and the sea, more blue or more aqua; just have a practice. When you've done them, send me the link. If it's a remix, your before and after shots, you know the drill. [inaudible] the assignments, credit the original photographer and share on social media. I can't wait to see the before and afters of your dehazing. Go overboard, don't go overboard, be subtle, up to you. The tricky thing is just finding an image that has a little bit of haze in it. I prefer to do some scrolling. When you do it, upload it. I'd love to see it. Then, once you've done your class project, I'll see you in the next video. 63. Use Clarity To Enhance Images: Hi, everyone. I'm going to show you the most overused slider in all of Lightroom. Why? Look at that. Because it's awesome. Before, after, before, after. Clarity is awesome. Let me show you one more. Ready city and clarity. One more ready city, clarity. Now the reason it's overused because it's awesome and probably because I'm the one overusing it. It's an effect in Lightroom. I'm going to show you how to sprinkle it on, food reference. There you go. Let's jump in. I'm back at photos, all photos, let's import something. I'm going to use the command Shift I to import or Control Shift I on a PC. You will find under exercise files. There's one called 09 effects and bringing clarity. Do I spell it right? You went there. There you go. I can spell ish. Let's bring in clarity. I'm going to import it. I'm going to put it into a new album because we're going to get practicing this called effects. We're going to look at another effect. You will find it under effects and its clarity. We've turned it down before, but had been hiding something. It is the best tool and all of Lightroom. I want you to click Hold and drag it to the right. Three, two, one go. Look at it, does so good. All the way to the right, exaggerates everything. Is an effect which you need to use sparingly, but you don't want to because look good and make stuff before, after, before, after. In my opinion, everything needs clarity, but I'm sure I'll grow out of that. At the moment though, I am all about dragging the clarity slider up on images. After you've done your light and color adjustments, it will give you a better effect then, and it's tricky to do it when you've got clarity up. Go to your light, so go to your exposure contrast highlights first, any color balancing you might need to do temperature, white balance, and then look to crank up clarity. It's punchy, it's contrasty. What I want to do probably is mask. Actually, let's talk about clarity like what it does. Basically, it's quite like contrast up here. Contrast does the same thing, but every pixel, every little thing on this image. The darks, the lights, the midtones, whereas clarity focuses on the midtones. Like clearing them out and pushing them towards light and dark. It just makes everything look really lovely, but it's easy to overdo it. I say that as I overdo all my images. You might be in your subtle photo editing mode where you might be like me who's a little bit reckless with clarity before, after. What am I do as well is add a mask to clarity as one of those things that come through to mask. I'm going to say in the masks. I'm going to select my subject. I am going to dismiss these bits. I'm going to add to it just to practice some of our tools. We did this earlier on. I'm going to say I want to add the brush to it. I'm going to pick a size using my scroll wheel. I'm just going to that thing. Get rid of you. That little blue paint brush. I'm just going to paint these in just I call a caveman, just paint them in. Now that red, now with the mask selected. I can come down here and there is, where's he? Clarity, calmed papa. Here we go. [LAUGHTER] Make it pop. Come to papa. I don't know. Get excited. I'm going to overlay off so I can see it while I'm dragging it. Can you have too much clarity? I don't think you can. I do want to pull her out from the background, so I've done this before as well, duplicate and invert the mask. What I want to do now is with that inverted mask. Probably just color exposure. Here we go before, after it has no clarity applied to it, It's a little bit darker, brings her forward. I probably now want to go to the overall settings and play around with the light settings, which I should have done first. But regardless, I think it's pretty cool, before, after. Thank you, clarity. Actually one thing before we go, just because it does get confusing, you've got texture we know. We use to soften skin. Actually I'm on the background. We're going to mask so we see what it does, because sometimes it gets confusing, all of these different options. Let's have a look. Actually, what I'll do is I'll make another video in the next one because I'm about to go deep dive into clarity versus texture. I'll take a break and we'll turn it into another video, which I will see you there in a second. Actually, before I go, let's do one more together, and then I want you to go through and practice with a few other ones we've got in this video. We're going to do one more together. Let's have a look. Wedding photography. Do you know what it needs? More clarity. Ready, 1,2, 3. Look at it. Why didn't he go all the way? Because it can get a bit much still pretty cool, [LAUGHTER] trying to restrain myself, but go have a play around with the different images, and see for yourself how far is too far for you. Then we'll talk about the differences between some of the other features in the next video. That is the end of the video. I will see you in the next one. 64. Difference Between Clarity Sharpening Texture & Contrast in Lightroom: Hi, everyone. This video, I'm going to explain the difference between clarity and sharpening, and texture, and contrast. They all sound like they do the same thing. Although they're similar, they all have different effects and you should use them at different times. Let's use this video to explain the differences. I've gone back into my masking album. I'm going to use this image here. It's an example. You can use anything. I'm going to go to E for editing and let's look at what we got. The easiest ones to understand the comparison to, because they're quite similar, is contrast and clarity. Contrast, if you're white or dark, if you're white, you're going to get whiter. If you're dark, you're going to get darker. It works. That's why we want to sprinkle on a little bit of contrast. Whereas clarity, looks at the mid-tones, leaves the darks and the lights, and says, all right, if you're in the mid-tone, you're kind of light, we're going to make you kind of lighter, and if you're kind of dark, we're going to make you kind of darker, and it has a really cool effect. But it is an effect. Can you see it's under the effects panel, for a reason, because it has quite a stylistic approach? It's really cool, but it's not really color correction. It is a color grade. It's like we are doing something here, here's an effect. But quite like contrast, but deals with the mid-tones. Texture is a reasonably simple one to understand because it's going to accentuate texture. It's going to try and make more of it. Where it sees texture, it's going to leave the background smooth. But where it sees texture, it's going to try and enhance that compared to sharpening. Can you see sharpening is down here in detail? Often we'll only use it to counteract noise reduction where it gets a bit soft. Sharpening is just really minute. Let's zoom right in. Too far in. If we crank up sharpening, it does it by a pixel by pixel. I didn't realize how interpolated this image was. It's gone through the JPEG cycle and it's being compressed. That's why it's called as art effecting. Not a great example then. Let's jump out to another one. JPEG versus a raw image. Let me find a raw one. Let's use that one. If I zoom in on this one and do the same thing, and I go to effects and I go to sharpening, and I crank it all the way up. Can you see it? Doesn't look at groups, it just goes, "Hey, neighbor, I'm going to be different to you." It's great when you've got noise reduction and you can add a bit of sharpening. It helps balance that out. But often, I don't use sharpening on its own. If you're thinking sharpening, think clarity is probably a better option for you. It's going to exaggerate those differences without it being too pixel-by-pixel and getting grainy. Did that help or that make it harder? There's lots of them that sound the same, start with clarity and work on some of the other ones potentially. Grain, we won't cover because it's just adding. We'll do a bit of grain when we do some more color grading when we do some stylistic effects, but it adds grain or noise where we took it around off down here. We're adding it, it's fake. It's an effect, it makes it look like an old filmy look, but you can't take it away so we'll leave that one for this one because I've already confused you enough. Hope that helped. Clarity, sharpening, texture, and contrast. They're all in the same ballpark but have their different uses. That is it and I'll see you in the next video. 65. Skin Retouching in Lightroom: Hi, everyone. In this video, we're going to look at skin retouching. See this mark here, scissors went through my face. I'm the reason you do not run with scissors when you're a kid. Before, after. Before, after. It's gone, magic. Another one of my scars from being a kid, that bump just above my eyebrow. Before, after. Magic. Gone, before, after. Those are easy ones. We'll do something a little bit more complicated too like this. This is the before and this is the after, before, after, before, after. Let's do some skin retouching. To get started, I've created an album called "Retouching", and there's a folder called "10 Retouching". Bringing all the images from in here, at the moment it's only three because we're early on in the videos, but I'm sure I'm going to be adding more to it. Just throw them all into the album. Let's work on this first one here. This is one of my YouTube thumbnails. If you are not, subscribed on the YouTube channel, check it out on the screen here. Like and subscribe. Before we get too much further, retouching is just the word used, generic word used for "fixing an image". Tidying things up, removing unwanted bits often it gets used for fixing things like skin and portraits. But with a disclaimer that I feel a little bit uncomfortable fixing people, making good-looking people more pretty or more perfect. If you are new to the retouching game, you just got to be careful not to go too far. There is a time and a place where things need to be fixing an image. But let's not perpetuate unrealistic body types and perfect people. Thanks, dad. Got a little bit pricky, I know. Anyway, let's learn the tool. Let's start with, see this thing here, this mark. Again, I'm going to click "Hold" and drag around holding my Command key down. This is here, I got stabbed with scissors as a kid, went through my cheek, pushed out a tooth, and I'm left with this mark here that I'm very deeply troubled by. I'm not. But let's say that I am. Go to the healing brush tool here, there's a couple of options. In the past, I would have jumped straight to this one. This one though is new and fancy. Let's go Content-Aware remove. Click on it, size-wise, find something appropriate. I use my scroll wheel to get an appropriate size, so get something like this, and let's click "Paint" and then let go and be amazed. Does it do, it's gone. How do you know? Grab the opacity slide and drag it all the way down, up, down, up, down, or use your backslash, so make sure opacity is all the way up. We use a backslash key. Look at that. It is magic. It is new. It might not be new for you because you're watching this in the future. But Content Aware with something that we had to go out to Photoshop to do up until recently, basically what I used to do for Lightroom course and just go, here's a tool, half works. Now let's go to Photoshop and do it properly. Now though, they've bought in Content Aware from Photoshop into here and it's magic, you don't need to do anything. Let's do another one. I'll use my right arrow. No, I'm not. Because I moved healing, it moved it around. What I'm going to do is go back to G. Yes, there we go, and open this one up. I use the left and right arrow to cycle through them. Obviously it doesn't work with the healing brush. I didn't know that, so another one of my life scars is this thing up here. I got hit in the head with something that explains a lot. Then it got infected, and I've got this big divot, and I want to get rid of it. Just like before healing brush, make sure on this first one here, content aware remove, pick an appropriate size and just click it once that case. Move it down and up. It's too good, magic, so you will find that I will be using this. It's just come out, but I know it from Photoshop, so I'll be using this 99 percent of the times. I'll show you this one in an upcoming video just because there's sometimes do use it. But this one here, this is like an eraser, is amazing. There are times where it doesn't get it right, it gets better and better. The whole artificial intelligence machine learning thing, it's pretty awesome. But sometimes, it doesn't get it right and you can hit "refresh". It just goes and looks at a different part of the image, maybe different texture, and we'll try and replace it with something else so you can find something that you like. Other things I want to show you, I zoomed right out, zoom back in and moving around in him, and by holding space bar, clicking and holding and dragging. This works when you're in the healing brush tool. Let's say that you want another, you don't have to reset it, you just keep editing it. Like let's say that I want to get rid of this stuff, whatever it is, my nick. Have a look. What else can we do? I'm too damn perfect, that's the problem. But if you have got multiple points, you want to get rid of one, you can just click them and delete and they disappear in a puff of smoke. Command plus and tapping a couple of times, spacebar for dragging, you can move them around as well. Remember the refresh to pick somewhere else. Let's look at a different image, so let's find one we did earlier. Also want to remind you of the cool searching. I'm not going to do in the retouching album. I want to find everywhere, I want to look for the one that has people with a hat. That's the one I want it. How good is the search? Nice. In all honesty, what I did try and type in is I typed in orange hat, and instead it found a black hole. Then I typed in woman, and then I go every single image that had a woman in it and then I typed in hat. I got there. It's pretty cool. We softened the skin earlier on, remember before, you see up there, if you're middle of a search, that'll happen to you. I'll say to my backslash to show you the before and after. But clearly if you've got your cursor flashing up here, it's not going to work so I clicked down the bottom here, then hit backslash, so we soften the skin. But there's a couple of things. I hold the Command key down. I'm going to get rid of this blemished over here, and I can use my same one content aware remove, Appropriate size, click it once, board and back. Now when it comes to this, I'd probably be happy with removing that completely doesn't change who she is, got rid of both pimple. But sometimes, they are scars that with them removed, they look really different persons, so sometimes adjust the opacity down a little bit on these, so it's still there. There's the hint there that just pushed back the same way someone would use some maybe some makeup to remove it. It's got to fit. This is where you can run into trouble you can decide, I'll just get this bit over here as well. My shortcut is not working here, so my command drag is not working because I'm in the healing option, so I'm just going to hold Command plus, is a different way of moving, spacebar to get where I need to be. Let's say, let's do this one. Let's have the opacity up on it. Let's do this one and this one, and this one, and this one, and you can start to see how we're on a slippery slope of what can be removed, should be removed, and one of the troubles with this option now is there's no like preview button. I'm hoping that Adobe Ed's like on off the eyeball. It's not currently there, so what I've got to do is either use the before backslash after, or the opacity on or off. Hopefully, they've got another option here. If you do know of it, add it to the comments. We're going to keep working our way through. It is pretty amazing. Let's go to fit. Let's go before, after. Let's turn off the show overlay dots before, after. Now I feel here we've crept into the fixing too much option that we might have to pop back into our mask that we did earlier here and maybe look at reducing some of this mask here, the amount, bring back some of the natural features here, and some of the original color to the skin. Let's leave the skin retouching there and we'll look at some non-people retouching in the next image. This one's getting a little bit long. Let's both take a break and I'll see you in the next video. 66. Class Project 14 - Skin Retouching: Hi, everyone. Class project time. Skin retouching. I've just said find a portrait photo. Up to you. Got your own one, remixes, Unsplash, signature photo. Whatever you're getting your photographs from, I don't mind. Just make sure, obviously, you credit the photographer. I want you to use that content-aware removal tool that we've just learned and tidy up any blemishes on the skin. It says requirement for this one. Optionally, you can go and use things like the skin masking that we did before and practice with the smoothing the skin and any of your other newfound skills from this course, I don't mind. Go to town. The only thing to be mindful of is the retouching. Don't go too overboard. But we're practicing and you will go overboard, because you don't know you've gone overboard until you've gone overboard. Then you can back it up using something like the amount, or maybe the opacity that we used on the actual tool itself. Maybe we could drag it back a little bit to bring a little hint of the ruinous back. Deliverables, share the link. Most importantly, I want to see the before and afters. Upload them to the assignment section. Credit the photographer and share on social media. When you do share, share what you did, just briefly, because I bet you you'll get a bunch of questions saying, how did you do that? You might want to get out in front of that and to say, I used this brush and then I did this with the skin and then I did this other thing. There you go. Go find some skin to retouch and I look forward to seeing what you do. 67. How To Remove Objects in Lightroom: Hi, everyone. In this video we're going to remove stuff. What does he removed? There was a window in the weeds. We start with the weeds, we never moving the entire window. Cool this one here. Check out the power lines before, after. Now this next one, I've removed something, you have to guess what it is. Do you remember familiar in the class? Three, two, one? Look, there is a woman they're gone. We're going to remove objects using the healing function inside of Lightroom. Plus, I'll build on some of the skills we learned in the last video, some tips and tricks. Let's jump in. All right, so open up the retouching three from the exercise files H for our healing. We're going to use that first tool, brush size, get it something we can get rid of the weeds. So click hold and just paint it out. Just like skin. You can touch up weeds now because there is a big a bit of depth here. There's different size wood chips and different textures towards the house and the shedder. You might have to hit Refresh a few times. If that doesn't work, often it does. But what you can do is let's say we grabbed this. But what you can do is say, because the moment what it's doing is as you hit refresh, what does it doing? Where is it getting from? Who knows its magic? But you can say, "I know, I don't want it to be so magical." You can hold down the Command key on a Mac, Control key on a PC, and this one here now that I've drawn it, so painted in holding down that key Command or Control and just drag around an area that you know is good. We'll pull it and try and put it over there. Sometimes it can get a little bit repetitive. You can hit "Refresh" toll. But there are times we like actually this but they're not there. It's grabbing it from too high up. I'm going to say something here. I'm going to drag a box around this, get that bit for me. Nice the other thing with it is that, let's say this one down here. If you end up trying to do too much at once, like a big blob of it, it can get messy. A little bit repetitive, gets a bit fuzzy on the edge. It's happier doing smaller parts, so doing this part, nice, this part once, that part. In my experience, that's a bit Same. I'm going to hit "Refresh." Refresh again, looking good. Are you thinking what I'm thinking? Can we get rid of the window or I think we can, painty-painty paint really rough. It's not bad, it's got this weird stuff and the button, can we get it with a refresh? We cannot. Why? Probably, because the thing that I painted in lift it too close they can see is right around the edge there. What I'm going do is probably drag it down a little bit. Can you see I left too much that ledge there? That's pretty good. Like the trick is with it. If you're looking at it and it changes, you'd like, "Oh, I can see it." Look away, I'm going do a little spinning my charity for a full 360 or do you even know where the edges are? I don't do a full 360 that was showmanship. Yeah, I know it's pretty amazing. That's removing parts of an image. Let's do some other ones. I want to add some more tips and tricks to this. So G, back into here, what I'm looking for is I'm looking at the woman that has a sign, cannot find it this way, so not here and this one, something has a