Transcripts
1. Introduction: Years. Adobe Light
Room mobile has been the go to photo editing app, whether you're on your
phone or a tablet. But there's been a
bunch of updates to it. They've changed things around. And this is the only class on Lightroom Mobile that
you'll ever need. Hello and welcome. My name is Fin Badgley. I'm a commercial
portrait, fashion, and advertising photographer
located in Toronto, Canada. And although a lot of
my photographic work, I do heavy edits on, I also love taking a bunch
of photos on my phone and editing them on Go if you're just getting
into photography, if you want to edit your
photos on your phone, if you just want to make
them look better all around an application
like Adobe Light Room, You may know it's the best, but you don't know
where to start. And by the end of
this short class, you'll have all the
tools you need. I encourage you to wait
till the end of this class because I will be giving
you a discount code to get some of my own
lightroom presets to give yourself a great starting point for your photos to take
them to the next level. You can use this as
a learning tool. You can use this to amp
up your own photos, whether raw, whether J Peg. So stay tuned to the
end so you get access to if you're just downloading Lightroom
mobile for the first time, this will take you
through everything you need to know about what
the different tools do, how to use them, and how to get the best results
out of your photos. We're even covering new AI
features that Adobe has implemented into Lightroom
mobile for these new updates, so you know how to use them
to make your photos pop. We're not just going
to be talking about the different tools
that light room has, but also how to give your photos an overall aesthetic feel that way when they actually
go up on the gram, the likes will just
start rolling in, all because you've
taken this class. Now, without further ado,
let's jump right in.
3. The Light Panel: All right, starting off, we're going to jump
into the light tab. This is going to
cover your toning, your high lights, your shadows, your exposure, contrast,
all of that fun stuff. So firstly, I'm going
to pick this photo of some glasses with a mug in
the side there and a book. Quite a static photo. Just a quick shot like this that you could
take on your phone. So we're going to go
here to light now. We could hit auto
and then we'll do a whole bunch of different
things as you can see here. But I like to be in manual
control of what I'm doing, so I'm going to undo that. Just reset up at the top there. Just reset all of those. Okay. And now we have the light. Now there's two ways
you can do this. You can go through the sliders or you can go through the curve. The curve is just like the same curve if you're
used to light room, if you're used to Photoshop, the curves layers, that's
what this refers to. But we'll start
off with exposure, exposure, We drag it
down to one side, we drag it down on
the other side. It's like the brightness
of the overall image. You can always double tap
on the little label there to reset your slider contrast exactly what it sounds like, how punchy or flat
that photo is. Double tap on that
recenter it highlights. And shadows are on
your tone curve. They're going to be about
this point here, right there. And then your whites and
your blacks are going to be the more extreme
on the very end. That's how you can get an
idea of what those do. I'm just going to undo the curve a couple of times there, There we
go, and we're good. You can bring down
the highlights, you can bring them up and you'll see the parts of
that that affects it. And then you can bring up the
whites and bring them down, and you'll see the
whites bring that white a lot brighter
than the highlights do. And that's because
it's affecting the brightest parts
of the image. Whereas the highlights, it's just the higher end your tones, there's a lot of
white in this image. I want to bring the highlights
down just a little bit, but I also want to bring the shadows up a little bit just to bring a little bit of a
muted feel to this photo, but it might get a little flat. So that's when I'll
bring up that contrast. Because the contrast
affects the overall photo. Basically, it's the difference between the whites
and the blacks, the highlights and
the shadows overall, and how it creates a
larger gap between them, creating a punchier look. When I say a punchy look, it just refers to how contrasty the photo is, how crisp it is. If you will bring that
up a little bit now, something I like doing to
give my photos a bit of a filmic feel is I will bring the Blacks up
just a little bit. I do it on the tone curve
because I like it a little more than the Blacks slider. If I bring that back down, instead I come down and
bring up the black slider. You can see it
affects it similarly, but I like the visual aspect
of having that curve. I'll bring those blacks up, I'll bring the whites down
a little bit and then add a little bit of brightness to my midtones, to
highlights area. And then I'll bring
my shadows back down. Now that looks bad, I'll say it, it looks bad. So I got to bring those
highlights back down. I want to bring the shadows
down a little more. And what I've done here is I've created too much contrast. So I just want to lessen the effect of what
I'm doing here. So you can see it's
a very subtle curve. And if you're ever
unsure of what you're doing or how things look, you can always tap on the screen to make the
photo full screen. And then you can hold on that so you can see the
difference of what we're getting. And then when we look at
the before and after, it still retains the information in the highlights and shadows, That's why we brought it down. But it still has a
contrasty and clear look, because if I just
added contrast, it would make it grittier,
make it punchier. But you would start losing information in the highlights
and in the shadows. But by flattening the image
before adding the contrast, it creates more of that
detail there that will then be affected by the,
that you're adding. It sounds counterintuitive,
but you can see that it does make a little bit of a difference.
