Landscape Photography III: Pro Editing With Lightroom & Photoshop | JP Danko | Skillshare

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Landscape Photography III: Pro Editing With Lightroom & Photoshop

teacher avatar JP Danko, Commercial Photographer

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Landscape Photography Trailer


    • 2.

      Introduction & Overview


    • 3.

      Summer Mountain Editing Example


    • 4.

      Lakeshore Sunset Editing Example


    • 5.

      Rocky Beach at Dusk Editing Example


    • 6.

      Southwest Red Rock Editing Example


    • 7.

      Winter Ice Editing Example


    • 8.



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About This Class

With nearly two full hours of instruction, photographer JP Danko teaches a professional landscape photography editing workflow by showing students exactly how to process five sample landscape photographs, step-by-step from start to finish using some of the more advanced features available in Adobe Lightroom (or the Camera RAW module in Photoshop).  This class is designed to conclude the two other landscape photography classes in the series: "Lanscape Photography I: Interpreting Place Through Light" and "Landscape Photography II: Advanced Tools and Techniques"By the end of the class, students will have learned everything necessary to edit their own landscape photography and achieve professional results.


Class Outline

  • Landscape Photography Trailer. Beautiful landscape photos can seem like they were created using some kind of magic, but in reality, the process for getting vibrant colors and sharp details is less complicated than you might think. In this series of advanced Photoshop tutorials, landscape and travel photographer JP Danko shows you his step-by-step technique for creating professional-quality photos using five of his own examples. Some online photo editing lessons focus on using software presets to achieve decent results. However, JP shows you a few simple but powerful tips to turn your snapshot into a postcard-worthy photograph without using presets.
  • Introduction and Overview. In this series of lessons, JP will show you a professional post-processing workflow using Adobe Lightroom and Photoshop. It should be noted that these are not Adobe Photoshop tutorials for beginners, and you will need a basic understanding of the software in order to follow along, but fear not! There are a number of tutorials to choose from on Skillshare to get you up and editing in no time. Once you have achieved proficiency, you will then edit your own landscape photo and upload it to the class Dropbox to get feedback and answers to any questions you might have.
  • Summer Mountain Editing Example. To begin, JP starts with the “basic” panel in Lightroom to show you the first steps you should take when editing your photos. You’ll learn how to apply lens correction depending on the camera you used to take the photo, as well as how to check the exposure using the histogram. From there, you’ll begin to make creative decisions on color and exposure to help craft a pleasant composition of elements.
  • Lakeshore Sunset Editing Example. In this example, JP’s camera was pointing directly at the setting sun, and he gives you his techniques for enhancing the warmth of the sunset, as well as how to handle overblown sections of your image. You’ll learn how and why to avoid pure blacks and whites, and also to recover detail from any accidental overexposures.
  • Rocky Beach at Dusk Editing Example. For the next photo, JP chose to shoot during “blue hour,” and he shows you how to adjust the colors and tone to create a nearly monochromatic image that still pops with detail. He’ll apply the basics in Lightroom before giving you an Adobe Photoshop tutorial designed to add those few extra details that you might otherwise miss.
  • Southwest Red Rock Editing Example. Moving from a blue tone to one bathed in red, JP shows you how to apply his techniques to a simple snapshot, and the results are stunning! Even when using a point-and-shoot camera, these tips can be used to create beautiful landscape photos that look like they were taken with a top-of-the-line camera.
  • Winter Ice Editing Example. Taking all of the tips from the previous lessons, JP shows you that even a photo of mostly grey tones can be turned into a powerful image awash in colors. He’ll show you how to use Lightroom to find the colors that the camera saw but your eye might have missed. From there, he’ll tweak the blues and reds to end up with a stunning photo that almost looks like it was taken in another world.
  • Conclusion. Once you’ve finished with your project, you can upload it to the class Dropbox and share it with others. JP will be on hand to answer questions or help if you get stuck. He’ll also give you feedback on your project and help you along the path to taking gorgeous landscape photographs.

Meet Your Teacher

Teacher Profile Image

JP Danko

Commercial Photographer


JP Danko is an active lifestyle photographer based in Toronto, Canada. JP can change a lens mid-rappel, swap a memory card while treading water, or use a camel as a light stand. His work is distributed by Stocksy United.

JP also publishes a weekly photography column at, one of the worlds most popular online photography resources.

To see more of his work please visit his studio website blurMEDIAphotography, or follow him on Twitter, Instagram and 500px.

