Transcripts
1. Welcome to the Adobe Lightroom Portrait & Landscape Photo Editing Masterclass!: Welcome to the Adobe
L ightroomPortrait and landscape photo
editing master class. If you already
know the basics of Adobe Lightroom and want to take your editing
to the next level, then you are in the right place. My name is Hosnaehui and I'm a photographer and designer with over five years
of experience. I have worked with
Adobe Lightroom to edit many portraits, landscapes, and
everyday pictures. A good photo editing
session isn't only applying filters
or using presets. You need to look
at the picture as a problem and think
about how you could solve that problem using the many tools and the many
skills that you may have. That is the key focus
for this course. We're going to be looking
at various types of images. So we're doing
portraits, landscapes, and images that need a little
bit more time editing. So we're going to
begin with portraits. That's something that everyone
wants to learn how to do. Not only are we going to
make the image look nice, but we're going to learn
how to remove blemishes, enhance the skin, enhance the features that the model has, and generally make the subject then we're going to tackle
landscape photography. So that's going to be a little
bit different approach, where we're going to tackle
poor lighting, doll colors, and anything else that needs
fixing so that we have a nice and beautiful atmosphere
and not a flat image. You will also complete
a fully guided project, meaning that you're going
to take an image from start to finish using all the skills that you've
learned so far, and I'll be there to guide
you with every single step. Finally, we're going to
jump into Lightroom mobile, which is a very handy way
to edit pictures on the go, and we're going to learn
about the differences between the two interfaces. By the end of the class, you'll learn how to approach an image in a more
confident way, because now you're looking at
it as a problem and you're going to be trying to solve
it with various techniques. So let's go ahead and get
started with our class.
2. Portrait: Fixing Exposure and Lighting on Faces: Mm When it comes to portraits, it's so important to look at every single detail that
makes your subject stand out. So the goal with portraits is to show the features
of your models, say they have a unique feature. You want to highlight that with lighting, detail, and contrast. So right over here, we
have this portrait. This is available in
your resource pack. Go ahead and download it
and add it to your library. So when it comes to portraits, the first and most
important thing is to fix the lighting
because without light, you can't really see the
true colors and the details. That's what we're going to
focus on in this lesson, and I'll show you what
to look out for and how to avoid some very common
mistakes that people make. So the common mistake is to simply try to fix the
lighting with exposure. You try to add a few points to there or maybe it's too bright and you want
to bring it down, and then you just
leave it as it. Exposure alone will not help create that natural lighting
or studio lighting, whichever environment
your subject is in. You would need to combine
a few of these sliders, and I'll tell you which
one is for what and which ones you should combine
depending on the scenario. So I'm just going to dabble
click on exposure to reset so that everything
is back to zero. So exposure, think of it as the intensity of that light bulb that is shining on your subject. This is needed depending
on how dark your image is. For example, if we have
something like this, we would want to add in a
few points for exposure. But my image, it's not too dark, but it could use a little lift. So I'm able to see the
details and the colors, and that just indicates
that I don't need to go to an extreme
amount that much. And exposure is something
you want to add with few increments because
it makes a huge difference. So I'm just going to grab my
slider and add a few points. So maybe like 40, 41. As you can see, it's
not even half a point. Only needed this much. But I'm not done with
the lighting yet. Even though the image, the entire image is bright
enough for me to see, the highlights are still a little dim and I'm not
seeing enough contrast. The contrast is something I'll use quite often
in photo editing, and that just means that
there's a huge difference or a minor difference between the darker parts of your image. And the brighter parts. So for example, the
subject's hair, it's like a dark brown, whereas her face
is a bit lighter. You can clearly see, let
me just zoom in here. There's a difference
between these two borders, and the same thing applies
to the background. We have a dark yellow color, and then we have a
white wallpaper. So there is a fine
line between the two, and I want to maintain that
unity that the image has. Again, we're seeing these white flowers in front of the hair, which is a dark brown. Same thing with eyebrows, her eyes like blue. So you want to just highlight that contrast within the image. By using these lighters. Alright, so we worked
with exposure. That's the only
thing we did so far. Moving on, we're going to increase that contrast
we talked about. Another beginner mistake
is people trying to fix the contrast issues in their image with
this lighter only. So they will do something
like this and call it a day. Now, while the contrast
lighter is meant for that, the smarter thing is to add a few amounts
here and then use the other four options to really highlight those
differences that we talked about. Because this on its own is
a little bit too extreme. I'm sure you guys
can see right now. If I add a little
bit more, it's, like, very obvious
that this was edited. If I go to the other end, you know, it's just a
whole different story. So same thing with exposure. You're not trying to fix the
whole problem in one click. You're trying to
add small amounts of the setting right
now, which is contrast. Until you have a good base to
build upon with these four. So leave the contrast,
something like this. I could use a little bit more, but I'm not going to
do that because I want to achieve that look
with highlights, shadows, whites and blacks. So so far, we just
fixed the lighting, and we added a little
bit of that difference. Now, the highlights
are going to be the brighter parts
of your image, and that is usually
the subject itself, the background, if there's a sky in your image. That
sort of thing. So using this slider, you can adjust how bright or how dark those
highlights are. So for me, my highlights
are a little dimmed, so I'm going to add a few over here with the
highlight slider. Because we have a light source shining onto our subject's face, we want to make sure that we maintain that
within our editing. Next is the shadows. So this is the same idea as highlights except it's
the other way around. So that's the darker
parts of your image. And I'm just going to
make things darker. And create that contrast that
I was telling you earlier. So for me, I do want her hair to be a little bit more present. So I'm going to be
reducing my shadows. And so far, you
can see that we're building that contrast
very naturally. Lastly, is whites
and then blacks. So these are little white points and black points
within your image. Whites will be little points
that are very bright. This is a little bit more
detailed than the highlights. You can see that it's mostly going for this
section of her face, the flower, the background. And I'm going to
do the same thing. So try to add a little bit here. And then for blacks,
I will reduce to, you know, create more
of that contrast. So now with the lighting
alone, this is what we have. Now, you can always come
back to this section, the light section, and
adjust things as you go. But right now, we have
the right foundation to build upon colors, and that's going to be the
focus of our next lesson. A
3. Portrait: Retouching Skin Naturally: Right. In the previous lesson, we took this image and we
fixed the general lighting. So this is what we had
in the first place. We worked with some
of the sliders within the light category, and now we have this image. So obviously, it's a
little bit brighter. There's a lot more contrast, the highlights stand out, and so do the shadows. So the hair is looking good, the skin, the temple,
and all of that. As I said earlier, you're going to have to fix your lighting before you
can begin with detail, any sort of adjustments
you have to do, and, of course, color. So now in terms of lighting, everything is good as a
base because I could always come back to this later once I'm done with all
the modification, maybe play around with a few of these sliders if it's needed. But in today's lesson, we're going to be doing
some retouching. Now, the term retouching
basically means that you're going to be modifying
part of the image, whether that is to
remove something, add something, hide
something, you know, anything else that you would
want to kind of dig in there and fix before
you export that image. This particular image, we do have some imperfections
on the skin, and this is a very common thing people do when it
comes to retouching. Sometimes there's, like, a
distracting mole on the face. Maybe there's a little
bit of makeup done wrong. There's a smudge on the face, and instead of re
taking that picture, people tend to fix that
in post production, which is where we are right now. In my case, you know, it's
just these little details, and we're going to be removing
them using Lightroom only. You could use Photoshop, but actually Lightroom has
some pretty good tools available that use
AI and masking to, you know, make whatever
you're trying to do possible. So we're going to go to
this eraser looking tool and click on it once. So now we have a few
options. We have remove. So this is you can
see a demo down here. You're able to remove anything from the image and then it's going to replace it using the
details around that area. So for example, if I let's
lower the size of my brush, if I get rid of this
spot right here, it's going to look
at the rest of the skin and the lighting to
try to replace that area. You can zoom in with
your track pad or use the zoom over here and use the space bar to move
your canvas around. So I'm going to zoom right in on the spot and use
the size bar right here to get a decent size that I could basically
select this pimple. Below, we have two things. We have used generative AI, and then we have detect objects. Now, you could do this
without generative AI. Basically, trim is going to take these surrounding skin and
just clone it into that area. But generative AI will use AI to recreate that texture
that you just removed. You want to make your
images completely AI free, just uncheck this box. But if you don't
mind the extra help, just have it checked like this. Now, detect objects. It's going to basically create a line across all the
things that are separable. So in my case, we don't really have that many
different objects. Say I had an image where
there's like 20 cards. Each of those cards
would be objects. And therefore, when I
want to remove them, I don't need to go
over the edges and spend a lot of time because the objects were
previously detected. I'm just going to
uncheck this and keep generative AI turned on. Let's use our brush using the remove tool and just
go over that lemish. Once you're done, let go, and you can see that we have
selected, add or subtract. So now I'm able to
add or remove from my selection before I
actually remove anything. Another beginner
mistake is trying to put every single blemish
in one selection, especially when it comes to areas with different lighting. Now, this may work
if you're lucky, but the better
approach is to target one area at a time and then,
build multiple selections. So, for example, this area is a little bit darker
compared to this area. And instead of trying to put all that burden
on one selection, I could do that as many
times as necessary. So first, let's go ahead and
work with the darker area. I'm going to tune back
in. And grab a few of these other points.
