How to edit photos like a pro!

1. Introduction: Hello everyone and welcome to my Lightroom course how to edit photos like a pro. My name is Tom Chi and I've been a photographer and graphic designer for the past ten years, shooting some really awesome contents from both myself and core clients. I specialized mainly in fashion and commercial photography. And you'll see some examples of my work on across the screen. But if you want to see more, please check out my website at www dot the real-time kind.com or look me up on Instagram at the real Tom Chi. So why do you need to edit your photos? Well, having a well edited photo will set you apart from other companies or creators. We don't edit their photos well, because you'll be creating something that is eye-catching. And in this industry, if you don't catch eyes, you won't catch any business. When it comes to editing photos, it can be really overwhelming with so many styles and all these gurus out there trying to sell you their preset packs in every post that they make. And while presets are really useful once you know what you're doing, there's no comparison to being able to edit your photos yourself using all the sliders and features that come in light room, you really enable yourself to have a lot more control over the final image and that is what we want today. I've provided you with five raw images that we will be working with. And we will touch upon a couple of editing techniques ranging from simple to complex, to take your photos to the next level. You'll see on the screen right now the before and after of the photos that we will be editing today. And I'm super excited to teach you these techniques that I wish I knew when I first started out a decade ago. For this course, I will be using the newest version of Lightroom classic. But if you have to Creative Cloud version of Lightroom, you can still follow along. Again, I've included all the raw images as well as a little bonus for you for choosing my course. And that is one of my own presets that I've made completely free just as a thank you. So without further ado, let's hop into Lightroom and start editing. 2. Interface Overview: And we're in Lightroom. As you can see, I have the most up-to-date version as of this morning. I updated it, so yours should look very similar to mine. I already have a few photos in this catalog, but yours will probably look like this. A very empty. So let's go and import our images. Make sure you have downloaded the images for this course. If you haven't, you should do that now and then we can continue. So it's very simple. All you do is hit Import. And then this dialog box comes up and you have to navigate to where your images are. So I have all of us here, photos used, and here we have the five images we're going to be editing today. So you don't really want to change any of these settings over here on the side, just click Import. And then you're gonna wait a second. And Lightroom will do its thing. And now we see this one here is rotated to its side. All you do is click this arrow and it's going to rotate it. Alright, so now what you want to do is hold down shift and select all of these photos. And we're gonna click the plus icon here next to collections, we're gonna create a collection for these photos. So click that and let's click Create collection. And we're going to name this how to edit like a pro. And there we go. And you want to make sure you have this box checked, include selected photos. That's why we selected this up here. This is going to be included in this collection. So let's click Create. And nothing has changed. It doesn't look any different, but now we have a collection over here with our photos in it. So let's hit control or Command D to Deselect. And let's go over the interface really quickly. Now, right off the bat, we're here in the Library tab. You can do some quick edits here. So if I have this image here selected, we can do quick develop and do some preset stuff too a little bit with exposure clarity. But honestly this is not something you're gonna do that often. So I never really touch anything here. Key wording sometimes for organization, you might want to give a keyword for images. If you have thousands of images, you can sort through that and like, OK, I want every image that has a building in it. If you have it with a keyword of building, it'll bring up everything with that keyword. And then here's a list of keywords you've made. I have a few here. And then you can see the metadata of the photo itself. You're never really going to have to look at this. You can put your own copyright to your images. So if you do have the right to put copyright to your images, I highly recommend you put it here. It's just a good, safe legal thing to do for your own images. And then we have comments. If you want to make any comments on certain images, for example, I'm going to be editing this image and next weeks. So then I can be like, OK, well let us make sure that this will be black and white. I can make a comment for that and then I can be reminded of that then. So that is it for the Library tab. You're going to spend most of your time over here in the Develop tab. Let's give that a second. And here is where the magic happens. He have your navigator over on the left. You have presets, which I'll go over. You have snapshots, which I don't have anything there right now. You have the history of any edits that you've made on your image. So for example, let's say I make a bunch of edits to this image. And it's really not looking very good as you see that looks horrendous. You can just go back to the import and it's back to normal. You go all the way back in history. So it's a really handy little bit to have here. And then we have our collections. It can easily navigate between different collections. Now on the right, up here we have our histogram. So you can see the shadows of blacks, highlights exposure, all of that. And you can adjust that here. You can click and drag, adjust that like so. And then here we have a few different options. We have crop overlay, sick, and proper image. Sometimes you might need to crop it idle for Instagram, I drop everything to be a four by five ratio. So you can click that, change the aspect ratio to a four by five. And automatically, that's going to be perfect for Instagram. But for this image, I'm just gonna do Control Command Z to undo that, because I don't really want that. Then we