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1. Welcome: Hi, guys. My name's Rob Price. I'm gonna be teaching you all about Adobe Light Room Classic CC 2020 the longest title software in the world. I've been a professional photographer now, for about 15 years on light room has been the backbone of my business. I've had to use it in orderto process, the large amount of images that are used to do in portrait photography with selections and calling and editing and stuff like that. So I've used this in depth for a long time. Enough developed my own workflow in order to create efficient work, which is cost effective to more business. So I'm gonna take you through things like the interface, the organization of photos, the fundamentals of light room hue, saturation exposure, stuff like that. All the different tools that you can use with cloning on Grady INTs and everything else right the way through to exporting your photos so that you've got a whole folder full of beautiful pictures that you can share with everybody. I've included the before and after photographs for all the stuff that we're going to talk about during the course and throughout the classes also, I'd like you if you can, Teoh, upload your before and after pictures from the samples that I've given you to download. If you have any questions, please feel free to ask if you're ready to go. Let's do it. And why we dio good luck. 2. Class 1 The Interface and Library: Hello there. Welcome to my light room. CC training course. This is the first lesson. What I'm gonna do on this lesson is I'm going to show you over the interface just to make sure you know where everything is before we get started. First of all, let's have a look at the interface. You'll notice I've got my name appear Looks a bit different. Bright click here on. Go on. Identity plate. You'll see how much change that. So yours looks like this. Just change it to light room. Classic There. That's how it normally loads up. But I prefer to have my little logo on there. So I would think that Wasser press personalized on. Then I made a graphic design photo shop actually located the file on Impressed. Okay. And that's how it looks. You can also change all the funds from the sources and stuff like that, but that's just a bit of customization. Not necessary, But something that I like toe have just in case you wanted what it wants. Okay, So what we're gonna do is we're gonna look over the interface. First of all, we're gonna have a look at this. Lawyer Bruce set in here. What? This Libra doors is it? You're gonna put together a library of photographs and then we're going to be able to choose from those photographs. Which one? You want to know where they have set? First of all, let's head over to this import button press that located photographs. Now, I've got a special directory for this course. My drives just loading up on the left hand side, taking a lot longer than normal s. Oh, here we go, on my estate on light room. Course, these are The pictures are on that. I do want to import them all. However, if he didn't know important more, you compress one check, and then you can just take the ones that you want like this. But for the sake of showing you how to do, I'm gonna check them all. Do you want to put some keywords in the years? Well, eso I know that this was a car show on it. There is a portrayed and I also know that the Eisai stash on the wheels. Okay. And then let's press import what that's going to do. It's going to put these keywords with these photographs So if you wanted to search later on fruit pictures with the car show portrayed Moustache A wheels and these would be in the list, So express important here, Michael. Okay, so it's a reasonable selection of pictures. These were all taken in Alameda in California in November 2000 and 17. In fact, if you look here, it shows you the exact time eso If we look at this chappie Now I know that my camera was set to UK time because that doesn't look like 6 32 in the evening. So there was an eight hour time difference. The creator is Rob Price. Now, this is something that you can set in camera. If you go into your settings, whatever camera you've got, you can set up the owner so that every time you take a picture writes that information to the file for that particular photograph tells you the dimensions of the picture here for 1000 by 6000. So it's quite a big photograph. I was shot at one tune 1 1250th of a second that f 2.8 eso That's the shutter speed in the aperture. Their focal. It was 1 45 and all the cameras set in such a rich camera, It waas, which lends, and stuff like that suits that there's a lot of information there in your keyword list. Look, there's it's got car show portrayed Stashes to flip that. So there's lots of different things that you can do with this particular libraries to say. For instance, in this library of this 11 pictures, we have a few favorites, but we don't want to delete pictures, but we do want to separate them so that we can access them quickly. That's going to number one that I really like that. So, the way I do this, I like to put them into a colorless so you can either right click on the photo on G O up to color. Label them red. Well, there's a short cut for that, which is a lot