Got a few here. You can do single
clicks as well, and I think that's it. So just a few spots. Once I'm done, I'm just
going to click Remove. So right now it's using AI. Again, if you don't
want to see this, just uncheck the box and have trom do it the
old fashioned way. Alright, so we are
going to zoom in here and notice that we have
three variations right now. And if you click on
the next variation, it's showing the
different ways that AI was used to
reconstruct that skin. So for me, the
second one is good. And once I'm done, I could
just let it be as it is. You can generate more, say you were stuck
with this option. It doesn't look that clean, especially on the edge. You can generate that again or lower the opacity
of that change. Going to keep the second one, and now we're going to
make another selection for the brighter area. So same brush, same tool. I'm just going to make
a few more circles on the areas I want gone. And if you're using a mouse, you can use your cursor to
change the size of your brush. That's another option, but just make your
little selections. Alright, so once again, we have that variation option. Choose the one that works
best for you and then proceed to make more
selections or exit the menu. So if I just go over here, those little circles are gone, and I could better see if I
need to make more selections. So for me, this is fine. I'm not going to take
every bump out because I'm trying to keep this
as natural as possible. You know, faces do have bumps. They do have imperfections, so you don't want
to give the subject a flat face without any
pores or lines because it's going to be very
obvious that you used a lot of editing
for this one image. So now we have
retouched the skin. Next thing I'm going
to do is go over the masking panel and just kind of blur out the
details a little bit. So we're going to go
over to this panel. Using the brush, we're
just going to make a very rough selection of the face and then undo that
with Commander Control Z. Set your brush size like that. And then I'm going to
make this really big. Notice the ring around
the main circle, that is the feathering. So that's how soft the brush
gets as it extends out. If you're dealing with faces, you want to make sure you have feathering on or else
it's going to be, like, a very sharp adjustment. So let's make this smaller. Flow and density. This is how much
of that adjustment is going to be applied
to your selection. So I'm going to
lower the flow and the density so that
whatever I do is not, you know, too extreme
for my model. Once I have my selections, we're just going
to go in and let me get a bigger brush and just, you know, make that selection. So notice how compared to
the first selection I did, it's a lot lighter and the
brush is looking very soft. That's exactly what we want. So I could let go
of my click and build upon that by
clicking on another area. You can change the brush
size with your cursor or the slider up here and just go over the areas where
you think it needs, like, a little bit of matting. But again, we have a
low flow and density, so it's not going to be
too extreme to begin with. Something like this maybe
a little bit around and if you went over the areas
where you shouldn't have, such as areas that need that detail, such
as, you know, here, or if you went over the
eyebrows by accident, just use the eraser to
remove from your selection. So never go on the eye
detail on the eyebrow. You know, if you have any object in the image like these leaves, you want to keep them away from whatever adjustment
you're doing to the face. Going over the lips right now, the nose, these are all
areas that need that detail. Okay, so once we're done, we can go ahead and
scroll down here and decide what goes
onto this mask. So this red thing that
we just painted on, this is called a mask. And whatever I do
on the right side, you can see it says light color. It's only going to be
applied to the red area. So, for example, if I
remove the saturation, it's only going to be
happening to that area. So for me, I'm just going to go all the way down to effects, and we're going to
remove from the texture. And a little bit from clarity. Gonna zoom in here.
So this is before. You can see the little
details. This is after. So it's a very soft matt effect. You can think of this as like
foundation, and, you know, it just helps take out a little bit of those
extreme details. But you're still able to
see some of those bumps, you're able to see the lines. So I didn't do a lot of change. I just did a little
adjustment to make the model look more soft,
her skin, at least. And you can always go
back and adjust the mask. So if I scroll up, I could use my brush to add more to an area. There we go. So that is
the one for the skin. And you can repeat
this with the hair, say that you want the hair
to be a little bit darker, maybe a little bit
towards the red side. You can easily create a
mask with your brush. So this is just to demonstrate going to make
something like this. Go down and make this and say, I just want to make this blue. You can see the hair is blue. It becomes purple as well
when I play around with these sliders and I'm able
to make masked adjustments. So I don't need the second mask. Et's delete this and just stay
with our first adjustment. So that's about the skin.
Very straightforward. Light room makes it
really easy for you guys. And you can return back
to your main editing tab, come back to this, and make
your further adjustments. In the next lesson, we're going to focus more on the colors and the
details within our image. And then once we have
those colors and details, we can do some final
adjustments and be done with our portrait. Right.
4. Portrait: Enhancing Eyes, Colors, and Details: All right. Alright, so
this is where we left off. We adjusted the
lighting and we made our subject have a
smoother and cleaner face. So we went over here. We made a bunch of dots, and then we came back
to the masking tab where we removed some
of those textures. Now, let's go ahead and
first figure out what we want to change in terms
of color and detail. I'm going to get started
with the color first, and then I could go
in with my mask, make something for,
you know, the eyes, the lips, and make my
way around the picture. So first things first, I'm going to go down
to the main tab, scroll down to color, and I want to use vibrance
to bring out the colors from things that are not
as saturated already. An example of this would
be the human face. It's not exactly
one solid color. It can't be blue,
it can't be red. It's a mixture of
different shades. So using the vibrance slider, we could bring out some of that natural color that the subject has and make
her look more aliive. You go with saturation, you're going to target things
that are already colored. So now that I have
added some vibrant, you can see the skin
is also changing. But the thing that
really pops out is the yellow in the back and
the green in the leaves. So I'm just going to
add a little bit of saturation because the green
already looks pretty good. And now we can move
down to color mixer. So this way, you can target one specific color in the image. I just want to change
the hue of my green, so I'm going to select it and
then change it like that. So I want it to be a little bit more cool green rather
than a warmer one. There's my color. We could
add in some color grading. I'll do this after I'm
done with the overall look so that I don't
have to come back and readjust my color grading. So let's scroll down
to texture to effects, and we're going to add a
few more details here. So increase the clarity
and add some texture. You could also dehaze this for a little bit
more definition, and you can see this is
before, this is after. So I think maybe haze is
a little bit too much. Maybe like too. Okay,
that's a little softer. We can also go into detail
and sharpen this further, but for me, I think
this is pretty okay. But if you felt like
your image is blurry, you can just come over here
and increase the sharpening. So we have the
base workork done. Now I just want to add in some light to her
natural eye color. And her lips as well. You don't have to do this,
but a lot of times, you know, the work that you do on your models don't really
show through the camera, so you want to enhance
those details. So what I'm going to
do first is go to the masking and make another
mask for the eyeballs, the pupils, and then
one for the lips. So hit the plus right here. Then using the brush, you
could just zoom in here, make an adjustment to
her eye like this. Hold down the space bar and
then go to the other side. Alright, so now it
should look like she, you know, has demonize. But now we can just go down here and decide
what we want to do. So I'm going to
increase the exposure, and you can see that
natural eye color that she has is a
lot more noticeable. You know, we could
work around with how much light we want in there. I think
that's pretty good. Scrolling down, we could
add into the saturation, and this is making
all the difference. That's just one thing
about the eye color. You could skip this entirely. If your subject has black eyes, you could add some
shine to it this way. But if your subject
has colored eyes, you could bring out that
color and make it pop more. The next mask is going
to be for the lips. So let's make a new one.