sign-in, doesn't. How can I find that building? Shop. It's working great in, so powerful. Store. Okay, I can't find it. I'm going to go back to this one I'm looking for, you wait there. There it is there. The name of this one, if I double-click it, hit "I" If you're looking for it, look for a [inaudible] number two, type that in search and her work. The things that annoyed me about these earlier images of the power lines always with the power lines. I'm going to H for heal and I'm going to show you another little tip. I'm going to make a smaller brush and you can drag it down. You can use the scroll wheel and other tip is just use your look at your keyboard. You've got open and closed square brackets next year peaky. You step those and it gets bigger and smaller. I'm going to click not off but about here, click once, hold Shift on my keyboard, both Mac and PC, and click there again, and it draws a straight line across them. Look how cool that is, gone. Same with this one. Click once, hold Shift, and I can get pretty, I can overlap them a little bit. It's pretty good at leaving the edges alone. But the brush needs to be smaller. Command or Control plus Spacebar. Nick the edge of that. I'm going to undo. I could just move it. I'm going to redo it and just go. Don't touch that. Magic. Just overlaps there. If you've done this in the past, we'd like the healing brush. You'll know that that gets a whole lot smudgy and just doesn't work. Where's this Content-Aware. Click ones. Hold Shift, click again. It's just two magic. This are easy ones. I start with ones that work because it makes it look good. We feel good, I feel good. But let's look at ones. They're getting messier and messier, and then eventually don't work. Let's go back to G. I'm going to look for this one. We replaced the sky on earlier here. This one here. Any which one you want. Was it that one? Any one, open it up. The one I've got open as I is one of my edits. That's the sky replacement one. Let's do the long way so you can find that as well. I'm going to go P, [inaudible] on my photos. We've got one and a D limerick, and there was this one. It wasn't, it wasn't a masking. Here it is here, and remember, we've got two options. We can either look at the one we started with or the one that's being retouched. I don't mind. I'm going to open up the first one and what annoyed me use this, like is this period, correct? Probably not. It looks quite cool, kind of ornate at the top. It doesn't fit with my vibe, neither is this area at the top here. H key, I'm going to leave everything as it was in this top one. Can be super easy. Just gets rid of it magic. This one here, I'm going to use a smaller brush. I'm using my scroll wheel. Click once, hold Shift. Click off here, you got to be close to the edge here is a believable enough. What do you think? Before, after. Use my backslash key, before, after, before, after. It's maybe not, and there's just going to be times we like, "Oh, is it enough?" I think again, do you circle, spin on your chair? I think it's probably be going to work for me. It just blends it like, if I told you that that was healed out, I bet she'd believe me because it looks a bit weird, but that's real life, before, after. Let's look at one that cause me problems when I was demoing this course and I was like, "I better show them that." We're going to look at. Which one do we do this one? Let's go back to our photos. I think I might have even put mine and retouching. I did not, was under Dehaze. Where do we there's actually one could be Hayes. There it is. Remember this one earlier? It is called open it up. Hit "I" for you, so if you're looking for it's called Dehaze four. What I went into, I'm like, "Great." When did this when start using it and it wouldn't work. I'm just going to zoom in and out. I was like it was just this brush, wouldn't, and I pause this video, it's been ages trying to figure it out. What I realized was is that I didn't use this image for a while, like you didn't know this, but between the last video and this one or at least the last couple, I took a break to do a big conference for Adobe, and so I've come back to this. What ends up happening is the Sync option up here. I turned the Sync off while it's recording, just so that my computer doesn't stress out and the fans come on and it ruins my noise. I turned that off and I open this image. What had happened is this one is being taped because it hadn't been used for a long time. Lightroom goes well, he doesn't use it for ages. Let's take it off as hard-drive we'll keep it in the Cloud don't worry, and when it needs it, we can download it. But for the moment, let's just clear it off as machine so it's not overflowing with images. That's one of the nice things about Lightroom. But because Dan said sync it, don't sync, opened it up and it wouldn't let me do a whole lot of things. Let me do some things, but not healing. What the heck is he talking about. If you ever run into problems, just check that your syncing is actually on and it took a little bit from mine to download and then it started working again. Now I thought I should tell you. Here you go, let's remove the girl. You're ruining out picture of rocks. Here you go. To refresh, again, could we do the spin? We could do the spin. That would be doable. I'm standing back, I'm looking at it. It's funny. I wanted to go to the edge because I feel like I know it goes to the edge, but it actually looks better when the CFO smashing in there. [inaudible] is cool. I'm happy enough. I click it again. We're moving something completely, just know that sync might have to be on, those little one that doesn't work. I'm going to go G again, and I'm going to look for, can I search for DJ? Not in Dehaze. Just in the all search, can I type in DJ? That does not work. Hands. Does that work? Well, it worked. Is this one here? I want to remove this one and annoyed me in the last video, it's not going to work. It's going to try its best. But there are just times where it doesn't work and there's no fixing it as such, I could start some work in. Let's just prove it in the worklist. Here we go, come on, and it kind of worked, it's nearly there. There are limitations, especially with inorganic objects like it's really hard lines and buttons, and stuff. It tries its best, it's doing amazingly but I can't keep building on top of that. This is where something like Photoshop would be handy. I might have to do some copying and pasting, and cloning, and some other stuff in Photoshop, but there are limitations to the continent were both in Photoshop and in Lightroom, normally comes down to inorganic objects, man-made stuff. Now the other tips I wanted to give you is whenever I'm photo editing, I always dark in my room. I close my windows because yeah, there's just light reflections end up ruining, you just need to be in a nice darkly lit room which is no fun. It's a sunny day today and I'm in closer to my goods. Everything is, is to clean your screen. Sometimes you can end up trying to retouch things off your screen, that are physically on your screen, and for me, grossly, it's normally some spit or something has landed on my screen and I'm like trying to retouch it. I'm like, "It's not going. Why isn't it going?" Then I get my finger out and I give it a scratch and you can't see me scratching my screen, but it's just something stuck to it. Can you screen people, especially you didn't gross, but there you go, that is how to remove objects from Lightroom using the healing option but this content aware of remove, super nice. all right, onto the next video. 68. Class Project 15 - Removing Objects: Hi, gang. It's not homework time. It is fun or removing objects from images time. What I want you to do is I'm going to force you to go and do three images. You can do more, but a minimum of three and find something in them that you want to remove. It can be people, it can be objects, power lines, anything you want. What I want you to do is run into some goods and bads. Go through something like Unsplash and go through and say, I'm going to try and remove this box in here and I bet it will be tough. The skier, I bet it will be easierish, remove this whole person. The stuff that you need to explore on your own are the limits of content aware. Go through, pick three or more and make sure you upload your ones that do work as well as the ones that don't. You're going to do three before and afters or more. If you end up working a little bit harder and finding a way of fixing something or some sort around, let us know as well. If you're finding this tricky and you're having a trouble, have a look at the comments and see what other people have posted, how they got the extents of the ones that work, the ones that didn't, tricks they found to fudge it a little bit more. Like normal, upload your before and afters, so it'd be three sets of these. Upload them to the assignments, credit the photographers, and share on socials as well. Can't wait to see what you removed. Go enjoy. I will see you in the next video after you've done your not homework. Bye. 69. How To Use Healing Brush in Lightroom: Whoa, look at that, big giant Dan's head. What are we doing in this video? We are looking at this tool here called the Healing brush. Up until now, this is the main tool that I'd use for retouching, but the upgrades to the Content-Aware Remove tool are amazing and basically do the better job than the Healing brush, but there are times where the Healing brush is useful. What we're going to do in this one, we're going to do this before, after. We're going to get rid of the wrinkles. We're not getting rid of them, we're just pushing them back a little bit. We are making early 30s Dan, rather than early 40s Dan. Let's jump in and learn the Healing brush. Let's get started, and we're opening up this one called Retouching O2 from our exercise files. Move the I key on your keyboard, opens the info up, and hold on the Command key and drag a box around my smiling face. What we're going to do in this one, you saw at the beginning, we're going to not remove my smile folds and crinkles. We are going to ease them back a little bit. I'm going to grab this Healing brush, a little band-aid thing there and we're going to use this option. Before recently, this is the one we'd use. All my other classes with Lightroom, we just started with this one because this one was not very good. That was not very good. Now this one here is the best. Content-Aware is amazing, and I use it for everything that I use to use this tool for. There is a couple of use cases for this still. Why am I not using it so much? It's a lot more manual and the computer doesn't have a bigger hand in recreating the textures. Why is it good in here? These other dots here, if you've just jumped to this video or from a previous video, we were using this Content-Aware Remove. What I'm going to do though is I am going to use this tool, pick an appropriate brush size. Remember, I'm using my scroll wheel in and out, so you can change the size. This is where feather becomes a little bit more important. How fuzzy the edges? I want it to be 100 percent feathery. I want it to have a nice soft edge. I don't want it to be really apparent where I've been. I'm going to click hold and drag across this small line here. You can see here it jumped off. I'm going to pull it from his neck. We want some neck here [LAUGHTER] on his face. In the last previous tutorials or previous times I've taught this class, I'd have to go back and let's find one that's more appropriate here, that's probably more appropriate skin. It's kind of like a copy and paste. It's pretty good at fading it in. Like if I pick my t-shirt here, can you still see a pixel texture from my shirt that matches the skin tones? It's still pretty cool, but the other tool just works really nice and magically, this first one, the Content-Aware Remove. But we can still use this one because, if I use this tool here which says Content-Aware Remove and I delete that one. I'm on this tool here and I go, you, it goes off and picks, whatever it feels like, especially skin texture, and you're like, I don't want it to do that. I want to have more Control. Let's try this side here with that same tool. Yeah, it did a pretty good job. It's not perfect. There are times you actually want a bit more control. I'm going to undo both of those. Go back to this tool and say, actually I want to do this one. I want to pick the skin texture because our skin. If I grabbed forehead skin, and often that's for somebody who has really blotchy skin. That's maybe sometimes the only place you can find. But my big old shiny head. Okay, how good is it? I'm going to zoom in, Command or Control plus, and it's all right. What you'll find is people look weird without their marks as well, regardless of where you pick this. Spacebar to drag it. I'm going to pick this skin here because it looks about appropriate. The other thing is lowering the opacity. Very often I'll do that and then knock back the opacity just so it's completely back somewhere in the middle ground of like, I'm still a human with folds in my skin because I need them, not plastic. But I want to push them back a little bit. This one here, the older I get the deeper they get. I want to be like, I don't know, 30s Dan, not early 40s Dan. Again, when you're painting these things out, can you see we need the space for this to fit. I've just got it in there. I feel like that's fine. What I might have to do though is, use a slightly smaller brush. I'm going to go down to something like this and do it in smaller parts. Just go Content-Aware to do this, but the opacity is, remember, the last thing I did. You can see there I've maybe not got all the bottom of that, so I'm going to click it and delete it. I'm going to start a little bit higher, go down here, and not there buddy, somewhere up here. Again, the opacity. How much of that folder we want to get rid of? All of it, Dan. Let's go back to 20s Dan. Fortunately, even 20s Dan didn't have a whole lot of here. Let's go back to teenage Dan. Well, I'm not sure why we're talking about my hairline. We're talking about using this Healing brush. I don't want to discourage you from using it. It's just a little bit more manual, and this new tool here, which has just come out being stolen from Photoshop is pretty spectacular, and in truth, I'm using it most of the time now. But in this case here for these fold lines, it was great to be able to move it around and be a bit more specific, especially for these larger chunks. Before, after, before, after, still Dan, just a slightly less old Dan. That's it. What I also want to do is see that little Band-Aid, that's the reference to my shirt. You worked it out. I feel like that's what he's bringing that big giant orange shirt. I was stealing from that thing there. I liked that little icon, that little Band-Aid. It is here. This is me designing it, and making it, and then cutting it out, and then why it's me designing it. Using that guy as my model and mocking it up in Illustrator, drawing it in Illustrator, and then cutting it out and getting the sizing right, and then using my little heat thing and then sticking it down and then there's me, and the shirt you've seen. Anyway, I hope I didn't have to go through and say, look, this is the reason I made this shit. But I might not be super obvious because I cropped it, and there you go. That's where it came from anyway. That is the Healing brush. I use the Content-Aware Remove tool a lot more now, but there are times when you do need the Healing brush. That's it. I'll see you in the next video. 70. How To Use Point Curve in Lightroom: Hi everyone. In this video we're going to learn something called the point curve. What is the point curve? You ask. Look here. Watch this. Under light, I can twirl it down. Look at that. Looks complex. It's not that complex. It's basically doing exactly what we're doing up here, but in a different way. It's working on tone. We're going to go from this to this using the point curve. [NOISE] Let's jump in. Good morning team. I've created a new album called point curve, and I've brought in some exercise files from the point curve folder. I'll bring those in and we're going to open up this one here, that snowy lake. I'm going to show you the point curve now. It's under edits, under light, and you'll see it down the bottom here. Now, why is it closed? Yours might be open, I guess closed by default. Why isn't it showed this earlier? The reason is that it does the same job as this chunk up here. This group of sliders is just a little bit more easy, especially when you're new and even when you're not. They're amazing. There's nothing wrong with doing it this way or this way, but it's an alternative. I guess in this course I'm trying not to give you like 10 ways of doing something, just the good way or the most common way. But the point curve here is something that you need to know the basics of, because you will follow other people's tutorials and they'll be like, you have to use a point curve. If you're using these, you're not a real photo editor. [LAUGHTER] You'll get a bit crazy about the point curve. It's the be-all and end-all. It's great, there's nothing wrong with that, but just know that you are doing a very similar job using this or this. This is a little bit more tricky to learn, but that's what I'm here for. Let's learn it. Basically we're looking at the information on my image here, which is, these are all the darks and the slide along here, all these are the lights, so whites, blacks, mid tones. If I say, hey, mid tones, I can click "Hold." I want to make the mid-tones brighter or darker. You just grab it and you move it lighter or darker. That's a good point, how do you get rid of them? If you've got one or a couple of them, you can just double-click them and they disappear. What do we do? It's very common to start with what's called the S-curve. You say the shadows, so not complete blacks, the shadows just a little bit darker, and I want to make the highlights a little bit brighter. Before, after. Subtle change, and there are so many images that respond really nicely to that S-curve. They call it the S-curve because it look. I'm going to exaggerate it. Double-click him and it looks like an S. Mine's a bit extreme there, but that's why they call it the S-curve. Different images will need different extensive, like how easy it is. Now why would you use this over this? There's no real reason. Some people prefer this. One of the big differences is that you can do a bit more graduated sliders, watch this. If I double-click the [inaudible]. These are the whites, remember, and these are the highlights, mid tones, shadows, blacks. If I grab the highlights and I make them higher, can you see it does the highlights but also affects the mid tones as well. It's a nice graduated slider and some people would like that. You can like, I don't want that so I'm going to bring that down a little bit. The mid tones back to where they were, but I want this up a little bit, but not these guys. You end up with this ragged curve. That's basically what you're doing over here. Some people prefer to work this way. When I'm in Photoshop, I do use the curves a lot more. In Lightroom, I use these a lot more. There you go. Let's get rid of this one. I've got the highlights up. Well, actually it's affecting the sky there. I've pinned it so that these ones don't move very much. Just stick a pin in them, and get them back on their middle line. Watch this, up and down, it's affecting the sky. If I reset this, remember holding ''Option or Alt''. If I grab the highlights here, can you see it's affecting the sky. We're doing a very similar job. Another really common use for it is to go and do an S-curve, so like this, but then stop pinning around here so that you can have a little bit more control over the shadows. Can you see here where I'm forcing these to stay there? It's still dark but not coming along with this bottom one here. It's to drag this and just work on a really defined area, but you have to pin it a couple of times, otherwise without them, if I drag it down, can you see it's it's affecting so much of this curve. It would be common to go with just a couple of pins so that you've got a little bit more control, or you could use this shadow slider. You get very similar effect. That's it for the point curve. Let's finish this off. You can go now if you came in for the point curve. I'm going to finish this off best of my ability. Crop tool is going to be the next one. See if crop, try the auto. No auto. I'm going to try and line it up. Strange old shot because there's not like a clear horizon line. That's edge of a lake, so it's going to be curved. Is that straight? It's not straight, is it? I don't know. It feels straight in some parts [LAUGHTER] and not in others. There's all these like intersecting lines. The other thing is my point curve here, I was messing around with it. I feel like there's a lot of information lost in here, but it's not great, there's not a lot of clarity in there. Let's look at bumping up the clarity to start with. Too much, too little, and play around with the point curve. Probably going to have to the blacks. I can make a little bit blacker but these shadows are going to have to come up a little bit. Can you see in the rocks there? I want to try and find some heavy medium in there. Don't need to. Mid tones, I'm going to have have to separate the sky from. I'm just looking at the mountains at the moment, deciding on with that. Forget about the sky because we can mask that, because we are masking experts. I'm trying to find where I want to be with this one. It's a gloomy day. It's hard to get past that gloominess. How do we feel before, after? I'm going to now see if I can dehaze the sky. Let's go to masks. Let's say grab the sky for me, how good it gets it. Pretty awesome. What you'll notice is you don't get the point curve when you're in this at the moment, and when you're in this masking option, there's no point curve. You've go back to the slider way of working. What I want though is dehaze. I'm going to crank that up. I'm going to turn off my little orange thing, and then the red border. This stuff in there. I want clarity just for the sky, put it in there as well. I'm trying to find some heavy medium. It might be a sky replacement, in this case at the Photoshop. but let's work with what we've got. Now, can you see here at the top, there's actually some noise on the lens, it's probably on the sensor. What I can do is we can use our retouching. I don't want to do it just on this mask. I'm going to go to the retouching and I'm going to use this Content-Aware Remove, then I find a brush size that's going to be big enough. Awesome. We used it for light things like spots on skin, but they can be used for removing crud off your sensor. I'm just clicking ''Months'' and it's removing it. Nice. Cool. There's a few more. No, that's most of it. Before, after, I think the sky as well. I want to select this mask and I want to say, we're going to probably add a little bit of color, so I can crank up the saturation. There's blue in there, which is cool. How much of it do I want? Just a little bit more before to give you that steely sky look. I don't know. What do you think? You know what affects it? [LAUGHTER] I can't do it on my mask, so I got to get it to go to my main features, for every part of this image, not just the sky and I want my vignette. That's what I want. Look at that, [NOISE] fixes everything. [LAUGHTER] That is point curve plus we took it a little bit further, and then we did a random crop, where we tried to straighten it, but it still feels something wrong with that string. But that is it. I'll see you in the next video. 