See full profile

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1. Landscape Photography Trailer: My name is J. P. Denko. I'm an advertising and commercial photographer. One of the questions that I get asked all the time is how do I process my landscape photos ? So what do I do to my landscape photography to get my colors so vibrant and saturated? How do I process the details in my photos to be so sharp and crisp? And the really cool thing about the answer to that question is it's probably a lot less complicated than what you might think. So over the years, I've kind of developed my own workflow using light room and Photoshopped. But I don't use any actions or presets or plug ins, so that's exactly what I'm gonna cover in this class. What we're gonna do is we're gonna take five landscape photos, and then we're gonna process them step by step. So we're going to start with the original landscape photo exactly how it came out of my camera, and then we're gonna work through every single step that I use to end up with a finished, professionally edited landscape photo. So by the end of the class, the goal is that you'll be able to use the same techniques and process your own landscape photography using a professional landscape. Photography workflow. So about 95% of the work that we're gonna do in the class is using some of the more advanced features that are available right inside light room. Or if you're just using photo shop, you could also use the photo shop camera, raw module. And then at the end of each photo, I'm gonna show you a couple really simple but powerful techniques to kind of polish off your landscape photos using some of the tools available in photo shop. So I hope you're ready to enroll in this class and join me to learn a professional post processing workflow for editing your landscape photography in Late Room and Photoshopped. 2. Introduction & Overview: Hello, everyone. Welcome to landscape photography. Three. Professional editing with late room and photo shop. My name is J. P. Denko. I'm a commercial and active lifestyle photographer. This is the third part in a three part landscape photography. Siri's the first class landscape photography, one interpreting place through light. We looked at how the light changes through the day and how that can be used. Teoh really enhance your landscape photography. The second class landscape retire V two advanced tools and techniques. We looked at the nuts and bolts the technical aspects of creating really high quality landscape photos. And now in this class, we're gonna wrap all that up by looking at a professional post processing workflow for the five sample photos that we're gonna work through in this class. I'm mainly going to use light room for my edits. Now if you don't have light room, if you only have Photoshopped, you can do the exact same thing that we're going to do in light room in the photo shop camera Raw module. The tools are exactly the same. To open an image into camera raw, you have to use bridge if you just double click on a raw file. It'll open it directly into camera raw or if it's a J peg, you have to right click and then choose open in camera Raw. As I worked through the sample photos for the class, I'm just gonna jump right in and go through my edits. But I'm not going to spend a lot of time explaining how the tools work or how to use them or how to navigate your way around inside of light room and Photoshopped. I'm gonna already assume that everyone in this class already has sort of, ah, basic level of understanding of both photo shop and light room so that I don't have to start my explanations from scratch every time. Now, if you are feeling a little bit lost in the class as we work through, you know that's no problem at all. Just leave a question in the discussion area for the class, and I will answer your questions personally. And you know, as they say, chances are, if you have a question, everybody else has the same question. So you know, don't be afraid, Thio Thio. Ask a question for further clarification of anything that we cover and don't forget that there are also a whole bunch of other skill share classes that give an introduction to both light room and Photoshopped. One that I might recommend is at it like a pro Photoshopped for photographers. That will give you a really great introduction to both photo shop in light room, and everything in that class would apply to this class. So you can, you know, start there and then come back here with a bit of a better understanding of the tools and techniques that we're gonna use as we work through our sample photos after you work through all the class lessons there is a project at the end of your assignment is to take one of your own landscape photos and to follow the techniques presented in class to produce a finished, professionally edited landscape photograph. And I really encourage everyone to take the time to submit an assignment for the class because it's a really great way to get a much deeper understanding of the tools and techniques that you're gonna learn in class when you actually apply them to your own work. And you'll also get feedback directly from me and from your other classmates so that you can find out what you did well. And if there's anything in your work that maybe you could approve for the next time and just to wrap up, I want to explain sort of our overall philosophy or approach to landscape photography editing. So I think it's really important to understand that the image that you start with really needs to be a high quality landscape photo right off the bat. So if you've already worked through the 1st 2 classes in the Siri's, um, you should understand what I mean when I say a high quality landscape photo. So this would be an image that has good composition that is interesting. It was taken in good light. Um, it's technically excellent something that you've already gone out into the field. You've done the work, and you've taken a very high quality image. So now when you bring that image into light room and Photoshopped, your goal isn't to fix something, um, flaws that that need fixing should have been taken care of in the field. When you're taking the actual photo now you're starting with a good quality image, and your goal is to enhance the features that are already present in that photo. So you're not fixing the photo? You're enhancing what's already there. You're enhancing the work that you've already done. So that gives you a good overview for the class and you're ready to get started. And we're going to jump right in and start our edits on our first mountaintop photo. 3. Summer Mountain Editing Example: Okay, let's get to work on our first sample image. So this is a photo of my wife that I took when we were rock climbing. It was taken during golden hour. So it's about, um, 1/2 hour to 45 minutes after sunrise. You can see, um, sort of the warm glow of the sun here in the lake and that nice, warm directional light from golden hour See lots of shadow and detail in the rocks and the trees. Um, and also she's front lit here, which gives a nice definition to her figure there against the trees in the background. Um, I can see a little bit of ghosting and flare through the right here, but I don't think that will be too much of a problem as I as I edit this photo. So I think this is sort of a fairly typical landscape photo to start with. Um, And the edits that I'm gonna you do here in light room are pretty typical to most images that I would that I would edit. So this is a really good starting point. So to get started, um, we're gonna start in the develop module and Usually when you bring your images in, you'll be in the library module. So skip over to the develop module. We're gonna start in the basic panel here, and the first thing I usually look at when I bring an image in is the color temperature in the exposure So I can see in this photo. If I look at the history Graham here on the top, I can see that it's pretty good in the in the blacks. I haven't clipped any black, so if I click that little triangle there, it shows any blacks that are clip so nothing's clipped. I could do the same thing over here in the highlights to see if any of the highlights are clipped. So when I click on that, you can see that the sky and the lake there are just little bit clipped, Um, meaning that it's just slightly over exposed. But this image isn't too bad. Weaken Definitely work with that. The next thing I almost always do on a new image is before I start. My edits is come down here. Teoh lends corrections and click profile and enable profile correction. So when I click that little check box there it Ah light room knows that I was using a canon camera and I was using a 20 millimeter F 2.8 lens, and it applies Thekla ect lens profile for that lens. So, as you can see, if ayan click that, that's the original. How it came in out of camera and click that Annick corrects for the lens distortion along the horizon and in the corners. And it also corrects for any vignette ing in the corners so you can see if I click that the corners get a little bit darker. Um, sometimes the vignette in the vignette correction is a little bit too strong. So in that case you can just come down here to vignette ing and dial that back a little bit . But for this particular photo, I'm just gonna leave it at 100. I think that looks pretty good. So back up to the top to the basic panel and usually ah, work through the basic panel from top to bottom. That's kind of how it's designed for your workflow. So let's just turn off that highlight clipping in the in the sky there, and we're gonna work through um, basic panel from top to bottom. So exposure. Like I said, I think the exposures pretty good. Um, I'm not going to touch it where it is. Although if I do bring it down, you can see that it brings detail back into that spot in the sky there that was clipped. But for now, I'm just gonna leave that where it is. It does look a little bit overexposed to me, but we'll get back to that next contrast. So I'm gonna start with increasing the contrast here because this photo just looks a little bit hazy. It's sort of, um, washed out. Um, so just increasing the contrast helps with that, but I don't want to increase it too much. Um, it starts to look a little unrealistic if you go to high with that. So start with just a little bit of a contrast, increased here. Let's try plus 25. Next, we'll go back to our highlights there. So those are the highlights that air clipped. So if I come down here to the highlight slider in a hole down Ault and click the slider, it shows me a mask of all the highlights that air clipped. So now if I bring that that highlight slider down, it will show me the highlights that it's correcting. And you can see that even if I bring the highlights down to zero, it still doesn't, um, completely correct for those blown highlights in the sun there. So I'm gonna come up here to exposure and see if that won't get rid of it as well. Just by dropping the exposure. Just a touch. So just by dropping the exposure by half a stop and bringing the highlight slider down So that corrects all of those blown highlights in the sky and in the water. So clicking on the little arrow there, it's only showing me a teeny bit of blown highlights there, there, in the cloud. So now my exposure is pretty good, but by lowering that exposure, I kind of made this a little bit darker than I wanted, So I'm gonna bring the shadows up a little bit. Just a fill in some of those shadows areas that I lost that I darkened. Um, next, the white slider. I usually don't use this slider very much. Um, it affect sort of the top end range of the whites here. Um, but I think just bringing that down just a little bit brings a little bit more detail into my sky, actually, so I like how that looks. Now, as I'm working through this, you'll notice that I'm just doing this completely to taste. There's no right or wrong way to edit your photos. It's just to your taste. But the sort of caveat to that is that you have to make sure that you don't over process. So, um, I'm trying to enhance the work that I've done but not make it completely unrealistic and unbelievable. So next, the Black slider. This is kind of one of the most important ones here. So again, if you hold down all and click the black slider when you slide that down, it'll show you when you start to clip the blacks. So here I'm clipping, um, in the mask there is showing me the blacks that I'm clipping in all those areas, so I don't want a completely clip a black all the way to blacks. I'm gonna bring that up to where? Just starting to clip some of the blacks and then take a look at it. So to me, that looks a lot more punchy them from where we started already. So there's, um, our starting point, And so far there is where we are now. No, again. That looks just a little bit under exposed. But I'm kind of stuck in this particular photo because it can't bring the exposure up without losing the highlights. So I'm gonna try bringing the shadows up just a little bit more to bring some detail back into those dark areas there. I think that looks good. Next, we're gonna do the clarity, vibrance and saturation adjustments. So most landscape photos look good from with a little bit of clarity. This is one slider that you really have to be careful with, that you don't over process. Because if I crank this all the way up, you know, that kind of gives it that grungy HDR look, which is sort of interesting in the sky here, but really doesn't look good on the figure. And it really, really doesn't look good in the trees through here, So I don't want toe. I don't want to max it out. The clarity like that, I just want to bring it up a little bit. So you try? Yeah, somewhere around there. So we're on plus 10 I think is is enough. Next, vibrance and saturation. So you might wonder, what is the difference between vibrance and saturation? Because they sort of do a similar job. So first of all, the saturation slider increases the color saturation in all the colors. It doesn't ah, differentiate between which colors that saturating and generally that kind of looks a little over processed. If you use too much saturation, Where is the vibrant? Slider does a similar thing, but it's a little bit more sophisticated about how it does it. It keeps, ah, skin tones neutral, or at least it tries to, and it it kind of adds more of like a polarizing filter. Look to your images rather than an overly saturated look. So I don't increase the vibrance. Now again, we don't want to go too crazy with it and really oversight traitor images. I'm just going to increase it to I don't know, um, somewhere around there may be plus 25. I think that looks good, still looks realistic, but we've had a