Brush, go to zoom in here. So a couple of things
about the lip. First of all, it's a
little bit choppy, and second of all, it doesn't have any color. That's going to be two
things that we need to fix. First, we're going
in with the brush, the size, the feather, and
everything is the same. I'm just going to
go over the lips. Just imagine you're putting
on lipstick for her. Then we're going to go
in with the eraser, a smaller brush
and just clean out this middle section because this part should
not be blurred out. Alright. So once I have this, I'm just going to scroll
down and remove from the texture and the clarity. So before, after,
it's a lot more soft. Next, we're going to
add in some color. So you could use the hue tab right here or one of the tints. It's completely up to you. So if I add some magenta, you're going to get
this soft pink. You could also add
to the saturation or completely change
the hue of the lips. But I'm going to try to
achieve something with the three sliders first and
then maybe add on to the hue. So now we have the
soft pink color. I'm going to go
in with my brush, but just lower the
flow and density and just work a little bit
around the edges of her lip. Just going in like that. So it doesn't look like a strict line around her lip line, but something that
looks more natural. Alright, so there's a lip. This is what we had before. This is after. So things are
starting to pop one by one. Just go to lower
the saturation and get a little bit of darker pink. This is optional.
So that's the hair, the eye, the skin. A is done. The next thing
you could do is play around with the masking to just make the subject shine
a little bit more. So her face currently
is a little dark. I'm just going to go
back to this mask that we made and perhaps add
on to the exposure. Like, by a tiny
bit. There we go. And now that I have
this, you know, in terms of lighting and
everything, it's looking good. We have the color set. We can also change the
color of certain things. I'm thinking of changing this to a color that's not
similar to her skin tone, just so that it pops more. So a new mask, I'm going
to just grab that area. Doesn't have to be
perfect because it's surrounded with white, and I'm just going to
change the hue of that. So you can see I'm able to switch that into
something else. I think this red
looks pretty good. Fix the the mask and notice how it didn't go on the shirt or
the background, even though my
brush was very big. That's because we're changing the hue of the existing color. So like I said, ltrms
very easy to use, and it's pretty handy
for things like this. Alright, so now we
have this effect. I do want to play around with
the lips a little bit more. Let's lower the contrast a bit. Alright, so now it's
a little bit softer. Optional. Again, you
can make it dark, bold, soft, whatever you prefer. Alright, so now we have worked with the details
of our portrait. The last thing we
need to do is maybe play around with the
ratio, the aspect ratio, maybe crop something, and see
what sort of color grading we could put onto our image to relay that mood that
we're going for. So I'm going to stop right
here for this lesson, and we're going to
finish off this image in the next one. Alright.
5. Portrait: Final Touches and Geometry: All right. So this is where
we left off with our image. If you want to see
it before and after, you could just go down to
the bottom and just hold it. You can use the
backslash key, as well. So this is what we had before. This is after we cleaned
up the blemishes, we made the image just brighter. We brought out the colors, and we even changed
something in terms of color. Now to finish off, we're going to work with
the overall geometry and the size of the image. So when it comes to cropping, rotating, that sort of stuff, you want to do what
you can to have your subject be the first thing that the audience will see. So right now, the only thing
in the image is the subject, so I don't have that much
of a problem with this. But say they were, you know, someone's head on the side, I could use the
cropping method to take that person out or use the masking to remove
them completely. But for my purpose, I'm just going to rotate it a bit so that I'm aligned
with this line. So just like a little bit that. And while I'm at it, I am going to kind
of crop the image. So just grab the
edge right here. You can hold down Alt or
option so that, you know, it's scaling in from the center
and not from the corner. Once I have this, I could
hit Inter on my keyboard, and now my subject is a lot more in focus versus
what we had before. So, you know, work
around with your images. But if you're following along, you can now notice that we have, you know, a straight line here, and the subject looks
like they're sitting, you know, straight
up in front of the camera and not at an angle. When you do it before and after, you cannot see the crop
that you just did. This is only for the effects. One key here is that, you know, just like an essay
that you're writing, you don't want to try to finish everything in one sitting. So you want to edit
your image first, you know, take a break,
maybe walk around, come back to it the next day,
whatever you want to do, and take a look at it with
a fresh pair of eyes. And doing that
will let you know, see the imperfections
that you may have missed in the first place. And it also shows you, you know, if you are too intense
with a setting, for example, maybe yesterday
I did something Today, I noticed that it's
a little bit too bright because the thing
that happens with editing, especially if you're working on one image for a long
period of time, is that your eyes get used to what is on the screen and you actually lose track of what is natural and what
seems too intense. So you want to make sure you're not looking at your final work with hired eyes because you
will probably miss something, and that could end up being
a problem in the future. So if you did that,
you may have noticed, maybe you're too intense
with some of these sliders. Well, now is the time
that you get to go back to them and try to fix
a couple of things. For my case, I think I'm too intense with a
contrast slider. I'm just going to dim that
basically bring it down a little just to make
this a little softer. We also have the curves adjustment that I'm
going to use to kind of cancel out that green
that I'm seeing overall. So I'm going to go
to the green channel and introduce magenta. I would say that's the midtones, just a little bit
to cancel that out. And you could do
that further with the slider down here if you don't want to use
the curves adjustment. Maybe add a little warmth here. And I'm not adding that much to these two because I
do want to go back to the color grading
section and add a certain color to the
different areas of light. So mid tones,
shadows, highlights, I would suggest you guys
do your coloring here instead of trying to do it
via the curve slider or, you know, the temp and tint. You could use these to correct, but not really to style. So if you want to
style, come down here, and this will give you
a lot more control. For midtones, I'm
going to go for, like, a warm color, so maybe
something orange like this. For the shadows, I'll
go with a green. Going for that retro
look just very slightly. And highlights, we
could maybe try a different thing,
thinking maybe red. I think this shade of red. I did not add that
much, as you can see. So if you look at the middle
and this little circle, this shows you how much
color you just added. The closer you are
to the center, the less amount of color. If you go all the way
here, that's, like, the full solid color
that you just added. You're done, you
can come down to blending and blend
those colors in more. And you can also balance
them out so that not one color is
overpowering the others. So this is without
the color grading, this is with the color grading. You can see that we went
away from that green. This is the green that
I'm talking about. We made it more warm
and more retro. So that's for the color grading. Let me see what else we
could do. I zoom in here. I think in terms of details, we're doing pretty good. So this concludes
our first chapter. From the start, you
were able to take an image and convert it
into something a lot more. Appealing and a lot more
professional looking. In the next chapter, we're going to continue editing images, but it's going to be
for landscape images. So landscapes do not
have a human subject. Even if they do, they're
either their backs are turned to the camera or
they're not the main focus. So a landscape could be
a picture of a mountain, it could be like a lake, something where everything
needs to stand out at the same time versus a portrait
only has one focal point, and that's usually
a human subject. So we're going to be exploring landscapes in the next chapter. Finish up your portrait
here and let's go ahead and see what we could
do with the landscape.