71. Lightroom Profile vs Preset vs LUT: Hi, everyone. Let's talk about the difference between a preset and a profile and a LUT. You might not have ever heard those words but some of you will, and you'll be like, they are confusing. Basically, they do a lot of the same job. They're are simplified down they are in effect that gets applied over the top of an image, but there are times we use one and times we use the other. We'll talk about the most appropriate to use in Lightroom. I'll share my unbiased opinion, "presets are better." There I said it. Let's talk about the difference between all three of those. Let's jump in. To get started, grab the two files from the presets' folder actually there'll be a lot more in here but grab the two that say profile. This is preset 01 and 02. We're going to open up here with the one on the wash machine. Let's talk profiles versus presets. Now, LUTs and profiles, so you got those two on one side they are very similar and presets is on the other. I think the easiest way is to demonstrate them quickly, and then we can double back. I've got the right image open and I go to my editing options. There's the profile, I'm going to apply different profile that hopefully makes it clear what it does. I'm going to go to this little drop down browser, will go to this little option here. I'm going to grab a real artistic profile. There we go. It's made very [inaudible] . This profile is something that it's applied, it's an effect and we can drag it up or down and apply it less or more, but that's all the control we have of a profile. Whereas a preset, if I reset this member Command+R or Ctrl+R on a PC. Let's go back to my editing, a preset is very similar I'm going to go to recommended. This will change a bit they keep moving this around, but I'm just going to click somewhere and get to a preset and show you the difference which this if I go you, come on Internet. Can you see it changed it? Come on. It changed it. I still got the amount slider but can you see I've got a lot more control. I can see what's going on here. Undo, back to normal. I can pick this preset and I can see what's going on, not just in the light. Let's have a look in color. There's a lot going on in here. Same with the effects. We know because of all these little eyeballs. They do the same job. They apply a stylistic effect to it, but presets are better in my opinion because you get to peek under the hood. What happened? How did these things get created? Profiles are one shot you can decide on. I'm going to reset it again I'm going to go back into my profile just to hopefully solidify that. You've got some basic ones here, and I'm going to go to browse all of the profiles. There are two ways of doing the exact same thing and one is better than the other in my opinion. You can go down, and it's got a vintage. I've only got this amount slider. I can't see what's happened. If I apply it, loads of it. Let's pick one. That's pretty cool I've cranked all up to 200 percent and I go back here. Under my light, I can keep working on it fine but I can't see what happened. You can buy people's profiles or LUTs. Sometimes, they get interchangeable. They do mean slightly different things, but people will sell LUTs and profiles as the same thing, You don't get to see what happened. It's like magic and that's sometimes what you need. Just buy a pack of wedding photography profiles. If it was me though, I'd be looking for buying a pack of wedding presets because I could get to see how it's work, what have they done? Turn bits off, turn bits on because I can't really adjust anything now. I can go over the top of this profile just fine. There's nothing stopping me doing that but if I want to tone down some of the parts that this particular profile is done, I can't. Let's look at a JPEG. Use my right arrow. This other image here, our 02, is actually a JPEG. If I go to profile, there is none. RAW images have a bunch, you can still apply some of the pre-made ones, but you don't have a whole bunch of built-in ones. Just because it's not a RAW image. You can go into profiles still and go. Actually it's that vintage one. I want to apply that one with a LUT. It's an effect that goes off at over the top. JPEGs though, have their profile baked in. That's why you can't see it back here. There's no options in here because what happens is when you take a shot on your camera, and you're not shooting RAW, that profile actually comes from your camera and gets smooshed into the image into the JPEG and you can't pull it out, whereas if you shoot RAW, it will apply the profile totally. It'll apply a profile then you can say like, "Hey, that one that was applied in the camera, we can do a different one." You get a bit more control over it but again profiles, fine, but there's not a lot of control afterwards whereas presets is. Does that help? If you want to bring in somebody else's profiles. We're not going to cover too much profiles in this course because they're limited. You apply them and drag them up and down. You can browse profiles, and you can go up to here and say actually import profiles if you have got them from somewhere. You can find profiles online. If I was you, I'd be looking for presets. Now as a LUT versus a profile, or there's another, presets, remember, we get to see all the settings. Well, forget about that now. Shuffle those away, Let's talk about profiles and LUTs, L-U-T, lookup tables. Some people will sell their LUTs and they'll give you a profile. Technically, I think a LUT is meant to be more of a temporary in-between profile between your RAW image and your eyes. Let's say I'm got our camera, and I'm shooting RAW. RAW images have a tendency to look really washed out and gray, Which is really hard, when you're looking at the back of your camera, you like, "It looks lame." How do I shoot this? How do I get my exposure? What happens is you can apply LUT on your camera, which is it's not changing the image. It's not baking it into it. It's just a little in-between to say, "Hey, this profile here is closer to what it will look like after you're finished editing." But it's not actually applied to the actual image. Text message, wait the alternative. Profiles and LUTs are the same, except how they're actually connected to the image. I'm okay to be contradicted in the comments. If you know the science behind this a bit more than me, please throw it in there. So LUTs, they're not connected to the image that just on the viewfinder of your camera. You can go, "All right, it's not washed out and gray. It looks okay." The image that you get is washed out and gray, and you can edit it afterwards, but at least you've got some chance of seeing the image in its glory while you're shooting that raw footage. Or we should have just left it at presets versus profiles. Does that help? It's a preset is effects but you can change them. Profiles, you can't. Just stick them on and turn the amount up and down. LUTs, the same thing as profiles, except they're not actually attached to the image they're used in cameras or in display monitors so that people get a sense of what it's going to look like. Even though they might be shooting raw footage for the camera, or they might be shooting a slog, which is raw video. It doesn't get attached to the file, it's just there so that you can see how good or bad it is while you're shooting. How good was that? Thumbs up, thumbs down? All right, let's get into the next video because forget profiles. Let's do presets. They are awesome, and they're everywhere, and they show us how they're made. Oh, one last thing, profiles how they're made. They're made generally in Camera Raw, which is another Adobe program. You can say about profiles from that. You can actually figure out what's going on in a profile by getting it into Camera Raw, you can create your own in Camera Raw, we're not doing Camera Raw, we're doing Lightroom. I'm going to show you how to make and import your own presets here. All right, now that is the end. I'll see you in the next video. 72. Free Lightroom Presets: Hi everyone. In this video, we're going to look at presets, and particularly the free presets built into Lightroom. There are some amazing ones, and like we've learned, presets just allow you to quickly and easily use somebody else's editing power and just apply them and go through, check what's being done, make adjustments. There's the black and white ones, some cinematic ones, there's some amazing ones built into Lightroom. Let me show you how to use them and use them properly. Let's go. To get started, there are some files. I'm bringing Preset 1 to 7 in from our 12 presets folder. Bringing all of those and open up this image here. Cool. Presets, where are they? Where are they hiding? Where's all the free ones? Show us, Dan. First thing before you apply preset, you should be doing your corrections first because presets are often effects that go over the top. They're not going to fix our images. We need to fix them first, and this one here feels like it only needs the color. I'm going to go from light and go to color and I'm going to just see what auto does. What do you think? I think it's pretty good. It's quite yellow. It's a lot cooler now. I like it. You go through, your do you light, you do adjustments in here, exposure, contrast, use the points curve if you like, and then apply your presets. Your presets are under Edit. They're up the top here. Let's open it up, and the default one is going to be recommended. It's going to analyze your photo and it's going to give you recommended ones, which I don't really like. What it does is, it's pretty cool how it works, it goes through, analyzes the image, the composition, who's in it, how many people, what tonal range. It does some cool stuff and then goes, hey, I'm going to look at all the other ones that have been done in Lightroom and I'm going to give you some suggestions for the presets. Remember the presets are these. I'm going to open these up so you can see it. I'll open the points curve as well. Can you see if I move across, can you see how the slide is changing over here? It's just other people's goes at the presets, and you might find stuff in here that works for you. I like this, but I'm looking for any subtle ones. It's going to give me subtle presets that other people have made. You can actually see who makes them by clicking on this. Here you go. You can find these presets, the recommended ones. Go through them. I prefer just going straight to Premium. You said free, Dan. Why does it say Premium? They are Premium free ones. It means that is part of your subscription, these are part of it. I really like these. We'll look at adaptive in a little bit, but they're pretty well-named, and you're going to find the places that you find in both your note, like what you want from the image, what the client wants, there's different cultures that like different, let's say this wedding photography look here. There's just different cultures like some of them, I look at them, I'm like, wow, that's bananas. Whereas different cultures looking at mine goes, what are they doing to those images? I love hanging around in cinematic. It's a trend at the moment here. Often they are too much, like some of these adjust like way too much. But say this one here, CN06, which is just the acronym I've given for the cinematic ones. Let's say I really like this, I can click on it. The cool thing about it is two things. One is, I can see over here, look what they've done. This person that's created this default. You know what they've done? They've done a little bit in light, but they've done most of the work in the curves. Can you see that? Whereas some of the ones that were under-recommended, let's have a look. This one here. They've done no curves. But they've done some adjustments up here in exposure, a lot though. Let's find another one. See this one here. I tried to point at it, but you can see there's some adjustment in the lights and nothing in the curve. Let's have a look what else they've done in say, color. Nothing much there. Let's have a look at fix. You just look around to see what they've done, a lot going on this one. Let's go back to premium. Let's go with this one. You can see there's lot's been going on, look huge shift. All the different colors are being adjusted. I know that because see the little dots underneath them, they're not there. But when I hover above this, look at that, every single one of those little color slider has been adjusted. It gives me a really good look. I'm like, okay like this. But I wanted to go through and actually adjust for the overall hue, maybe not push it back or change things or go in here and say, I didn't like the vibrance. I'm going to pull the vibrance out so I can start with a preset and then go and adjust it. You can reset everything if you get a bit lost clicking on these hit "Command R" maybe just a reset everything. It say I like this one, but I can just lower the amount. I like it but not too much. You're lowering everything in these sliders down a little bit. There is no wedding option in this case, but like things like black and white are great for a set for in our case wedding photography. You can see in here, I like it, just hover above them. You find one that you like. Because we have made new skills now, you might be like, why didn't you just show us the beginning, go, add cinematic, save file, done. It's because now we can apply these and go, I like black and white, but it's a bit too grainy. I like it. That's cool with the grain, but I want a little bit less. Instead of playing with the amount, because I'm a hardcore photo editor now, I can go in here and say no, it's not in there, it's not in there. Well, clicking on everything, undo. I can go in here, light effects or textures, vignette and grain. Look at this. I'm just going to lower down the grain and what texture does. I'm just going to lower that down a little bit more. Before, after looking at us using presets to get us where we need to go and then going and making adjustments because we have crazy good Lightroom skills. If nothing else, it really helps us get an idea of how we get to these effects. Like where was that one? I'm going to reset it again, Command or Control R and get a cinematic. It was the six we're using, was it? Let's have a look under light, let's have a look under the curve. Let me use a lot of this. What I've done is we'll do it later in the course to get special effects ourselves. But can you see in him to have garnered the black and they've dragged it. There actually is no black and there is no white. What I mean by that is watch this. If I drag that down, can you see my adjustments here? They've grabbed the black. That's a rich full black, and they have said there is none. I can get rid of all the blacks. Can you see they are gone? It's a really handy tip when you are looking for that vintage look. Basically vintage means not really sharp blacks and not many sharp whites. It's a funny pot where everybody in photography, 20 years ago or film industry years ago, you'd spend so much time to get the full blacks and the full whites. Now we spend our time trying to get rid of it. [LAUGHTER] Just trying to get the look of the old days and there you go. You can reset it up here. I'm using the Command R, But you can hit the Reset and then it'll just reset the presets. Not any other adjustments you've done. Without going through all of them, you can have a look. These will change over time as well. Just have a little look. It's a bit tricky, like what does food do? There's nothing like food that's being put in here. But there's been some amazing editors way better than I have, have gone through and made decisions on what will make food look good, pop, if you will, in photography. I've given you sittings. If you're a landscape photographer, starting here, see how this affects your work. You'll start to get a sense of moods, I know cinematic, it's going to always make it cooler and really accentuate the contrast. I like it at the moment. I know if I go to travel, it's probably going to be orangey, bluey teal stuff because I don't know, that's the trend for travel photography. Lots of teals and oranges. You will get a feel for these as you work through them. If nothing else, it's a good place to get started. That is where to find the free presets inside of Lightroom. Let's get on to the next video. 73. Create & Bulk Apply Your Own Lightroom Preset: Hi everyone. This video, we're going to make our own wedding photo preset. We're going to create it. That's my preset there. Before and after, it's something now that's part of my presets panel so I can use it over and over and I'll show you how to edit bulk across a bunch of different shots as well. All very quick, all very matching. Let's jump in, to get started, pick any one of these winning photographs. They're all shot at the same time. The same light, from the same camera, the same length so we can make a preset that can work across all of them. I'm just going to start with this one. It's a nice composition. Let's grab E for editing and we're going to make some edits. All we need to do to create a preset is to go through and make some adjustments first and then save it as a preset. I'm going to speed through making some adjustments. The one thing I'll pause there is that I only use the curves to really remove the whites, case in point, that vintage look which is cool for photographs, and remove the blacks. You do that switch. Here we go. The other thing I've jumped in is color grading, we'll do that in the next few videos as well. I've made the mid-tones a little bit warmer. Actually, I want the highlights to be a little bit orangier and the shadows to be a little bit tedious. So before, after is where I'm at, add a little bit of grain as well. That's I guess not the important part. The important part is making your adjustments and then saving it as a preset. Let's look at that. In presets, I am going to go to this one that says plus, and I'm going to give it a name. This one's going to be my, I don't know these people so it's going to be Wedding 01. I'm going to save it, my User Presets, and that's all it's going to do. It's going to grab the profile from the camera, whatever that was part of it. In our case, I don't think there was much of anything because it's a JPEG. But all the things that I did in light, all the things that I did in color or fixed details, any of that stuff. The only thing that won't come along by default is the auto settings. Auto is that button at the top here. We click and it goes through and adjust these all for you. I've manually done them so I don't want the auto setting because basically auto will just adjust these on my behalf and I don't want that. You might want that, you might be doing something bulk. We just say do auto-add color. That's it. There's going to be my saving preset. Now, I can use my right arrow. There we go and I can go to, let's say it's not open and I'm working on another project or more of this project. I can go presets and I can say my ones under my user presets. There we go, Wedding 01 and they match. Basically, we've got our other little slider here. That is good. If you want to do them in bulk though, you don't really need a preset because we can go back here and we've done it before. We've found the one we want to do, we copy it, select the right one and whichever one it is, copy it, and then select all of these. You, I'm going to hold down Command, click on You. Command will just pick individual images because I've already got it applied to these two. Shift, will join them up and say, I want you and all of these. Now I can go to edit, paste and it should watch them. My computer is running exceptionally slow. Watch this one, watching. Look at that. We didn't really use a preset there. We just copied and pasted the settings. Or when you're working on them, you can open them up, start with your preset, and like all good preset, the next job I do might not be perfect because the lighting will be different. Might be a lot brighter day outdoors, different time of the day, you can say, okay I want that preset. We'll start with it. We go in and we edit. Come on slow