have a spot removal. This is fantastic. If you have like this as a spot that you want to remove on the image, we will be using that later on. Then we have a red eye correction, which we don't really have any issues where the red eye correction in any of the images we have today. But that is a great tool to have. Then we have graduated filter and this lets us to add gradients onto our image. So for example, I want a grading coming up from the bottom. So we can make that a darker, almost like a vignette. Bring down the highlights. And then there we go. We have a nice little before and after type of vignette added. But for the sake of this, I'm just gonna delete that. And then we have a radial filter, which is essentially same as the graduated filter, except you can click and drag the shape that you want to edit. And by default is gonna do the area outside of it. So if I want to edit the area within this circle, you just go down a little bit, click invert. And now I'll be editing the inside of this. So if you want to bring a little focal spot to an area, you can do that. So let's just do a little bit here. You can put the sharpness up. You can add a little more clarity in the area. And again, you can turn that on and off. You see it's a really cool tool that you can get really fine editing done this way. But again, I'm going to delete that. And then we have an adjustment brush tool, which is basically what we use with the graduated filter and the radial filter, except you paint on the area that you're going to want to edit. So now I can edit that area there. However I want. I'm gonna bring the contrast stuff. So again, this lets you get even finer with your details and you can move that selection around as you see. Let's right-click that and delete. And to hide the mask effects and all these sliders, all you do is click on the Adjustment Brush or whichever tool you have open here, and it'll hide that. So let's continue with this panel here on the right. So first we have the very basic editing area where you can control the temperature of your image in the white balance, which is very important. You can also play around with different color profiles, which is interesting though I don't generally use this at all. Then you have your exposure. Contrast highlights, shadows, whites, blacks. Then you have texture, clarity, the haze of vibrance and saturation. I use these very sparingly depending on the image and we'll be using all of these very much later on in this edit. And then we have the tone curve. This is one of the most underrated parts of the editing that is very handy. You can adjust things very finally, to the overall image. I personally tend to create an S curve of sorts. It's a really great way to create the desired effect that you want. And again, you can toggle this on and off. So I'm just going to turn that off for now. And then we have hue, saturation and luminance and color. So first we have Hugh here. You can change the hue of anything. So if we have the red, we can pull that more towards the orange or the magenta over the orange. You can put that more to the yellow or to the red and so on down with all these colors. So you can really change the colors to your specific liking. The saturation, like the name implies, it increases a saturation of that color. So for example, we have a lot of green in this image. If you pulled a saturation of, you see, it really popped the green in the background. Just going to undo that. And Luminance controls the luminance of that color. So how much white or black is in that color? So for example, let's do the green again. You see we were adding a lot of white into that, or we can add black to darken it down. This can also be a really great tool to really fine tune your image when it comes to the color. Because sometimes you want a specific color to pop or be the focus point and the Luminance and saturation panel here can really help you achieve that. Then not only do we have hue saturation and luminance, we have this color tab here where you can adjust each colors here, Saturation Luminance separately. So let's say I want to work on just the green. I can change the hue of the green, saturation and luminance or right here in this one section, it's really handy. And I've used this one a lot recently actually. Next we have one of my favorite parts and that is split toning this when we let you create that preset kind of look that you see on Instagram with people having a pastel pink color to that image or different colors on their images. So let's do one for this. So for the highlights, let's do some kind of a warm orange kind of color. And we can bring the saturation of that down. And then for the shadows, let's go with this preset blue here and bring the Saturation up. And immediately we've cooled down the image and added kind of a cool tone to the whole thing. And so it's very cool. You can get, you can do the whole pastel pink look that you see. A lot of Instagram is used. And again, a little bit goes a long way. So you do not want these to be very saturated. So this is one work that I've seen a lot on Instagram, like those travel pages, they have these pink filters. So that's also one thing you can do. And I'll be using this later on. For now, we can turn that off. Then we have our Detail panel here. You can adjust the sharpening and noise reduction of your image if you want it to be sharper, you can do that again a little bit goes a long way. You don't want to bump that up to high. And same of the noise reduction. You don't want to go too crazy with that because they really washes everything out, makes it look very much like a painting. But if that's what you want to go for, then feel free to do that. Then we have lens correction, and this won't play too big of a part in these edits. However, here, if you Enable Profile Corrections, you can change the vignettes to be lighter or darker, but I tend to do my vignettes manually. This is also a great way to get rid of distortion in your image. If you're using a fisheye lens, you can really adjust this to shoot you. And then we have our transform tool down here. Again, you can change and transform this image to your liking vertically, horizontally can rotate it, change the aspect ratio changes scale, everything. You can move it around. This doesn't really play too much of a part in my edits, but that is there in case you want to do it. Then we have the effects panel down