lot of pop to her image at this point, we're done all of our basic edits in the basic panel, and I'm going to come down here to the tone curve. Now, sometimes images look really good with a custom tone curve applied, and sometimes they they doesn't really work. So I'm gonna try applying a little bit of an s curve here. So if I click hearing a raised sort of the mid tone highlights a little bit and then I'm gonna lower the mid tone shadows just a little bit as well and see how that looks. Now, tomorrow that kind of looks a little bit over processed. It looks a little bit to contrast E. So I'm gonna go over here to the history panel and back that off to my last edit, which was to apply the vibrance here. So under the tone curve, I'm gonna leave that, as is next. Um, if you click on the detail panel here, you'll bring up sharpening and noise reduction. This particular photo doesn't really need any noise reduction. It was taken at eso 200. And if I zoom into 1 to 1 or you can hold down control plus and zoom in even further you can see there's really not too much noise in that photo. Looks pretty good as it is. But just for argument, let's apply a little bit of luminous noise reduction. Usually luminous is sort of the one that I work with most often. Um, if it's a J peg, sometimes you can apply some color noise reduction. But for most cases, just luminess noise reduction works quite, quite well. Um, next we're gonna sharpen this a little bit, So if I click on the little square there, it'll bring up ah, feature box, and I'm gonna look at something that should be in focus in my image. And then I'm gonna look at that in the future box there for applying some sharpening. So if I I sharpen, I bring that sharpen slider up to a level that looks good to me to my eye, and then I'm gonna bring it back a little bit because I don't want to over sharpen this next thing to mask my sharpening because I don't want sharpening applied to the background or things that shouldn't be sharp. So if I go back to fit this onto the screen, if I hold down all while I'm holding the sharpening masking. It will show you what it's masking in the sharpening mask. So here, at 100% it's on Lee sharpening the edges in the trees and the rocks and the figure, but not in the lake and too much in the sky. So that's kind of what I want. I'm gonna bring that back to Bone 98. So it's just you can see there If I click that hold down all, um, it's just sharpening the edges of everything. Not, um, the lake in the sky that shouldn't be sharp. Next, I'm going to try and improve the composition of this image a little bit. Now, in a photo your eyes almost always drawn to the brightest part of the image, which is over here, the sunshine in the water. So I'm gonna add, um I'm gonna add ingredient from top and bottom just to kind of make the middle of my image where the figure is to be sort of the brightest point to be more of the focal point of the photo and another benefit of that, it's gonna deep in the blue in the sky. So if I pick the Grady int tool. I'm going to set the exposure down to unless try 1.5 or so and then they're going to bring in a vignette from the top down to about the middle of the water. Or so I don't want to darken my subject or the trees here, but I just want to darken the sky in the lake there, so that looks maybe a little bit too heavy. So back that off. Just a touch. Yeah, I think that looks good. And I'm gonna do the same thing from the bottom just to kind of help focus your eye on the subject there. So I'm just going dark in the kind of the bottom of the frame here, and I think that looks pretty good. As is, um, the last thing I'm going to do to improve the composition a little bit here is get rid of some of the distractions in this photo. So there's a couple things that I can see here that are sort of bothering my eyes as I'm looking at this photo. You see, there's sort of ah, some sun flare here in the clouds. This branch here is a big distraction. It's completely out of context. You can't see the tree that's off here to the right. You don't know why that branch is supposed to be there. So that would look much better if that was just sky. There's also some sun flare down here in the trees that would be pretty easy to get rid of and might clean this up a little bit. So I'm just going to the spot removal tool. It's set to, ah, healing brush, and I use the brush size that's big enough to just paint over this whole entire branch here Now, sometimes with Thea Spot Ruble Tool. You have to be careful, Um, if it's a detailed area that you have to do it in small pieces. But in this case, um, I think I've got enough room that I can just do that one entire chunk of sky and completely get rid of that. It's a light room will kind of do its best job at getting rid of that. It selected a piece of sky here that it thought could replace that. And you know what? I think that it actually did a really good job so And leave that like that. Zoom in on this little bit of sun flare here on the horizon. Um, get rid of those two. So, control Plus, to zoom in again. I'm just gonna use this spot removal tool. Use Ah, spot. That's just a little bit bigger than what you're trying to get rid of. And, ah, it usually picks a pretty good, um, area to heal that with. Now, if it doesn't happen to pick a good area, you can You can move this and choose a different area, so maybe somewhere closer would be a bit more accurate. But in most cases, you know it. It does a pretty good job now to navigate down here to the trees where I had the other little bit of sun flare. Um, instead of zooming in and out, you can go over here to the navigator and just grab that window and ah, recompose for your main screen. So I'm just gonna use the healing brush again. Try get rid of these little spots, and I think it should have no problem getting rid of those. So did a pretty good job of getting rid of that sun flare down there, except for some reason, When it got rid of this spot here, you can see that it chose to heal it with a selection from the trees up here, which really doesn't match that area at all. So I'm just gonna drag that selection down to something that's closer to that area, something that matches a little bit better. And I think it'll give you a bit more of ah, seamless, um, correction there. So if I select that tool and I zoomed to fit, um, I'm pretty much done my, ah, my editing workflow here for this image. The last thing that I usually do before I finish completely is check to see if I want to crop this photo. So, using the crop tool in this particular photo, I think I did pretty good job of cropping this in camera. So I'm just gonna leave that as is. And the last thing to do just before I'm completely finished with this image is to look at the white balance temperature. Um, and just make sure I'm happy with where it ended up. Um, because this was kind of early in the morning, I think might look good. It just a little bit warmer. Ah, add a little bit more warmth into the sunshine. So if I bring that up a little bit, um, here, it looks way too much. Just back that off. Um, no. You know what? I kind of liked it with the blue sky. So I'm just gonna leave that, as is, if you double click, um, the name of any of these sliders, it'll bring you back to, uh what you're starting. Um, values were. So if I double click temperature, it just brings it back to the original 5400 Calvin that I started with. And lastly, you're going to look at exposure. Um, this image just looks a little touch under exposed to me. Still, So I'm just going to bring that up just a little bit. Um, even though I'm probably losing a little bit of the highlights there, that's okay. Um, I like it exposed like that. Just a little bit more, actually, may be just a touch less so There you go. I think that's our finished landscape photo. Our first sample image. So if I go back here to where we started, um, this is how my photo looked coming right out of camera. And here we are with our finished, fully adjusted landscape photo. And this is kind of ah, typical adjustment sequence for me. So this is something that I would do to pretty much every ah image that I would I'm going to share, whether it's on on social media or on my website or the blogger or whatever. This is kind of the basic minimum amount of processing that I do to every single image. Okay, I think that pretty much wraps things up for the first sample image. Um, just before moving on to the next sample image, you might want to go through this lesson and practice a little bit on some of your own photos because Thea procedure that I used here, I'm going to use for all the rest of the photos. But for now on, I'm not going to give quite as much explanation. So should be pretty familiar with the procedure in the tools before moving on 4. Lakeshore Sunset Editing Example: for our second image. Editing example. This is the photograph that I'm going to use. Um, As you can see, this is somewhat similar to the first image that we started with. Ah, it's another golden our photos. So this was taken probably about half on hour, maybe 45 minutes before sunset. So we've got a really great nice warm sun set and sun flare in here in the corner. And then as well as that, we've got some really nice fog and kind of mist coming in off the lake there in the background. So that gives a lot of, ah atmosphere interest to this image. Um, you might be wondering why I'm editing images with people in in a landscape photography class because they're technically not landscape photos. Um, so just the reason is that I picked these images to work with because I think they best, um, display the techniques that I'm trying to show you. So just kind of ignore that there's ah person in some of these images and, ah, you know, the techniques and the procedures that I'm showing you apply to, you know, all landscape photography. So let's get started. We're gonna start with the image just as it came out of camera. So this is what it looked like. Um, as shot. Just looking at this image on my screen, I can tell that it looks a little bit bright. And if I look at the history Graham up here in the top, right, you can see that the highlights and the white Sanders just smushed up right against the right side of the history, Graham. And if we look at the blacks at the shadow into the history Graham? Yes, he has kind of shifted over to the right a little bit. So that's indicating to me that yes, this image is definitely overexposed a little bit, so to get started, I was gonna bring that exposure down a little bit just till it kind of gets to arrange. That looks good to my eye. So the boat minus one there, that looks good. And then we're gonna go down and apply our lens correction, so ah, profile enable profile correction. It applies the profile correction for a canon 28 millimeter, 1.8, which is what I took this photo with. So we're good there. What's that? A little bit of contrast. Just bring it up a little bit. A little bit too much there. So back that off about plus 14 looks good. Next, we're gonna move down our basic panel from top to bottom highlights gonna hold down all click the highlight slider, try to recover all those blown highlights. So if I bring it down to where am I minus 50? I've recovered all of the blown highlights in this photo. So if if I don't do that, all these all these areas that are showing in the highlight, um, a mask here are 100% pure white. So those air clipped highlights. I don't want anything in this photo that is 100% pure white. I want some detail in every aspect of my photo. So if I bring that highlight slider down a boat to minus 50 that career corrects for all of the blown highlights in this image. And I can check that by clicking on the little triangle at the right side of history am there, and it's not showing me any blown highlights at all. So that's perfect. Next, because I'm shooting directly into the sun, the shadows are looking a little bit too dark. So I'm gonna bring the shadows slider up just a little bit toe, lighten some of that detail in the shadows. If I bring that way up, it starts to kind of look a little bit too flat and hdr e I don't want that. So just gonna bring the shadows up a little bit for now, I might come back to that later, depending on how it ends up looking. But let's try something around. Plus 30 the white slider. Uh, I usually don't do much with this slider. It, um it tends not to have a huge effect on most photos, but in this case, I'm just gonna bring that down just a little bit to bring some detail into the sky there. So let's bring that down to about minus 15. Next the blacks. Like I said before in the first sample, this is probably one of the most important sliders here that you need to adjust. So I'm gonna hold down all click on the black slider, and I bring that down, showing my layer mask of when the blacks air clipping. So again, this is the opposite of Ah, highlight clipping. So when the blacks air clipping all these areas that is showing you are 100% pure black and same thing with the highlights, I don't want anything in this photo that is 100% pure black. I just wanted approaching pure black. So I have, um, vivid, punchy shadows. So I just bring that down a bit, too. When I clipped some some of the darkest areas in the photos and then bring it back a little bit and see how that looks. That looks perfect. So I got my blacks at minus 38. Next, let's add a little bit of clarity and vibrant SOS. Bring the clarity up. See how that looks. No, that's too much. Bring them back down. Um, plus 20. And I think that looks good. Vibrates. Let's bring that up. I really like how the vibrant starts. Ah, bringing some color into the leaves and the sunshine there, but I don't want to crank that way up. I'm gonna bring that that unless try plus 35. I think that looks good. Um, I can try a tone curve, apply an s curve here, so bring the mid tone highlights up just a little bit. And bring the mid tone shadows down and similar to the ah, to the first sample image. I don't really like how that looks, so I'm gonna I'm gonna go over here to my history panel and back up to the vibrance adjustment, which was the last adjustment that I did. So I've undone what I did on the tone curve there, Um, let's go down to our sharpening and noise reduction. So I'm gonna select, um, something in my image that should be in sharp focus. So in this case, because I have a subject, a figure she should be in in ah, sharp focus. There's not too much noise in this photo. It was taken at eso 200 on a relatively bright, sunny evening. So I'm not gonna worry about applying any noise reduction sharpening it can use a little bit of sharpening. I mean, most images need some sort of sharpening. So let's bring that sharpening slider up