computer, our computer won't catch up [LAUGHTER] so we were waiting there with the editor for a little while and there we are. We're going to leave this and reset back. You can see my heatwave. There was a shot that I did and I saved the preset. It doesn't work in this image. You might like it, but you actually just turn it down or at least come in here and make adjustments, save it as a new preset. Often presets, especially we go and buy them for other people, they only work with the images that were intended for, and often they're just a good place to get started and you can then go and make your adjustments afterwards. One last thing I want to show you though is, well, as we created our own from scratch, it's pretty common for me, especially to open up an image, find a preset that I mostly like, go to premium, and let's say that I'm going to be under this, so I like these vintage ones. Find one and I'm just hovering above them remember. Don't like any of those, you wait there. That took way too long. Found one in lifestyle that I like so before, after. But let's say you like it, actually I want to take ownership of this one. I like it, but I do want to look at what's going on with the grain here, and I need a little bit more clarity. We're going to start with this one and because it's just gone through and picked a bunch of settings, we can go through and say, I'm going to go back to fit computer, slowly dying, I'll restart it after this video, promise. I'm going to go down and say, I want to play around with, let's say the effects and I want to bump up the clarity, and I want to maybe remove the grain for my particular purpose. Now we're disconnected and now we can go through and say actually I want to create my own preset based on what I've got here, what I've got in front of me. I got one waiting too. You see it's part of this profile, this preset, they've actually changed the profile to Modern 4 as well so that's an interesting one. They've used both the profile and the presets for this particular preset. Modern 4 is, and you can see in here, it'll be under Browse all profiles so normally with the JP going to get those two. I can go to browse or profiles. There is some profiles in here and I've used Modern 4 as part of it. They've turned it down a bit to get their preset. Here you go. It's doing two things. Both the profile and then they've gone and adjusted over the top with some presets. There you go. That is how to create your own preset whether you create it from scratch or start with somebody else's one and make some adjustments and then just save it. That's it. Creating presets and then applying them in bulk by just copying and pasting. That is it. I'll see you in the next video. Before, after, before, after, nice. 74. Magic Adaptive Presets in Lightroom: Hello. Welcome to the magic video where we're going to use one click of our mouse and go from this to this. A little bit overdone, I know, but there was just absolutely one click. Through another one, we'll be a little bit more subtle with the dog really, and just the dog's been adjusted, nothing else. One click, I promise. One more, with one click, we can isolate the subject and now case the statue and enhance it. Look, before, after one click. Why is Dan so excited is because now that we've got some mad Lightroom skills, we can start to use some of the built-in automatic, in this case, they're called adaptive presets. Because we know what we're doing, we'll be able to adjust them afterwards if we do want to make changes, which we always do. Let's jump in and look at adaptive presets. To start with, we are going to look and work within our photo from our album Adare Limerick from earlier in the course, it's going to be this one here. I'm going to open it up. How do we know the file name of it? It's right at the I key. You can see this one is color 10 from your exercise files. It is from the folder 04 color corrections. Open that one up and we've done some editing on this one earlier in the course, but now let's do the magic. Let's go to our edit panel. Let's go to presets. We're going to look at these ones, the adaptive, these ones from earlier, so make sure you're on Premium. We're going to twirl down adaptive and then I'm going to hover above it and you are going to be amazed. We're going to do blue drama. Ready hover above, blue drama look at that, dark drama. Neon tropics. I'm not sure. Sunrise, sunset [LAUGHTER] blue drama it is. It's just affecting the sky. How is it doing it? Let's apply it and deconstruct it. Let's just call it magic. The way with this one, if I use my backslash doesn't quite work as I want. Our backslash is working. I mount up, I can double down on it, we know that. What's happening? How is it just doing the sky? Wow, we've got some sweet Lightroom skills. Now we know how do we affect just the sky. It was a mask, Dan. Look at that, it's made of mask. It's cool, those adaptive presets goes, I've got a preset for sky, and I'm going to apply it to the sky using the sky filter. Maybe before we went plus and we went sky and ended the adjustments, this is doing it in one fell swoop, which is cool. The nice thing about presets is in the mask, we can adjust the mask if we want to. But within the mask, we've got some settings we can play around with. This one here, I got to click on it. This mask here and blue drama, What has it done? It's made it blue, maybe we like it, but we don't like it as blue. Look, they've gone with the clarity and dehaze, we love them. It's done not a lot up here. You might just do some more adjustments. Here we go contrast up. There you go. That is the magic. If it works for skies, let's look at some other ones. I'm going to go back to what I want to do, G, to come out of this. It's P to see the photos and I have created, well, actually, let's go back to our album. It's called, which one were we using? Presets. If I scroll down and there it is, presets. We had my scroll mouse works opposite and this little bit you also might be doing the same. Up is down, down is up. Anyway, let's go to presets and I've imported a couple of images. It's these three. They are in your exercise files and 12 presets and they're called adaptive 1, 2, 3. It's bringing those. Let's look at this one. This one's really cool. Same thing, we enter presets. You probably saw it in there. There's one called portrait. Let's make sure I'm premium. Let's go to portrait and this one's pretty cool. Let's go with enhance, the damage not a lot. It's got a glamour portrait, which is going to go over the top. It's actually being pretty modest here. If I go all the way up and all the way down, can you see it's smoothing the skin if I zoom in a little bit? You can see there and you're like, I think I know what it's doing. You can go into your masks and go here they are. It's gone through and it's done teeth, it's done lips, it's done eyes, it's done all of these things, all these masks, and then applied some settings to them. In here, what has it done? It is applied at 200 percent or is that me? That's me doing 200 percent, but let's lower the texture of the hair. The clarity has gone down a little bit. Everything, especially for that glamour setting gets a bit smooshy and milky for my liking. But hey, you might be up for the glamour stuff. That's what it's doing. Let's have a little look-through so you can work your way through, so back to edit, back to presets. You can see, I can say, let's whiten teeth, okay, and how much? Lots, a little bit. Lots a little bit. It's doing some really cool editing for us and because we've got some mad skills, we know how to go and adjust it. If I get this one and the preset is like this, it's like too white, I can go into my masks. I can go through fine teeth, there it is there. Click on it and go highlights. Let's turn it down a little bit. Here we go. Maybe that's better before, after. So skies, it works for portraits. Let's look at the next one, so I'm going to click in here, use my right arrow, find the dog. Poor old dog is not a portrait, even though he is, she. Can't see. Probably she [LAUGHTER]. Let's go into presets and let's go and have a look because portraits doesn't work for our dog, we're going to use subject. This really takes a little minute to apply, you'll have to wait because it's doing some AI masking and applying the effects the same time. Warm pop, soft pop, or too soft, cool soft, vibrant, glow. Let's just make it pop. Here we go, am out. Look, it's just affecting the dog, I love these AI masks. I'm going to go back to pop. Again, if we look at masks, it's just done, a Select Subject and done some settings to it. What settings? I can't see until I click on the mask. There it is. What has it done? Exposure is gone up a tiny fraction, what else is being changed? Just have a look. Lots to do with clarity, the texture has been added. Even though you are using the presets, just have a little look in here to see what they're doing. You're like, they do texture quite a lot. Dan didn't do a lot of texture. You can pull up your own repository of awesomeness of things that you think you can try with. You can see dehaze hasn't been used for subjects. You start getting a bit better after a while going, dehaze is maybe not so good for this, or it gives you a really cool glamour shot. Let's do one more together. Let's use my right arrow, this one here. Same thing, I could go Select Subject and do it all at a preset, but we can do one big go by going to Edit, Presets, Subject, Pop. Do you see that? Go down, up. I like it. Adaptive are some of those amazing things that Adobe have released very recently, there might be more in here when you get to it, experiment with them. Best of all, keep an eye on what's getting created. Is it a mask, is it not a mask? What have they done in here? Remember, we can twiddle these up and have a look to see what's applied. If there's eyeballs along here, means it's been applied. Let's have a look, adaptive subject, this one here. Nothing in there. Nothing in there. What's going on? What did they do? How did they make it pop? Before, after, what have they done? That's a very good question. Not in there. Getting me confused. I'm not looking at the mask, that's why. I'm looking at the general edit settings. Not at the mask. Click on the mask. You are like, I got the mask, and I got there eventually people. You can see the mask has been applied and what's been applied underneath it. That's why we get to this end of this course and look at this stuff because at the beginning, imagine if I live with that you'd be like, great, everything pops. How do I change? It would be your next question and then we'd be like, hang on a second. I just got to go through 60 videos. [LAUGHTER] We go through 60 videos first and then we can see the easy way. But you know how it's done and how to change it and master it and be the boss of Lightroom. It's my motivational speech towards the end of the course. [LAUGHTER] Are you feeling strong and confident and powerful in Lightroom at least? I hope you are. Some fun stuff that Lightroom lets us do to help us be amazing photographers. That is it for the adaptive settings in Lightroom. I'll see you in the next video. 75. Color Grading Intro With Orange & Teal in Lightroom: Hi everyone. In this video, we're going to look at color grading. We're going to start with teal and orange because ready? It looks cool. Let's do another, more teal and orange. Here we go. We do lots of examples. Teal and orange always those good for a beach. Before, after, ignore the bat. See that? [LAUGHTER] We discover them together in this video. Let's get started with color grading. It looks so cool. Let's do it. For the images, I've created a folder, an album called Color Grading and I've brought in orange and teal 1-4. We're going to start with this one. First of all, color grading is different from color correction. Color correction is getting everything looking like how it should. You can add a little bit of style and a fix to it, sure, but technically, color correction is just getting everything real. Then color grading is when you add your own artistic style effect. Like a fix but using color to exaggerate or give it a mood. We're going to do the teal and orange one because it's quite striking and easy to do, and I want to introduce the color grading option here in Lightroom. I've got the beach one open. There's a bat. [LAUGHTER] Holy smoke, I just saw a beach scene. [LAUGHTER] Now I see vampire beach scene. Holy moly, it's a bat? It's a bat, right? Zoom in then. Yeah, it's totally a bat. Weird. Anyway, [LAUGHTER] let's look at color grading. When you're doing color grading, you should do your color correction first under this light panel, and get everything perfect, then look at color grading. This one's pretty good. The color. Come down to color grading, and they've got these easy little wheels to use. Sometimes it's called split toning. It used to be what this panel used to be called. Used to look different, but now color grading panels are nice. To get this orange and teal, we use the shadows and the highlights, and basically, we just make the shadows. Hue shadows, click "Hold" and drag it on the shadows to be more teal. You can eyeball on and off. In our case, it works really good for beach scenes. Anybody at the beach, near the beach. It's a sunny spot. This teal and orange thing does it pretty good. Gets used in high fashion shots as well, night scenes, it looks cool. We'll do all of those in this video. Shadows up and in the highlights move it to orange. I haven't done a lot. Preview on, preview off. I don't know. I feel like it's safe for the bat, ignore the bat. It's done a pretty cool job of the beach scene. I love it. It's very stylistic, of course. Let's talk about what this color grading panel does. The main features is the shadows, the mid-tones, and the highlights. We're not using the mid-tones in this case. You could color the mid-tones too, maybe orange, maybe teal, maybe magenta. Wow, it's bad. Generally, we just touch on these edges here to give it hints of color. The closer into the middle is how much has saturation of that color is being applied. If I drag it a little bit, it's going to just make the shadows just a teeny tiny bit teal, but if I drag it all the way out here, in true Dan style, maximum teal. You apply loads of it to the shadows. You can see the highlights here. Why don't I go to the edge? I was scared just go to there, I was like, well, it feels like enough. I'm okay to go with the shadows because it's the deep-dark sea. What else is useful? Double-click it. Take it back to the center, drag it back out. What you might find is that you've got the right kind of saturation, you want to change the hue. Instead of trying to drag this thing around, that's a bit of a pain, you can drag this outside one. It does move him around to find out what you got. There's no rule that has to be in orange and teal. This is pretty cool. It's old 50s photo. I'll probably have to wash out the color a little bit, but I don't know, it's pretty cool. I'm going to go back to my teal and orange. This here is you can double it down. You can make the darks lighter or darker to give you a cool effect. My shadows, instead of doing it up here in light, it gives me the control of doing it down here, so I can make the luminance of the shadows darker. Wow, it's pretty cool, and same with the highlights. I can make the highlights, well, I can make them darker, or I can make them brighter. You can do all of this in here, which is really handy rather than jumping back and forth between the lights. Yeah, [LAUGHTER] before, after. Orange and teal. Let's look at the next one. Let's do this one here. Same thing again. Shadows are going to be teal and the highlights are going to be orange. Before, after. Really cool effect. Make the shadows a bit darker. Highlights, probably fine. I do want to crop this one though. Cropping, you feeling that? Before, after. Felt like I was just two pushed up in this corner here. Let's look at another one. Not that one, this one here. It's going to be a good one. Night shots always do well. Again, we're going to look at the shadows. I'm going to make them teal. Doesn't have to be teal, let's go blue and more of a red in the highlights. How cool is that? [NOISE] Plain color graded. Do I need to mess with the luminance, mid-tones? Let's have look. One thing I haven't covered, it's a good point. Sorry, I'm just having a look around. By look, I mean dragging this around. Maybe the hues could be in the warmth as well. Here we go, before, after. Down the bottom here we've got blending, and balance. Basically, blending is how sharp are transition between the shadows and the highlights in the mid tones. Is it nice and blendy? Which is this, gets all smushy. When it's down and when it's up, there's a really high cutoff. It's like I'm teal, now I'm exactly orange. There's not a lot of blending, a lot of just a big transition between the two. When you lower them down, there's a lot more blurring between them all. This one doesn't have a huge, big effect on that one. Balance is like, is it more towards the shadows, the greens, or more towards the highlights? You can play around with that here as well. It's a great little panel. Me again, probably needs to crop, these borders down here are distracting. It's gone back to the rule of thirds. It suits mine pretty well. I might have to crop again. It's good enough for the moment. Again, we've been jumping straight into color grading. What would be doing, actually, let's do the next one is we'd be doing tone work as well. Because we can do color grading at the beginning. Let's do our teal and orange thing again, but I don't know. First of all, the balance needs to be more towards orange because there's just so much more shadows in this, but it's not going to really take effect until I go back and look at my light panel. Exposure, not what I want to do. Contrast, a little bit, but we know that probably clarity is going to give us a better effect and contrast. I'm not going to go too hard on it. There's some blown-out highlights. I want to go and lower them down and maybe raise them up in the whites. How're we looking? Can you see that the orange and teal is looking better as well? The blacks really need to come down. Before, after. The orange and teal are really working now. Let's go back into color, and let's go down to orange and teal. The balance, too far. Do I want them orange? I do , just bring it right out there. Too far now. There we go. Before, after. Do we want some green? I think we want green? Let's go have a look, and clarity. Can't forget the Clarity. Clarity doesn't do a whole lot for this one. Let's have a look before, after. It does. Good old clarity. Maybe adding a little bit of grain for that nighttime moody shot. Even though I'm sure the photographer has spent ages getting rid of the green, getting the right camera settings. Before, after. That is an introduction to the color grading. Using scroll we'll go back. [NOISE] I'll just go to this one. Color grading is adding an effect for style points, for communicating what you want. It's an effect that goes on, different from, we talked a bit earlier, color correction where we fix stuff. Although we are doing color grading in this panel, if you change the color, you're color grading. If you're changing it to enhance something or give it a certain look, you don't have to be using this color grading, you could go to the Color Mixer like we did before and say, I want all the teals to be something else. You are color grading still. It's not this panel, let's say it's just an umbrella term for you not just fixing them, but adding a real stylistic look. Got to get rid of the bat. Can we get rid of the bat? We know how to get rid of the bat. Content-aware remove, let's see if we can get rid of the bad and his shadow. Shadow applied. Let's refresh it. [LAUGHTER] Where is it pulling from? Now we've got like two bats. Opacity's down that's why. [LAUGHTER] It's a genius. Here we go. Come to our beach where we don't have bats. [LAUGHTER] That is it. Introduction to color grading and adding a little bit of orange and teal to get us started. 