6. Landscape: Fixing Bad Lighting and Flat Images: M now we are on to
landscape images. And basically with landscapes, it's pretty much the same idea. The only difference
is that instead of favoring one
part of the image, we're trying to favor the
entire thing at the same time. So if this was a portrait, we would really focus
on the human subject, maybe having their
details shine, brightening up the eyes, the hair, and all that stuff. But here we have a full scenery, and we need to make sure
everything here stands out. So we can't only
focus on the bridge and forget the flowers
or forget the grass. It's all one complete package. Of course, we have
different types of landscape photography. There could be a
scene where there's a really pretty animal
right over here and we do want that animal to be shining more than
everything else around it. But for this case, it's
pretty much a even field. We just want to make sure
everything looks good and try our best to bring
out the natural colors. Are present in this scene. So go ahead and
download this image, import it into trom
and in this chapter, we're going to transform this image into
something a lot better. Now, this image right here
does count as a flat image. And when you call
something flat, it just means that there's
not enough dimension, or at least the
dimensions are not ideal or that they don't
really stand out that much. There's not a lot of
contrast in this image. Everything looks very pale, and therefore, this
image is currently flat. So as always, we're going
to start with the lighting, fixing that and then
moving on to the colors, details, and some final touches. So I'm not going to be
focusing on removing anything or trying to
fix the orientation. Right now, we're only
going to focus on the first box right here and try to fix the
lighting a little bit. First of all, my
image is too bright. We can see the light
source coming from here. It's kind of making the greenery over here, like, very flat. Everything is white and not
green like it should be. So using the exposure slider, I'm going to reduce
that just until I'm seeing some details
from the flowers. So you can see
more of that green is popping now. That's
the first thing. Next, we're going to
add some contrast to create that depth that
we were talking about. Immediately, you
can see that green is popping a lot more, and we're able to see
all the details within the trees and the little
pads on the lake. Next up is the highlights. I'm not seeing that many
details from the clouds, so I'm just going to reduce the highlights until I
could see what's going on. Then we have the whites. We can look at the things are things that are
completely white, such as the bridge and the sky. I'm going to add on to that and then do the opposite
with the blacks. I want to keep those darker. You can see the rock here got a little bit more
dimension as well as the little trees ground. So lighting alone, we made
quite the improvement. This image is looking a lot more three D
and a lot more alive. Down here, we have the curves path with landscape photography, especially when you have a certain color across the image, the curves panel
is really helpful. So because everything
is a little too green, I could just use
this one slider to add the opposite color and
try to cancel out that green. Doing so is not going to get rid of the green for the plants. It's just going to
basically take away from the green that's on unnecessary things
such as the rock here, the bridge, the sky. And depending on where
that's happening, I'm going to just undo this. I would choose the position. So the lower you go,
that's the shadows. The darker part of the image. The higher you go, that's
the brighter part. Anything in the middle is
going to be the mid tones, and those are things
that are not, you know, too white
or too black. Most of this image is
going to be the midtones, highlights will be here, and the shadows will be here. So for me, I would
say the highlights. I want to just add a
little bit of magenta to cancel out the green and a
little bit for the shadows. So nothing from the mid
tones because I do want all these lush green
to remain green. And you can see just made a
little bit of a difference. Now, to take away from that flat look that we
still kind of have, we're going to go down
to the effects panel and add some depth via the clarity
and the dehaze slider. So let's add some clarity. That's going to add some
details to the objects here, and then dehaze, just to
lift everything at once. Add some gi, as well if you feel like the corners are
too bright or too dark. I'm going to darken my edges a little bit just to bring the focus more
towards the center. And that's what we have
with the effects panel. If your image is too blurry or you needed to have
some more detail, you can add some sharpening, but for me, I'm not
going to do that. Looking in here, I don't think we need
some noise removal. If you noticed a lot of
specs on your image, you could use the noise
reduction to remove from that. Usually the best place to see
if there is any noise is, like, the darker parts. So just to show you what
that would look like, if I added a lot of grain, you can see these little
dots all over my image. This is something similar to what a lot of noise
will look like. So if needed, you can add
some noise reduction, but we don't have that
problem over here. The first step is
complete for our image. We changed the lighting. This is what we had initially. This is what we have now. So it's a lot more alive. There's a lot more
contrast to it, and the image is looking
more real compared to this, like, flat image that
we first started with. The next lesson, we're
going to focus more on removing unwanted
objects or subjects. So in this image, for example, we have some little things
that are distracting, such as this red thing.
I'm not sure what that is. We also have little
white things. Maybe those are tissues
that were left by the lake. Flowers look fine, but there are some little stuff in
the water as well. And if you want, you can get
rid of the human subjects. So there are a couple of things that we need
to get rid of, but the most important
thing is to get rid of these elements in the best
way so that there is no, like, scratches in your image or anything that's too obvious for your viewers to point out. So let's go ahead and continue
editing this image in the next lesson. A
7. Landscape: Removing Distractions and Unwanted Elements: Okay. Welcome back. So this
is what we have so far. Before, after we only fixed the image via the effects
and the lighting tab. So the light tab
and the effects. I did not go over color yet, nor did I do any sort of removals because light is
the most important thing. So only do what we're
about to do now after you've done your
basic adjustments. Let's go ahead and zoom in on the thing that
we want to remove. I'm going to start with this
very obvious red object. It's very distracting. We're just going to head
over to the remove tab, use the eraser, adjust
the size of your brush. And again, if you want
to use AI for this, make sure this is checked. If you don't want to
have that happen, you can just uncheck this. So with the remove tool, I'm just going to
go over this area. Leaving enough room
for light room to actually remove something. So if you go too
close to the edge, you're going to have
that halo effect. You want to leave enough room. So once I'm done, I'm
going to hit remove. I'm going to be using
AI for the best result. But again, you can
just leave that out. And you can see I got
a very clean removal, and it was able to recreate the grass that's by the rocks. So that's my first removal. Next, I'm going
to remove some of the things that I can't really
make out what they are. Like, I'm not sure what this is. It could be like a plastic
bag or something like that. So I'm just gonna
make my brush bigger and go over that area
once again. I remove. And notice that I'm not doing all my removals
with one selection. Remember that you need to be
careful about the texture. So the texture here is very different from here
and also the lighting. So if I combine this in this, lightroom may make
up the lighting, so it may make this part
a little bit too dark, make this part lighter. You know, it's best
to do it one by one. So that's our second removal. I'm going to go around. Again, I'm not sure
what these are. So I'm going to just
make the selection. Now, because these two
are in the same area, same texture, same lighting, I could combine these together. So there's three things, and I'll remove that
white thing as well. I'm going to select
all of them and then hit remove. There we go. We have some variations. If you want to look over them, I'll stick with this one. Next up, the rock is
not looking that clean. So I'm going to
use the same tool to remove these little specks. Maybe they're mushrooms growing on the rock. I don't know. Could be something else. I'm just going to
look over. The rest of these specks are okay. The reason why I'm taking these off is because
they're, you know, on top of a dark surface, and they stand out a lot more. And I don't want the
focus to be the rock. I want it to be
all these flowers. So anything that's too intense,
I'm going to remove them. And using AD you can continue adding on
to that selection. Okay, we got some good removals. You can check the variations, but what I have right
now is pretty good. So you can see that we're
doing a lot of removals, and trim is doing a
great job so far. Looking around, I think
the rock is okay. I'm just gonna look over the water and see if there's
any, like, unwanted objects. I think we're fine here. I'm going to go over the water itself and get rid
of these things. Again, they could be
natural elements, but they are a little
bit too distracting. I'm just going to
remove the ones that are way too bright. And I think that's it. Just gonna click remove. Okay. So those were removed. And then going over, I think we're okay. I am seeing some human subjects, and I may remove this guy
because of the umbrella. It's a little bit out of place. So with the same brush, I'm just going to go
over this area and see how trom removes it with AI. That's person A.
Make sure you leave enough border person B. I think there's someone
else. There we go. Get rid of these people.
I think that's it. And we're just going
to click Remove. If you're new to photography and you do landscape
shots like this, you may want to try your best to not include clear faces of random people just
in case they find your image and they don't like that you
took a picture of them. So you can come into Lightroom, remove them like this, or maybe try to blur out
their face in a way. Sometimes that's the
best way to protect your photography going forward. Alright, so it did a good job. It just left a little
bit of the the umbrella, but I can see the variations
are a lot better. So I'm going to go with
variation number two, and I forgot to take out the
reflection of the umbrella. So let's just do that
separately. There we go. So now I'm distraction free, random people free, and I'm going to stop
here for removals. You could continue removing
things you don't like. And another thing that you
could do is maybe fill up this water space with
more of these flowers. You could use the clone
tool or the heel brush. So I'm not sure how, you know, good it's going to be, but we could give
it a try and then use the reference as
one of these guys. So you can see that
it tries to mimic the flowers can go over an
area that looks the best. Maybe somewhere
here and then use the masking to play
around with the lighting. But I don't really
like to do a lot of heavy manipulations
on light room just because we don't
really have layers here, and it's not ideal. But what you could do is export
this image to Photoshop, do your major
manipulations there, and then bring it
back into Lightroom. So if you go over to File, you can see there is an
edit in Photoshop option. This is going to link
this image to Photoshop, open it up for you on
the same computer, and you get to edit the
one image in two places. So that's a really helpful route if you want to do
something major like this. Alright, so now we are
distraction free. This is before. This is after. I'm
going to zoom in here. So we had a bunch of things
that we did not want, and now they are
gone. There we go. In the next lesson,
we're going to focus on composition
and geometry. So that's going to be
really important if you're trying to recreate a
peaceful landscape. Sometimes the angles
at which the image is taken needs to be altered
just a little bit. Maybe you want to straighten up the image based on
the horizon here. Maybe you can crop
something out entirely. Those sort of things come next, and we're going to be doing
that in our next lesson. Alright.