And I like this look. It also gives it a bit
of a filmic quality, which I really look for in my photos. Now that's
the light tab. Now the other main tab that you're going to
be using is color. So let's jump over there
and we'll dive right in.
4. Utilizing Color: Color is exactly
what it sounds like, how you affect the different
colors in your photo. There's a lot of things
that you can control here. You can make your
photo black and white, which then you can adjust
the tones of the color, but in black and white. So they're darkening
certain areas of the photo. But we're going to focus
mainly on color here. So the first thing you
have is your temperature. Temperature refers
to your coolness or warmness of the photo. Yellow versus blue. If
I bring that up a lot, you can see it's very yellow. If I bring that down a
lot, it's very blue. Pretty simple, double
tap zero that out tint controls your
magenta to green hue. So what we're going to do
there, if I bring that, you can see very magenta,
very green, vibrant. Is your saturation. Except it doesn't affect skin
tones as heavily. If I bring the vibrant up, you can see there's a
lot of saturation there. But the reds and the oranges aren't affected
as much the yellows are, but not so much in the
orange and red space, which is where a lot
of skin tones are. Versus if I up the saturation, you can see that it becomes
saturated across the board. All the reds, all the oranges, everything are really
over saturated there. That's the difference
between the two. The saturation of this
I'm pretty okay with, but I want to give
it a warmer look, so I might up the
temperature by, I like about five. We'll do that. But then there's two other panels
in here that are a little hidden that
you can use to really give your photo
a particular look. These are your color mix and your color grading color mix is also referred to as hue
saturation and luminance or HSL. If you're familiar with light room and the adjustments that you can do through there. We have a bunch of different
colors here, red, orange, yellow, green, cyan, blue,
purple, and magenta. And you can affect a bunch of properties within
them from your hue. Which is going to say if
we're on the red color here, the one direction is going to
make that red more yellow, the other direction
is going to make it more magenta or more pink. Desaturation affects how
intense that color is. If we bring it up, you can
see the reds in that table. Or brought out a little
more, we bring it down, they're a little
grayer, Zero that out. And then the luminance is the
brightness of that color. Again, if we bring it up, you
can see it gets brighter. If we bring it down, you
can see it gets darker. I almost like it
a little darker, so I'll leave it down there. Now, the oranges, this
will really affect it because that table is more
on the orange spectrum. We could really
pump that color up. Maybe we want it a
little stronger, but a little darker, and maybe we want it a
little more red. So we can change the hue towards the red direction,
that orange color. Now, the yellows will
affect what's on the book, the glasses, et cetera. So we can see that's really that bright yellow gold color. Maybe I want to bring that down just a little
bit, just like that. That's okay. The greens, we might not get a
whole lot in here. We can see a little bit of the
reflection in the glasses. Maybe we'll just bring that down a bit so it's
less distracting. Cyan, we're not really
seeing anything on zero that blues a little bit. We can bring that down purple
again, not a whole lot. And then lastly, magenta,
again, nothing really. This is a very orange, yellow, red centric photo. So that's why we're getting the particular look here and why it's affecting
it in that way. Now, color grading, this
is where you give a photo a look as it's called,
define a vibe. You define a look, you add color to
different parts of the photo to give it
an overall feeling. This is how you can
get photos that sometimes feel or
look cinematic, just based on the color that
they're infused with here. This is your shadow slider, so you can bring it down and add different colors that
only affect shadows. Some people will put a
teal color in the shadows. That's where you get that
teal orange look for me. Sometimes I actually like giving a little bit
of purple in there. Now I'm going to bring
that saturation down. To control these individually, you can grab on this and then you can control
just the color. If you just grab on that dot, if you just grab on the middle
dot attached to the line, you can affect the saturation
of it, how intense it is. Lastly, you can also
grab that line and then swivel it around to affect the overall
saturation and hue. The hue being what color it is. I'm going to bring
the intensity of that or the saturation
down quite a bit. I'm going to put it
about seven luminant. You can then affect how