just to when I can kind of see that it's I'm seeing some artifacts in the sharpening in the display window here and then back that off a little bit apply the sharpening mask. Hold down, old, bring it up to 100. Um, so you can see I'm just sharpening the edges of the trees and the rocks and the figure, which is what I want. I do not want to sharpen the sky or the water. Um, things that should have a nice, smooth, radiant generally shouldn't be sharpened. So just back that off to 98 or 99 um, just sharpens the edges of everything. Next, I'm going to get rid of this little plant down here, um, at the bottom and this little bit of I don't know what that is exactly, but smoke or something on the horizon, there is just kind of distracting. It doesn't belong in the nice clean tree line with everything else. So I'm gonna get rid of those two things. So use Thea spot removal brush again, and ah, said it to heal and just select a size that's kind of bigger than the plant that I want to get rid of and brush over the entire area of that plant. Now, this area down here in the in the rocks is kind of detailed in generic enough that I think like you should have no problem cloning out that entire area. So let's see what it does. So it's selected this area right here, up beside it, and that is a pretty good job of healing that spot. But because it's so close, it's pretty obvious that is just copied that rock there and dropped it right down there and that can look a little bit unrealistic. So I'm gonna try and maybe find a different spot that, um, is a little bit less noticeable. So I actually think there looks pretty good. It looks a lot more random and then zoom into the rise in there. So control. Plus, um, if you hold down the space bar, well, you have a tool active. You can use that to pan around. So I'm just holding down the space bar now panning to the area that I want to get rid of and I let go of my space. Burr, I've got my spot removal tool back, so just make that brush a little bit smaller and get rid of that spot right there. Looks great. One thing I noticed here when I zoomed in, um and I'm going to use the the Navigator window here and just drag that over to my subject is I noticed that she's got a pretty nasty, uh, scion fringe around the bottom of her address. And that's just because I'm shooting in bright sunlight towards the light. And it's just a function of how the let light filters through the lens. Sometimes that you can get this either a purple like a magenta fringe or sometimes it's a science or greenish fringe. So that's ah, chromatic aberration that I want to get rid of. So I'm gonna go down here, too. My lens corrections. And then I'm going to select. Um, we had it on profile because we did a profile correction. I'm gonna select color, and that brings up the remove chromatic aberration tool. So I'm gonna use the D fringe color selector. So just click that and then bring that over and find kind of a representative color of the fringe. So that looks good to me. I'm gonna try that, and light room will try to. Based on that sample, get rid of that fringe color. You see, I just selected another area a little bit above it and it was a little bit more accurate. It's got rid of most of that fringe, but you can see it's left just a kind of light tinge of green around the edges, so it's not quite 100% gone. So if I go over here to the green hue slider, uhm, I'm going to try and make it sample a little bit of a wider area so it might get rid of Maura that French. I was gonna drag that a little bit further towards the green end. And I think that looks pretty. Girl is traveling in the amount up. Just a touch. Okay, I think that looks pretty good so that ah chromatic aberration is pretty much gone so I can zoom out. I'm pretty much done my basic edits for this photo now, but I'm not quite done editing this image just quite yet. This this photo was taken at during golden hour, and I've got a really nice sun flare going on here in the upper right hand corner. So what I'm gonna show you now is a really cool trick that you can use to really enhance the sun flare in your own images And this is a technique that you'll see quite often online , where people really crank up the warmth and the texture and the sun flare in their photos. So I'm gonna show you how to do that. There's different ways that I usually do this technique. Sometimes I used the graduated filter. Sometimes I used the adjustment brush. But in this case, because the sun is over here on the right and it's kind of like a nice circular object. Um, in this case, I'm going to use the radio filter, which will apply circular, oval shaped, um, Grady int. So if I click that, I'm just gonna draw a circle kind of around the brightest area sunshine here in my photo. So I'm gonna draw a circle nice kind of oval around that I want to move that over just a little bit. So I'm just gonna grab that and move it over. So it's kind of centered right on the sunshine there. Now, if I hover over the center of that selection, you can see the layer mass that is gonna apply. So if I make any adjustments to that radio filter over here on the right, um it's going to apply them to everything else in the photo and then feather that towards the center of the circle. And that's kind of the opposite of what I want to do with this. So, um, to change that, I'm gonna click invert mask, which will apply the opposite layer mask. So if I hover over that again, you can see that now it's going to apply my adjustments to the center of the circle and then feather those out to nothing at the edges. If you want to change the amount of feather, you can reduce it by bringing that feather slider down, and you can see that that kind of reduces the amount of Grady int at the edge of this ah, of this radio filter. And if I increase it, um, it increases the Grady int distribution through that through that mask. So I'm just gonna leave it at 50 and see, see how it looks. So what I want to do here is we're gonna bring up the exposure of that sunshine there somewhere around I don't know. Plus, yeah, I think that looks good. It just makes that area sunshine a little bit brighter. and a little bit more interesting. And then I also want to crank up the warmth because I want to really give that feeling of that warm late day sunshine. So I'm gonna just crank that warmth temperature right up. So, like, plus 70 I think that looks that looks pretty good. Just make the circle a little bit bigger. A little bit more feather. Perfect. I think that looks really nice. So you can see how that that really enhances that sun flare if I go back to, um my last adjustment there. So that's ah, where we're at. And then with that sun flare adjusted, that's where we're at now. So it's gonna add a few more. Grady, it's here. I think the sky looks a little washed out at the top there, So I'm gonna try and dark in that a little bit. Bring a Grady int down Was bring the exposure down. Yeah, somewhere around there looks pretty good. Let's try a minus. I don't know, minus 1.1. I don't want to make it too dark over here because I just spent time brightening that. So maybe I'll add another Grady int from the left, um, Teoh dark in that patch of sky over there on the left. Yeah. Looks good. Maybe that's a little bit too much. Bring that back a touch. Perfect. Same thing from the bottom. In the last image, we talked about improving the composition. So by darkening the bottom layer of this photo here really draws your eye in to the center to the subject. So I think that looks good. And then the last thing I'm going to do to finish off this photo is that the subject here in the center now just looks a little bit too dark. So I'm gonna use my adjustment brush and brighten that up a little bit. Bring the shadows up. Just a touch. Let's see the flows on 24 side. Looks pretty good. Use a brush that's just about a little bit bigger than her. And then just gonna brush over that area with, uh, with shadows, um, being brightened just to touch. So if I let go, you can see the, uh, the layer mask that is going to apply there. It's me a little bit higher. And then if I bring up the shadows too much, you'll kind of see a really obvious, um, selection. And I don't want to make it obvious that I braided Brighton that part of the photo. So I'm just gonna bring up the show's just just enough that it kind of takes all those really dark tones off of her and, ah, and brings up the shadows a little bit there, even it out a little bit on the on the ground there cause I can kind of see where it's being applied. So bring the flow down somewhere around 15 and then just brushed down here on the on the stones as well. And that kind of just evens out that effect that I just applied there. So this photo is done, The last thing you're going to do is crop because I can see that the horizon line there is just a little bit crooked. So it's Ah, straighten that out. And I think that looks good. So there you go. There's are finished sample photo to Let's go Down to where we started. So that's what this image look like at a camera. And then here is our finished sample photo to with a really fun technique for sun flare. So try that with your with your own photos and really give it a shot with some some flair images where you've got a nice bright sunshine in your photo You can really warm it up and make those photos pop. 5. Rocky Beach at Dusk Editing Example: Hey, welcome back for 1/3 sample photo, we're going to switch things up and we're gonna edit a blue our photo. So this is the finished, fully processed image. And if I go to the original, this is what it looked like when it came out of camera. So you can see between the before and after that. There's, ah pretty significant difference here. Um, the originals really kind of gray and boring. Um, and there's not a lot of interest in that photo besides kind of the scene there, which is fairly interesting, but we really need to do some processing to this image to make it stand out to edit this photo. I'm going to do this in a two step process. I'm gonna start in light room and do probably about 75% of my edits, which will get me to here. And then we're gonna jump over to photo shop and finish it off, which will polish things up and get me to hear. So let's ah, start with original photo here. Looking at the exposure looks pretty good. If I go up here and look at the history Graham, it's There's no highlights. that are clipped, and there's a little bit of space here at the rate of the history. Graham. Um, where is on the black side? If I click on that little up arrow, you can see there's a few black shadows that are clipped there. Um, and it's just a little bit to the left of the blacks there at the bottom of the history. Graham. So it's just a touch under exposed. But I'm gonna leave it. As is. Let's go down and apply a lens correction on ah on our photo. So lens correction profile? No. For whatever reason, it doesn't know what camera and lens I used for this photo, and I really want to apply a lens profile to straighten up the horizon here. Can you see how it's got a bit of a bow in the horizon? I want that to be nice and straight, so because light room can't recognize Thea Lens that I used to shoot this image, it is a JPEG photo. So for whatever reason, it is just not referencing the lens. If I click manual, I'm going to just do a manual profile correction. I'm going to correct the distortion um, spring that up to the right a little bit. I think that looks pretty good. The horizon looks nice and straight there, and then I'm gonna click constrained crop. Can you see around the outside here? There's some white area. If I don't click constrain crop, um, that will be visible in my finish photo. So, Chris train crop just gets rid of those little white areas at the top and bottom by now, you should know the drill pretty well for basic edits. So I'm just gonna go through those pretty quickly in the basic panel. The first thing you just here is the color temperature. This image looks a little bit on the cool side. So I Kenbrell that slider up to the right to warm it up a little bit. Or I can use the white balance selector tool here, the eyedropper. And I'm just gonna find something in this photo that which looks like a more or less a neutral gray. Um, I think that rock there would probably do the job if I click that, um, light room applies the white balance, Making that rock in neutral gray. It's not quite work, right? It looks just a little greenie to me. So let's try another spot. Maybe Maybe that rock there, that looks a bit better. Maybe the still bit too much on the cool side. So I'm just gonna manually bring that slider up, But there looks pretty good. Um, this is a J pic photo. So the temperature sliders a little bit different than it was with a raw with a raw file. You get a Calvin scale with a J. Pegan. Did you just get a plus or minus? So if possible, always shooting raw, you have a lot more leeway when it comes to dynamic range and adjustments in post. But in this case, I'm stuck with the J. Peg. So that's fine. I'm just gonna work with that. So moving down. Like I said, I think the exposure is pretty good where it is. The contrast. I'm not gonna adjust the contrast right now. We're gonna use a different method to adjust that later on. And the same goes for the highlight Shadows and whites. I'm just going to kind of leave those where they are for now, but I might come back to them later if I need to. So the blacks, again holding down Alz bring the black slider down just toe when some of the blacks air starting to clip their and I think kind around minus 10 minus 12. Looks good. There's some sort of deep shadows over here in the right, so I want to kind of get rid of those as well, breaking those up a little bit. So I'm just gonna bring the shadows up a touch and kind of breathe a little bit of life into those dark shadow areas. Okay, clarity, vibrance and saturation. Let's bring that clarity up. Um, an image with lots of texture like this usually looks good with quite a bit of clarity. I think that's a little bit too much there. Let's back that off somewhere around Plus 20. I think vibrance and saturation gonna bring those both up. Let's start with the vibrance. Um, uh, that looks much better there. So, plus 53. Let's back that off to somewhere around 20 and then increase the saturation as well because there's no skin tones or anything in this photo. I think it would look good with an overall saturation increased, so let's bring that up to about the same levels, the vibrance, but plus 25 that looks good. Now we're going to use a little bit of a trick here to adjust the saturation of individual colors, and this is a really powerful technique that you can use right inside a light room. So