faster. You notice that that's now read around a picture. Let's go into this one, our president. Six. If want to keep it in that list, look set label to read. There is numerous color label writings, so if you wanted to set it to yellow, you could. President of seven on eight and nine and on zero. These all match with these corners over here. I'm gonna just set that one back to normal. Not sure if I like that picture, So we're gonna leave that out. Let's go over to the next one. You can use the curses for this. Yeah, this is good. And we love that in the red section. Wow. That's like the engine on my car. Where you think so? With the amount of fuel that uses? Yep. That's a good picture. I love this man. This this ban apparently have been going to this show for years and years and years on. He looks like he maybe it's homeless, but he's not. He has a massive truck, a huge, really super impressive truck. But this is the way addresses. He had no shoes on, walking around all day as well. So Okay, so we're gonna keep that one. Uh, yeah. Going. Okay. This and we like them. Stash, man, this one's out. Focus. It will leave. This one's in the effect. OK, so now we've done our sort of first call, if you like it collecting the photographs, let's see what it is that we've selected So if you just go over here and you click the red button, do you see how that let's change them? We had 11 pictures before. We've now got nine. As you can tell by this number here so you can go through these. What I want to do is start editing one. Because this is why we're here. Right? Okay, so So now we know how to organize our pictures on, put them into a library and move through them on. Important lesson one is done. We're gonna move on to lesson too, which will help you with editing each individual picture. Now, have a look at the different methods of doing so. I'll see you on the next lesson. Thanks for watching. 3. Class 2 Exposure and Clarity : Hi, guys. Hey, doing welcome to class to this is our next lesson. We were going to talk about the develop section off like room today, So let's have a look. Let's click on develop that This will bring up our first picture. If you remember in the last lesson we selected are photographs. Um, we put a red color on each one, so we've got a list of photographs there that we want to edit. So we're going to use this picture. Here is our first example. So a couple of quick short cuts before we start, if you press f, the picture will go full screen like that. I think you can press space bar as well and zoom right in while the hand pictures there you can drag around and have a little look on. See what there is on. Then when you finish, you compress spice ball, bring it back back impressed f to close down full screen. So these are three really nice things to do. So remember space barter. Zoom in. You can do that in that window there, or f for full screen and then spaceport Zoom in as well. Okay, so let's get back to that. Okay, So looking at our photograph here, um, it's a nice even the lip photograph this stuff that I would like to change things like, um, make it look a little bit more dynamic. Maybe maybe pop the yellow a little bit on, have a look at the exposure. So what we're going to do is have a look at the exposure. First of all, now, up here when we're in the develop module, we've got these two things over the history am if you move your mouse over where it's red on the picture there, don't show you where it's over exposed, which is OK on the windows there because we've exposed for the car so the windows may be over just a little bit, however, can make it so that we just bring that back a little bit. Also, here you can click these and keep them on this. Well, this one shows what's under exposed at the moment. On that picture, there's no think that's under exposed, but what we can do. Just as an example, I can bring the exposure down, and it will start to show you what's under experience. Can you see what I mean? There anything in blue is under exposed, so I'm gonna show you. First of all, how to deal with this kind of overexposure under exposure. So what we're gonna do is gonna look at this area on the back of the car. First of all, let's get it all in the right place. So over here, we got a brush. This is an adjustment brush. You've got a short cut key, as you can see there that the letter in brackets, he's okay. So if you press que that will just bring that up there. Now, a good way of explaining this is it's like having a paintbrush, which you can undo your painting. But with that paintbrush you paint in an area and then you can change the settings. After all the other way around, you can change the settings and then paste on an area. A painter. Sorry, not paste. So what we're gonna do, first of all is well, we're going to select the brush. We're gonna press K. You know that on you can see it's quite a big circle on now like that to be a little bit smaller. So I'm gonna bring that down with these left and right brackets, the square brackets. If you press the left one, it goes smaller. If you keep pressing the right one, it goes bigger. Same controls on photo shop. So what I'm gonna do is I'm just gonna paint just a little bit Hold down the left mouse born on paint over that. If