dark the shadows that, that color is affecting
end up being. So I can darken
those shadows down, I can bring them up, I
like them a little darker. And then blending, it's how far into the other
tonal ranges they go. If you have the blending higher, they'll affect more
of the midtones. If you have the blending lower, they'll affect fewer
of the shadows, only the darker areas, but I kind of like
it in the middle. Then the midtones, you're affecting the midpoints
of the image. This is going to have a
lot more of an effect on the image and I honestly don't really like color
grading my midtones. I find it makes things
look a little bit weird and pretty much the
same goes for highlights. You can see it gives just a weird feeling to it and kind of mutes the
highlights a little bit. And I do not like that, so I'm going to zero
that out as well. But there is the global
color grade as well, which just gives a giant
look across shadows, highlights, and mid tones. I will usually add one
color to the shadows, and I'll usually add a
global color as well. So the global color,
I want this to feel like a nice warm evening, so I'm going to add a kind
of orangy tone to it. Something almost
like if you're in golden hour and right now we're getting a
pretty good look. I'm just going to bring down the luminance of
that a little bit too, so we can see now we're getting a much different look because we're adding this color in there and we're affecting
the different colors of this particular photo. Then we have the
eyedropper here. And what that does is it
lets you pick a white point. This is for manually
setting white balance. If you have a perfect
white surface or gray sometimes works as well. If you have a gray
or a white surface, you can use that eye
drop or icon on it and that will tell you what the
white balance roughly is. And then it'll set all
the sliders accordingly, so I could hit okay on that. And you'll see it brings actually the temperature
down and the tint up a bit. But I want to give it
more of a look here. I'm not necessarily going
for perfect white here. Certain images you will, and that's when you can use
this on a white surface. But that's not what
I'm looking here for my photo now this is
looking a little bright. So I do want to go over to my light tab again and just
bring the exposure down by about negative 0.3 or
so When you see the zero, whatever these refer to a stop, meaning the darkening and brightening percentage
of a photo. If you bring it up by one
that's referred to as one, which basically doubles the
brightness of the photo. If you're familiar with
shutter speeds and stuff, we would be like having
a shutter speed of 1/100 and then going to a shutter speed of 1/50 it
doubles the amount of light. So we've covered the color tab, we've covered the light tab. Now we're going to quickly
go through the other tabs, Effects Detail and all those
other ones to give you a quick little look at how you can use those to
affect your photos.
5. Effects Geometry and More: The effects were in here. There's texture clarity,
haze, vignette grain, and these can help add different feelings to
your photo texture. If I amp that up and zoom in, you can see it gives the
photo a grittier look. And if I bring it down, it
gives it a softer look. I love that they added
this in here because it's so much less intense
than the clarity slider. The clarity affects
midtone contrast and it makes things look
really gritty and punchy. And I'm not always a fan of that because you can
see the look it gives. And it's, this was a popular look about ten years ago and I am
just not here for it, so I barely touch clarity. And if I really zero that out, you can see it looks
all hallowy and weird and I hate it.
I don't like it. Stay away from the clarity
slider In my opinion, texture, I love it. It's great. If I wanted to amphi
this up a little bit, I could give it
like a plus nine. But here's the thing. This photo was taken on a phone. And the thing about
phone photography is I find they're often
over sharpened. No matter what model
phone you have, I find pretty much every
single one is over sharpened. And the way that I like to
fix this isn't going through the detail panel and decreasing sharpness or anything like that that we'll talk
about in a minute. What I like to do is
bring the texture down by about negative ten
and you can see it just it takes
away some of that clinical over sharpening
that phones give a photo, especially if you want
more of a filmic look. This is something that
you can do as well. Just soften the
photo a little bit, make it feel a
little more natural, a little bit more
authentic texture clarity. Now we have hays. This will either add a bit of
a hazy look to your photo. We can see here it gives it kind of that really hazy feel. And then if we bring
it the other way, it takes away a haze. It gives it a much
punchier contrast to your saturated look.