8. Landscape: Improving Composition and Geometry: All right. Now we're on to
the composition of an image. So we're just going to head
over to this tab right here, and there's a lot of sliders
and you may be tempted to just try to move each
one until it looks nice. But we don't really need that many adjustments for
this particular image. Now, the first thing you
could do is straighten the image using
this horizon line. This is optional. Some
photographers tend to like their image to be
in an organic state. Lot of photographers
like to use geometry to bring the attention onto
one part of the image. So that's completely up to
you if you want to straighten the image or just leave
it as it was shot. I will be straightening it
using the slider right here. And there's a grid
line actually that you could use to see if the
image is straight or not. I'm positioning
this line right in between this basically
under the bridge. And once I'm done, I
could click Enter. And now we have twisted
the image like this. Another thing that you could do. I'm going to undo this
is use the auto upright. So you could use two
points as reference. You can see that we have this
on our cursor right now. I'm going to make a
point right over here, basically where the
black line starts. Click once, and then
we're going to drag it. So click and drag until the
other end of the bridge. That's our first line. Second line, I'm going to use the top part of these
stairs as my reference. So I could even start
from here, click drag. I'm looking on the
left side to make sure everything is perfect,
then we can let go. So you can see that it sort of shifted the image entirely, and we are getting
some extra space here. But if you click
Unconstrained crop, everything now looks good. So not only is the
image straightened, but you can see
that it was sort of like skewed towards the right, and that is using the
auto layout option. Now you could add on to what Lt rim did using these
sliders down below, or you could just let it be guided with the two
lines that you made. Now, you could also switch this. So if you do auto, it's going to use its own calculations and
not so much your two lines. So if you go back to
guided, that's what we had. You could do level only, vertical or just full. So I think I'm going to
go with the guided one, what we did in the
beginning and click Enter. If needed, I could add
on using these sliders. I'm just going to go
over to horizontal and just kind of turn it
towards me a little bit. So maybe like eight points or so and then hit
Enter once I'm done. So now it looks like
it's towards me, but it's also straightened using the two lines
that I set out. So you can see this
is the change that we now the bridge is more in sight and it's not in a random kind of pulled
position that it was before. So now that we use geometry to kind of change the
way the image looks, we can now go ahead and work
around with the atmosphere, and that's going to
be our focus for the next and final
lesson of the chapter. Right.
9. Landscape: Enhancing Depth and Atmosphere: All right. So now let's
focus on the atmosphere, and that's going to be mainly regarding the color
of the image. So as you can see, I did not
do any of these whatsoever. We only worked with the light, and then we went on
to remove things and then use the geometry
settings right here. So using the color tab, we could begin
shifting the hues and maybe changing the way the
greens are looking currently. I'm going to start with
the vibrant slider, and that's going to target the colors that are
not vibrant already. So maybe some of those
trees in the back. And immediately, you
can see how much, you know, the
greens are popping. And to make that
even more amplified, you could add on a little
bit of saturation. So now we have that
lush green look, and it's looking pretty good. Temperature, I'm going to add on a little bit of warmth and maybe cancel out some of that green with a little
bit of magenta tint. So this is what we have so far. Now, I prefer to do a lot of my color enhancements
using the color mixer just because I'm able to
target one color within the image without changing
the other stuff around. So right over here
in the color mixer, I could target the green and
completely change the hue. So you can see the
bridge, the sky. Those guys are
remaining as they are. For the hue, I'm going
to drag it towards the right so that
it's a lot more cool. And we could maybe add some saturation and take from
that luminance just a bit. So the green is popping more. Next, I'm going to
go for the sky, so it could be one
of these blues. And if not, you could
just use one of the target adjustments
to click on it once, and I'm going to grab
the blue right here, pull it towards the right. So you can see
that was a mixture of the purple and the blue, and the sky is a
lot more blue now. We can come back to this later
with some masking as well. Next thing are the flowers. They're kind of pink,
but also orange. So using the target, I'm going to click
on it once and then pull it towards the
right side again. So before, after that red
is a lot more potent. So color is looking good so far. And now to pinpoint
some individual parts, I'm going to use the masking. So, for example, this rock
is a little bit purple. And that's not really
natural for a rock. So I'm going to try
to use the brush. But let me first see
if we could have this, you know, isolate
the rock for us. So go to objects brush, and I'm just going to go around the corners of this rock
roughly with my brush. And it's going to
detect the object, and it did a pretty good job. You could add or remove from
the mask using these guys, but for me because this is like the darkest
part of the rock, it doesn't really hold
color to begin with. So I'm going to remove the saturation from
the rock completely, and now it's no longer
purple, as you can see. I'm going to do another mask, maybe using the let's
see, landscape. Going to have this detected. I'm thinking of adding
more color to the sky, but again, I don't want to
touch the rest of the image. So it's detecting
the image entirely. Alright. And now I could
just click on Sky. It creates it's a little
bit going over the trees. So using the minus
and the brush, I'm going to clear that
out from the tree. Oops, go on eraser first. Alright. Once I
have my selection, I'm just going to go
over at a little bit of blue temperature
to enhance that blue. You could change the
cue if you prefer, but I like the shade of
blue right now and we could add to the saturation. So now the sky is
a lot more alive, and it's looking pretty good. The last thing I want to
do is make another mask, but for, you know, the flowers in the middle. So click that again. For this, I'm just
going to use my brush. Get a nice feather and
just go over this area. Then using the minus, I'm going to remove from the areas that don't
really need adjustments. So like the bridge up here
and this middle section. Increase the saturation and maybe turn the tint
towards magenta. So now the green is
a little different. You add on detail, but I'm going to
leave mine as it is. Alright, so with the masking, you can see that we made
quite the difference, especially with the sky, and it's looking pretty good. I do want to make the bridge
a little bit brighter. So that's another mask that I'm going to do.
This is optional. Alright, so I just
selected the bridge. And we're going to go to light. And instead of using, you know, saturation and all that, I'm going to use whites only
because as you can see, my mask is not that clean, and we went over the
trees in the back. So just use this to avoid working with the
green in the background. And you can see the bridge
is a lot more alive. Alright. So that's
our next adjustment. This tree is looking
a little bit odd. It's like half colored. So what I'm going to do
is make another mask. You'll be surprised
with how many mask you need per image. So let's go over here,
get this whole tree. And then we could tint it. Just to make it a little even. Alright, so now we are done
with the overall color. You know, we went over each of the elements one by
one and we fixed it. Now, this is another
optional thing. You could further enhance the way your image looks
with color grading. So just scroll down here. You could change the colors
associated with the shadows, highlights, and midtones,
and you can even grab each one
individually like this. For me, that's going to be
a warm color because I'm trying to depict a
nice spring day. But you guys can add
any other color that you want for mid tones, maybe a little bit towards
the yellower side. And lastly, for highlights, I'll go towards
like a nice blue. So that's the color grading. This is before, this is after
we took away from that, you know, one cool look, and instead, we added in
some warm tones as well. You could blend these in
so that it's a lot more natural and play around
with it until you're happy. So now I'm happy
with my atmosphere, and I'm pretty much
done with my image. Remember that you
could always go back to any of these
sliders and make final adjustments
now that your colors are in place and you have removed any sort of distraction. So, for me, I just reduced
the exposure a bit more, and now I'm done with my image. So this is what we had before. This is what we made after. You could use a lot of the core tools that we use for portraits for
landscapes as well. The only difference
is that you have a lot more elements to work
with compared to a portrait, and color is very important
here because with portraits, you usually have a skin tone, and that's like
90% of your image. But here we have a
lot more colors and a lot more work to do
in terms of lighting, and we were able to
achieve that perfectly. This concludes our
landscape chapter. In the next lesson, we're going to focus and just go back to portraits one more time because there's a lot more
you could do with a portrait, and we're going to be
working on a portrait that has a lot more detail
on the human face. And I'm going to show you how to make those pop and how to get a professionally edited
portrait with Lightroom alone. Alright.