76. Class Project 16 - Orange & Teal: Good morning, everyone. It is a new day. You're probably just after the next video, aren't you? Well, it's the next day for me and it is class project time, orange and teal. We haven't done a class project in a little while, this would be a fun one. Nice simple one. Choose an image, do any kind of tone correction before you do the color grade, which is this chunk over the top here, the light and fixing things, then look at doing your color grade down the bottom here. We're going to be using the orange and teal. You can be subtle, you can go way overboard. One thing that I'd show you that, I can't open mine up this morning, I was like, actually, I could do better. Because there's not a lot of orange in this white here, is because I've overexposed the whites. Down in here, I was looking at it, I was like, if I lower the white so they're a bit more gray. Can you see the orange can really creep in? We're looking down here. If the whites are really up, it's really cool. You might like that, but just to give the orange some space, because there's so little highlights. It's like really bright stuff and then there's really dark. I've had to lower this down so that there is a little bit more space for the orange to get a hold of. I'm going to say space. It's just not so bright so that it can actually put on top of this more gray area. Does that make sense? Do your tonal work, then do the color grade, and then you might have to come back to the tonal work just to see what you can do. Say the blacks here, I can add more teal to them by brightening them up or lowering the luminosity of them, making them darker. Here you go. Other thing was, is that sometimes you like, what does orange and teal really look like? Because I got a good sense of it because I've done it for a long time, but I just did a search for Google, orange and teal and this is what come up in next. You can just got to have a look at the different kinds of styles. What you'll see is as a color grade like, probably the most famous one is Transformers. Let's have a look at this one. They really, really took the orange and teal one and made it famous. It's really strong in this whole movie. You will find color grades in different movies. Obviously this is a video and we're using photographs, but yeah, it's interesting to see. All right. That's it. Do your color correction work, orange and teal grade, deliver it like normal throughout the course before and after screenshots, upload it to the assignments, credit the photographer, and share it on socials? Can't wait to see what you do. Enjoy the class project and I'll see you in the next video. Go do your homework though. I'll wait. 77. Batman Dark Moody Tone Cinematic Color Grade in Lightroom: Hi, everyone. It's dark and moody time. 3, 2, 1, dark and moody. Another one, 3, 2, 1, dark and moody. So I'll show you how to get to the dark and moody place, show you how to save it as a preset to apply to other photos. While we're here, I forgot to show you why I haven't introduced it a few times in this course. It's the F key. We're in here, we're editing away E. If you hit the F key, it goes to full screen, a great way of sitting back and going, is this good before or after? The F key, just type it on your keyboard. Bonus. Let's get all moody. Team. I want you to open up or import at least two files, Moody 1 and Moody 2. Open them up. We're going to start with this one. Now this is going to be my version of moody. To be honest, my version of moody came from copying other people's versions of moody and then deciding what I liked and didn't like. Again, take the tools or the techniques I'm going to give you now, and do it your own way. Things that you don't like what Dan does, change them. Take ownership of it. Before we get started, let's have a look. I did moody color grade just to get an idea in my head. It's got the tills in orange, but everything, the exposure is way down on these. That's the main thing. There's very little color. Let's go and do that. So the technique is under edit, you lower the exposure so you get it nice and dark up to the image. Depending on the image, you can adjust this as you go along, but just throw it down somewhere low and then, now remove all the color. So on the color panel, go down to the color mixer, and just click on every single color, and then lower the saturation on all of them. This image here only has a few colors, but we'll lower them all because there's some colors like magenta here, has no place in a dark moody image, in my opinion. You might love magenta in your moody image. The next thing we're going to do is we're going to go down to clarity and contrast, just because we're losing a lot of detail there with the exposure so low. How much contrast? Just a little bit. Then clarity is a better way of doing it. We know that it works with those mid tones. How high you want it? Again, it's up to you how much of an effect you want to apply on this one. We'll probably work on the sky separately, with the mask. I'm just ignoring the sky for the moment. S do the exposure, remove the colors, crank up the clarity. While you're here, it might be a time to add grain. If that's the look you're going for, I'm going to add a bit. It's quite a noisy image, anyway, if I click on it. If I remove the grain, it's quite a lot of noisy. I'm going to hide the noise with some more uniform noise. There you go. Let's add some color back in. We add the colors, mainly oranges and bluey colors just to decide. We're going to go for tealy orange one, maybe a more bluey version. Let's just have a look. Saturation up, there is no reds. I have to make that decision. Orange, crank it up, crank it down, that looks cool. So it's in there. Once you get a color that you want to introduce and I do, you can decide you want it to be darker or lighter. In our case, because I'm going for the darker mood. You see the luminance is light. So I can lower down my oranges to more suit the scene that's still in there. They're really cool. Go with the darker. So again, do I need yellows? Not really. I might, just a tiny bit, and maybe lower them down again or brighten them up, or somewhere in there. Maybe brighten them up a little bit. Before, after. Let's have a look at the greens. Do I want greens? Little bit. You might make them a little bit more teal so you can push the hue of these greens this way. I just drag them all the way up just to see what they're going to get to. I want just a little bit of these guys. It's mainly the orange and bluey colors that I want. Do I want to darken them or lighten them. Darken them. Do I have any teal, please? None, Do I have any blues? Up, down. I do in the sky. Yeah, let's introduce a bit of blue. Luminance up, down, probably in the slightly darker one. It's not the most amazing sky. The clouds are a bit patchy. There's probably no pebbles in here, good. There's no magentas in this one anyway, so I'm going to keep those down. So those are my colors introduced. Now what I want to do is add a color grade. Using my scroll wheel, flying around the place. Down here on the color grading, you probably want to go shadows blue and highlight orange, and then play around with the rest of it. How blue? Make sure it's in the blue area, and then how blue? Just drag it back and forth. You can decide. Once you get a bit of color, how much you want to introduce, then you can decide how dark or light it is. Is that blue or dark, or the shadow is darker? Probably where you want to go. You probably don't want to brighten up the shadows, you to be darker. Again, you could be using the slider up here for blacks. Doesn't matter. They apply it down here as well. It's a secondary way of controlling it. Before, after. Do I like the blue tint? Lets say I probably need some more orange in there. Do I want to brighten them up or lower them down? Forgetting the sky at the moment. I don't think there's enough color in the green, so I'm going to have to go back to the green and say, "Give me a bit more of it." I don't want that fluorescence, like warm green, I want the cool greens. So I'm moving it over there. I feel I need some more. There's not a lot of color in this image. There you go. It's looking better before, after. Color grading, is it helping? Yeah, I like the color grade. Next thing you want to do is work on focus. At the moment, I want this to be the focus. I'm going to probably do two things. I'm probably going to crop the sky. I feel like the balance of this is weird. Can you see it's pushed over to the side? I feel like it's not centered. I'm just standing back. It's centered. I feel like this is too dominant. So in the sky, it's taking up too much. It's just messy sky so I'm going to hit "C" for crop. I'm going to drag one of these down, and I'm just going to move it. I'm using my rule of thirds here. I feel like this is a super helpful for this one. I feel like it's more about balancing these mountains and it is getting this because this weaves in and out. What do you think? You're allowed to disagree. Enter. Cool. Now to draw more focus to this, we're going to do two things. We're going to see if we can just quickly go down and say, "Vignette on." It's done a pretty valid job. Reset on. Yeah, it's a good start. Actually, could that be enough? I probably need something to keep this sky further out of this. So I'm going to go to my masks, probably. Am I going to do the sky? Actually, what I'm going to do is, not just a sky, I'm just going to grab that linear radial gradient and go light the U. I don't want it going in there, I want it [inaudible]. I want the sky's exposure down, so that we're fixing, doing it in here. Then just work through these see if it makes these clouds disappear without them going, because they're getting really smoky out there. Oh, there's something in here. What do I want? I don't know what I want. So, before, after, before, after. Still not great. It's sky. Sky replacement. But I think that's probably only going to get to in this one. I think it's enough. Don't be afraid to keep cropping then. It's that chunk there that's killing me. There we go. Oh, I think we might have done it, ladies and gentlemen. That's it. There we go. I'm happy with that. So before, after, before, after. Really cool moody effect, what do you think? Some people will here go to the point curve and go for the washed-out look, up to you. That's probably be a bit much. But removing some of those blacks to get that old worldly back in the day. I'm thinking horror movie, Halloween vintage look. I just drag the blacks up so there are none anymore. I'll drag the whites down so there is no whites. Maybe you'll keep those up and just use the blacks. Remember, there's no rules. We create the rules, we're the boss. I don't like it. It's only does on, I like that rich black. Let's leave that one. Using my right arrow and work on this one. It's the same thing. Let's just do one more together. Exposure down, it'll depend on your image. I'm going to go down to something like this. Now, I'm going to not focus on this too much. I'm focusing on my subject because I know I can mask out the sky because we have sweet masking skills. So I'm going to go hue. There's the focus, and looking up this tree line is going to be my go-to place. Exposure down. I'm going to go to my color and yank out all the colors. What do we got? Hue, hue. Go by saturation. All of this. Anything else? There's some blue in his jacket, which is going to be cool, will use that. There's no purple or magenta. Its colors are out. Let's go down and bit of contrast . Contrast is the overall blacks and whites, and everything gets spread apart. Whites get wider, blacks get blacker. Whereas clarity, remember, looks at a lot of the mid tones. To far I know. That's okay. There is a bit of grain in this one already. Do I need to add more? I don't think so. There's plenty in there. Can you see the J peg out effecting when I'm so far in, and just where I got my image from. If you're working on your own images, you probably won't have this criss-cross cue. Might be hard to see on the video. But from this distance out, looks fine. Now let's look at bringing in some of the color back. So we're going to go and say color up, down, up, down. There's nothing there. Orange up, downloads. Awesome. I'm going to bring it in and then decide on how dark it is. I like it in there. The last image we did was very heavily green. This one is going to be very heavily the other way. The orange colors. I'm okay with that. Yellows. Yellows, they don't help at all. I don't think. It just messes with my nice coppery orange. So I'm going to leave that. You can still play with the luminance of them even if they're not like saturations lot up. Look fine whereas it is green. Little toughs on this. I don't think they add anything either. Tues and greens. There is none. Blues is someone's jacket. Let's bring it up. Dark, light. Isn't, none of those pebbles or magentas. Let's add our color grade. So I'm going to go shadows a bit bluer, and then, highlights bit warmer, orangey yellow. Before, after. I feel like we need to focus in more on him. I'm always looking at him because I know that's going to be the final thing, and this stuff up I'm just ignoring a bit. So what I'm going to do is vignette is probably not going to do it for me because it's not going to get enough of their top stuff. So I might do it a little bit and then add another one, the top here. The sky, I'm just going to use linear gradient. I'm going to lower the exposure rule is top stuff. That's getting part of it. I want to do another one, I think, a radial one. I want to go around this person. Something like that. It's my focal area, that's where I think it should be anyway. I'm going to invert this one. That again, I'm working on the background to draw it. Again, not too far, somewhere in there, double radial gradient and maybe just one more. I don't think I need another one, but let's just do it. I feel there's just not much going on with the subject here. I want to see if I can magic something up, but probably can't. But let's try together. I want to just have mask on the background. I'm not going to invert it. I'm going to see if I can do anything with like clarity on him to bring some more, I don't know, focus to him. There's just not a lot going on, not a lot of visual information. Dark jacket, dark jeans. I don't know what do you think? So there's that one there. I'm going to go to the big version. Let's do the height of this one. Let's get rid of those sharp pins in tools. Can you see just to maybe focus on him? I do like it. I don't think I would, but cool. I got couple of masks. We've done our dark moody stuff. I'm lost. Do I go back into here and say actually do any more exposure? Less exposure? I'm going to the overall, not the actual masks now. Just deciding how dark and moody this actually needs to be, myself. Overall. Don't be afraid to come back to this first one to pull stuff back. It's not a one-way street. Do we like the tallness of it or do we need to crop it? I feel like we need to crop it just a bit to get him centered. Then do we go further? Do we say like this, is that better? Oh, not sure. I'll leave that judgment to you. I feel like, there we go. Try that. Balance of these trees there in the middle. Before, after, before, after. Oh, I love it. It's wild. When you're looking for a little while you're, what have I done? Then you're, oh, that's right. That's where I started. Cool. Before we go as well, I'd like to see if you could turn this into a preset. You can say, actually, let's make my own preset now called Moody Dan. Do I want the masking? Probably not because it's quite specific for this image, but everything else looks good. Put under user presets. Let's see how it goes. Let's just pick random stuff. Now I wish I prepared a bit earlier. But let's just see how it goes together. Which ones are going to look good with this? Let's try some of these ideal ones. Command paste. Oh, I didn't hit Paste. I didn't copy and paste it. I used the preset, different way of doing it. So I'm going go to my presets now, my presets, Moody Dan. Why is not working? Why is my not working? I'm going to figure it out and I'll be back in a second. You wait there. Fixed it. Turned it off, turn it on again. I don't know why. Moody Dan, there it is, here. I'm not as everywhere that one. Maybe I'm, I'm not. The good thing about it is it's applied up here. So we can go back here and say all those things that were really relevant for that last image might not be as relevant for this one. So maybe all of these adjustments in here that I did, turn them off, turn them on. Exactly. They're all in there. I feel like it's there, but not there. There, not there. I'm going to hold down my Option key. Alt key on a PC and reset just the light stuff and then crank down this and probably just go hue, sky mask, and go down to a bit of dehaze. I can get a bit of coolness in the sky. Dan's favorite, he's my vignette. Vignette. Where is vignette? Oh, we can't do vignette inside a mask. Good point, because I don't want to vignette the mask. Let's go to the overall sittings. Come down to vignette. Oh, that did come through. Has a vignette been the last one. Cool. So we created a moody one. We can turn it into a preset. We can share presets with our other buddies. We can start with the presets. Remember, there is presets built into here, and they don't say moody, but some of them are. Where are they? Some of them are quite moodish like cinematic. These ones here. You might start with one of these. Make your adjustments, save it all. Oh, that's bad one. But if you do that, save your own, preset. It based on one of these first ones. You just start using this, make changes, and then you can save your own preset from the ones that you've made, a combo deal. That is it. That is dark and moody. Gotham City, Dan's favorite. That's it. I'll see you in the next video. Actually, I'm going to set you some homework. It's going to fun. 78. Class Project 17 - Moody: It's Moody class project time. I've set a bit of image direction. I want to use the word adventure when you're looking for image. Think whatever adventure is to you. I'm thinking outdoorsy, people doing stuff, camping, hiking type thing. There's no real rule, I just want to give you some boundaries rather than looking for all around the Internet for images to convert or your own images. Look for something that's in the adventure category. Do the moody color grade. When you are looking for moody, this is very personal as well. Have a look like I just did moody color grade into Google Images. Then just go through and go, all right, what means moody to me? Maybe it's this, where it's not as dark as some of the things I've done, haven't done all the vignettes and blocked it out. It's more high-fashion moody, and that's what you can target. There's no, oh, you didn't get moody right. Moody is going to be different for you. Just find something and go, I want that kind of moody where it's really soft, everything is smooth and soft, or do I want moody that's gritty and hard-edged? Decide that for yourself and then try and chase that. What you're going to do is you're going to find out that not all images can be made moody. When I'm picking images, say for this course, I have some experience making moody images. So I'm like, that won't work, that won't work, that won't work, that'll work, that one might work, let's give it a test. I can't really pass that knowledge on to you, into your brain. I need to go do this exercise and go, oh, that's going to be good. Then it comes out and not looking very good and you're like, okay, that one's not very good, what about it made it not good? Do a couple, you might have to do 2, 3, 4 of them to get something to go, oh, okay, needs this contrast to get what I want to or needs this focal point. I know for me, it's really tricky if there's not a big contrast between the background and foreground. Like that one there, maybe that one all right. I'm looking at good ones. But if the subject is quite hidden in the background, it's quite tricky, see that one there? I don't like that one because guys are really in big shadow. The leaves are cool, but this one is awesome, so I wouldn't probably tackle that one. But you need to do a few for, you know what you like to do and what kind of results you want babbling now. Experience is key, that is the key. Go do some moody images and like before, make sure you credit the photographer, upload them to the assignments. Love to see your before and afters, and share on socials as well. Tell people you are doing the moody project in Lightroom and then other people should do it too, because it's a really great course. All right. I'll see you in the next video. 