Haze is great. If you're taking photos on a really cloudy or
foggy or hazy day, it will actually take that
haze right out of there. Trust me, I've done
this many a time. But if you also want to
add in a bit of haze, you can use that as well. Vignette, it's going to either darken or brighten the
corners of your image. Like you can see here. It can look a little too
intense very quickly. If you're going to
use a vignette, I like using a small vignette. And then playing
with the midpoint and the roundness and the feathering to adjust how
it affects the photo. But to give you an idea of how these different
settings affect it all really increase the
vignette so you can see it. The midpoint you can
see that's how close to the center of the image it
is, so that's really close. And then the roundness, how perfectly round
or oval that is, you can see that's like a box here that's like
a perfect circle. Then the feather is how subtle that vignette falloff
is. You can see there. It's really subtle and gradual. Versus if I take it the other
way, it's like a spotlight. So different ways you can
get different looks there. And then I can always
just zero that out completely on the vignette and that'll take care
of everything else. And then grain, This is like you're just adding
grain to a photo. So if I want to give
this a filmic look, I'll increase the grain
to say, 33 or so. Zoom in and you can see it's
getting a bit of that grain. I can up the size I
can up the roughness to just how I want
this to actually look. I like having a bit of
grain to some of my photos, especially if I'm going for that filmic look because that
is more popular these days. Detail that's your sharpening
your noise reduction. I sometimes will sharpen
my photos a little bit. I don't like sharpening them a whole lot like I'm doing here because you can see
then they just start looking weird and
over sharpened. So I'm not going to do that
for this particular photo. It's perfectly sharp, I
have no problem there. And then masking, it affects only certain
parts of the photo. So if I were to sharpen this, I would increase the masking a lot because then
it will just affect the rim of the glasses here and any edges that
really jump out at you. But I'm not going to worry about that for this
particular photo. Noise reduction is if
you don't want grain. If you have grain because of a high ISO or because you're
shooting in low light, and there's a lot of grain to your photo, it
doesn't look great. Then you can add in a
bit of noise reduction. I don't like adding too much because if you go crazy with it, then it starts softening everything in the photo and then it looks muddy and weird. It'll look really
weird, trust me. It'll be like when you
took a photo on a phone from like ten years ago
and you took it at night. And everything looks blurred together and weird and
it doesn't look good. So if you're going to
use noise reduction, I like keeping it, I would say below
20 is a good bet. Color noise reduction. Same thing just for color noise because there's regular noise and color noise. Color noise, you'll get
like a bunch of like blue, green, red, purple colors in
the noise when you zoom in. And that's what that
particularly effects optics. Chromatic aberration is little purple and green lines
around edges of things. I can zoom in here, I'm not really seeing any
chromatic aberration. It would usually be kind
of along the edges here, especially if you're
back lit with something. If the lights behind something, that's when you'll see
more chromatic aberration. But I can turn it on and yeah, it's not really
doing anything for this particular photo because
it doesn't really have it, But you can always
add that in there. And then **** corrections
will just adjust some of the warp from the
optics of the camera. If there's a natural
vignette that's added, it usually takes
that out as well. Geometry is going to change the perspective
of your photo. You can distort it further
back, further forward. If you're on like
a fish eye ****, you can distort it back to
negate that fish eye effect. Or you can increase it
by going the other way. Vertical is how you straighten out vertical lines of buildings. So if we have an
architectural photo, you can use that to actually
make sure everything's nice, lined up straight and tall to best demonstrate
the geometry tab. This is used on
architectural photos. So I have this photograph
here and you can adjust the vertical and you can see how it affects the
vertical lines there, especially on the side here. If I zoom in and then
adjust the vertical there, you can see that's
where it's more straight and looks better. You can also auto adjust
the up right and the crop. It just does it automatically and you don't have
to worry about any aspect scale,
anything like that. If you don't want to
worry about that, you can just go up
right auto and that will make everything more
seamless and better. But if you want to get
into the nitty gritty, you have all the different
sliders that you can adjust to completely shift the perspective of
how your photo looks. And I'm just going to undo all those there because
I'm just showing you a more drastic version
of what they do here. Now with those out of the way, there are some new features Adobe has introduced
into Lightroom Mobile that implement I in editing your photos,
especially for masking. So let's take a look at
what those look like.