here where it can create post crop vignetting. So again, you can create a vignette on your image, which I use sometimes, but I tend to make my vignettes manually. You can also add green to your image if you're going for that old timey film kind of look, you can really get an old photo kind of look. That looks terrible, but you get the idea. You can really play around with this and get a vintage film looked here photo. Then we have the calibration panel down here, where again, you can calibrate the reds and the greens and the blues. And the shuttle is very specifically what their hue saturation and their tenth. So again, this is fantastic for fine tuning your image. This is, in my opinion, one of the hidden gems in Lightroom. And this is what lets you get those very unique film kind of looks to your images. So you can do a lot of that. But for now, I'm just going to hide that. And there we go. That is the whole right panel of our Develop tab. Now for the rest of the interface, and we're not gonna use any of these other panels up here today. We're not going to use a map and we're not going to use a book, the slideshow, print, or the web. So that is it for the interface. And there we have the general interface of Lightroom and what we will be using today to create our edits. Next, we're going to be going over each one of these images and five different styles of editing for your photos. So let's keep going and let's get started with our very first edit. 3. Clean Edit: All right, and we're ready to get started with our very first edit. And the first one that we're gonna be doing will be a very clean and simple edit. Nothing too fancy, just making an image look good. And for that one, we're going to be using this image, the one that is called clean editing. So let's click that and then let's go into our Develop tab. And there we go, the image doesn't look too bad. The exposure is fairly decent, but it does look a little bit flat. And she's melting into the background a little bit elegant love for her to pop off the background a little bit more. So let's try and do that, Shelley. So first things first, I do want to cool down the image. So let's pull this down to about. This is a very sensitive slider, but I only want this to be around. Let's just type it in. I want this to be around 4 thousand and there we go. Not too bad. I'm not going to touch the tint. I think the tint is OK. Again, the tin changes the purple or green of the image. And I don't want any change of that. Ok, so let's go and put the exposure up ever so slightly. I'm going to put that up about 0.7, bringing a little more exposure into here. And we're going to really crank the contrast on this one. I'm going to crank that up to about 556 is okay. And all I'm gonna do is buy the shadows, are going to bring that up about up to 2120. There we go. And next, what I am going to do is I'm going to bring the clarity up ever so slightly, just by ten and bringing a little clarity into here, 11 is fine. And we're gonna put the vibrance down. We don't want that red on the shirt to be two in your face. But do you want to put the Saturation up by about 1516 is OK. And before we go further, if you want to see the before and after of your image as you're editing, you can click this button down here. As you see if you hover over, it says cycles between before and after views. If you click that, it'll show you the before and after. You can keep clicking this and it's going to cycle through a few different views for you to have. You have these. I think there's only these four. And to get back to the normal view, you click this button here that says a loop view. So I'll just click that and you're back into your normal editing window. So let's keep going down here. We're not going to touch in the tone curve at all, nor are we going to touch any of the hue, saturation, color, luminance down here, or the split toning. We don't have to do anything over here. So we're going to keep scrolling down here. And we're gonna go to the detail. We do want to sharpen this. So let's bring that up to about a 120. I want this to be particularly sharp because I really want her to pop off of the background there. And the next thing that we're going to do, we're going to scroll all the way to the bottom here. We're going to ignore the lens correction. You can actually close up what you're not going to use. We don't need to transform, but we do need the effects here. What we want to do, we're going to add a little bit of grain. I only want to add about four, but I do want the size of the grains to be fairly large and add about size and 90 grain. And for the roughness, we don't want it to be rough out all so down to 0. And that is our final edit for this clean edit here. And let's look at our before and after. As you see, we really bought a little punch of red into her shirt here without overly saturating it. We've really set her apart from the background here and really made a be less flat and more interesting to look at. Some really happy with that. So let's go back to our library. And next, I'm going to be showing you how to do a matte finish onto your pictures. So let's keep going into our next edit. 4. Matte Finish: Next we are going to be doing a matte finish on our image when they can see many big insert grammars use many famous photographers as well. And this is a style that you see a lot on Instagram and online. So the image that we are going to be using is this one here called matte finish. So just click that once. And then let's click develop. And let's get started with our edit. Let's make sure we're scroll all the way to the top here. And we're going to start with the basic section over here. So first things first, we do want to reduce the temperature a little bit too warm and as you see, it doesn't look too good right now. So let's bring the temperature down to about 6500. There we go. And for the tenth, as you can see, it's down to minus seven. I just wanted to bring that to 0. Let's keep that as neutral as possible. And then for the exposure, let's bring that up ever so slightly. We're gonna go up by 0.3. Let's see if we can get that specific one. If you're ever having trouble getting a specific number here, you can just type it in. So just be 0.3 and hit Enter. And I'm going to bring in the contrast up a little bit as well, but we're going to crush that contrast very quickly. Next, for the highlights, bring the highlights up a