if you come down here to the color adjustment panel, you'll see it's got H sl color and black and white. So expand that panel and click on the HSE L. That's hue, saturation and luminous. It's so we're gonna make some hue and saturation adjustments to individual colors inside the image, which is really cool. Now you can spend a long time playing around in this panel and fine tuning your colors, and it's a lot of fun. But for this example, I'm just gonna key in on a few, um uhm ki enhancements for this photo. So one thing is, I want to enhance the blue, so I'm gonna come down to your to saturation and just bring the saturation of the blew up, um, somewhere around. Plus, I don't know if I go there. It's a little bit too much, plus 30 or so. Looks good I can try that with the Akwa as well. But there's not really any Akwa in this photo. You can see if I adjust a color saturation slider where there's not that actual color in the photo. It doesn't actually adjust anything. So, um, just gonna leave the blue there next time I come up here to Hugh, and I'm just gonna change the color hue of a few of the colors in this photo. So let's start with the yellow. I think the yellow could be a bit more orangey. So if I bring that down, it it just adds a little bit more orange tone into the rocks, which is what I remember when I was there. So I'm gonna bring that down to minus 22 on the yellow. And there's just a teeny tinge of purple up here in the sky and also in the water. And if I can kind of like to bring that out so I'm going to Ah, try and change the hue of the purple to more of a magenta color. Eso Let's try bringing that up to ah plus 40 now. I don't know if you can see that, but It does make just a little bit of change in the color of the the purple hue in the water in there, and we'll come back to that. Okay, let's apply our noise reduction and sharpening. So, um, let's go down to the detail panel right here. If it's closed, just open that up. I'm going to apply this to the feature in my photo, which is the milkshake here, which I built specifically to Ah, give some foreground interest to this photo you can see, like without that feature there. This image would be a lot less interesting. You wouldn't really have anywhere to look at. And leading lines would bring your eyes just straight down this beach into the horizon. And there's not really much there. So, um, the induction gives ah, focal point to the photo. So if I click the ah, the preview panel on there and I'm gonna apply a little bit of noise reduction in the loo minutes, just to where I kind of see it getting rid of some of that noise in the detail. And because this is a J pig image, I'm also gonna apply a little bit of color noise reduction as well. Now, this was shot at eso 200. So it really doesn't need anything, but just to kind of clean it up a little bit, I'm gonna apply a little bit of noise reduction now sharpening. Um, bring that up to where it looks good and then back it off a little bit and then apply the sharpening mass. So, Ault, bring that slider all the way up to 100 then back it off. So I'm just sharpening the edges of the rocks and a little bit of the trees in the background, but really the edges of the rocks. So that looks. That looks good there. Just before we jump over to Photoshopped, I'm gonna add a few Grady INTs to this photo. I kind of want toe highlight this central part of the photo here. So I'm gonna bring ingredient in from the top in the bottom to darken those and also the rocks over here on the right or to bright. So I'm gonna darken those as well. So go to the greedy int tool and I'm gonna set the exposure down to maybe 1.5 and bring ingredient down from the top. That looks much better already. And here's a really cool trick for editing skies. If you want your skies to be a really vibrant blue, just bring the temperature slider down to the left to the cool side while you're inside of the Grady Int tool, and that will add a really nice blue color to your skies. Now I don't want to go to blue with it because I don't want the trees over here. Ah, to go to get a really harsh blue tent, and I also want to keep a little bit of this purple in the sky there, so that looks good for my sky down at the bottom. Let's try that the same. And I gotta undo the temperature there because I don't want these rocks to be blue. So we just double click that it zeroes it out. That looks a little bit too dark, that Grady it's too noticeable. So back that off a bit, too. Yeah, about their minus 0.74 now on the right. These rocks over here are much, much brighter than my a nook shuck and my details on the left, so I want to kind of dark in those up a bit as well. So let's bring ingredient over from the right, and I'm gonna put it on an angle sort of the same angle that that beaches, that Let's try making an even darker. So they got a little bit of a problem here as I make that Grady in darker. It's doing what I want at the bottom, but not at the top. So let's let's bring that down to about of Maya's one or so. And then I'm going to use the adjustment brush to manually brush in a more of, ah, exposure adjustment just to this section here. So I think I'm good with the Grady. It's there. Let's ah, grab the adjustment brush and bring the exposure down to analyst. Try minus 0.75 or so. Use a big brush and I want this edge of my brush to be fairly well feathered. So I'm gonna bring that feather up as well, which just increases the margin on the edge of the brush and then just mainly brush over this section of rocks here and try and dark in that, um, because I don't want them to be as bright as they are. One thing I'm noticing as, um as I'm darkening. These is thes rocks there. Kind of cut a purple Lee looking There's this kind of a magenta hue to them. I don't really want that. So I'm gonna bring them a gent it down to the green side and try and take out a little bit of that magenta hue. Now, let's bring that exposure down a little bit more and see if that is a little bit more Even so I gotta brush a bit more on over here. Okay, I think that looks pretty good. I don't want to make it too dark because it will be pretty obvious that artificially dark in this area, but just enough that it sort of looks natural, and it's not quite as distracting as it was. Okay, I think we're ready to head over to photo shop. So if I scroll down my history panel over here, that's where we started. And thats here's where we are now. So to jump over the photoshopped, this right click on the thumbnail there and choose edit in choose Photoshopped and that'll bring this up in photo shop. I want to edit a copy with my light room adjustments because I want to apply everything that I've just done and then work from that as a first step. So now photo shop is gonna be the second step, and then we're gonna come back toe light room for the third step. So let's click at it and go over to photo shop. Here's our image in photo shop. First thing to do is come up here to the top, right, and make sure that you're in the photography desktop. So if it's one of these other desktops, the tools are a little bit different in the layout's different. So just click photography, and then you should be set up the same as I am now gonna duplicate our background layer. So controlled J duplicates that layer gonna rename this layer dodge and burn. And what we're gonna do is we're going to really enhance the contrast of this image by dodging the highlights and burning the shadows. So I'm just gonna zoom out a little bit control minus, and I'm gonna come over here and select the, um, burn tool first. So select the burn tool. Come up here to the top and make sure that the range is set to shadows and the exposure is set to a really low amount. So something between usually two and 10%. I'm gonna try with 4% toe to get started. And you want a really large brush that is very soft and covers most of your photo. So, um, this brush sizes, you know, 3 36 100 pixels. It could be just a touch smaller, but somewhere up there is usually good. You want the brush to be about as least as bigas almost half your photo. You don't want to be working with a small brush and bring the hardness all the way down to zero. You want a really soft setting for this, so make that brush just a little bit smaller. 2900. Okay, Perfect. So now what this is going to do is as I brush over the photo with my brush here, it's going to burn the shadows, which is gonna add contrast to this photo. But it does it in a way that you can control because you're using a brush. So I was gonna brush back and forth and then kind of do little sections at a time and see how it looks as I go get. You can do this a little bit too heavy on, and it takes a little bit of practice to kind of get used to how Teoh apply this brush with over doing it. So over here on the right, I'm gonna apply a little bit more cause it's still want to darken up those rocks and even out this scene. But already that's looking really good. Can't think that looks pretty good. So if you're wondering what that did, if I just click the little, um, the layer visibility icon there, turn it off. There's how it came in, and that's with burning the shadows. Now let's dodge the highlights. So choose the Dodge Tool and then come up here to range and set that toe highlights. And the exposure, usually somewhere between 2 to 5% for this works well. I've got my exposure set to 3%. There's not a lot of really bright highlights in this photo, but I kind of want to just brighten up the highlights in this middle section of the photo here. So same thing is with the burn tool. You just brush that on. Um, if you want to get a little bit more precise with it, you can change the size of your brush. Um, because I want to do just this little area here. This is kind of helping to enhance that gleam that the water has on some of these wet rocks and then coming through here a little bit. Okay, that looks awesome. So there's how we brought this photo in. And now we've enhanced the contrast with manual dodge and burn. And sometimes, as you're doing this, you might go a little heavy with it. And in that, if that's the case, you can change the opacity of your dodge and burn layer. So if you come up here to a pay city, if I back that off to zero, that's how it came in. There's, ah, 50% and 100%. So actually, looking at it, I think 100% is actually a little bit too strong, So I'm gonna go back that off too. I don't know. Maybe 85 or so. All right. Next. I've got some junk here in the background that I want to get rid off. So there's this ugly boat slipped thing there and there's also kind of some ah, smudges. I think that's probably dust on my sensor there in the sky. So if I zoom in, um, to those areas, I'm gonna use Thea Patch tool to get rid of those. Now, I could try to do this in light room, but since I'm in Photoshopped anyway, I might as well do it in photo shop because the tools for get reading, getting rid of unwanted objects are a bit more sophisticated in photo shop. So let's make a new layer control J. I'm gonna call this one touch ups. I'm going to use the patch tool to get rid of these objects. You could use the healing brush or the spot healing brush, but just the patch tools kind of my favorite sort of my go to, um, tool for getting rid of stuff like this. And before I do that, I'm just gonna make sure that I'm working out 100% because I I copied this layer from the Dodge and Burn layer, which had a lower pay city. So make sure that's at 100% Okay, so let's just draw a border around whatever it is that you're trying to get rid of, pick something that's representative nearby. And it does a pretty magical job of just getting rid of stuff like this. So it's pretty straightforward. Um, the patch tool doesn't always work great, but most of the time it's it's Ah, it's pretty pretty easy to use. So to get rid of this little slip here is a little bit more complicated. Now I need to get rid of these two sticks here, but also the shadow, because if I don't get rid of the shadow is just gonna look kind of funny. So find a selection that's fairly similar, trying to line up the horizon line there as best I can. That looks good. And then same thing with this guy here and slick. That may go. No, can't go that way. Let's try rate right there. Perfect. Let's try and get rid of this boat slip here. So with the patch tool, this is gonna take a little bit of work because there's a lot of different textures that kind of all collide here. So there's not one area that I can use to just copy and paste over this this section. So let's try just getting rid of this bit on the end here first. So dry my selection around there, and then I'm gonna try using the tree line here to sort of reference something with texture that looks like it might fit in there. So if I referenced that, it doesn't look quite right. But if I used the treeline there, it looks like that bit of sky could be there. So try that. Yeah, that didn't work so great. Um, let's change the patch selection. So had this set on normal change that to content aware. And I'm gonna bring the structure up to seven because, really, I wanted to reference the structure in there and not be so concerned about the colors, which is what it's grabbing from the rocks down here. So let's try that again. So just that little bit of edgy trees there? Yeah, it looks much better. Try the same thing with this little bar here, So I'm going to select just that bar with that edge of sky and something that's right beside it. Looks good and then log his last can get rid of that and then trying to move that in tow again. Reference Something that looks like it belongs. Looks pretty good. Control de to de select. Um, it looks a little fuzzy down here at the bottom there. So let's try Reese selecting that just that spot and then referencing kind of that area there, right beside it. Control de to de select. All right, that looks pretty good. Now, if ah, for the course, I'm gonna leave it like that. If I was doing this for myself, I probably get in there a little bit closer and use the cloning stamp to touch it up a bit more. But, you know, I think that looks actually pretty good. So control minus to zoom out, and we're ready to jump back into photo shop. So also I have to do is close this hit save, and it should bring that back into light room, and it'll appear in my light room catalogue. So here's my photo back in my late room catalogue. One really important thing to note here is that, um, light room imported this image as a photoshopped file so you can see here. It's that's a PSD. It's no longer a J Peg, which is important because that means that I haven't done anything to my original photo. My original photo is still ah, jpeg. And I haven't altered that in any