6. Ai and Masking: Masking refers to when you adjust only certain
parts of your photo. You create a mask on one part of the photo that doesn't
affect the others. It would be like if I
selected myself here, brightened myself up, but the
background stayed the same. That would be a
version of masking. I'm going to go to a
different photo and one that will
illustrate this better. Let's go with this
photo of me sitting on a patio from a date
night at one point. And we can just also quickly and straighten this so we can go through the
different crop settings. There's a whole
bunch of different aspect ratios for
different things. If you want, say, a four by five for Instagram,
you can do that. Maybe that's what we'll go with. Actually, we'll do a
four by five crop. You can also adjust
and straighten that photo that looks
pretty straight there. And you can adjust
a whole bunch of these settings as you go.
The straightened settings. You can flip the horizontal, you can flip the vertical, you can rotate the photo, but that's just going to
make everything look weird, so I'm not doing any of that. And you can also
have it either be locked or free form
for your crop. Now masking, this
is where we can adjust specific
parts of the photo. You hit the little
plus icon here at the bottom and you have a
whole bunch of options. A lot of these are new. For example, to select
subject, select sky. These are the newest
features that have been brought into
light room for masking. Because before you
mainly had the brush, the linear gradient and
the radial gradient. And what this did was it would either have you
paint over part of the photo and then
you could adjust different settings for
where you painted over. Or you have a linear
gradient which you drag down over
parts of the photo. And your adjustments will only affect where that gradient is. And it's called a gradient because tapers off it feathers. So it starts really intense
at the top, let's say. And then as you go down to
the end of the gradient, it gets softer until the
effect is not even there. The same is true for
a radial gradient, in which it's like a
circle, it's a radius, but it works the same
as a linear gradient, where at the center of
the circle is going to be the most affected by the
adjustments that you make. And the outer rims of the circle are going to
be the least affected. And it will work in a
gradient to taper off, so it goes from really
intense to nothing. But what I want to do here
is I actually want to play with the different AI
features that are here. So let's say we have this
photo of me and I want myself to be brighter in the
background, to be darker. I'm going to hit the
little plus icon and I'm going to hit Select Subject. And just like that
it detects me. You can see did a really
good job of it actually. And that's when we
go to our light, our color effects detail,
all the different panels. And we can adjust just
how they affect me. So let's say I want to
be a little brighter. I can make myself
way too bright, but I can make myself
a little bit brighter. I can bring down the
highlights again. I can up the contrast still, and I can just make myself pop out from the
background a little more. Now, this doesn't look
perfect because for one, the background is a little
warmer than I am currently. So I will increase the warmth on just me and that'll help me merge in with the
background a little more. But the other thing
that I can do is, once I'm done with this mask, is I can adjust the
rest of the photo to compensate for how I've
adjusted one part of it. So say I'm too bright
for the background here. Well, one thing I can do to make everything
even out more, just drag down the overall
exposure of the photo, say by 0.3 And now
I still stand out. I look like I stand out, but I'm meant to be there
because I'm warmer, because I'm brighter, but because I'm still in that
natural environment. But because everything's
darkened down, it just looks like I
pop out a little more. It doesn't look like
I'm too bright because when you start just
adjusting certain parts, you can end up looking like the backgrounds too bright or
the foregrounds too bright. In this case, I'm the foreground or what's closer to the photo. We can see the difference
here, where initially I actually look a little
too dark in the photo, there's not as much light on me versus when I do the adjustment, we can see I pop
out a little more, but we can actually layer
different masks on top here. Say next, I want to actually add a little
bit of a glow to me, like there's a bit
of sun coming in. This is something I love
doing across my photos. Add a radial gradient, and what I'm going to
do is drag that across. The reason I drag that off is because right here at the
center of the circle, that is where the effect is
going to be most intense. I'm going to actually
drag it off. It just falls off
nicely across my face. Then from here, we're going
to brighten that up a bit. It affects the background
but myself as well, and I can drag that around to where I want it to affect more. Then I can add, say, a little more warmth to that
just to make it blend in. But also maybe I want to
add a little bit of dehaze. It looks like there's a bit
of a light trail coming in. That's how we can do that. But maybe it's a
little too much. I'll bring the exposure
back down because the dehaze does lift shadows. Does do a lot of
that work for me. I don't want it to
be too intense, otherwise it might start
looking a little fake. I can bring that down