10. Project: Fix a Portrait Photo: Analyzing the Portrait: M By now, you should be able to tell what an image needs before
you begin editing. So in this class project, we're going to transform this portrait using every point that we have learned so far. So this portrait is, you know, it has one subject, but I want you guys to look closely into the
different elements that need fixing and then decide which element you
would fix first. So as we know, we always start with the
lighting because that brings out more of the color in the image and more
of those details. So the first thing is lighting. We need to make this a
little bit brighter and also bring out some of those
colors in the background. Second thing is the
leaves in the back. They're way too vibrant
and they're taking away from the main
focus of our subject. So we need to maybe change the hue or lower its luminance, try something of that sort. Next, for our subject, there's a lot of
details on her face. You can see that
she has freckles. We could make those pop more using the mask tab right here and maybe bring out some of those natural colors
that she already has. We could even add some color
grading just to make this a little warmer or you can keep it cooler,
whatever you prefer. Always analyze the image before
you begin and always try to do the lighting
first and then build upon that in the order
that we learned so far. So for this lesson,
I want you guys to take a piece of
paper and a pen and write down the
things that you need to do in shape of a checklist. So what's step one,
What's step two, and basically have that on your side because
we're going to be working on this image together in the next three
lessons of the chapter.
11. Correcting Light and Skin: So I hope you guys were able to identify some of the issues and maybe write down
some things that you want to do with this
particular image. So I'm always going to get
started with the lighting. And like I said, I
want to make this a little brighter
and add in some of that some contrast to the image to take it
away from being so flat. So contrast, I'm going
to darken the blacks, add to the whites, and I'm just working with
the current sliders. So that's where I'm
going to stop for the first batch of editing. We can always come back to this, but basically have a first
draft for the light portion. Next, I'm going to cancel out some of that green with
some magenta, actually. So you can see that it goes
away from this green look, and it brings out more
of the human skin tone, which is on the redder side. Let's add to the vibrance, and so far, I'm happy with
the way it's looking. Next, I'm going
to go on the face alone and add some light to it. So let's grab our brush
and highlight her face. And I'm just going to
increase the highlights here and darken the
shadows. There we go. We can increase
the density, too. Alright, so this is before
for the face, this is after. You don't need to extend this to her neck because there's
already a shadow cast it. And as for her arms, her hands, you could add some
if there's, like, a highlight, such as this
area or the fingers here. So I'm just going to
go in with my brush and add a little
bit of that effect. I'm going to undo that
and lower the density first because this part is
not as bright as this part, so we want to keep that
order as we're editing. Okay, there's any other area you could add on
with your brush. So this is before, this is
after we're lifting the face, which is the most
important part, and that is our first mask. For the second mask, I'm going to go over the
hair and maybe darken up some of that color just a bit. So I'm going to lower
my flow and my density, keep a nice feather around. And as you can see,
my red brush is not too red because I'm adding, like, a slight effect. So let's go over the edges here. Don't worry too much about, you know, catching the
face in there, too, because we're going to use
the sliders that are going to target the dark ends and
not really the bright ends. So the finger and the face are not going to
be counted here. I'm also going to go over
her eyebrows because it's the same shade as the hair and just maybe
refine my selection. So you should have
something like this, and now we're just
going to go to shadows and make it darker. Maybe you add some contrast too. And you can see that
the hair is a lot more lush right now and
it's a lot more rich. We could add on to the blacks just to make it a little darker. Just like that. The next thing I want to change is her lip. There's some, like,
dryness on there, and I want to smooth that out and maybe give
it a certain color. So make a new mask, brush, and we could bring back some
of that density and flow. Go in with the eraser and
remove the middle section. Okay. Once we have this, we can increase that contrast. And I'm just gonna
go down to effects and lower the clarity
and the texture. So that's going to make it
a little bit more soft. Maybe that's too much,
something like this. You don't want to
make it too obvious, so I'm just going
to keep this much. Let's add some
saturation, as well. Maybe some purple tint. And I think that's it for color. I don't want to add, like,
an additional color here and just keep the regular saturation
from the original image. So I did not use any hue here, only saturation and some tint. So we're just amplifying the
color that is already there. Now, while we're
here on the lips, I am going to use
the remove mask, the removed tool to get
rid of these blemishes. So just switch over here
with the removed tool, adjust your brush, and I'm just going to go
over these areas. Again, bear in mind the
difference in lighting. So this one should
be on its own. Then we'll come back for
these blemishes that have a little bit more light to them. So that's the first thing. Our second blemish is
right here. There we go. We have this last
portion in the back. Remove that as well. Alright, so her lip
is a lot cleaner. Now, you can go over to the face and remove
any other blemish. For example, here, we can see that there's,
like, some miscara. So I'm just gonna select those. And these two, I could do
it as well because it's in the same light area. Okay, let's check other areas. And just go over each section with your remove tool.
I think that's it. I'm not seeing any
sort of, like, makeup smudge or any imperfections that
I want to take out. Alright, so I'm going
to do one more mask, and that's gonna
be for her eyes. I want it to pop more. So I'm just going to increase the brightness
within her pupils. So using the same brush, we're going to go over my flow and density is still lowered. So just go over the pupils. And then we're going to lower the contrast and add a
little bit of exposure. So that's too much,
maybe around 40, just so that there's a little
pop, nothing too extreme. There you go. So
that is her eyes. Now, the last thing you
could do is fix her nails. This is optional, but I'm
just going to show you how you can change the
color of a nail, like if she has nail polish on, and that's something
you can explore, we do have some more
blemishes here. Just go to remove that before
I proceed with the nails. Alright, so there is the skin. Now I'm going to
make another mask, and those are for
the nails only. For this one, you can bring
back flow and density, make sure you have a good
amount of feather on the edges, and just go over the nails. If you're using a mouse, you can use your scroll
wheel to change the size. If not, you could
just go over here. Same idea with the skin. If you don't grab the main part, it's okay because we're just
going to target vibrant. I'll use vibrans
for this target, so you don't need to worry
too much about keeping, like, a perfect selection. It helps to do a
general slide selection like this and then go
in with the eraser, using the sides to clean up any imperfections. All right. So once you have your selection, we could just go down to saturation and increase
whatever color the nails already had. So you can see that now there
are a lot more present, and we could actually
change the color of the nail polish using the
hue slider right here. So you can make it purple. You can pull it to
the other side for, like, a yellow or a green. I'm going to go with something
towards the left side. Maybe like a purple, and then I'll just
play around with the saturation until
it looks good. You can use the sliders above
to change the way it looks. We're dealing with the colors anyway, something like that. If it's too intense, just lower the saturation. So I'm going to get this, like, faint purple color, but you could go for
something really saturated by bringing it up. I'm going to go
over each nail and make sure that my
mask is sufficient. And then we do have
this, I guess, water drop on her nail. I'm just going to remove that real quick with the remove tool, going over this section. I'm not sure what that is. Alright, perfect. So now we were able to
change the lighting of the overall
image and pinpoint certain sections of the
image using the mask. And, of course, we removed
some things with this tool. So so far, this is our progress. In the next lesson,
we're going to be working more on the details. So let's go ahead and do that. Alright.