little bit. Not too much. And we want to bring the shadows up a lot. Up to about 50 three-ish. And in the low fifties will be good for that. And we're gonna bring the whites up to about twenty five, twenty two, twenty three. And then for the blacks were going to really bring that down all the way down to about minus 40, something like that, minus 39. And as you see, that still doesn't look very good, Do not worry. So let's keep going down to our presence section where the texture clarity in the haze. All we're gonna do here is add a little bit of clarity. We're gonna do the plus 18, plus 1600 to plus 16. And then we're going to bring our vibrance up to about 35. Let's do 35. And we're going to bring our saturation down to minus 19. So as you see, you have to add a little bit of saturation before you desaturated and you'll see what I mean with that right now. So let's go down to our tone curve because we're gonna be doing some interesting things here. All right, now we're in tone curve and we're about to create an S curve night and talk about the S-curve before when we did the interface overview. And now we're going to actually do it. So first things first that I want to do is I'm gonna go here to edit the point curve. So what we're going to do is we're going to bring the blacks up to about here. As you see, we're really crushing of blacks were going to bring it to about 32. You can see the numbers up there. I brought it to about a 32. And we can leave the white point here as it is. So now let's hop back into the parametric curve. You can click that over here. And we're going to edit the light section. So you want to be careful if you get too close to it. You'll, you'll edit the highlights. But we want to edit the lights as a whole. And we want to bring that up. You just click and drag and you can bring that up. We want to bring it up to about 30. Nothing too much. And you can also edit that just down here. So let's go, let's actually bring that up to about 40. And as you see, we're starting to really crush those colors and the blacks, which is exactly what we want to do here. So now let's go down to the hue saturation and women in section. And we'll be doing quite a bit here, nothing with the hue. But let's start with this saturation shadowing. So make sure you're in the saturation tab not in the queue or luminance. And we're essentially, and we're going to bring the saturation of everything down. So we're gonna bring the red down by about 18. We're going to bring orange down. Everything is going to come down by about 20. It can be very specific with these, but I'm just gonna go until they're all fairly. At the same point. We're gonna bring the awkward down. By about 22. We're going to run the blew down, 22-23. We're gonna bring the purple down by 21. And we're going to bring the magenta down by 27. It is slowly desaturating our image. Next, we want to go over to our luminance tab. So make sure you're in the luminance tab. And we're going to bring the luminance of red down by about minus nine or minus ten. Same with our orange. So let's bring that down to about minus ten. And now let's bring our yellow and green and the aqua. We're gonna bring all of those up. So let's bring the yellow up by ten. Let's bring the green up by 13. And let's bring the UCLA up by about ten as well. We can leave the blue, purple, and magenta alone. And if you talk all this here, you can see exactly what we did with the saturation and luminous. See that is a really big difference. So that is fantastic. So next we're going to go down to our split toning section, my favorite section, and all of Lightroom. That's one that I use the most. So for the highlights, I do want to pick a yellow color. So if you click this square here, you can choose a color through the dropper tool here. Or you can click along here and find a color that suit you. I'm going to choose something that's in the yellowish color here. Let's go over that. And for the saturation, again, a little bit goes a long way sung, bring that all the way down to about 29%. And for the balance, we want this to be plus six, which just means that it's going to have more of one color than the other. Soldiers have Rs plus five actually. Now for the shadows, I'm gonna select a color down here in the slider. We're gonna go for a nice bluish color, something like that. And for the saturation from very desaturated just let's say seven for this one if we can get it as 28. And then you see the split toning on and off. It's a very subtle change, but adds a little bit extra to your image. And there we have our final edit on this image. So let's take a look at our before and after. Let's click this down here. And as you see, we've really brought up the blacks and did that whole mat finish onto the image, which is what you see a lot on Instagram these days and is a very cool effect to know how to do. Because if your image is very underexposed, you're in a dark areas at night. You can really bring more life to your images with this edit. And it's one that I really like to do. So let's click back to our loop view down here. And next we're gonna go over how to do a mid contrast black and white edit onto a photo. So let's keep going with our edits. 5. Mid Contrast Black & White: We are finally at one of my favorite types of editing and that is mid contrast, black and white. And it's one that I don't do too often, but it is one of my favorite types of portrait edit to do. So, let's select our first image here and go into our Develop tab. Now this data is very simple to do. First thing that you're going to want to do is to put your image into black and white mode and color, you can just click black and white. So let's click that. And legal it's black and white, but it's not done yet. As you see, this is very flat and we want to add a little bit more punch to a little more pop. So let's go ahead and do that. First thing that I'm gonna do is for the whites, I'm going to bring that up to about 40. As you see, that really brings the whites out without blowing it out too much. Now for the Blessed One and bring that down to minus 40. And as you see, it's added a lot more contrast to our image. Next, we want to bring our clarity up. I'm not going to touch the details or the texture for this. We're going to bring the clarity up to about 40. Very nice. Next thing that we're gonna do is we're going to skip the tone curve part and we're gonna go down. We have a new