a little bit more. That's looking pretty good. Can also adjust
the feathering of this mask by clicking
on the mask itself. Just clicking on the
little circle there. And then going off to
the other side here, you see this little gray circle. If I click on that, I
can then have a slider that allows me to change
how feathered this is, what the fall off of
this gradient is. If I think it's a
little too intense, I can bring the feather up. If I think it's a little
not intense enough, I can bring the feather down, but I think it's a
little too intense. I'm going to bring the
feathering up and that just makes it look a
little more natural. Then we can see the difference that that
makes across the board. We get a little bit of
a light coming in that brushes across my face
onto my shoulder. And because it's a wider circle, because it's off
frame a little bit, it creates this
really natural glow that comes across the image. And this is one
application that I absolutely love
using gradients for. You can also use
the different masks here to change the sky. Let's say I have
this photo of me on a boat and I want to
select just the sky. I can do that. Add a mask and sometimes these are perfect,
sometimes they're not. You can see here this little
bit it did not catch. You can hit Add to mask
and you can actually add certain parts of it that will fill in the
gaps that you miss. Say I want to add in that little window between my head and part
of the boat here. I can actually take the brush and I'm just
going to paint over that. Then the same adjustments
that I make to the rest of the sky will be made to this. This is a little sloppily done. This would be better
done on an ipad where you actually have
the pencil to do it. Then I can adjust the
different settings of the sky. I don't want to
really darken it too much because that's going
to make it look weird. But if I want to adjust the
highlights or the contrast, maybe bring the highlights
down a little bit. Maybe I want to make
it a little bluer. We can do that. We can
make it warmer as well. If you want a little more
of that sunset look, you can change the
hue so you get a completely different
look of a sky. You can see that changes
the color entirely. If you want more of that
sunset look or if you want more of that teal
or cyan looking sky, that's how you can affect that. We can see the difference, those couple
adjustments made there. This is something that they're currently always improving. Sometimes it's not the
best at detecting things, especially like in here. This is where you can add the brush and paint
in that mask. But for what it's
worth, the AI is actually pretty powerful that.
7. Presets: Now we've pretty much covered all the different panels
within light room. But sometimes when
you're editing, you want to make it quick,
you want to make it easy. And you don't
necessarily want to be doing all the same adjustments over and over and over again. There's a couple of
things we can do here. Say I want to take the
adjustments I made on this photo. I can copy the settings
and I can copy which ones that I want to
copy over to the next photo. I can even copy the masking that I did on this
photo to the next one. But I don't have to. I can just copy all the same
adjustment for this. We'll copy the A I
masking as well. It will just have to redo
the mask on the next photo. So let's say I
have this photo of my partner and my girlfriend
having some ice cream. I'm going to paste
those settings and then detect the subject and do that same
kind of thing again. Now this obviously isn't
the right photo to do this because of what
the settings are here. I can, however, come in and
adjust what those masks are. The light is more so coming
from the other side of her. So I can bring this around and that will start
looking a little better. But I can also go
to the mask of her. Then I can drag the
exposure down a little bit, and suddenly it's going to start looking a little more natural. And we can see she still does pop out from the
background a little bit, but it doesn't look too fake. Now that's one way to copy settings from one
photo to the next. You can go through and you can copy a bunch of these as you go. But what I love doing is creating presets for
my different photos. I can actually go here, go down to the bottom
and hit Create Preset. And I can call it, say, Warm Glow and we'll
make it mask. Yeah, we'll include
the mask settings. Because these are including
the mask settings, they will take a little
longer to copy over, but then we can hit that. Now that's saved
under user presets, which is found here
at the bottom. We hit that, you have a bunch of recommended presets
from light room, we have a bunch of
premium presets, and we have your
own user presets. And then you can see here, I have a bunch of different
ones that I've made myself. And I can use these
across different photos. And what that does
is it's just like a filter that uses a bunch of these
different adjustments. And what I love presets for
are a good starting point. You can see I have a bunch of different black and
white ones here. I have some film looks, some that emulate, say, the look of portrait 400. So let's say we have this one, then we can come here and adjust the particular
settings as we want. We can still warm it up a bit. What I love presets for
is a starting point. They give you the overall look. If you're not quite comfortable with what the sliders do yet, but you want a great