79. High Contrast Black & White Lightroom Presets: Hi everyone. We're going to take colored image and make it black and white. I'm going to try and focus it in on our subject here with masks, as well as making it black and white. I'm going to show you how to have full control over your black-and-white one more before, after. We're going to focus in on this flower here. Let's get into some high-contrast, black-and-white wedding photography. To get started, grab black and white one and two and bring them into Lightroom. We're going to start with this one here of the suit jacket, and so there are presets. We can go into our editing panel, we can go to presets. There's two kinds. There is a black and white for portraits, which really looks after skins a bit better then this one here, which is styled black and white. There's no rule on each of them but if you've got a lot of skin tones, we don't, it's better to use portrait black and white or this one here. Just hover above them and find something you like. There's a bunch of presets in here, and the cool thing about it is you can just open up these and just see what they're doing because there's going to be things that you want to change. Watch this, if I hover above it, can you see I can see what's going on in the black and white mixer, I can see what's going on in the tones and curves. To have a look, I think they're doing something in the point curve here. Can you see a little S-curve? I can't really point at it, but they're lobbing of the whites and the blacks, we've done that before. It's really consistent across these black and whites. I don't like to do it when I do it, but half of these presets habits, so it's something to try. There's a bunch of presets, but let's go and do it ourselves to get a bit more control because its presets are good, but it's cheating. [LAUGHTER] It's not cheating, you can do it. To make things black and white, there's a big button right at the top. You have to scroll right to the top there. It is there. Boom. It's not black and white, generic black and white. What the big difference is, is that can you see down here the color? If I turn it off, it's the color mixer which we know and love. Watch this, black and white, it's the black and white mixer, so that's the big change. So the processes, well, my processes is that we need some really good contrast for like a really high saturated black release high contrast black, and you can get contrast from the contrast slider, which I always add a little bit generic contrast but you'll find that you get a better contrast when you're dealing with the clarity. Clarity will look at the mid-tones and try and separate them out. How high you go, this one's a little weird because there's a quite a distinct pattern in his jacket. You can see when I get high it gets a little bit messy so I'm going to have to leave that off a little bit. What I could do here is lower down the texture, so it's a little softer. Lots of wedding photographs end up being a bit soft, just the glow of the wedding. Good place to start. Clarity up black and white. Then what you do is you work your way through these black and white sliders. Basically, what it's doing is it's saying, okay, there's resonance image. Where is it? There it is there. It's hiding in the flower and there's some in his hands. What do you want to do with it? Do you want it to be dark or light? You decide. Actually, it's the balancing heel of the hands versus the flower. I like the contrast in the flower, but the hands are looking really weird over here. See? I'm going to say actually you are going to be left alone because the hands are looking strange. The orange. What do I want I do here? Orange is a lot of skin tones, so what do I want to do? I'm probably going to lower them down just a little bit because they're quite cool there in the flower, yellows, there's quite a lot of yellow going on, mainly in the background, some reflections on the skin, so don't be afraid to go back and forth to see what it does, and then find that happy medium-looking around and you go ended up there. Greens. There's a bit of green in there as well. I'm going to push them back because I like that it drops the background off. His jacket, it's got a bit of teal aqua and a bit of blue in it. It's a sleety color, and what do I want to do? Probably down a little bit. We've seen with the blues. Purples, there's no purples and there's no agendas. Now the next step for me would be a couple of things, little bit of vignette to draw the eye to the middle or too much Dan, come on. Now might be a time to introduce a color grade. Now, black and white, I mean, it's not always black and white. I want the shadows. What do I want to do them? I want to maybe add a little bit of blue, just a little bit and it highlights a little bit of warmth. You can see I'm just coming up just a teeny tiny bit. Can you see it's still black and white but it's got a sepia look? So maybe lowering it down a little bit. No, so it's just a hint. Before, after, before, after. What we might do is you might leave it there and copy and paste it across different, a huge photoshoot. Great. Maybe you can go to Edit, Copy, switch to something else and go to Edit, Paste. These were shot at different times, but I think this one works pretty good on it. Nice. Remember you can select all of these and select Paste, just copy and paste, and it can go across all of these once you've got your settings. I'm going to undo that. Another thing I might do now is dependent. This is the real focus area and I think it gets a bit smooshy in there. Can you see it's not, there's definition that I want. I'm going to go and add a mask, and I'm going to say just a radial gradient and I go, yeah. I'm going to make it a bit bigger. The outside is how far it goes and then this bit here is how fuzzy, how much of a blend it is. Masking is slightly different, right? You don't get that black-and-white sliders again, but we can use the tone or the light. I can decide on what I want to do in here, back-and-forth, add a bit more contrast, or maybe a little bit. Probably not contrast. Probably going to be clarity or is it there? It's doing funny stuff to his jacket. I got too far. Takes you up, takes you down. What else do I want to do? Highlights, just going back and forth to see if there's anything I can do for these flowers. Just a bit soft and those petals. Have I made it better or worse? Let's have a look at sharpness. Just drag all the slightest in. [LAUGHTER] Noise reduction. Don't need. Dehaze, yeah. Double-click it to get back. Is it better? Is it worse? Remember if you're a small version, pop it out at the eyeball on, off. Get rid of those show pins and tools, on, off. I think it's a little brighter and a little bit better. What do you think? If key member, full-screen, stand back. Do the spin. I'm liking it. Let's do one more together and I'll show you another thing that you might run into. G, double-click this one to open it up. This one here is, there's not a lot of contrast between her and the background. Before I go and make it black and white, what I'm going to do is just lower the exposure for the background. I'm going to start with a mask. Select Subject. Be amazed, the amazingness of Lightroom. Show the mask. There it is there, and I'm going to invert it. I'm going to say invert Mask, and I'm going to say lower the Exposure. Way too much but just there's a bigger difference. You know what I mean. Okay, so that's going to be enough. Now back to general overall masking. Go back to that edit. Remember my rules is black and white, come down to clarity. I love you. This one doesn't need a lot. It depends on the look. It's looking a bit not what I want. Okay, texture, I'm going to maybe lower it down a bit to soften it. If you look at this, so texture, you can remove texture to soften it up, and we've used dehaze before to accentuate stuff, we can use it to soften things up as well. Do I want to do that? Let's go fix on, off, on, off, on, off. I think we've done a whole lot of it. On, off. Yeah, I'm there for that one. All right, so back to fit. Now we're going to work through our black-and-white sliders. Black and white mixer, we're going to go red. Is there any red? There's a little bit in her lips and her ears, I'm just going to pull [inaudible] . Add orange, lot of skin tones. Again, I'm not really looking at where orange is, I'm just looking at my image and going, where is it? Where do I don't want to go? Yellows. It's quite a lot of yellows in this one. One of them quite dark with that high contrast. There's greens, I like them down. Aquas, there's none. No blues. Give a jiggle, no purples. No agendas. Now, I really want to focus in on her more, so I'm going to start with a vignette just to move in those edges. What I really want to do is this is the main focus. I'm going to go to my masks now and say Create New Mask. Let's create a radial mask. I'm going to go from like that's the area that I would want to. I'm going to do this and then I'm going to invert it and I'm going to do more exposure, madness. Obviously too low, and in saying that, I'm going to move it up a little bit. It's got her, maybe down a little bit further. Let's do that because I want both her head and the flowers kind of part of it and exposure, not so. Let's have a look before get rid of those pins, go away pins. That's just that one mask. I don't know, fuse, it's probably a little bit too much. Let's lower the amount down, or we can just lower the exposure, doesn't matter, or raise the exposure. What do we think? What are you thinking? I probably want to do even a third mask, old crazy man. Let's go that one. I'm going to do a linear mask because I really don't like this dress. I don't want her to be in a circle either. Is my mask there? It is there. Turn those back on. [LAUGHTER] Sorry, show pins and tools. You are actually helpful. [LAUGHTER] I've got this one here. What's that one? I got a couple of mask on. Whoops. I'm going to do something like this because I just want to lower the exposure for just that part of the dress. Not too much, just to draw the focus up, too much. Look at us using multiple masks. Let's have a look. They're in the shortcut, Dan, Command 0, it's there if you are like me, Command O, Command 0. It's Command O or Control R on a PC. So before, beautiful image, afterwards, oh, it's too much, isn't it? I was going to leave it there but I can't. I'm going to bring up the exposure. I've just done too many, I think, over the top of each other. What do you think now? Yeah, nicer. That is nicer. That is black and white images in Lightroom. Use preset, we can save our own now. We can say Dan's awesome preset is going to be saved and we can go plus, give it a name. Let's call it black and white. Often what I do is I put my name in front of them, and because you can download other people's presets and you'd be like, which one is it? All the Dan's ones are the ones that Dan made. The only trouble with this one is the masking does a lot of the work here, and that's why you download other people's presets and they're like, oh. [LAUGHTER] They're a little underwhelming because a lot of the work comes from you deciding as the photographer, which parts are going to be pushed back a bit further to draw the eye. Often the crop has a lot to do with it as well. Including masking in here wouldn't be useful because it's so different for every image. One thing we didn't do on this last one was color grade. Do we want to add some other parts to it? It's nice, a bluely one highlights just a hinteous bit of orange in there or yellow, not green, red. It's cool, color grading on, off, just a hint. Off, on, off, on. What do you think? Do you like it? All right, that is it for black-and-white images in Lightroom. I'll see you in the next video. 80. Class Project 18 - Black & White: Hey team, it's time for black and white class project. I'm going to set task for two images, a wedding photograph and a skater image. Remember, Unsplash, Signature Edits, Adobe Remix, wherever you're getting yours from. If you're a skater, awesome, photo of yourself. The reason I've got these two is that we were quite limited when we're doing our black and whites in the last video because we can't get really gritty. We can't add any of that grain and really get super over and contrast it with the blacks and whites because it's a wedding. Black and white wedding photographs are meant to be this beautiful subtleness to it. Whereas something like a picture of a skater. Now it can be a skate, it could be what is that, rollerblades. It could be rollerskates, something urbanese sport like this because you'll be able to go a bit further with black and white grit. Pick one of each and just notice yourself what you feel like you're allowed to do, what the client would like. Choose whether those, credit the photographer, upload it to the assignments. Share on social media. I will see you in the next video once you're done on your class project. Enjoy. 81. Duo Tone Spotify Color Grade in Lightroom: Hi, everyone. In this video, we're going to do something called a duotone. Let's have a look. Duotone. Duo, two, colors, tone [LAUGHTER]. It's that Spotify look, old posters for rock and roll bands or punk bands. This green and blue one, that's mostly red one. But look, we can pick any color we like. Let me show you how to do it now in Lightroom. To get started, we're bringing in two images. They are duotone 1 and 2 from our color grading folder. Here, you can see at the moment I brought them in and it's put them out of order, how I wanted them. Just a reminder, you can order by capture date or import date because that's what I want. The last two at the bottom. We're going to start with this one and we are going to show you the easy way. Let's go to edit. Let's go to black and white, which is weird. We did this already. We did black and white and we miss from black and white and then eventually we went down to color grading. We went this and this, something like that. But we're basically there. We just got to push it in more. Actually, I want the shadows to be blue and all the highlights to be Spotify look. You can see what is there, it's a little bit of work to do to it. This one here, sometimes you need the mid-tones to help out. This one doesn't seem to need it, but you could get the mid-tones to help out and the green, will help out in the blue depending on your image. I'm going to double-click it to put it back. What next? There are two things to do. Blending and balance down the bottom here to get a sense of the blending of the moment is really gradual. I want it to be really stuck like blue now in green. Balances how much, this is quite an evenly toned image. It is fine in the middle but you might have to push it one way or the other depending on the image. Now I'm going to go down to clarity. I probably would have clarity first just to accentuate the contrast. Then back up to here. We'll notice that blue is not really appearing very much. What we can do with the blue, which is applied to the shadows, we can say luminosity up or down. I want it out, pulling that effect. Same with the highlights too. I want to up or down. Because up, you end up with this third color. It's going to be duotone, two colors. But if there's a lot of white in the image, you're going to have to lower it down. Sometimes there's not enough you are like, there is still light in the image. White parts. What you can do is you can come up here and go actually hue. Remember our point curve? We've used it a few times, mainly for this clipping the whites off so go away whites. Don't want any whites at all, dragging them down. Blacks, do I want any blacks? I can raise that up. Probably not. Mainly it's the whites there adjust the color can't be applied to too much highlight because there's whites in the image. You can lower this down until you're happy with it. The next thing is, is to work through your black-and-white sliders. You are going to work the black and white sliders and through this light one to get the effect you want. The main parts is to make the shadows and highlights and [LAUGHTER] the colors that you want to do for duotone and then play with the blending and just crank it right up. Everything else is dependent on the image. Play around with the luminance of the highlights and the shadows, then work your way through the color mixer. I'm just going to get back and forth to see which basically we're making them lighter or darker, the reds. So that they're either applied to the blues or covered by the green, or the teal. I think the one down here. Orange is a lot of the skin tone in there. I think I like the real stark contrast between the two. Not looking for obviously a great image, I'm looking for a real big difference between the greens and the blues. No magentas, everything I pick has no magentas of [inaudible] in it. Once you've done all that, you can leave it or you can start working your way through the light panel or you'll have more contrast. Removing detail, goodbye detail. Here we go. Cool. I want to crop it as well. I feel the crop is not quite right. Grabbing the corner and then grabbing the center of it, moving it across. Here we go. Before, after. Very cool. Let's do one more image. Let's go over and use my left arrow to go back here just for practice. Let's go and do that order again. Let's make it black and white at the top there, black and white. Let's go down to clarity and just get in light of contrast going. All the clarity depends on the image. Some images just can't handle it and they sent me up looking a bit bad. This one here doesn't really nice job. Do an increased texture, I'm probably doing this one. Want that? It looks cool and no poster-y back when nobody could afford more than two colors in a poster, you had all these duotones done. That's the effect. Now go to our color mixer and we know we're going to go blues and maybe yellows in this one. Oranges. Yellows. Black and white are clarity, black and white. Head your color grading to the shadows and highlights and then blending. Then work your way through things like the shadows, how dark or light there. Shadow is going to come up so that they can absorb that color a bit because when they two are dark, they are just black. You've raised the luminance of the map. Hello, horses. You allow it to be brighter, and more luminant so that the color can attach to it. Same with the highlights up, and down, again, I probably not going to get enough of the color that I want. Balance, more blues, I think I like it here. That's cool. More so remember the trick is if you don't, it's called a white image, you can lower the whites down so there are no whites, so that the orange has got more to attach to. Mine is yellow. Let's go back down to my color mixer. I'm going to go more to the orange. We get all the way out, do the mid-tones need to help out? Well, I think they do, here we go. It made the mid-tones orange as well, needed some backup. Sometimes you need the shadows to be backup, but there is a lot of those nice dark t-shirts. Now I'm going to work my way through the color mixer. Reds does too much blushy stuff to his skin. Oranges are cool, but too much skin tones as well. What was his original background color? Pink. There's a lot of the skin tone in the background unfortunately are the same. It's going to be hard to pick them out from each other without doing a mask. We can totally do a mask. Blue jeans are aqua in there. I want that screen-printed look where it's just really thick. Ropy contrast. There's my duotone. Before, after. We could do a mask. Let's do the mask, will do the mask. One thing is I want the blue to attach to the shirt more so what can I do is only so far you can go with this. Again, we can go up to our point curve and say actually there are no blacks. It's got more of the blue to attach to it. Now I've done that balance. I think about these, cool. I'm going to see if I can use a mask, I don't know for sure if this is going to work. Let's go to mask, let go to Subject. I'm going to invert the mask once it's done. I'm going to lower the exposure of the background to try end, not do that, but just try and push the background just a little bit. I like it. I like my mask before. Just a little bit of definition, excellent. Before, after. That my friends is duotone. Actually, it's just black and white and adding that color grade like we did before, but just way overdoing it. Now, I have not done my light. I did the black and white mixer I'd now go through and do this. How much do I? It's bad, but it's good. Gritty. You see me using these things, I just go nuts to throw them up, throw them down, and see where they end up. When I'm teaching people, they end up dragging nice and slowly. It's hard to tell what's going on. Getting there, good we go. There we go. Before, after. Don't do anything in the tone. Before, after. I think I made it worse [LAUGHTER]. Duotone in Lightroom. See you in the next video. 82. Class Project 19 - Duotone : You guessed it. Class project time at duotone. I want you to pick two images to do this effect too and for each of them to pick a tutor in Colossians. Just different color. Different images, image choice is up to you. Have a little experiment you'll find that some images are just naturally better looking duotones than others. Some of them that don't have it a central focus can be a bit tricky for duotone. People are always good, people doing cool stuff that might be on a poster is always good. But anyway I picked two images I don't mind what they are, do the color grade, two different colors and upload your before and afters credit their photographer, upload it to the assignments shared on social media, tell everyone that you're having loads of fun doing the duotone class project from the Lightroom course and that's it. Enjoy, go do it. I'll see you in the next video. 