12. Refining Details and Style: Now, let's style our image. We were able to
bring out some of those colors and
correct the lighting. We also made a lot of masking and removed some of
those imperfections. So once you have
reached the stage, you can go ahead
and add some color. You could use color
grading presets if you want for
something quick and, you know, build upon your work. So I'm just going to go
back in the Edit tab, then scroll down to
color, increase vibrance. And like I said, the green in the background is way
too unrealistic for me, so I'm just going to
lower that saturation so that it doesn't take
away from our main subject. We can also change the hue into something warmer or cooler. Then I'll go for
something like this and just increase the overall
clarity of the image. Alright, so now onto the face, as I said, there's
a lot of details. She has some freckles going on, and I want to amplify
that with another mask. So grab your brush and
select everything on her face except the things
that need to be detailed, such as the eyes, the nose, the lips, and so on forth. It's actually lower
the flow and density before we do that so that whatever we do is
not too intense. Using remove, we're
just going to clean up the areas that we
accidentally painted over. Then we're just going
to scroll down, increase the texture, and
add a little clarity. So this is before,
this is after. Because our flow and
density was low, we could add a
generous amount here, but you can see how we're making all those details pop
using this one mask. And you can always go back here and add on to the selection. All right. So now we have a lot more detail
for the subject. Before or after, lastly, I'm going to go back
to the Edit tab and work a little bit more with the blurring that
we have going on. So just go back here, scroll all the way
down to lens blur, where we're going to hit Apply, and it's first going to analyze the image and then allow
you to make some changes. Alright, so you can
see that it gave us a range to work with, and we could even add more blur. So already it added
some blurring. This is without the effect. This is with the effect. It's basically targeting
the background section. So if you want, you
could just work with what room gave you and
maybe add onto the blur, take out from the blur,
or you could even change the bouquet effect and some of these settings
that we have below. But for me, because the
image was already blurred, I just wanted a
little bit more of that and not add
anything artificial. Let's go back up to the color grading portion
and finish up our image. Alright, so with color grading, I was able to add a
little bit of red to the dark side of
the image and keep the rest of the image
cool with this blue. Can blend out and
balance the colors, and we have this effect. The last thing I
want to do is add some winier to the
corners just to again, bring the attention
onto my subject, and I'm keeping it around
negative 11 for this. Now I want you guys to look back at that checklist
that you made at the start of the
chapter and see which one of those points you applied. I'm sure that there's
some adjustments that you did that you didn't
first write down, but that's totally okay. You can just go ahead
and add that to your list and see how much of your analyzing and editing matched at this point
in the chapter. Go ahead and learn how to export in case
you're not familiar. You can just go over to File, Export, and then you're going
to be met with this panel. Choose your image
type, the dimensions. The default settings
here are fine. And the only thing I like to
do is just give it a name. So let's call this portrait, and I'm going to leave
everything else as it is. So it exported the image. It's now saved on my computer, and we were able to
completely transform our image using what we
have learned so far. I hope you guys are
happy with your result. Again, keep that checklist close to you and
learn as you go. The more you practice
with these portraits, the more you're going
to get a hang of it, and I hope you guys reach a result that you're happy with. Now that we know a lot more about the desktop
version of Lightroom, let's jump into
the mobile version and see how we could apply similar effects in a
different device. Alright.
13. Mobile Editing: Quick Fixes on Mobile: In this chapter, we're going to edit this image on
Lightroom mobile. So you can download this
from the resource pack, bring it into your
mobile device, and we're just going to go over the same techniques that we learned in the desktop version, but see how we could apply
it to the mobile one. So you can see all the panels
are on the right side. We still have light, color effects,
details, and optics. And we also have our mask and remove tab on
the right side. The only difference
here is that we have a blur panel
underneath the mask. And on the desktop version, this is brought
into the Edit tab, something we did in
the previous chapter. So that's pretty much the only
main interface difference. We're just going
to begin by again, looking at our image and analyzing what needs
to be changed. So the only reason
you would even come to a mobile program like this one is to get a quick fix and edit your image
in a few clicks. One thing you could do is
go over on the right side. There's a magic wand icon. When you click on that, it's
going to basically analyze your image and just edit
it as trim sees fit. So now our quick actions
tab has been activated, and right at the top,
I could see Auto. When I press that, it's going to automatically edit
everything for me. And this is what we had
before. This is after. So you can see
that the image was darkened a bit and it's a little bit warmer
than it was before. If you tap and hold, you're going to see
a before and after. But underneath that auto tab, we have the enhance option where things are going
to be further enhanced. This is like details. And if it's a landscape shot, it could be the
background as well. So we have subject
background vegetation. This is only applied
to this image. So if I increase subject, you can see that I'm
enhancing that alone. So basically what Lightroom did is that it detected the subject. It isolated it, and
then it gave us the slider to enhance
it in terms of color, lighting, and detail.
We have the background. There isn't much
to work with here, but you can see how this can be applied to a landscape shot. Then we have vegetation, that's your green stuff. So in our case,
it's the flowers. If you're dealing
with a landscape, it could be the mountains and the grass and
all that stuff. So I'm just going to use the subject button to just
make my subject a bit darker. Once you're done, click Apply. Now you can see that we made a change to the subject only. Now you can go to
the subject tab and you can easily
add some presets. So you can make the subject pop, make it warmer and play around with the
different options. Once you chose something, you can make it less intense
with the amount slider, as well as some exposure
details and saturation. Just like that,
when you're done, at the bottom right, you can click on apply, and then we can
move on to retouch. So retouch is when you
manipulate the original image. You can start with the skin. So if I zoom in here, we do
have some imperfections. I'm going to click on skin, and it's automatically
removing blemishes for me. And as you can see, they're
all completely gone. We can go to the eye and
enhance the eye further. I zoom in here. So you can
see that it detects the eye. I could make it brighter.
And the same thing for hair, I could make it smoother or
more detailed. It's up to me. And lastly, we have clothing. So right now she's
wearing a white top. But if you had a clothing that has a lot of patterns
or something like that, this slider could be helpful. You're done, click Apply,
and now we have edited the image with the
quick Actions tab. Next, we have background. Again, we have a very
solid color background, meaning that there
isn't much details to work with in the first place, but you could always come here and maybe add some saturation, exposure and play
around with your image. Just make sure you
click on Apply, because if you go
click somewhere else, it's going to cancel
the adjustments. If you did not want to use
the quick Actions tab, we can have the same effects be applied via the other tabs. What I'm going to
do is go over to that clock looking icon
underneath the blur, and we're just going to
go back to the original. Before I do that, I am
going to save this version, so we can just go to
named, create version. Let's call this quick
Edits. It creates. And now I could revert
back to the original, but I could always come back
to this version that I just saved and go back to
what we had previously. So now let's click Apply and go about changing the image
ourselves one by one. For this, I'm going to be using the tabs that are similar
to the desktop version. So it's nothing new, but it's only about
the interface and where the placements are. So we're going to
continue this in the next lesson. Alright.
14. Mobile: Applying Styles and Presets: M So let's see how we could edit images in
mobile in a more manual way. So this is my original image. You can see when I go to
before, it's the same thing. As you recall, we went
back to versions, and we went to original. So I'm just going to
click that one more time. And we're going to get started as always with the lighting. It's a little bit too bright. So let's make it darker, add some contrast, work
with the highlights, and build our image. Once I have my lighting set, I could go to color and just
kind of balance things out. Make it warmer,
add a little tint, vibrance, take out
from the saturation. At this stage, I want
to go ahead and remove the blemishes using
the remove tool. It's right over here,
there's also heal and clone. They're just situated
in one button now. Again, you can choose to
use AI or leave it B, and then use your brush, set the size, draw over the
areas you want to remove. So here you can only
do one selection, and once you let go, it's
going to automatically remove. Then the variations
are in the refine tab. I could look at
which one I prefer. Once I'm done, I could click on Done and just continue
building upon this. You want to make sure you make one change using one stroke. If you lift your
finger, it's going to finalize that selection. And now we're just going over each blemish with our fingers. You can also make
larger selections if they match in lighting because
AI is being used anyway, so it's going to be
a lot more precise. Use two fingers to scan
basically move the canvas, and I'll make one
big selection here. Okay, it's looking pretty good. We have a little bit of work
to do on this side as well. Alright. The last
spot is the forehead. I'm just going to make one
big selection because it's in one area and be done with
the blemish removal. So if you click Apply
on the bottom right, whatever you did is
going to be applied, and we removed all those
blemishes together. Next, you can use the masking to make the skin more smooth. So just click on plus. And again, it's the
same selections as the Textop version. I'm just going to use brush. This is the flow of your brush. So I'm going to
go for, like, 76. Then we have the size of
the brush and the feather. So add feather and
then adjust the size, and I'm just going to brush over her skin so that I could give it a little bit
of smoother look. Avoid any area that
needs details. So that's the eyeball, the lips, and,
like, the eyebrows. If you want to remove, use the eraser icon underneath the brush and go over the
areas you want to clean. Alright, once we're done, we can go on the right side, and I'll just go over to
effects and lower the texture. So that's going to
give it a smooth look. This is before, this is after. So very simple fix
that you could do. We're going to do another mask for basically the things that we did in the
previous lesson. So we're going to do one
with the brush for her eyes. Go to light, and I'm going
to increase the shadows. So more of that color
is popping now. Let's make another
mask for her lips. Just go over the area, and then clean it
up with the eraser. Okay. Now, in color, I'm just going to
increase the saturation of her natural lip color,
something like that. You can also add hue. Basically, this is going to
change the color of her lip. And while I'm here,
I'm going to go to effects and reduce the texture. Just a tiny bit. Now, if the edges look like they're a little
bit too rough, you can go over with the eraser, increase the feather, and just go around the
edges of your selection. Once you're done, you
can click on Apply. And now we have worked
with her whip, as well. Same thing can be done for the hair and you can just build upon your masking
in the same way. So real quick, I'm just
gonna select the hair. A rough selection, go to light, and we're just going to click
on Blacks and reduce it. So that's not going to affect the areas that we
accidentally drew over, such as the skin
and the background because we're only
targeting the Blacks. Once you're done, click Apply. And now we have this effect. The last thing you
could do is give it some color grading.