section here, black and white. When you're editing in black and white, you're hue saturation color into this black and white section. So we're going to be editing pretty much every single color in this photo. So let's get started for the red. Let's bring that down to about minus 12. Let's bring the orange down to about minus 21. And these will be mainly the colors on the skin. So you can see that changing. And I'm going to toggle this on and off once I finish this section here, we're going to bring the yellows down to about minus 25. Let's see how close we can get. There we go. We're going to bring the green and down to minus 28. Minus 27 is alright. We're going to bring the awkward down to minus 15, minus 18. There we go. We're gonna bring the blew up by about 15. Plus 15 plus 17 is Okay. We're gonna bring the purple up to about 20 and we're going to bring up magenta up to about four. So what did this exactly due to our image, Let's do before and after. So as you see, it's really added a lot more contrast and a lot more depth, especially around the face, which is what we want. And that is it for this Edit. Let's look at our before and after. As you see, this was fairly flat. It wasn't nice portrait, very well exposed in my opinion. But we added a lot more pop to it and a lot more character, which is what you really want to do when you have a black and white image. If you do a black and white image, it is rare that you're going to see it be a flat black and white image. Those images usually have a lot more punch, a lot more contrast. And that's essentially what we were going for here. So this is one of the simplest and the easiest and fastest at a site you can have in your tool belt ready to go for any photo that you want to turn into a black and white photo. So let's keep going with our next edit. 6. Film Look: Now we are ready for what is probably the most popular editing style that you will see on Instagram nowadays. And that is a vintage film kind of look. So let's use this image over here, which is called Film look. You can see down there and let's hit develop. And there we have it. It's a very nice image, a little bit overexposed in this area. But when it comes to film, you tend to have some overexposed areas. So we're going to work with it. So let's go all the way to the top two are basic editing section. And let's get started, shelly. So first thing is that I'm gonna do is I'm going to keep the exposure right where it is. I don't want to bring it up more. I don't want to bring it down more, but I will add a little bit of less contrast. So we're going to bring that down to about minus seven. And we're going to bring the highlights down ever so slightly. Let's do minus five. And we're going to add a little bit of shadow to this, will vary a little bit. Let's just do plus two. And for the whites were going to bring that down to about minus four. And for the blacks were gonna bring that down to minus 21 or so minutes 23 will do just fine. And we're gonna bring the clarity up to about plus 15. Very nice. And we're gonna bring the Saturation up a little bit to about plus four. So if we look at our before and after, as you see, we've just added a little bit more pop, a little bit more contrast, which is making it ready for us to work with. So next thing that we want to do is we want to go down to our tone curve. So let's go down here to have our whole tone curve in view. And the first thing that we're gonna do is we're going to hop over into the point curve. Let's click that. And we're going to bring this point right here, up all the way to here. You have to bring it higher than you think you need to for tactually look good. So now let's go back to our parametric curve. And we have this section back here with my highlights. Our lights are darks and our shadows. And we're gonna edit each one of these. So I want to bring the highlights down. You can see a common theme here of bringing the lights and highlights down. We're gonna bring the lights down as well just a little bit. And we're going to bring the darks down to about minus seven. And we're going to bring the shadows down to minus 12. So a key thing with the film and vintage look very similar to the mat finish edit that we did earlier and that you want to crush the blacks a lot. Next we're gonna go down to our hue saturation and luminance panel. And we're going to start with our luminance, since we're right here, we're going to bring the orange down to about minus three. We're going to bring the yellow up to about plus five. And we're going to bring our purple down. Let's do minus seven and minus ten on the magenta. Now, let's hop over to our saturation tab. And again, we're going to edit all of these and I'll show you the before and after of this as well. So let's bring the saturation of our read up to about 20 because there's a lot of red in this photo. We do want it to be the highlight, especially the backpack here. So let's bring on orange up to about 25. Now let's bring the yellows down to minus ten. For the green, we're going to bring that up to about 12. And we're going to bring the aqua up to about 27. We're going to bring the blew up to about 18. We're going to bring the purple up to ten. And we're not going to touch the magenta at all. Now let's go over to the hue slider. And we're going to mess around with all the Hugh's here as well. So let's bring the red a little bit towards the orange, put plus five. But let's also bring the orange closer to the red. So let's go down minus 20 over here. Let's see if we can get close enough. Minus 20. Now let's go ahead and yellow closer to green. And let's bring this up to 3930. It is OK. We're going to bring green down ever so slightly to the yellow with a minus three. And we're going to bring awkward closer to blue with a plus six or plus seven. Now for the blue, we're going to bring that closer to the magenta with a minus 17. We're gonna ring the purple closer to red. And let's give that a plus 27. We're actually bringing a purple closer to Magenta, sorry. And we're gonna bring the magenta closer to red with a plus. Let's do plus 20 or so. So if we toggle this on and off, you can see what we did. It's very subtle, but it did bring out more detail in the bricks and the door over here on the left. And in the whole image. Next, we're going to go down to our effects panel. Make sure that's open. And we're going to add some grain to this image. Old film look