way. So now I'm going to do my final edits on a Photoshopped file of PSD, which is a completely different file. Okay, so just ah, a few final kind of touch ups here in photo shop. Sorry. In light room after I'm done in Photoshopped. The first thing is, this image looks just a tad on the green side, So I'm gonna bring that temperature slider up to the magenta a little bit. I don't want to go too much that I give it a, you know, crazy purple tent. But I just want to take out some of that green somewhere around. Plus 27 plus 30. Looks good. The explosion, everything looks good. Uh, I'm gonna bring up the the shadows slider a little bit. There's kind of some dark areas there, especially in the trees here in the background, that I think, uh, I could maybe Brighton just a touch now if I wanted to brighten just specific areas. I could do that with the adjustment brush using a shadow. So it's actually let's brighten these trees here a little bit. So bring up the shadows there. Kable plus 20 brush on the adjustment. Okay, Perfect. Um, I'm gonna add a little bit of clarity this I find that after I come back to photo shop, um and I do a dodge and burn, sometimes just adding clarity as the last step can be really effective. And actually, you know, I think that looks really cool. So I'm plus 28 on the on the clarity there and the last thing I'm gonna do is come back down to the hue, saturation, Lew minutes that we did before And just see if I can't, um, sort of enhance some of that purple there as well. So bring that purple saturation up. You try to bring the magenta saturation up as well and maybe play with thes thes Hugh sliders. Just see if they change the purples. Actually, that one does changes that quite a bit, so I'm gonna take that one from the blue end of the purple up to the red end in it kind of as sort of Ah, a bit more interesting. Hugh, into the purple there. Smooth, gentle slider doesn't really do much there. I think that's that's it for this edit. Last thing is cropping. So, um, I kind of want my look shook here to be at the third point for composition. So it's actually dead on the horizontal third point here, but it's over a little bit to the left of this third point. So I'm just gonna bring this crop in a little bit from the right. I don't want to completely crop out the trees there because they give some context to this photo. But just something like that, I think that looks good. And make sure that the horizon is perfectly straight. Your horizon should always, always, always be level, and that looks good. So let's apply that crop hit, enter and there is our finished photo. So who? That was a bit of a long one. But hopefully I've given you some interesting new techniques that you're excited to try it for. For your project assignments for the class 6. Southwest Red Rock Editing Example: for sample photo number four. This is the image that we're gonna work with. This is Red Rock Canyon just outside of Las Vegas. And this is kind of just a point and shoot snapshot that I took. I was climbing and I just kind of looked over my shoulder and snapped this photo. So I wasn't particularly careful about the time of day, the light or anything like that. It's really just a snapshot, but I like kind of the the look of the rocks here in the foreground and how it's sort of like a V shape with the mountain range in the background and then the nice blue sky with the clouds. So if we go to the original photo, this is what it looked like. Ah, as it came out of my camera. So it's not a particularly inspiring photograph, but as you can see, we can really kind of jazz that up to be quite a bit more interesting. So we're gonna do this the same as we did the last image where we start with original image do probably about 75 80% of our processing in light room. We get to this step here, and then we're gonna jump over to photo shop to ah, polish it up and finish it off. So back to our original. If I go down to the lens corrections panel here and click on profile, you can see that light room again. Doesn't know what camera, what lens? I used to take this picture, and that's because it was just taken with a point and shoot. Um, so it's not in the database and light room doesn't know doesn't recognize this particular camera, so I could do a manual lens correction, But, um, looking at this photo, it doesn't have a distinct horizon with the mountain range there. And I can't see any really obvious lens distortion in this picture. So I'm OK with it, as is. I'm just gonna leave that so back up to the top, and we're gonna start in the basic panel as always. So looking at the exposure, the original exposure here, um, it looks like it's exposed almost perfectly. So the right side of the history Ram is, you know, just a little bit away from the right Highlights and and at the Black send, we've got just a little bit of room there dips down just before it gets too pure black. So this was taken in automatic mode in my camera, Did a perfect job of exposing this photo. Now, if I look a little bit closer at the photo, you can see that the mountain range in the distant is is very bright compared to the calico hills this red sandstone in the foreground, which is in shadow. So I'm gonna have to deal with that in my processing. But for now to get started, I'm just gonna leave the exposure at zero. Now, if you look closely at the tools that are available, I have exposure, recovery fill late and blacks. And if you'll remember what I normally have, there are exposure. Contrast. Highlight shadows, whites, blacks. So the tools that are available here are different than what I normally have. So what's happened is that this image was originally imported into my catalogue a few years ago and it was imported with an older version of light room. So when I've opened it, light room has opened it with all of the legacy tools that were available in that version of light room. When it was first imported, and I don't want to work with these older tools. I want to work with the latest and greatest that I can get Soto update this to the current process. You come over here to settings and then click update to current process and that will update all of the tool panel there. So now you can work with the best tools that light room has to offer. So Okay, so back up to the to the top here, um, exposure. Like I said, I think it looks pretty good as is. We're just gonna leave that, um the color temperature in this photo looks a little on the cool side. So I think what happened is the auto color. Um, the auto white balance set the white balance for the background here, which is kind of like a hazy, bluish color. I My goal for this photo is really toe warm up the red stand stone in the foreground. That's cut on. What I remember about what was really interesting about this scene was just how red and vibrant. Um, the rocks in the foreground were so I'm gonna warm that up. So to get started, with that, I'm gonna choose the white balance selector and find something that's in the shadow area because that will be kind of the bluest part of the photo and find something that should be kind of a neutral gray. And I just so happen to have this other climber here and he's got a great helmet on, so I'm gonna pick that as my great point and just see what it does. So click on that so you can see that does a really nice job of warming sort of the bottom half of the photo up, But it really don't like how it looks in the clouds in the sky. That is just a little bit too much on the warm side. So I'm gonna back that temperature off a little bit. Kind of go boat halfway in between where I started and where the foreground looks good. So, like, somewhere around there looks good. I'm at 5800 Kelvin contrast. Let's just add a little bit because we're gonna add Maurin photo shop later about their plus 14 highlights. I'm gonna bring down. I wanna kind of recover some highlights in the clouds there if I can. So but But there looks good minus 68 shadows. There's no real deep shadows in this photo. So I'm gonna leave that whites are going to see if I can bring a little bit more detail into the sky. So if I bring that way down the cloud sort of flat note, but just down a little bit minus 19 looks good blacks again. Ault, click the black cider Bring that bit down and then back it up to where you're just clipping the blacks about minus 10. Looks good. This is the darkest area. The photo here. So it's in the deepest shade. So I got a couple of black areas there, but just minus 11. Looks good there. Uh, clarity. Gonna bring that up. I think this the image will probably look good with some clarity. So, uh, just kind of I don't want to go that far with it. That looks a little crazy. Back to vote about 30. Now, if I look at this mountain range in the background, it looks kind of hazy in this picture. It was a clear day. It was a bright, sunny day, but there's a lot of UV bouncing around out in the desert. So that results in just some inherent Hayes in anything that's far away in the distance. So I'd like to kind of minimize that. No, Adobe has just introduced a new filter called the D. Hayes Filter, which is kind of specifically for getting rid of fog and haze and your photos. Um, but they've kind of hidden it. I really wish they would have stuck it with the clarity filter, because that's where I kind of think it you would apply it. Um, they sort of go together. The clarity in the D. Hayes are like peas and carrots, so if we go down here to the bottom, it's kind of hidden. It's in the effects panel right down here. The bottom There's your D. Hayes filter. So let's see. Ah, what this does with the background. So if I bring that up to the right, you see, it kind of looks similar to the clarity filter, but it accident quite a different way. And that looks really amazing on the background. Um, just maybe a little bit too heavy in the foreground. So I'm just gonna back that off to a point where I could just see its effects Really acting on the background. But I don't want too much in the foreground. So plus 20 looks good to me. So back up here to the top we just applied or clarity now vibrance and saturation. Um, I really want this photo look really vibrant and saturated, but because there's no skin tones, the vibrance just doesn't quite seem Teoh, cut it in this picture. For some reason, um, I kind of want the whole thing to be saturated. So instead of applying the vibrance, I'm just going to saturate this instead. Now I'm gonna go one step further. We're gonna go to our hue, saturation, luminant, sliders in a minute and really punch the saturation in the red rocks here and the blue sky . So I don't want to over saturate it right now. I don't wanna go, you know, turn this up to 100 go crazy. Just Ah, a little bit of extra saturation at this point. So about plus 20 looks good before we jump down to the hue saturation luminous panel. Let's just take care of the noise reduction in sharpening. So I'm gonna pick a selective area. Kind of somewhere in the foreground here. That should be a nice focus. Um, and then I'm going to apply a little bit of noise reduction because this was taken with a point and shoot. Wasn't really a high quality camera. And it was also a pretty old camera, so it's not really noise that's in The photo was taken at eso 80 but it's kind of pixelated , and it just doesn't look Aziz good as it could. So it's gonna add a little bit of loom in its noise reduction. Not too much. Just enough to kind of smooth out those, uh, those that picks elation. Okay. Plus 17. Looks good. And then let's sharpen this. So I'm gonna find something that has some angles. That'll be kind of obvious. When I sharpen, it kills rocks there. Look good. And let's bring that sharpening up. Ah, you too much. Yeah, but they're perfect. 74 mask it about 90 seven. I want a mask more in the foreground. There. Okay. It looks good. Some 88 on the sharpening layer mask. Now we're gonna improve the looks of our sky here and try to balance out the exposure between the bright top half of the photo and sort of the shadow dim bottom half of the photo. So going to the Grady in tool, I'm gonna try, um, just kind of under exposing the sky a little bit. So 00 all of these sliders out Bring the exposure down. May 0.1, stop or so and I'm going to draw Grady and down from the top. Now, I don't want a dark in the mountains too much, So I'm just gonna go just kind of skimmed the tops of the mountains there. So I think that's good. That looks a little bit too dark. So it's back that off boat 0.5 looks good. And let's bring that temperature slider down towards the blue end to really bring out the blues in that sky I don't wanna go too far with it. Like if I go down here on my cloud start turning blue But somewhere in the middle about minus um minus 48. That looks pretty good. If you remember when we applied the Global Clarity and the global D. Hayes to this photo how the background mountain range in the clouds Really look good with a with a high amount of clarity. So I'm gonna use a Grady Int to increase the clarity in the top here and then taper it off as we get to the bottom. So I'm gonna click new Ah, still, with my Grady in tool. Now, instead of an exposure adjustment, I'm gonna do a clarity adjustment. So let's bring that up to. Plus, I was tried plus 15 and draw a really big radiant from the top down, keeping it kind on angle with these stones here. If so, if I crank the clear clarity up that looks OK, mail too much, let's back it off to they're plus 34 on the clarity. Um, also looking at this, I'd like a little bit more saturation in the background there. So let's try bringing that up. That's a little bit too much. Back it off. OK, Looks good. Plus 22. And you know what? I'm looking at this kind of far mountain range. It looks a little bit too blue there. There's still some of that blue tint from the U. V. Hayes. So I'm gonna bring that color up a little bit to the warmth and, um, not too much that, you know, it's really noticeable. But I just I wanted to look a little bit more sunny that rather than hazy, that sort of warmer, late day son. So, yeah, I think there looks good. Some plus 22. All right, Now, let's balance out the exposure in the bottom half of the photo. So click new on the Grady int tool. And instead of reducing the exposure, I'm gonna increase it. Um, about 1/4 stop. So but plus 0.3 or so, uhm, I'm going to draw a really large grading up from the bottom right hand corner. That's the darkest part of this photo and just kind of parallel with. You can see there's a line of shadow here, So I'm drawing this greedy int kind of parallel to that line of shadow just overlapping, um, a little bit here. So I think there it's pretty good. So that plus 0.27 could be a little bit brighter. Yeah, 0.4. I