you want to see where you've painted down at the bottom EU compress a show selected mask overlay. Can you see where it's gone? Sort of faded red. Okay, now, with that highlighted, I can then change all of these settings. So I'm gonna put that clarity just back to zero. So, for instance, if I wanted to tell his Persian right down just on that section several it what happens? CEO has gone really dark. But watch I could bring it up. Think zero was our original sentence. If we maybe just a touch more Not that if you want to see what you do and you can just press escape and you'll get rid of that for you Now that is just sun glare off the window. But it's no longer overexposed. Can you see our bought that back. That that is a complete, creditable thing that we can do with what we wish at any time. We like that. So if we wanted to say, for instance, to bring these windows back, I want to say back from overexposed is quite difficult because the information's normally already gone out of a photograph. But what we're gonna do less, Troy, we're gonna do new. Because if we just change the settings now, all it's gonna do is change the settings on this particular brush here. So let's do on Put everything to zero before we start. Okay, then we got our brush and they were gonna paint the windows. Not literally. Don't do that. You get in trouble. Okay? We painted that one on. We just leave it at that one also, while we're at it, let's just do this little red spot down here on just this little bit going across the floor on may be this window here, all with the same brush. This is so whatever settings are changed. Now it's going to affect all of those things. In fact, go on. Why not? Let's do this window as well. If you're going to do a job. Do it properly. Okay? So you can see that Anything that's inbred. Well, that sort of faded red color. He's gonna get changed. I'm gonna turn my mask back, Officer. You can see now if I adjust the exposure. Remember, this is over. Exposed to see if I lower the exposure, that rate will automatically start to disappear. Hand was that. But now looking, it's looking a bit dark, so maybe we go for sort of a middle ground like that. Andi, let's just press escape. Turn off the pins on. Let's turn off the highlights. That's have a look at the photograph. Looks, I think that looks pretty good. Actually, Not too bad. So we've made an adjustment on I'm quite happy with that. What I'd like to do is look over the picture and see if there's anything we can improve. So we're talking all about exposure in this lesson particularly, but also looking at a thing called clarity. So what we're gonna do, we gonna do a new brush again? This is important. Um, Ms Prescott Cable Choco do new. I know the new bush. On this time I'm gonna paint the yellow of the car. So to help us see where we painted, let's put that mask back on. Okay? Why you do things like this, But it always makes you feel like you should be on, but Okay, so we're just going over all the other parts there that sets. In fact, let's do the body of the car on the wheels still hold up. Okay. So looking nice and painted course you cannot do this any time. By pressing command set, you can actually delete this point at a later date as well. If you wanted to see just to bring it back to the original, let's just point over this wheel here. On way. Go. OK, let's do that tire as well. Just a little bit. Should we got everything on the bumper on just this bit on the front just to make sure we've got every little bit. Okay. When we make any changes with these settings here, you'll notice the whole picture change. Look at that. Wow. So you can get some really cool effects. I think that looks really unusual, but quite cool. Too much. But you get the idea. What I'm gonna do is I'm gonna mess with clarity. Watch the photograph. Sort of come to life. Can you see what I mean? Let's turn that under exposure off because it's getting in the way a little bit when I change the clarity. Look at that. So if we press escape a couple of times, get back to our plus symbol and press space bar. Look at the detail that's brought into the picture. Okay, we can bring that down again. Remember that These brushes of all what their own points, remember, Did the window the back of the car there and we started our point mayor. So you can edit this again if you hold on, look. Okay, we'll share you. Put the mask up wherever Addison watch this. If we take the clarity down. So this is useful. If you wanted to soften somebody's skin and make it easy to do and quick, maybe you could paint around the wrinkly parts of their face and stuff like that and help with getting rid of some lines cheaper than a face lift. I believe I'm this way with cars. The clarity is brought up there, so I'm really happy with that as good That's a nice image. Okay, so you can alter all of the different settings on the car. So in the project for this particular class, this images in there on what I want you to do is going on and correct the exposure. So everything's fine. Do yourself some brushes. Use this image is your test that Andi get the clarity up to 71 like that and then posters your version off this image just as we've done it now in this lesson, so everybody can see that you sort