always had grain. So we're going to add about 50 for the amount. Let's do 50 for the size. I'm going to bring that down actually, I want that to be around 15 and the roughness, we can keep that around 50. Let's be 52. Let's do 52. And next we're going to go down to calibration, which has one tab we've not used yet. So let's go down to calibration. And what we're gonna do is we're going to bring the saturation of the Green Primary up ever so slightly to plus four. And we're going to bring the saturation of the blue primary down a little bit. There we go, minus four. Now we have one final touch and that is all the way back at the very top. I wanted to do this step last because it's kind of like the wow factor for this image. What we're gonna do is we're going to change the temperature because it's still rather cool. We want this to be a warm vintage look. And we're going to bring this all the way over to about 5500. Now we go. One more thing that I'm going to add to this photo is in fact a split toning. I thought I wasn't going to, but I decided that I'm actually going to add one. So that's had a little bit of orange into this shadows. I'm gonna go with a very intense orange flag. I see what I do. And let's bring the saturation all the way down. You don't want it to be too saturated. Maybe just surround 16 or so, something like that. And for the highlights, we're gonna go with a yellow color. And again, we're going to bring the saturation of that way down. And as you see before and after, it adds more orangey color to this image. And there we go. That is it for our vintage film edit. This is one of many kinds of film editor you can do. There are all kinds of different effects that can, you can get to give a film looked here image. So let's look at our before and after. As you see, we've done quite a lot to this image to make it look somewhat more vintage. Salt. Let's go back to our loop view. And for our last edit, I'm gonna be going over my personal style of editing, which is a high contrast grunge kind of look. And I'm super excited to show you that because that is one that I've been working on myself for a very long time. So let's hop right into it. 7. High Contrast Grunge: And we've gotten to our final image that we're going to edit for today. And that is going to be high contrast grunge kind of look, which is my personal style that I've used for many, many years now. So we're going to select our last image here that is titled high-contrast grunge. And let's click develop. And starting from the top, we're going to do what we've done with all our other images and go through every section here. So first things first, let's bring the temperature down. I tend to cool my images down a little bit. Let's just go to about 4700 here. And for the tint, I'm actually going to pull it up a little bit higher to about 13. Yeah, I'm happy with that. I'm not going to touch the exposure or the contrast because I'm very happy with that actually the way that it is. However, I will touch everything else here. So let's go with the highlights are going to bring that down to about nine. We're going to bring the shadows up to about 44. We're going to bring the whites and down to about minus 15. Let's see, minus 16 is fine. And we're gonna bring the blacks up to about 30. And there we go. Next for the clarity, we're going to want to bump that up all the way up to 53. I'd like to have a lot of clarity in detail in my images. Next, we're going to bring our vibrance up to about plus five. And we're going to bring our saturation down to minus 15. There we go. So if we do a quick little before and after, you can see that we've added a little bit more clarity, separated her from the background and Ben started to add a little bit more pop. We also cooled down the overall image. So let's keep going and let's go down to our tone curve. So if you're going to want to do on your tone curve, very simple. We're gonna go to our highlights. I'm gonna drag, we're gonna drag the highlights up to about plus three, just a little bit of extra in the highlights. Next, we're going to bring the lights up overall to about plus four. There we go. Plus four. Next we're going to bring our darks down to minus seven. So that's this large section here. So let's bring that down to minus seven. Minus seven, there we go. And for the shadows, which is this very small section here, we're going to bring that up all the way to 40, which is quite an intense increase. But there we go, plus 40. So let's look at RPA form. After. There we go. That's the change that we've made, added a little bit more clarity to our image. So next thing that we want to do is to go down to our hue saturation and luminance panel. And we're going to start on the left here. With hue. So what we're going to want to do is bring red's a little bit over to the orange we're going to add plus 102 are red, orange or going to add nine. We're gonna leave yellow the way that it is. For the green. I'm going to have this be ten. And as you see, I'm typing the numbers in just young guys a few different ways that you can do this. For the aqua here, we're going to have this be minus four. For the blue here, we're going to have this be plus four. For the purple, we're going to have that be plus 24. We're going to have the magenta b plus ten. And now we can go over to our saturation panel. So let's go over to saturation. And again, let's go through all of these. Red is going to be at minus eight. Are orange is going to be at minus four. Or yellow is going to be a plus three. Or green is going to be at minus 20. Aqua is going to be a plus two, are blue is going to be a plus eight. Our purpose is going to be a minus six, and our magenta is going to be minus 15. Now let's go over to our luminance and explain exactly what we're doing with all of this. Once I finish. So again here, let's fly through this. For the red, we're going to do minus nine. We're going to leave the orange alone. For the yellow, we're going to bump it up by a little bit. For the green, we're going to do minus 20. For the acquirer. We're going to do minus 11. For the blue, we're going to do minus nine. For the purple, we're gonna do minus eight. And for the magenta we're gonna do plus three. So what did we do with all this gets turned on and off. Not much has changed, has the image has become slightly more purple overall. Because if you look at our Hugh, we bought our purples and magentas closer to