think that's pretty good. Try bringing the shadows up, Aziz. Well, not so if you're trying to brighten something is not just increasing the exposure, you can also try increasing the shadows, which sometimes works better because it doesn't adjust everything. It just it just brightens the darkest parts. So if I bring the shadows up, I think I don't want to make this bottom right hand corner brighter than the rest of this part here. But I think that looks pretty even. And I want to really warm up these rocks as well, because there in the shade, um, so they're white. Balance is different than everything out here in the sunshine. Everything out here in the sunshine looks really nice and warm and kind of glowing with a late day son. Um, but everything in the shade here still looks kind of shady and cool. So, um, I'm gonna come up here, the temperature slider, and really bring that over to the right to increase the warmth here. So I don't want to go too far because I end up sort of with a glowing orange rocks here, right in the in the bottom, right hand corner. But somewhere in the middle, plus 45 or so there. Um, yeah, I think that looks good. And I'm gonna add one more Grady in here because sort of the deepest shade here ended up being I've got kind of a band of deep shade here, and the very bottom here is a little bit brighter than it is just right up there. So I'm gonna try and even that out click new and let's bring the exposure down about, Ah, try minus 0.6 and just draw grading up from the bottom there and try toe sort of even that section of the photo so that I don't have a a band of dark shadow and then a area that was obviously artificially lightened. So just kind of even being that I would as much as I can. Okay, a minus. Ah, 0.6 on. That looks perfect. Now, at this point, I'm pretty much done what I can do with global adjustments. But looking at this photo, the rocks here in the foreground, the red rocks aren't quite is punchy and interesting as I wanted them to be. And also, I kind of wanted the sky to be a bit more blue and vibrant as well. I remember the sky being really blue and and, um and pretty when I was out there. So uhm I'm going to go to the hue saturation, luminous panel, and I'm gonna adjust the individual individual saturation and hue of the red in the rocks and the blue in the sky. So if I go to the red saturation slider, you can see Aiken bring that, like, right up to the right, even plus 100. And it adds kind of a nice, saturated, orangey color into the that red rocks. So we back that up just a little bit. Um, somewhere even around, plus 70 actually looks really good. Now, I can try the same thing with the orange slider, but that orange is sort of effect that, um if I bring that slider up, it affects all this oranges and yellows in the back. Here is well, because I made those sort of a warm, sunny color, and I think that looks really good on the rocks here, but I really don't like how it looks back here. So I'm just gonna just gonna leave that as is the hue of this red sandstone. It looks a little bit too orangey to me. Um, I think it should look a little bit more red so I can adjust the hue of just the reds here . So if I go to the Hugh Slider so you see, if I bring that to the right, it makes that red rock look more orangey. And then if I bring it to the left to the magenta side, it kind of if I go too far, they end up purple. But just kind of just a little bit to the left. Makes those that red sandstone really appear a lot more red. Okay, now let's try the same thing with the blues. So going down here to the blue saturation slider cranking that up? Um, yeah, that makes my sky really nice and blue, but it also makes the clouds kind of blew too. So I got to find a balance there where it increases the saturation of the sky, but not the clouds There. I think that looks good on plus 22. And I could try the same thing with the with the hue of just the blues so I could make them . Um if I bring that to the right to the purple side, I could make my sky purple or if I bring it to the acquis I'd end up with a teal sky, so I just kind of want to make it just a little bit more Royal Blue. So just a teensy bit to the right. So plus five. Okay, um, I think that's a Sfar isn't gonna go in light room. And at this point, we're going to go over to photo shop, so right, click on the thumbnail and then edit in photo shop inside Photoshopped. I'm going to do the exact same edits I did with the last photo. So we're gonna burn the shadows and dodge the highlights. And I'm also going to get rid of this guy and his junk here, that which is ruining my picture. And I think I'm gonna get rid of these buildings here on the road. And also, I think this is a car out here in the distance. I'm gonna get rid of that, too. So let's go to our background. They're duplicate that controlled J that's renamed that Dodge and burn, and we're going to go over here to the left and I'm going to grab the burn tool. Make sure the shadows air set as the range exposure 4% looks good I'm going to zoom out a bit. I've got a nice soft brush. It's the same brush eyes using last time. Let's just brush over that and, um, burn some contrast into the shadows, especially kind of wanted in the sky and in that background mountain range, and then be a little bit more light with the with my adjustments with my brushing here in the foreground. So that's gonna bring out all those cracks and crevices in the rocks that are, um, a dark shadow. It's gonna bring out detail in those ah, in those shadow areas by darkening them. So Okay, that looks actually really nice. And let's go to the Dodge Tool. Same thing. I want this brush to be a bit bigger. You want, always want to work with a really large brush about 1/4 the size of your photo. And the reason I zoom out is just I find it works easier to do on a smaller photo rather than if this was zoomed in. I gotta do a lot more brushing. So for this technique, just kind of tends to work good with a with a smaller image. So I wanna highlight the um, the highlights in the clouds there. I want to break those up. So primarily I'm gonna apply this brush here. I don't want to do too much on the mountains that, you know, Actually, that mountain face is looking a little too breaks. Let's Ah, let's undo that. Controlled said, um, you can back up and I'm gonna make this brush smaller. And I'm just going to do the clouds that Russia's too small, still too small. But there's perfect. So I'm gonna stay away from the mountain range. I don't want a I don't want to brighten this face of the mountain. Um, you know, just look like it's glowing, but I just want toe add some detail into the clouds there, into the nice white. It looks good. Let's make my brush a bit bigger and do a quick sweep over this part here. There's not a lot of highlights in there, so it's not gonna change it very much. But just a quick sweep. Perfect. Let's look at the opacity of that layer. So if I bring that down, that's how it came in from light room, and that's with the Dodge and Burn Adjustment and I think you're gonna back that off just a little bit. It looks a little bit unrealistic at full, full power. So 89%. Okay, Now let's duplicate this layer and get rid of that junk in the photo. So Control J and I'm going to call this layer touch ups. It's always a good idea to name your layers so that if you ever come back to this photo edit, um, you know what the layer is and what it supposed to be doing. So control plus ing and zoom in Esso, those aren't buildings, their cars so continuing to zoom in with the control plus and then I'm gonna use the patch tool. Um, if you've already got a tool selected yuk unjust, hold down the space bar that brings up the pan tool and you can move your your photo around . Eso used the patch tool and just get rid of these cars. Guys got a trailer and something, Um, and it should have no problem getting rid of this. I just pick a similar area as similar as possible. This car here that I can go, I kind of want to give the impression of a desolate desert. And it there's cars in the scene. It sort of ruins the impression. Okay, it looks good. Control de to de select. Pull down the space bar, panning over here to the bottom right hand corner. And so this guy's going to G O. Um, it was a bunch of I don't know if this is something somebody's been laying around left lying around or it's a rock, but I just got clean that up anyway. Looks like a mat that's kind of peeking out here from behind that rock. Let's get rid of that. This is somebody's Ah, I don't know, backpack or mad or something. It's Ah, get rid of that pile of lunch bags and backpacks and stuff there and then, Ah, and then let's get rid of the top half of this guy. I think I can blend him into the bush. Looks good, and I think his feet or just sticking out there, too. So let's try that perfect control de de select. I was using content aware with the patch tool there with a structure of seven. Um, if the patch tool isn't behaving, how you think it should, you can either use normal or content aware, and you can play around with this structure color. It just depends on, um what? You're trying to get rid of how it behaves. So sometimes it doesn't do what you think it should do. So control minus backs is back out, and that looks good. I'm gonna close this hit safe, and that will bring me back to light room in this photo will be in my late room catalog back in late room. Um, I think this photo looks really good as is, but it just looks a little bit dark, so I'm gonna bring the exposure up. Just a touch. Um, boat point point 0.3 looks good. And, ah, I think that's it. I'm pretty happy with how that turned out. So let's go back to our original photo. Um, that's with all the light room adjustments. Scroll down to the bottom of the history and here's the original as it came out of camera. And then at the top of her history, there is all our light room adjustments. And here is our final, fully edited landscape photo. And hopefully you notice that just because the procedure that we used for this photo was more or less than exactly the same is what we did with a blue our photo with the lost sample. Um, you can see how important it is to have an end goal to your editing. So my end goal editing this photo was to make these rocks more interesting in the sky more interesting and in the in the process of kind of readjusted and reimagined how that whole scene looks, um, and enhanced what was there? So, um, hopefully that gives you, ah, a bit more of a directed approach to how you can use the tools in light room and Photoshopped. So that's it for this photo. And ah, we'll see you back for our last sample image. 7. Winter Ice Editing Example: Hello, everyone. Welcome to our fifth and final sample photo. Um, I kind of save what I think is the best for last, and I'm really excited. What? I'm gonna show you with this photo because, as you can see, when go from our finished landscape photo to the beginning as it came out of camera, there's a really substantial difference between what the finished product looks like and what we start with. So this is just ah blew our photo. Um, that's me. Snowshoeing out on the lake in the winner. My cameras on a tripod with a remote shutter release. And this was taken in blue, our maybe half on hour, 45 minutes after sunset. And if you look really closely, you can see that there is a little bit of color in the sky. And that's what I think is so exciting about landscape photography and photos like this is that, you know, I was out there. I did the work. I knew that this photo had potential, but I really had no idea how it was going to turn out until I brought it into light room. And ah started going through my adjustments and It's also the reason why I really love taking blue are photos of snow and ice and also desert landscapes. There's just something about the colors that come out in post processing that are really amazing. And you might not even realize that they're there in the camera. But they're there when I took this photo and, ah, all that we're doing is enhancing, um, the information that was captured by the photo to bring out the colors that are that are there, um, in enhanced how that looks and make this photo a lot more interesting. Let's get going and see how that's done. So, as always, going to start with a profile. Corrections to come down here to lens corrections, Select profile enable profile correction and canon 20 millimeter. Yep, So it applies that that's good. Gonna come up here to the exposure. You see, it's ah, pretty good exposure in the history, Graham. But what I'm looking at it it looks just a touch under exposed. So let's bring that exposure up a little bit. Um, just kind of where the snow looks fairly white. Think that's good. Now the temperature in this photo it's definitely on the cool side. This whole image looks looks really, really cool. Um, so I'm going to try to use the white balance selector and see if I can't get a more natural white balance. So my snow pants, they're kind of Ah, a natural neutral gray. Let's try that. So I get up to, ah, 9200 Kelvin and minus 13. Um, it's not. It doesn't look quite right. Let's try another spot. Let's try this ice block over here. So that gives us 9600 kelvin. Still kind of both the same. Let's try somewhere in the trees back here. Maybe. No, that's still on the cool side. Maybe some ice means gray bid ice back here. I'm getting better. But you know what? I I know that the sky has some pinks in warm colors in it, so I want to kind of warm that up, too, a level that I concert of See those starting to pee goes, Let's bring this up way up like 1100 or so, and I know there's some purples in there as well, so let's bring that magenta up and add some purple into that as well. Now this isn't white white, and it's pretty. Obviously, it's not white, but I'm kind of trying to warm this photo up and bring some more color into it. That might not be quite be natural, so I'm kind of going a little bit past Where would normal go normally? Go with this on purpose. So let's keep going down here. So the contrast, uh, let's bring that up a little bit. Um, not too much. Just plus 30 or so highlights. Uh, not sure. I kind of want to bring some detail back into the sky, So yes. So if I bring the highlights down Um, not quite that far, but somewhere in the middle, minus 66 looks good. Just add some detailed back here in the sky. Um, next the whites shadows. I believe that where it is, I think they look pretty good. The whites, I'm not really sure. So I don't want to go that way because I want detail in my sky. So if I bring them down no, that just kind of makes it look gray muted. So let's leave the whites where they're where they are. Blacks. Let's start bringing