Same idea again. So this is our
shadows, midtones. And then the highlights.
And there we go. So this is how you can edit
manually in Lightroom. Same idea as our
previous chapters. It's only the way it looks
on a different device. Now, in the next lesson, I'm going to show you how
you can make presets and use them so that you
have another way of quickly editing your images.
15. Mobile: Editing Efficiently On The Go: All right. Alright, so we
stopped here with this image. Say, I really like
this style and I want to use it for
multiple portraits. One thing you could do is
just go over to the presets, which is right
above the Edit tab, go to yours and on the top on the right side next to the Cloud icon,
there's three dots. If you click on that,
you can create presets. Let's give this a name. We'll call it Warm portrait. And then you get to choose what is being saved
in the preset. So for me, I'm just going
to include the defaults, and you can decide where
this is going to be saved. So you can make a new group or just save it to user presets. I'm going to click
the checkmark, and now this was saved. So if I just go back to
the little watch icon, go to original ply, I could just go back to presets, user presets and
find warm portrait, the one that I just
made, click on a once and I have
the same effect. Now notice that it did
not clear the skin. Uh, that's because that is
an individual adjustment. So basically, you cannot
copy over removal and masking to other images because they have
different compositions. So right now, I'm applying this preset on, you know,
the same image, but if this was a
different subject, and let's say they were
on the corner here, we're just going to get,
like, smudges in the middle. So those guys are not saved. And that's something you
need to do one by one. So if you go to
Auto in versions, you can still get that
same version that you had. I'm just going to click
on it, and apply. But either way, I have the color grading saved
to the user presets. You can always go to the three
dots next to the preset, update it with a different
setting, rename it, export it for other
people or yourself, or just delete it entirely. Now I'm going to go
back to versions. I'm going to save this. Let's call it warm two, create, and go back
to the original. Apply. If you go to the presets
tab in the first section, there's something
called recommended. At the top, we have
recommended premium yours. Recommended is going to show you presets that would
work for your image. So as you saw, it
analyzed my image, and now it's giving me
all these things to try. I could just go over each one
and see which one I prefer. So maybe I'm really into this. I could click on
apply on the bottom, and now I have this color
grading done within a minute. So now I have the
coloring that I like, but I don't want to redo
all the blemish removals. So this is where you get to pair a preset with the quick
fixes at the top. So you can go to retouch skin, and you can see immediately
it removed all the blemishes. And now her skin is clear, and I just combine two
automatic features. If you want to edit efficiently, I highly recommend that
you build your own set of presets and use them to
quickly edit your images. I'm going to hit back
to the quick edits. This is the one we used
with the automated tools. And if I go back to the presets, in the premium tab, there's a lot more groups
that you can explore. So we have adapted portraits. This is going to
use AI to basically adapt these color gratings
onto your portrait. So it's going to
look at your subject and then, give it
a different look. So white teeth, my subject
does not have teeth. You can see I get the
error message below, smooth hair, darkened beard, and just do a bunch
of these stuff. When you click on
either one of these, you can decide on the amount
by clicking on it again, then clicking Apply
at the bottom. Going back to the presets, we could add a bunch
of other things. So you can read the titles and see if that would
apply for your image. So let's say I want to do retro, I could just add that on
top of my skin adjustment. Just like that. And
you can further edit something that you
grab from these groups. So I just added two presets. I could go to light and further adjust things until
I'm happy with it. I and you can see that it even added some sharpening and
noise reduction. And then, of course, the
blurring option is on the side. Now, one more thing that you
could do to edit efficiently on the Lightroom mobile is that when you go
on the top right, the three dots, you can copy settings over to another image. So I could decide what it is
that I want to copy over. So I'm going to uncheck
geometry and only choose things that can
be applied to any image. So light color affects details. Click the checkmark. It's been
copied to my click Board. Now I will go to a random image, one that does not have
any sort of editing, three dots again and
hit paste settings. So I just apply the
exact same things from my first image
onto this random image. And then, again, I
could just go back in here and make
further adjustments, since this is a whole
different composition. I'm just going to go back to
one of my previous versions. I'll go to Warm two. It apply, and I'll finish up my image. So that's how you could use tro mobile to edit
things efficiently. And, you know, we learned over some AI and non AI tools that are available to you on
this device as well. Most of the things that you see here are on the desktop
version as well, but it's a lot more
fun to do it here because if you're
in a time crunch or you want to try things out, you can just make
a lot of things happen with one tab
or a few of them. As long as you're
saving everything in your versions tab or
maybe saving the presets, there's no room for error. You can always go
back to something you liked and build upon
the experience. This concludes the chapter. I hope you guys were
able to edit along. And I hope you guys had fun with all the new tools that
Lightroom Mobile has to offer.
16. Class Project: Edit a Portrait Photograph: Now it's time to put your photo editing skills to practice. For your class project, you will be editing a
portrait photograph from scratch using all the techniques that you
have learned so far. As always, start by
analyzing your image. Do not touch any sliders until you know exactly what
needs to be targeted, what needs to be
improved or changed. You're doing that, pay close attention to the
lighting, the color, any sort of blemishes
that you may have missed, and what the overall
image should look like in terms of style and your
own personal aesthetic. Since this is a
portrait photograph, your key here is to enhance the details and the
features of the model. You're going to be
paying attention to the eyes, the lips, the nose, the hair, and make sure
that the thing that pops in that image is
your subject's face. You've completed the editing, you can upload a before and after to the class
project gallery. You can also include a
description about your process, what you thought
needed improvement, what you did differently, and what was
challenging for you. This project is a great way for you to edit photos
professionally, apply the skills you've learned, and at the same time, get closer to developing
your own personal style. I wish you all good
luck on the project, and I can't wait to
see your results.
17. Congratulations! What’s Next?: A. Congratulations on
completing the course. You have now gone beyond the basics of lightroom
and learn how to edit a photo in a more
professional way through the problem
solving mentality. Throughout the
class, you learned how to analyze an image, adjust lighting, make colors
pop, and enhance details. As you continue
with your journey, try editing different
types of photography. So we tackled landscapes
and portraits here, but you could try some
product photography, maybe some special styles
like black and white, noir film, or anything else that you would
want to explore. More photos you edit, especially when there are
different types of images, the more confident
you're going to be next time you're
faced with a photograph. And if you haven't already, be sure to upload your
class project photo to the class Project Gallery. I would love to see
how you guys tackle this challenge and how you edited the
picture from scratch. And if you enjoyed the class, feel free to drop us a
review as it really helps us develop and improve our courses and see what you guys
want to see next. Thank you for joining
me, and I hope to see you guys in our next
light room course.
Skillademia Academy, Creative Skills for the Future