read as well as our reclose on blues closer to the blue area. So it's a very subtle, but it is an important step that I like to do. In some images. It's more noticeable than others. But for this one it's not too noticeable, but I still wanted to go over it nonetheless. And then what we want to do is go all the way down to our calibration section. And we're going to adjust all of these this time. So for the hue, for the red primary, we're gonna put that up to plus eight. For the saturation, we're gonna put that up to plus three. With a green primary, we're gonna put that Q up to plus ten. And then we're gonna put the saturation down to minus eight. Now for the blue primary, We're going to put the hew down to minus 14, and we're gonna put the Saturation up to 20. So if we look at the before and after, again, it's added a little bit more of that blue cyan look to our image. One more step that we're going to do here is we're going to go up and back to our tone curve. Because one thing we want to do is to adjust the reds and the greens and the blues. And this, I like to adjust these all separately in my images when I personally edit these, and I usually do this at the very end. So let's go into our red channel. We're going to edit our red channel. And I'm gonna put a little S-curve into all of this. So let's go ahead, bring this point up a little bit. And this is going to look better. Eventually, you have to trust me. We're going to bring this point back to the middle. And we're going to bring a point down here. Ever so slightly. There we go. So I have a slight S curve on our red channel. But let's just be a little bit more precise with this. As you see, there is a grid. And if you look in the top left here, there are numbers that you can adjust to. So I'm going to just this one down here specifically to about 55. And then I'm going to go down 27. So let's do it about there. This middle point here specifically is going to be 117 or 127. So we're very close to that. Sets about there. And this point up here is going to be specifically 86200008. So we're very close to that. So let's go over a little bit. 1862008. We're not gonna get it exactly, but variable that is it for the red channel. So let's go over to our green channel. And we're going to essentially do the same thing. So we're going to bring 1 L in the top right here. We're going to bring this out to 18208. There we go. We're going to have a middle point as well at around 116130. So let's do 116130. There we go. And we're going to have one all the way in the bottom at 4718. So let's do 4718. There we go. And then lastly, we're gonna go to our blue channel. Such two are blue channel. And again, we're going to do another S-curve. I told you I loved my S curves and I use them in all of my edits. It really is what adds the punch to your image. So the first that we're gonna do, again, we're going to bring this up to about 187 to 17. Then we go 187 to 17. We're going to have one in the middle at 121124. Let's bring that up a little bit and then to the left for one-to-one twenty five, that is about right. And we're going to have one more. And the bottom at 5631. So let's bring that down to 5631. Let's bring that up. So what does this do for the colors? It essentially darkens, enlightens each color specifically. So for the Blues, we brought up the highest of the loose and we've lowered the darks of the blues. Same thing for green and for our read. And as you see, this is the final piece that has created our grunge look for our image. So let's go ahead and let's go into our before and after. And as you see, we've really gone from a decent portrait here, rather flat looking to one that is very grungy, very industrial, very contrasting, very in your face. And this is my personal style that I used in a lot of my images. So let's hit this button here to go back into loop view. There we go. And in the next video I'm gonna go over how to export your images, as well as how to turn these edits into your own presets that you can then use on any other image that you would like to use it on. So let's keep going and let's go into our next video. 8. Exporting & Presets: And we're done with our edit. So I'm really happy with how they came out. And it's done five different styles of editing, but now it is time to export our images. So how do we do that? So it is very simple. You can just click one of your images, hold down Shift, and then click all of them. Or you can have one image selected and then do Control or Command a to select all of them. And then it's very simply click this export button down here. Now a dialog box is going to come up here and it looks a little bit daunting, but it's really not too bad. So the first one here is the export location shown to have a specific folder that you are going to export to. So I have mine already set is one called Finished photos. So you want to make sure you know where you are putting it. You can put it into a subfolder, but I don't do that. And I just keep it as an untitled exploit for now. And that is all I do for the export location. You can rename your files if you want to. She can rename it to a custom name or anything you want. I generally just keep them named what they are. Next. If you're working with videos, you can edit different video things here. But we're not doing anything like that. This is where if you have a slideshow, you can export that as a video. There are a few other scenarios in which case you can use this. What we are going to be paying attention to will be our file settings. So by default it's going to have a jpeg image format. Now you're able to export as a JPEG, as a PSD at tiff, PNG, a DNG, and an original which is the raw file. So for this video, we're going to export it as a JPEG because I'm imagining this is gonna go onto Instagram until website. Now if this is going onto a website, you're gonna want to limit the file size to something that is less than one megabyte, which is 100 kilobytes. So if I were to save this for web, I would probably resize this to about 500 kilobytes and then save it that way. But because I'm saving this for Instagram, I'm just not going to eliminate the file size. I'm just gonna want the quality to be the highest quality. Next we have our image resizing tab here. We're not going to resize our image, but if you want to cheek and resize this to fit any size that you want. And you have different options for the width and the height. You