that down and try and mass my blacks and see. So I'm just kind of clipping those blacks in the forest and in my snow pants there, so my snow pants would be 100% silhouette. And I don't want the forest there that my snow pants to be completely black, but I'm going to do kind of a little trick here. So I'm going to set the blacks down really low some, like minus 92 and then I'm gonna go back up to the shadows slider to recover some of that. So if I hold down all you'll see the shadows and I'm gonna bring that shadow slider way up to the right. So but a minus air Sarria plus 76 or so And what that does is it adds contrast. I still have pure black. And it, um, extends the dynamic range by opening up the shadows with Shadow slider. So that's kind of a way that you can do. Um, you can mimic that sort of hdr look, you bring the blacks way down to the left of dark in them, and then bring the shadows way up to the right. Okay? And then clarity. Um, there's not a lot in this image that will be affected by clarity. So if I bring that way up, um, my clothing kind of looks better. The trees look better, but I've got this really big, wide, Grady it from the top down, and I don't want to apply anything. Ah, I don't want apply clarity to anything that should be, um, a solid color or gradation of, ah, of colors. So I'm just gonna leave the clarity at zero and continue from there. Vibrance and saturation. Let's try bringing the vibrance up a bit that starts bringing some color into the sky. I'm gonna go, Bill mid range. I'm gonna bring up the saturation as well. So again, that starts bringing some color into the sky, which is which is what I want. But let's leave that plus 25 or so Excellent. So going down to noise reduction and sharpening, I'm gonna pick, um, an area the photo that should be in sharp focus. So you want to make sure that you're sharpening, um, something in the photo that should be in sharp focus. So in this case, that's that's me. So click there. What supplier? Noise reduction. Um this was taken at eso 400 so it's not too noisy, but I think it could use just a little bit of noise reduction to smooth it out, looks good, and then sharpening. Bring your sharpening slider up. That looks good in the mask. It, um I just want to mask the I just There's no a lot in this photo that ends up being sharpened anyway, Just kind of the edge of my figure there and the edge of the trees. So I think that's pretty good. Um, the next thing I'm going to do is try and add some detail into my sky. So I'm gonna grab, um, a graduated filter and let's set the exposure down to but 1.5 stops just to start. Drag that down from the top. That's starting to look good. Um, looks a little bit too dark and getting some vignette ing in the corner, so back that off too. Yeah, that looks good about minus one. I want that sky to be a bit more. I don't know kind of blue. Not so purple e. So if I bring this temperature slider down to the left, um, that adds the blue into my sky and because before I did that my skies kind of a pinky reddish color. So as I'm adding, blew into that. You know, blue plus red equals purple, so it's adding purple tones into my sky, which is kind of cool. And that's where some of that color is starting to come from. So let's let's bring that, um, let's bring that way down minus 80 on the tent for the sky. Yeah, really started toe Like how that looks. You can see how some of those colors air that we ended up with the finish vote or starting to peek out here. Now, as I'm looking at this, I took this at F 16 which is a really small aperture, so I can see that there's some sensor dust in this pictures of I zoom in. You can see um, that little dark splotch there and there's a whole bunch of other ones all the way around here. There's a couple more. So that's all, Um that's all sensor dust, because I shot this at F 16 So I'm gonna use the spot removal tool, and I'm gonna get a spot that's just a little bit bigger than those spots. And then I'm going to go through this whole entire sky, um, back out a little bit, start up here in the top corner, and then I'm gonna work through this photo, and there's a whole ton of them. So I guess my sensor is really dirty when I took this picture, but you can see how many of these little spots air in this photo that need to be deleted. Otherwise, um, they're gonna be really noticeable in the in the final finished image. So I'm gonna go through the that I'm gonna start in this corner, and I'm gonna work across, um, from one side to the other, I'm gonna move down to the next row and then move back, work back and then so on until I've until I've deleted every single little spot, a sensor dust that there is in this photo. So that's going to take me a little bit of time. So I'm just gonna pause this. Will I do that? Okay. I've got rid of all these little SPLA TSA's sensor dust here in the sky and see all every one of these circles is a piece of sensor dust that I had to delete. It was kind of about 50 or so of them. Now, I would have been much better off if I would have just I kept my camera sensor clean before I took this picture. But, um, it is quite a bit of a pain to go through and have to do those after the fact, but I've got that done. Now I've got my sky touched up. It's kind of got the starting to get sort of the color that I'm looking for here. I want to fix this bottom of the photo now with the lake ice because I want that toe look really cold and uninviting. And right now it kind of looks warm and pink. So to do that, I'm gonna use the graduated filter, the Grady int tool, and I'm going to draw just a really narrow Grady int up from just below the horizon to just up past it. And you can only do this with a horizon that's relatively clean, so you can't have a lot of trees and stuff. Eso It's kind of equivalent to what you might do with, um Hard grad if you remember from the second landscape photography class. So let's bring that color temperature way down on that, too. Now something that's really, really cool. So minus 70 minus 75 or so And then let's change the tent as well because I applied a cool color on top of a warm color. So now looks kind of purple E. So, um, I'm gonna bring this tent slider down to the green side to try and take some of that magenta tint that's in there. So let's bring that way down to the left. Um, so that looks more of aqua blue. Um, because now I'm adding green to a purple color and I end up with with an aqua blue, and lastly, it's trying. Ah, under exposed that a little bit. So I'm gonna make it just a little bit darker. Um built their 0.38 or so. Let's bring this whole Grady int up a little bit because I can see kind of a band of adjustment just at the horizon, and I want to I want to hide that as much as I can. I don't really want it to be obvious that I applied a grading alone there. So that looks good. And add one more Grady int on top of that one, um, to kind of do the a similar thing and just enhance what I what I just did. So I'm going to draw another Grady in up from the bottom, Um, just up to about the horizon and make that cooler once again. So bring that way down to the left. Yeah, that's looking good. Now that's got that blue tint that I'm looking for. So it sort of matches my jacket there. It's a cold blue color, and it's still looking a little bit purple E So let's bring that tent just a little bit back to the left cake and inquiry Great there. So now I've got this photo looking much more interesting. I've got the colors in it that I'm looking for, and now is time to go to the hue saturation luminous panel and play around in there and see what we can do to really, really enhance those colors even further now, Like I said at the beginning, you can spend kind of all day tweaking these colors, and to me, this is kind of the most fun part of this of this edit. Because I know that, you know, I've got a lot of subtle pastel colors in there, and it's kind of interesting to see what I can do here in order to pull those out and accentuate, um, the colors that are already there in the sky. So I'm just going to start with the saturation. I'm gonna work down from top to bottom in the saturation slider. And first, what I usually do is just grab the slider and see, see what it does. So I want some reds in the sky. So I'm gonna crank that all the way up to the right, and, you know, that just kind of add some crazy oversaturated bride so it doesn't look good. So back that off just to when I don't see that banding around the outside and leave their so plus 35 on the Reds, let's try to see what the orange does. Nice. Get some nice orange in there, so hundreds too much back it off looks good. Yellow doesn't seem to really do much, so let's leave it at zero green. I don't think there's any green in here No. Leave that zero. Akwa shouldn't be much no blue. Hopefully the sky gets. Yeah, there we go. So if I bring that saturation of the blew up, you can see how that affects the sky and the lake ice down below that I've adjusted. But I've already done a pretty good job with the blue, so I'm gonna I don't want to bring it up way up to here. It's a little too, um, electric. So just a little bit. Plus, I don't know. Plus 14 15 or so, Um, next, let's look at the purple. So I know there's a little bit of purple in there because I created it when I brought that , um, Blue Grady and down from the top. And so if I bring the blue Sorry, the purple saturation up, it just really brings out that little band of purple across here. Uh, I think that looks really cool, but plus, where we going? Plus 60. Okay. And then magenta. So there is just a little band of magenta in there, so let's bring that up to plus 40 50. Excellent. Now I'm gonna adjust the hue now they've got the color saturation ins adjusted. I'm going to go up to the hue and just kind of play around with those as well and see if I can't further enhance the colors here. So, um, a red kind of looks good. A little bit to the left. See what the orange goes. I don't really want that orangey to go yellow. I want it more orangey and ready. So, um, just a teensy bit to the left is good. Yellow doesn't really affect it. Green Acquisition and Blue. I kind of like it where it is, but let's just see what happens. And I don't want it. Teal and I don't want it purple. So I think I'm just gonna leave. Um, maybe just a little bit to the left. Just a little bit. To the Akwasi side. Yeah, minus seven on the on the the blue purple. Not sure where that's going to go. Um, actually looks Looks kind of good tinted to the red side a little bit. So let's let's bring that. That really enhances the purple, actually, So let's bring that over there Plus 47 and magenta shouldn't really affect it too much. Just gonna leave that like that So, um so there you go. We've adjusted the Hughes now, because of that last purple adjustment, I've just lost a little bit of, um, the blue in the sky there. So going to readjust that, um, graduated filter. So click on that and then click on the graduated filter and bring that temperature slider even further down to the left to the cool side. That should add some of those original blues back in there. I think that looks really, really nice. Now, at this point, I could jump over to Photoshop and Dodge and burn and get rid of any junk that's left over in the photo. But, you know, this picture is actually fairly clean, and I already got rid of all those spots in the sky. So there's nothing I need to delete in photo shop. And instead of dodging and burning and Photoshopped, I'm going to show you one kind of trick here in late room. So you remember the D. Hayes filter from the last photo? Well, as it turns out, if you apply a D. Hayes filter to an image that doesn't actually have any haze in it like this, um, it's sort of mimics the effect that we get from the from dodging the highlights and burning the shadows. So applying just a little bit of d, hes can kind of, um, add that same sort of effect without having to go to photo shop. So, you know, if I crank it up in this photo, it starts looking, you know, real bad, real fast. But just a little bit of that D Hayes filter, um, looks, you know, a lot like the Dodge and burn effects. So I think that looks really good. Last touch here is just to bring the exposure up just a little bit more. Um, it's just a little bit too dark. And there we go. I think that's our final finished photo. So let's go back to the beginning Scroll all the way down to the beginning of the history here. So that's the photo that we started with as it came out of camera and are finished Super colorful. Um, winter landscape photo looks like that. So, um, I'm really happy about how that turned out, and I hope that that gave you a new way of kind of to think about some of those blue our photos that, you know, it might not have the colors that you think that should be there. And there's some ways toe, really pull those colors out of your images, especially if you're working with raw files. Um, that can give you some really phenomenal amazing results. So good luck with with those techniques, and hopefully I can see those in the assignments. 8. Conclusion: Okay, everybody, I just want to thank everybody for enrolling in the class, and I hope that you've all learned some new and exciting techniques. And you're really excited and ready to apply those to your own work, whether those air photos that you took in the 1st 2 classes of the Siri's or Ah, just some other landscape photography that you have. Um, I'm really looking forward to seeing what everybody submits for their silent for the class and just quickly just go through the before and afters. Um, so there's our first sample photo, and that's where we ended up. And the 2nd 1 are nice Golden Hour beach photo. That's where we started in her finished image. Um, 3rd 1 the Lake Rocky Lake Shore with the eunuch shook. You know, that started out with, you know, really kind of boring, Gray. And ah, we I think we really did a nice job of enhancing that one. Um, the ah desert canyon bringing it all those reds in the warm and the sun itchiness in the in the background there. And then finally, our winter landscape going from kind of just a gray, boring image to a really cool. Colorful rainbow. Almost So, Um, like I said at the beginning, if you guys have any questions at all, if there wasn't anything that was clear, something wasn't explained. Well ah, by all means. Feel free to leave a question in the class discussion and I'll answer those personally. Or maybe somebody else near class Can Can you answer the question and Ah, please, I encourage everybody. Teoh, take the time and do an assignment. It really helps solidify what you've learned in the class. So once again, thanks for rolling and we'll see you again soon. Cheers.