looking photo still. You can get presets. You can download them, import them to light room, and then you can take the
information that they have. Use them to make your
photos look great, whether they're
taken on your phone, whether they're taken on
a professional camera. Then you can actually go into light room and
start adjusting the sliders for each preset
to see what setting affects, what part of the photo, why
that preset is made that way. Ultimately, then it
helps you become a better editor because it
shows you real time what different things do
in a way that's non intimidating because it already is making the photo look good. Now that said, not all presets will make your photos look good, some will make them
look really weird. I can go through here, you'll find that not all presets
are made for all photos. I can go here and
some of these you can see they are making this
photo look a little weird. This one's okay, that
black and white. I'm alright with warm glows. Okay. The moody I
like quite a bit, but maybe I would
come in here and bring the highlights
down a bit and maybe I would overall come here and warm the photo up
just a little bit there. And you can see the
difference that that'll make. And that's just a quick
adjustment that you can make using presets. And this is a great way to make lightroom
less intimidating. It's also a lot quicker
to edit your photos with. Some people love presets,
some people hate them. I view them as a great
tool for learning and for having a efficient
editing process. Because a lot of the
presets I've made have been done for different
shoots that I've done. All the photos are going to
have a similar treatment. So I'll make a preset at the beginning of that
editing session and then use it across all
the photos and tweak them across every one
because the truth is, a preset won't work
on every photo, even if the two photos
are taken back to back, almost you will almost always have to adjust some
of the lights, some of the color,
different parts of the preset to get the photo
exactly how you want. But they're a great tool. They're a great starting point. And for that I think
they're really powerful. Now we've gone through all of light room except
maybe how to export. So then you can come here, hit the three dots at the top. You can hit Save
Copy two device, and then you're able to
quickly save a copy of it. You're also able to hit
the Share icon and you can export as you can hit Share and send
it to your friends. Post it on social media. Right from here you see all the different
ways you can do that. But you can also export it as
different file types, Jpeg, PSD, D, and G, et cetera, depending on what type of
photo you're working with. And then once you
have them exported, you're good to go, You're ready to post your
photos out to the world. Get those likes rolling
in on the gram. You know how to level up your photos using
Adobe Lightroom. And all it took was you to
watch this quick class. So if you remember what I
mentioned in the intro, keep watching the next lesson
so you get access to that.
8. Final Thoughts: You've done it, you've made it. Thank you for watching this class and making
it till the end. Staying here, spending
your time with me to take your photos to the next level
using Adobe Light Room, Mobile, the most
updated version. Using AI masks. Using the different light and color tabs to
adjust your photo, to give it not only
a polished feel, but also a look and a vibe. With all that said,
I know I mentioned presets in the previous lessons. Well, I have presets of my own that are tailor
made for different photos that I've created. And for you spending
your time here with me, I want to reward you. So once you've finished
watching this class, if you head over to my website, go to the lightroom
presets in my store. Use the code skillshare, all one word, and you will
get 15% off your order. Doesn't matter if you
buy the mobile pack or the all inclusive
everything preset pack, you will have immediate access
to the actual presets that I used to edit my own photos. Like I said, these are
a great starting point and a perfect learning tool, but also they can
just be used to take your photos to the next level. So with all that said, thank you so much
for watching this. If you also want to learn how to take more Instagram
worthy photos, how to take aesthetic photos
using just your phone, Make sure to follow along
with me on scale Share because pretty soon that
class will be live. And when that new class is live, I'll update this one so you see that it's up if
you're not tired of me talking yet and you
want to see a more of a behind the scenes look
into me as a photographer, my life in general, and a bunch of other
things that I have on the go Go over to my
Youtube and subscribe there as well. I'm on Tiktok. You can check out some
different content strategies that I've been working on. I hope that if you use
my own presets that you get a lot of
value out of them. And make sure to post
your before and after photos having used the
techniques learned today. If you have any questions
regarding lightroom, mobile photo editing skill
share or even my own presets, hop down to the
Discussions tab where I'm always active and we'll answer any questions you have. Lastly, remember to post
your before and after photos editing using the techniques in Lightroom mobile that
you've learned today. Thank you so much for your
time as always, work hard, rest often, and have
a super creative day.
Fynn Badgley, Fashion & Portrait Photographer