can enlarge it, or you can select not to enlarge it. And you can change the resolution as well, but we're not gonna resize our image. Next you have a sharpening section. You can sharpen your image for a screen or paper. And you can choose how much Joan to sharpen it by. I generally make sure my images are sharp enough when I edit them. So I don't have to do anything like that here. Now I tend to include all the metadata that comes with my photo. So that includes a copyright, all camera info. Next we have our watermarking section. So in certain situations you might want to put a watermark onto your image things simply select this and it'll put a simple copyright watermark over your image. You can also edit the watermark to have your own unique watermark. But I generally keep this unchecked because my clients never want there to be a watermark on their image. And our final part here is post-processing if we want to do any thing after we export. So I have mindset to do nothing. But we can show it in our explorer. We can open up the images in Photoshop in another application where we can go to the export actions folder now and see what other options we can add. But we're going to have do nothing for now. And then it's as simple as clicking export. And then you just wait in the top-left is going to be a progress bar, and it says export five files. So in all you have to do is just wait. For a second and it's gonna export everything you can see it's doing it one by one. And we have all of our images exported. So now one more thing we're going to do is I'm going to show you how you can turn the edit that you created into a preset that you can then apply to any other image. And so very easy. So first of all, its goal to develop. So let's say you really like this edit and you like the color, tone and everything, and you want to use that on another image. It's very simple. You see here on the left under the presets panel, there's a plus icon is simply click plus. And then he clicked create pre-set. So first, let's come up with a preset name. I'm just going to call this grunge preset. And it's going to save it to the user presets, you can make another group if you would like. And here is where you choose what you want to include in that. So everything here in the settings, everything that you have on the right-hand side of your editing. You have your treatment and profile, which is what's all the way at the top, you have your white balance, your basic Tone, Tone Curve. Everything you see here, will everything you want to be included in your preset, you just check. So I want to white balance to be the same. I want the exposure, everything to be the same. And let's see what is not select the transform. We don't really care about that too much. So let's just keep everything the way it is. You don't want to create the ISO adaptive preset, Not right now. And let's just click Create. And now you're wondering where is that? What you do is scroll down here. You see you have user presets. I have some other ones that I've downloaded and have used in the past. But here we have grunge preset. And if you hover over it, it doesn't do anything. But let's go back to our library. And for example, let's choose this photo here. We're going to right-click and we're gonna do create virtual copy, edit the original. And if you see down here than you want, it's called copy one. So let's click on this one. Let's click develop. And when we're here, we just want to click a reset switch back to the original image. Now, we're gonna go to our presets and we have our new grunge preset. If we hover over it, it's going to apply that to our image. So this is the same edit that we used over in this photo, applied as a preset to this photo. So as you see, there is a difference between this one and this one. This is of integers that we created together. And this is our grunge voter could onto the original one. And once you have a preset, you can then adjust different things. I can bring the colors upward down and do whatever I would like to my image. Essentially, that's one way in which you can spend the time create a preset they actually really like. And then you can use that to do bulk editing. For example, let's say from this shoot over here, you have ten really good images and they're all in the same lighting, same area. You don't wanna edit each one separately. So you can create one precept that will work for all of them. And it will make your editing workflow goes so much faster. Now have included one of my personal presets that I've created with the downloads for this course. You will find it is called TK preset one. And to install that, all you do is you click the plus import presets and you're going to select the preset that I've included for you. That is very simple. And when you have that is going to be essentially the same process. So for example, let's click this. Let's create another virtual copy of this image. Let's click develop and then reset. And the one that I have is a cyan orange type of preset. This is one that I've included for you to have. And you can play around with the sliders and see what I've done with that. But that is my present for you for choosing to do this course. So in the next video, we're gonna go over some final thoughts and finish up this course. 9. Final Thoughts: And there you have it. You've completed my Lightroom course, how to edit photos. Lucky pro. Congratulations, that's an awesome achievement. I really hope that you've learned a lot today and skills that you can use to edit many more photos and to create your own presets because it really makes your workflow so much easier. I would love to see what you've created using the techniques taught in this course, my homework for you suppose one before and after of an edit that you make using the techniques and skills that you've learned in this course. Drop it down below to the students submitted project because I would love to see what you create. As always, if you want to see more of my work, check out my website at www dot the real Tom Chi.com or you can find me on Instagram at the real Tom Chi. I also have some other courses already made teaching some more techniques and Photoshop, including Photoshop manipulation and compositing. So if you're interested, please head over to my teacher page and check out my other courses. It's been a pleasure teaching you and I hope to see you in another course. Take it easy.