83. Color Grading Secrets Full Process Reductive Lightroom: Hi, everyone. This video, this is a weird one. This is like what I do more often than some of the other styles where we do full color and put a real stylistic approach on top of an image. Whereas these ones here, this is before and this is after. This was before, this is the after. This is more typical of the work I'm going to do where I don't want to really say, you're going to be dark mood. I'm going to say this image. I'm going to pull all the color out and then just add the color that I feel enhances the image. This one here against the background here is some blues and yellows and stuff going on. That's fine. But I pulled them all out and basically only live the reds and oranges in here because everything else was taken away from the image, in my humble opinion. Let's do some, call it reductive color grading, where we remove all the color and just add back in the things that enhance it. There is no actual name for it. There is no, oh, that looks like that. We let the image decide what color grade it needs. Let's get-go. Bring in images, Reductive 1 and Reductive 2. Let's open up, Reductive 1. Great image. Great composition. Lots of color going on. What I'm going to do is take it back and show you how I would approach color grading. I'm not trying to bring a color or a mood to an image on the left, the image decide where it needs to be. Sounds very esoteric. What we're going to do is we are going to do not too much in the light. If it needed really big contrast and work here, sure do that first. But for the moment, it's got some strong whites and some strong dark's. What I'm going to do is going to go down to color. We've done this before. We're going to go to our Color Mix and we're going to go. All the color is gone, black and white. It's pretty cool. But what we do now is we work back through the colors and decide whether they add or take away. It's totally up to you. I'm on reds. I'm going to say up. Adding to it. I don't know. I'm not sure. Sorry again. It's a real work through it. Let's go with orange. Oranges and yellows are going to have something to do with the skin tones, so I don't want her to be gray. But see was quite bright and the last one. I'm just going to add a little bit more back in. Same with the yellows. I'm going to drag it back and forth. Again just a little bit. I'm just like, I don't like it like that, so I'm going to have it low. Do I like it completely off? Probably. Maybe a little bit to full up the skin a little bit, greens. Have a look. There is a lot going on in here. Do I like them? I don't like them so bright, but I reckon they're quite a cool contrast that rude, especially when they're quite washed out like that. Next one, is there any aqua? Can't see any aqua going on. Blue, loads of blue in the sky. The original image had a lot of blue. I don't think it adds to what I'm doing here. I'm going to remove it completely? No, I'm just going to leave it in there. But just to keep, I feel like it compliments this really nicely now. So purples. Hey, I finally got an image with some purple in it. I don't want any of it I just don't like it. It's appearing in places that I don't think add to the image. It starts distracting from our model here. Same with magenta. Do we have magenta? You can see it flickering in there. Just a little bit. I don't think it adds to it. There you go. There is my color grade. Before, after, and instead of trying to put color onto it, like we did with color grading, we just pull everything off and just brought everything else up to how we fill felt we want it. Now, I'm going to go through and do clarity to add a bit of contrast. Now that I've got all this, I can't help myself a little vignette. Just move the center in there. I feel like I might need to warm the whole thing up. His skin's just a little bit sickly. The temperature I'm going to warm it up just a bit as well. How much? Don't be afraid to jiggle it. There we go. I might have to add some of those yellows back-end that I said I wasn't going to add, just a warm her up a little bit. What do you think? Before, after. Color wax on, wax off. Compositionally, I'm going to hit "C" for my crop tool. I'm probably going to wish I had more on this side, which I don't. Say you either going to do a balance or completely and do a big crop. Don't try and squeeze it all in. How are we feeling like? It's hard to see without heading into. Before, after. It's probably a little too tightly cropped, don't you think? Because I'm probably going to have to keep this out, and just deal with the new image over this side. I feel like that's a bit nicer. Rule of thirds, can you see I'm trying to keep her in that center line there. Before, after. I'm going to go and, what am I going to do? I'm going to grab a mask. I'm going to go radial gradient and I'm going to go because I want to bring into focus around here again. I'm going to invert it and then lower the exposure around a bit of vignette, but being a bit more focused around the center a bit here. Command 0 on your keyboard to get rid of the lines, before, after. It's a color grade without it being named color grade. Just removed everything and the stuff I wanted back in. There you go. Let's do one more image together. Let's go to G. Let's do this one here. Cool image. It's just lots of colors going on. I think it would benefit from moving and losing. I'll show you one more step where we add a greater real subtle grade as well. Same thing again. I don't think we need to do a lot of work with the light. We can do this afterwards, again, if we need to. But I'd like to probably crank up the clarity. Already. Quite cool. Go to color. I'm going to work my way through these guys. Again, my reductive process. Remove everything. Reductive the right word? Probably not. Additive because we're just adding the ones we won't back. Keeping the reductive though. Reds, I think, are an important part of this and really cool. Well, here we go. How far? When you get to saturation up, don't be afraid to grab the luminance as well and decide, that's cool, but a bit bright. Reds are in there, with orange come along. A bit for the skin. Yeah, why not. Lighter, darker. I think I like a little bit darker. Yellows. What do we got going there? Reds are a little bit of life to the skin, but it doesn't read stuff in the background here and this. I'm going to keep it down and off. I think the skin is holding up perfect with the orange and the red. Green. There is a little bit of green up here, but I don't think it adds anything. That's why I have it. Aqua. There is some of the surfboard here. Do I like it? I'm not sure. Some reason I close one eye when I'm looking at it. Does it help? Probably, no I think I'm going to leave it there. I'll leave it in. Leave it out. Blue. Blue for the sky here. I'm not sure. I don't think it needs it. I think the red is doing most of the work. No purples. There's a bit of magenta in here. Do I like it? I think I probably just like it more red. I can keep it. I would just add to the redness. Before, after. Before, after. Same thing, same image. Not a really big look change. But I think just by pulling colors out and not just having everything because they were there. I feel you've made a whole lot more decisions about colors. Only add the ones that add life back into the image. I said that I'll do one extra little step, and is the color grading here. We've done very big color grading. But just real subtle stuff. I'm going to double-click them to get back. This one here, I'm going to go to the blues or maybe I'm going to warm it up this time. I always go to the blues because I like it I need to cut that out. I'm probably going to go back to the blue. But I'm just doing a little bit. Just a tiny little grade. Then the highlights, can they go deliver to the blue? Just a tiny bit. Here we go. Before, after, before, after, before, after. I think I'm going to go the way. I am. Shadows are going to be blue. Cooler. The highlights are going to be yellow. Green, yellow, red. Just a tiny bit. Do I make the shadows a little darker? Probably. No. They are fine where they are. This one here. This is a good one because there is a lot less of me being prepared and just going through and deciding what works. There is a lot more of tongue out like when I closed, is this good? Before, after. I'm going to add a little vignette. I probably would go, I think that's probably enough. Never enough vignette. What do you think? Better? Worse? The last thing I might do in this one is have a look at the tone and see. It sharp pretty nicely. Let's have a look. Contrast. It's not a big chunk. Just a little bit highlights. Now a little bit of a detail in here. Move it up. I think I like that. I think it was fine where it was. Up and down. I liked the mutinous of this, but I think the whites needed to come up just a bit. The blacks, we don't want to do those on them to be visible. But I don't want to see a lot of detail in the [inaudible]. This is me talking out loud, giving justification for things that I think look good. I don't want detailed Just drag it back and forth and find what I like and then try and find words to describe it, which is tricky to do sometimes with creativity. I don't know, the same language processes and what looks good. It's hard to connect them up or at least with my limited vocabulary. Here we go. I need to hit the source. What do you think? Good? I do. I think that some of that messiness in the background here was distracting from her great shock, great composition, and adding colors back in that you want rather than just forcing a color style on top of it or trying to make all colors work nicely. That is it. That's my secret source for color grading. That's not a real color grade. It's more just enhancement, but you have graded. You have. I'll see in the next video. 84. Class Project 20 - Reductive Color Grading: Hello. It's reductive color grading time. Remember, I made that word up, so we can spread it. I want you to use that method from the last video. I want you to do three images. I want you to let the image decide what it is. Pull all the colors out of it. Do things like clarity in your exposure, etc. But let the image decide what colors come in and what luminosity, which ones that make the cut, which ones don't. Experiment. We're going to be using three images. Animal, vegetable, mineral. If you don't know that term, basically, animal is something that's alive, vegetable, something that grows, and mineral, that's something that's neither of those two. You can be very liberal on those. Animal, we're animals, humans count. But you could use dogs and cats too. Vegetable, anything that grows: trees, vines, grass, actual vegetables. Minerals is anything that's neither of those. It could be rocks and cliffs and mountains and stuff, but it also could be a house, something that's in our life. You get the idea. Give it a go. See what you get to. Some images will come out great and some images won't. But that's the practice. Don't be afraid to use a Moscow tool as well, and make sure when you're finished to show us your before and after for all three of them, upload into assignments, create the photographer, and share on social media. That's it. Go see if you can pull out the colors and just add the ones that you think will work along with using other techniques\ that we've learned to [inaudible] . Things like clarity and contrast and all your light settings and dehazing, any and all of it. But adding those colors back, just the end. Go to that and I'll see you in the next video. 85. When Should I Start Using Photoshop Instead of Lightroom: Hello everyone. This video here is about where Lightroom finishes and where Photoshop starts. We touched on in the beginning of the differences, then we did a little bit of replacement of the sky and looked where Photoshop comes in. Now that we're getting towards the end of this course, I think it's important to know, Oh, can I do this in Lightroom? No, that's a job for Photoshop or where does it get done? That's my goal for this one. I also want to get you pumped about maybe learning Photoshop for photographer and it is a great extra tool on top of Lightroom. Not essential to have a look at this video and decide that I need to know that as well. The other thing is that we're going to go quite fast. Obviously, it's taken us this long in our Lightroom course to get capable. It's the same thing for Photoshop. I'm going to try and go slow enough that most people can keep up but if you find like it's a bit overwhelming, it's cool. Just kicked back, watch and get a sense for where Photoshop is and it might be a next course for you. What are we going to do? We're going to go all right, we do our editing in Lightroom. I've got this guy looking good. I'm calling him Bob. I don't know his real name, but I've opened it in Photoshop that I just want to actually clear cut them on a white background. That might be exactly what you need to do from Photoshop. You just export it from Lightroom, put them on a white background or maybe your product photography on a white background. That's it. You're done back into Lightroom but what if you need to make Bob younger, really young Bob or Bob like a regular Bob. Young Bob. What if we need a colored background and not a white background? Colored background. What about if l had a swoosh to it? Oh, look how dynamic that is. Let's put him on some background that we edited in Lightroom brought into here. Look how majestic he looks now on the mountains but what a Photoshop could say actually, I don't want this as the original shot I want it to be green open lands. This is the same shot. Just stretched out and Photoshop has a make it some springtime filter. It did, it just changed everything. Same mountains. I made it wider, but I also just made it nice and lush and green. Cool as that. Plus one and the other big moves from Lightroom to Photoshop is the introduction to things like text; hope [LAUGHTER]. This is his 'vote for Bob' [LAUGHTER] poster. Get ready for a bit of a whirlwind but I think it's important to know where Lightroom finishes and Photoshop might start for you or not. Sit back, let's do this. Sit forward. [LAUGHTER] Let's do this. Let's get going. The two images I'm working with, are head shot and a landscape. I open up both of these. I'm going to start with the head shot. We've got a photograph that's great, nice composition, great looking model, looking very, I don't know, buzz lightyear-y? [LAUGHTER] But we need to do some basic corrections. Exposure looks all right. A little bit of contrast always highlights. There's not a lot of them. Shadows with whites and darks. Always, it's pretty good to start with, we don't have to do a lot except we need the clarity. Let's say we're happy with it except for maybe the temperature. Auto does auto too much, so before, after, before, after. What we want to do now is click at him. I want to get rid of the background. It's been shot nicely. It's a nice and even background, but I need to get rid of it. It needs to be on a white background. I need it for the group of head shots that I've got. This is where we got to something like Photoshop because Lightroom just doesn't do it. There you go. You can fudge it a little bit in Lightroom by creating a mask and maybe raising up the exposure in the background and that'll probably work in this one because it's quite nicely shot but we never get great stuff like this. So we're going to go out to Photoshop like we did earlier so file, edit in Photoshop. This is where the main difference between Photoshop and Lightroom r, is something to do with layers down here. Again, I'm going to do a rough demo so you can follow along if you want but it gets a little tricky quite fast. What I'm going to do is I'm going to rename this background. Instead of background, I'm going to call this one head shot. I've got a layer. What I want to do with this layer selected is up here in my properties panel, there's an option in here that is magic, remove background. This is where Photoshop just goes, bam, background gone. This little checkerboard here is representative of invisibleness. What I can do now is I can say I'd like a new layer. This new layer is going to be called background [NOISE] and I'm going to go and say Edit, fill with the foreground color. I'm just going to fill it with white and click Okay. Where did it go? This Photoshop has this layer order. Background is on the top of the moment hiding the head shots. If I click hold and drag background look, underneath. I now I have a white background. If you're doing product shots you can fix them in Lightroom and get all the corrections done because you know how to use that and then maybe you just pop into Photoshop. If you've got a subscription to your cutouts, remove backgrounds, it's amazing. Now if I save it, and I can jump back into Lightroom. Give it a second. No, you got a close it down in Photoshop, which I just did and it will update in Lightroom. Save, close it and that might be all you need and now you can do if you're exporting. Might have to crop it again. But now if I want to go any further, this is where we break away from Lightroom. We start with Lightroom, but then we finish with Photoshop. What we've done so far is round tripped back to Lightroom, but there's lots of times where I'll need to edit in Photoshop. My layers are all still in here, but what I need to do now is not be connected to that original photograph. I'm going to go Save As. I'm going to save it to my Cloud or to my hard drive. I'm going to save it as a Photoshop file and I'm going to save it to my Cloud documents to stick go with everything else that we've got. This one's going to be called my Bob's head shot. [NOISE] Now it's disconnected from that original image. Why do I want that? It's because I'm going to do so much in here. I'm going to make this just a permanent Photoshop file. What am I going to do? I'm going to make the background colored. I'm going to select the background. I'm going to pick a foreground color and I'm going to say, I don't know, let's go edit, fill with the foreground color. When I say I picked a foreground color, I'll double-click in here. Move this little hue slider around, pick a color. I'm going to pick something there. Trying to complement that background colorish. Now what I'm going to do is I'm going to make another layer. This little new layer button, and this one's going to go Edit, fill with the foreground color, which is my peach, and I'm going to transform it so Edit Free Transform. We're going a bit fast I know. [LAUGHTER] Photoshop is a complicated enough program. I know a guy, it's got a course. You can see what I'm doing, transforming it, just moving it around the corners, making it bigger and then zoom out the same shortcuts command minus. I'm just going to make this bigger because I'm looking for some dynamic slushy, squishy thing for our website or the annual report. Look how dynamic he looks. Layers are a big part of what makes Photoshop different from Lightroom. You can do masks in Lightroom, but not layers. The other interesting things about Photoshop, think photo manipulation. Let's say Bob's come back to us and said, actually, can you make me look a little bit younger and you're like, I can indeed filter. I'm going to go to Neural Filters. I've got this layer selected. You might not have seen that. Let me close that down. Cancel. See I add this one, this one, this one, I want head shot selected. I'm going to go to Filter. I'm just trying to impress you with Photoshop. [LAUGHTER] I went through all my Photoshop material and went what would really get them pumped about learning Photoshop? People that already know Photoshop, what would get them be like, Oh my goodness, I didn't know that was in there. I should do a course by Dan. [LAUGHTER] We're going to start with Smart Portrait. Turn that on and I'm going to say, let's make him younger, facial age. Watch him. Look at that since button down the bottom here before, after, before, after. [LAUGHTER] It's pretty cool. We can make him older, but he's not old, but he's older already and it's more interesting going backward. What else can we do? Some of it works, some of it doesn't work great to have a look. One of the things I use a lot other than facial ages of gimmick and light direction like you're trying to match images. Watch this. I can change the light. Can you see what's on his left. But say I want the lighting to be on the right, you can go back in time and light him. Watch from the other side. How cool is that? There's so much cool stuff in Photoshop. Let's combine a couple of things. I clicked Okay there, and I'm going to go to Select, deselect to get rid little ants turning around the outside. Next thing we want to do is combine a couple of photographs from Lightroom. Another thing that Lightroom can't do so I'm going to jump back to Lightroom and I'm going to go back to my All Photos. Recently added, ones I added a little while ago. Where are they? Hit G. Where are they? This one here. Same thing again. I'm going to do my editing in here. I'm going to go through, let's have a look. I need some shadows. I need some white, a little more white. Definitely need some blacks. Maybe more blacks. Oh, it's looking cool. Temperature I'm happy with. I'm not going to do my color mixer trick just because we're going fast. Clarity always up. I don't need too much of it. Dehaze. It's getting a bit strong. Dehaze and then lower the where is it, saturation a little bit. Come back down buddy. Wrong saturation. [LAUGHTER] Saturation. I was just desaturating purples [LAUGHTER]. Happens to the best of us. Maybe I'll bring down the vibrance just a little bit. We do our editing, then we go out to Edit with Photoshop. What I'm going to do in this case is I'm not actually going to connect them up. All I want to do is go select "All," "Edit," "Copy." Come to this one and say "Edit," "Paste." I can close down that landscape now because it's all I used them for. Now back in light room, that one is just fine here in Lightroom, but I've stolen them for this separate Photoshop document that I made. I'm going to go to "Edit." Transform's going to be a long one people. I hope you're ready. You've seen the length of this video. I'm going to hold down my "Option" key on a Mac, "Alt" key on a PC. I'm drag it up so it covers the background, [NOISE] hit "Enter." Remember, layers again. I'm going to move my head shot above them. You're like, "Oh yeah, it's cool. Look at that." Look how majestic he looks now. I moved him around by selecting him over here and using this first tool, but let's turn him off. See this eyeball here, I can just turn them off for a second. Let's click on the background and the clients might come back and say, "You know what, Dan, could you make it more wintery?" and they're like, "Could you go back and shoot that one on winter?" You like, "I could. [LAUGHTER] I'm trying to remember where I was on this huge mountain range. Sure, I can go do that." Then you open up Photoshop. You select the layer, you go to "Filters," go to "Neural Filters". Again, when you come down to a common and the new ones called Landscape mixer, turn that on. You say, "Can you make it more like this image but more snowy?" Prepare yourself people. This thing is amazing. If you thought clarity was good, you wait for Neural Filters. It's winter. How did it become winter? Look before, after, before, after. It even changes the mountain. Look, there's snow on the mountains. Same mountains. Look at the sky before, after, before. Look, it's the same tufts of grass poking out. Let's say no, and you do it, and you've trod back over to this mountain in the snow and they say, "Yeah, the snow was good, but actually what I thought was, can we do a spring one?" So you've got to wait till spring and you go back or to just like one here that looks very springy. Prepare yourself again, double prepare. From snowy, to lush and green. Look at that. This is where Photoshop stands out. Lightroom is all about making your image as great as it can be, whereas Photoshop is about photo manipulation, let's change it. You can do correction in Photoshop. One of the big things you can't do in Photoshop is you can't do any of the organizational stuff where we have albums and we have the grading for stars and where they have flags or not. Applying it to multiple images is really tricky in Photoshop compared to, say, Lightroom where we have presets but look how cool that this, oh man. We say, "Okay, we're going to do that." Let's click "Okay." We turn Bob back on. We de-select that background. Can we say Bob doesn't really suit this one? We're going to do a couple more and then I'll let you go. [LAUGHTER] I'm going to waffle on for a little while. What we want to do is Bob here, the head shot. I'm going to say "Filter," "Neural Filters." There's just some of my favorite new stuff that actually saves the day. I'm going to say down here, let's "Harmonize." Yes, harmonize. This has a mask on it. So I'm going to harmonize. I want to harmonize what? I turn the little tick on and took on. I want Bob to harmonize with this background here and watch him change. Can you see? He now blends with the background colors. Before, he was very different, shot in a studio lighting. Now Bob look like he's there, but it gets the colors mixed nicely. Cool. Crank up the strength, does it make it any different but he matches now, turn it down a little bit. Let's do a couple more things. The artificial intelligence in Photoshop is pretty spectacular. There's bits of it in Lightroom. More and more of it creeps in. Layers are really different. One of the other big things for me is content aware. We looked at content aware erasing. Remember where we remove things from objects, just magically went away. We did it for pimples and did we do it for the bat as well? Whereas photoshop takes it to another level. Let's say that I need to make this wider. I'm going to grab my crop tool, which is the fifth tool down on the left here. I'm going to let you come out a bit. How far? I don't know but that far? I'm going to click the little tick or hit "Enter" on my keyboard. Then I'm going to grab my rectangle marquee tool. It's like a selection tool. I'm going to drag a box starting out here, clicking holding, and overlap all of this. Let's do a different way. Let's do the better way. Let's have this layer selected and let's go to "Edit" "Content-Aware Scale." Content-Aware, gets used quite a few places in Photoshop. This is one of my favorite ones, the Content-Away Scale. If I hold down "Shift" on my keyboard and grab this, drag it to the right, watch what happens to the background. I got my background layer selected, it's just getting bigger. Look at it. Look at it go. It's just wider. I'm going to hit "Enter" on my keyboard. It's pretty special for things like that. I'm going to grab my head shot, grab my move tool, get Bob here in the middle, looking more majestic. The last thing that makes Photoshop different is for marketers or anybody who wants to add things like text and logos and stuff. Let's just do text. I'm going to grab the type tool. I'm going to pick a font, go through all your fonts, find one. I'm going to pick a condensed one because I've already got a thought about what I want to do. I'm going to use "Ultra Black." You can use any font you want, Impact. I'm going to type in hope. I don't know why. He seemed hopeful. I'm going to select the text. I just click once and typed hope. Select the text, pick white. Remember, I just click hold and drag it over to this white area. Pick any color you want. I'm going to go to "Edit", "Free Transform." I'm just going to drag one of the corners until it's massive. It's going to be a massive text. Text is something you can add in Lightroom. Let's go here. Because I hit "Enter" on my keyboard to commit that, and because we can put the head shot on top, he could be sandwiched between the word hope and the background layer. Look how hopeful he is. Vote for Bob. Now this is a bit of a whirlwind tour of Photoshop. I wanted to throw in all the things that I think a key for when I would stop using Lightroom and start using Photoshop, anything that needs it layers. Just a simple white background. Clear cutting, anything that requires multiple layers, like our mixed colored background here with all these different shapes. Anything that requires super photo manipulation like we made him look younger. We changed this background to be springtime, we changed it to be winter. We matched the background in terms of the colors using artificial intelligence or Machine Learning. We added text, viva la Bob and viva la Photoshop. You don't have to. A lot of photographers will not touch Photoshop and that's totally fine. For me, as a generalist in a lot of creative things, I love Lightroom for large shoots. If I've got one image, I'm happy just to edit it quickly in Lightroom and then get it into Photoshop for doing all the other scale degree but if there's no manipulation, Lightroom is better. It's faster. Photoshop can be quite slow on a machine because it's built for something else. It's built for manipulation and it's great edit, but it can be a little bit chunky when it comes to trying to do 10 images, 100 images. For that, Lightroom is perfect. If it did give you a flavor of like, "Yeah, I want to do Photoshop as well," we're at the end of this course. I'm ready for Photoshop. I've got a Photoshop essentials and a Photoshop advanced. Check out the intros for both of those. Even if you are reasonably good at Photoshop, I have found that loads of people get loads of value out of doing the essential ones first as well. There's going to be a bits in there that you know, but there's lots of people that are self-taught that could use doing essentials as well. That is my cross-sell at the end. I hope you enjoyed this little Photoshop whirlwind tour. Bob, thank you for your participation. That is it. I will see you in the next video. 86. Can You Edit Videos in Lightroom: Your question is, can you edit video in Lightroom? Yes ish. You can do color correction and color grading like we've done in these cars, but you can do editing, like stitch videos together and cut it here and slow it down here. It does color correction really well. This is the original video that we start with, and then watch, bam, look at that. Before, I don't know, overshot, but too warm, look at that. We do another one. We do starting with this, very cool, and then we graded that dark, moody look, so good. We get to use the power and skills that we have in Lightroom now as the newest feature to actually grade videos. Very cool. Let's get going. First up, there are video files in your 15 video folder and I've made note of, and dragged them in like we added images, no different. We're going to start with this picture of the car here, so double-click it to open. You scrub along. See this little "Play" button down at the bottom here? You can play it, listen to the sounds. Nothing much going on. I've got the shot. I'm going to color grade it, so color correct it, and then color grade it. Those are the two things you can do. You'll notice though there's a bunch of stuff we can't do. You can't use Healing Brush, you can use masks. If I get it to somewhere, we're going to color-correct the whole thing, but I want to get it to a point where it looks good on this frame here. I feel like this is a good one to correct. We could use our presets, so I'm going to editing their presets, but bits of them it's not going to work, which is going to make it troublesome. I've got a black and white. It says partially incomplete preset. Just because videos are new to Lightroom, it's not really its business, does a little bit of it, but there are a chunk of things that we know that video can't be applied to it. In this case, it didn't do anything. Some of them work, some of them don't. I'm going to hit "Command R" "Control R" to reset it and not use presets. I'm going to go through and have a look. What I'm I going to do? I'm going to do the same thing as before. I'm going to look at what I've got in terms of exposure. I'm going to lower it down a little bit. It was a really bright day. Everything is overexposed. I'm going to work my way through with a little bit of contrast. Problem with this is I love contrast, but I love clarity even more. Clarity doesn't work at the moment. Clarity, texture, dehaze not working. Vignette works, grain works. Some of them do, some of them don't. Let's have a look at the ones I want for my color grade do. Highlights. I'm going to work again back-and-forth seeing where we're going editing blacks, so before, after, before, after. Solid color in terms of the temperature. I want to cool it down a little bit, it's quite warm. Vibrance went up. Up a little bit in the vibrance. It's fine. Let's have a look at the color mixer, and I'm going to do what we've done in the past. I'm going to go through at saturation, down, down, down. Remember my secret source of making images, in this case, videos look better, it's the reductive methods. Take everything off and add back what you think adds value. Saturation. I'm going to oversaturate the reds a little bit because both of these cars are red. You can scrub along to make sure that if you've got some really big color changes, you're facing one way and it's a big neural, and you face the other way and it's a boring old indoor shot, you might have to move around in this to make sure you're not fixing one to ruin the other. Mine's pretty consistent all the way along. Orange. I don't normally like getting oranges back in, but I need it to fill up, the car gets a bit graded, and you can adjust the hue of this, so I'm going to make it a little bit more pink. Saturation up, luminance darker, lighter, or darker. Did you feel that? I felt it. Before and after. Yellows, so much yellow in that grass, and I don't want it. I'm going to have it a little bit there so we don't have gray grass. But here we go, greens. I think take away from what we're doing, so again, to fill the gray whole without going too overboard backwards. There's none. Blues, I think the blues are pretty cool. They had that stillness to the bumper. I might make them a little bit more aqua instead of purple luminance. Let's darken them down a little bit, just a little bit. Purples, there's a little bit, can you see in the end here, I think they distract from what we're doing. Same with the magentas. I'm going to lower those down as well. Let's have a little play through before, after, before, after. You can see I can play it and go my backslash, backslash. Look how much more dynamic it is. Cool. That's awesome. We've got a grade. We'll do some color grading in the next one, just because, but exporting it, you can export it. The export settings are just different. I'm going to export it as an MP4, full size, and that's what I'm going to use. It might be going up, social media, might be going into another video editing program. That's what I do. Grade it in here. Actually, I can do a lot of the same grades in something called Adobe Premiere Pro, so even though there is this color grading here and color mixer, they are the same things in Lightroom, but even more because color grading it for video obviously is Premiere Pro's main job, so there's more options for color grading for videos. Even though we don't use Lightroom very often for editing videos, you might do it because you don't want to learn Premiere Pro. If you did want to learn it, I've got a course, there's an essentials and an advanced, and it covers a lot of different things. I'll show you where I took this particular video. I ended up doing this thing. What I've done is I've actually put it in the video files. It's called Z, to keep it at the bottom there. You can watch it, we'll watch a tiny bit together. I'll show you where I went with this video and how you could maybe take it with Premiere Pro. The timing's not perfect. I'm an average videographer. I like all those dips and wheels and everywhere. But have a look at it. But it's a really cool next step for Premiere Pro class, we cover things like wedding videos as well, commercial videos as well as some of those more social ones like that, but you get to use your same camera. My case, that was portrait because it was going out to socials rather than the normal format. But you can see how you could shoot and do your color correction, and then the color grading like we did with the color mixer all from Lightroom, then you might export it for something like iMovie or Windows has a movie maker thing, and you can stick them together in that. But you could want to go through the Premiere Pro Essentials or Premiere Pro advanced. We imported it, we did some corrections we exported it as an MP4, and this will get better. They've only just introduce this, and being able to use videos. It'll get better as time goes on. Let's do one more together. G. Let's open up this one here, and instead of correction, we will do a grade. I like it how it is, so I'm not going to do much of the correction using light. Should we do dark and moody? Yeah, let's do dark and moody. Let's go exposure down quite a lot. Here we go. Let's bring up the whites a little bit, so there some bits left in there. Got a bit washed out. Let's have a look. Who remembers how to do moody? I do. Let's yank them all out. This is like before where we add the colors that we think we should add back in. Reds, there's no reds in there, oranges. I quite like them, bring them up and let's overdo them. Yellows, don't do it for me. Greens, we're going to need. There's not much then, it's remaining the buildings. This one here, let's bring it up. How much there either, blue, there's bits in there. There's not much color in this whole thing at all. Lot of it is in the yellows unfortunately. I'm I going to have to use yellows? I could use yellows, and I can make them more red , that's what I'll do. A lot of the work is going to have to happen in here, in this color grading. I didn't practice this one beforehand, can you tell? Let's go in here, let's darken them up. I like the blues. I've already got a lot of oranges in there, so we don't need a lot. Do I want to darken them down or brighten them up? Mid-tones might have to help out here, and maybe they'll go into the cooler colors. Before, after. Let's play it. Before, that's after, before, after. Spooky. Blending, let's have a look. I think in there. Blending, I'm going to crank it up so there's no blending, it's really abrupt. The balance, I'm going to push it between the lights, oranges and the blues. Vignette, of course. Before, after, all from the power of Lightroom. Let's play it. Nice. The cool thing about it though, is now I can go and copy and paste these settings because I know that everything I've done here will actually work for a video. I can either save or preset. Remember the top here, presets, and I can create my one, you might call it video-Gothic. I can apply this to other ones, or I can just copy and paste it. I can go to edit, copy, find another video. G. Go back to this one here, open it up and hit "Paste". Some settings come along, that's okay, but I've brought everything from that last edit. Doesn't work as well on this one. Well, it depends. Depends what you think, then undo it. I liked how I did it originally, but you get the idea. 87. Class Project 21 - Video Grading: It is the last not homework class project. This is video grading like we did in the last video. I want you to grab either your own video, something you've taken. It doesn't have to be super fancy, just something you've taken on your phone or on your camera, whatever you've got, or you can get something from something like Pixels. We've used Unsplash, that don't have videos at the moment. Pixels as a website that does. They have commercial-use videos, just make sure you credit the videographer as well. Some great stuff in here to use. What are we going to do? I want you to pick a distinctive color grade, something we've done in this class maybe Google. Google top 10 color grading themes, and see if you can pick something else out that may be different. Follow the tutorials, use the skills that you've got and pick a different color grade. Now when it comes to deliverables, I realize we're doing a photo editing class. In say, my video editing class, I make everybody get a Vimeo account. We use Behance to upload the videos. But it's the end of the course and not everyone's going to have the ability to do this. The minimum is take a screenshot of before and after of your video editing. So that I know you're doing the video, take a screenshot of it in lightroom rather than exporting it, and just so I can see the timeline here. On my Mac, it's command Shift 4. I can drag a box around all of this, including all of the video. That's the after that saves to my desktop and then I can turn it off by going to reset and taking another screenshot of the same thing so I can see the before and after. But for the adventurous and the people that are keen, there is the optional and upload it too. Behance is a good place uploading video, you might already have an Adobe Behance account. The easy to set up, the free Vimeo as well. There's a free account for that. Just upload it to that and then in your assignment section, post the video. You can use YouTube if you've got an account there. I have had problems in the past where if we're uploading the same content as other people, you can get taken down from YouTube but use it at your own risk. But Vimeo and Behance, I know work perfectly. Do your edits. Take a screenshot before and after, but if you can actually export the video from lightroom here, once you've done your edits, you can go export it. You have the original already and you can export this MP4 so you can see before and after. If you want to go even fancier if you've done my video editing course or you know how to use iMovie or Windows video, something rather, you can do a code before and after. I've just stuck them on the timeline. This is the before, this is the after so that part way through, you see it changes. You can do that and upload that so we can see before and after I got fancy, you are. That is the last class project. Make sure that when you're uploading to the assignment section, post the video link. You can upload videos directly, but post a video link or your before and after screenshot and credit the, in this case, videographer and share on social media, especially if it's a video. It'll be cool to see it. This is the last of the class projects, I think. Go off enjoy it, be amazed that you can use your amazing now photo editing skills to work on video in just a limited way, fine. If you did end up going into video editing thinking it's a coup next step for your creativity, know that when you get to color grading, you'd be like, I know what I'm doing. That's it. I'll see you in the next video. 88. What Next After Your Lightroom Essentials Course: That my friends is a rap. You have made it to the end, congratulations. I hope you're feeling like I feel we go in this journey together, it's a lot of work, it's a lot of fun. I'm exhausted, I can't wait to not be doing this course for the next few weeks or doing any courses, and I hope you're the same. I hope it's good bit of work getting your brain going, but also really fun. I love making these courses and I really hope you love doing them. Let me know in the comments if you have finished and what you thought of the course, and let's now talk about what next in your journey. There's obvious next steps in terms of software, obviously, the next step is doing, just editing finding any excuse to get your camera out and spending time in light room is the main important part. But the next part and your maybe creative journey might be the obvious one is something like Photoshop. Photoshop, I've got a Photoshop essentials and a Photoshop advanced. Now even if you've got some modest skills in Photoshop do the essentials, even if you just skim through it because there is a lot covered in there that if you're self-taught, especially if you're self-taught after a while ago and you will have missed lots of chunks and then do the advanced. That's a good next step because we looked at it in the course. It's a great companion to light room. After that might be something like light room where you, well, it's not hard, but a lot of jobs that come up, end up falling into photography slash video. In terms of video editing, something like Adobe Premiere Pro. Again, I've got an essentials and an advanced coarser as well. Same thing applies again, if you've dabbled a little bit in Premier Pro, do the essentials because there's a lot covered in that course. I know you well enough now, but you might be heading in different directions. Like I've got UX design courses and web design courses and graphic design courses, all around things like a lot of the software, so Premier, well let's just talk about XD, Figma, Webflow, After Effects, there's InDesign, there's Illustrator. I've got a UX theory course. There is lots that you might carry on with me or with somebody else, up to you. I'd also like to thank the Bring Your Laptop team that helped me get this course together for you. The editors, Jackson Hummels and Taylor Coleman, spent a long time getting these ready for use, so nice and smooth with all the Zooms. Also Taylor Sloan, who did a lot of the reviewing for this course, and also the people that help you along, our teaching assistants led by none other than Stephen Butler, you probably know him and his amazing team of teaching assistants. If you haven't yet, here's all my social media stuff, follow me on the various platforms. Also, there is a YouTube channel as well, so follow me there. Lastly, if you can think of a way of sharing my course with others, either it might just be talking with a colleague, it might be posting online somewhere. Any referral keeps me gainfully employed in this online course creation world, it means I don't have to go out and get a real job. I get to stay here in my windowless room making videos, which I really enjoy, there are windows. I should show you the windows. This is it, this is the finale or finale with showing there is actually light outside. Let's see, xylene, so it could be great. There's one there, there's one here, well, you can't see the chair is in the way, you can see. Up here, this is above my garage at my home. There you go. Where is Wally or where is Waldo? If you're in America. You will notice like, where did the chair come from? It wasn't in the beginning videos and the 3D printer wasn't in the beginning videos. All of that has happened. These things take a long time to make, and those things have appeared in the office since the beginning. Good on you if you spotted them, but that is it. Awkward ending Dan time, goodbye. See you everyone, I'll see you in another course. Bye.