of found out what we're doing so far. So so far, we've done clarity on we've done exposure. So they're two different settings in the next class. We're going to look at getting rid of some of these different bits and pieces. But for Class two, that's it for now. So thank you very much for watching as normal. If you have any questions, please feel free to drop us a message in the comments below, you know, all or in the project. That's fine. Please feel free to ask anything you like. If you have any questions on anything to do with light room or any other pictures, or you wanted some more examples. Where you've got a question about one particular thing, please feel free to ask. Okay. Thank you. I'll see you on the next one. 4. Class 3 The Clone Tool : how they're welcome to class three. Class three is all about the cloning. Tall as in cloning with humans, you must divert about that and sheep and stuff like that is exactly the same. Was taking a copy of something on making a complete ab duplicate, which matches perfectly. Okay, so what we're gonna do is we're gonna get rid of just some bits that, you know, we don't really need in this picture. So if we press f first of all on day as a full screen picture on, then my resume into this area, these boxes here, so take away from the image a little bit maybe even that bracket on the pipe I think we could remove that. Just little touches. When I was looking at the picture earlier appear, I think there was a little hair in that bracket which couldn't be taken away. Also, the end of these pipes and stuff like that, these exit signs and fire signs would be better to take away a photo Shopper said work better, but as a quick example on a photo that she's only got a couple of little points as in airport trade picture or something like that where somebody's got blemish on their skin. This is the quickest way to do it. So we're gonna press f again. Get back to the main screen now. Gravity of cloned tall were in the develop module. Still, you can choose the size of the brush here that we're gonna paint on on the feather, which is, like the hardness of the edge of the brush on the capacities tohave see through its What we're gonna do is we're gonna zoom into this image, and we're gonna move about like this. Okay, then we're gonna get our brush. We're gonna paint this box holding down the left mouse sport by that. And if by magic is disappeared, look, it's using this little box on the right as the box Teoh lined up with. So I'm just gonna line up, have floor there. Okay, Let it go on. Let's do this one as well. Every time I draw, it's a new box so that we can edit again. Can you see how that just disappeared? It's fantastic, isn't it? So if I wanted to get rid of that box, I can just click it and then personally and it goes. First it again, Mr one of the ones. Good for Okay. Now we're gonna get rid of this or try to get rid of this bracket on the pipe. Let's see what it does. Wow, That's made. Is it okay if you press escape, you can see that the dots have gone. It's not absolutely perfect, but it is very court. It does sort of take away the distractions in the picture. So there's a little plug socket here. Let's take that I wear as well. Okay, process. Kate, get rid of the dots so we can see what we're doing is a little dot on the wall there. That might be some lens dose, actually, just collect it. Yeah, very good. All right, let's have a look around the rest of the picture. Um, I said there was a hair here. Let's have a look at that drill line on it. Sort of bones are. Look at that. Wonderful. Is there anything else? Ah, yeah. The ends of the pope's so quickly clone tool again on gonna do that. Let's see what happens on another one here. Like this. What's that? This one's better, actually. Let's scale appear get? Maybe this one do a bit. Zoom in it. You can hold down space bar, then left. Click. Ok, uh, let's increase the size of the brush. You can use the right bracket for this. Just click. Now, can you see on this one? It's chosen another area, which I don't think would be the wrong area to choose. So let's Troy Dragon it. Okay, so you have to do a a two pronged attack this time. So yeah, I like that. It on the pipe going up there for I will say I want to replace There's bottom that I don't really like at less civic in just the father a little bit. My become legal, but touch here. So what you think? I think that's a good line. Okay, so we've got that there. There's our pipes. Andi. So the distractions have gone. We could go as far as taking all this part work out and stuff like that. This would take time. I would suggest, however, that on brother than doing that. Unlike dream, you do that on photo shop. But as quick as that, you can just take away points. For instance, let's try with our clone told to take away this fiver, see what happens. See, it's not so good that maybe we're just a feather. Slightly Wow, Look at that. That's fantastic. So you can see the potential in. That's all completely. If we look at the original image, there it is. And then go to our new updated image. You can see that this is making a big difference on the detail level. On the image is all about the car, not about the stuff that's going on around it. So if a class three nice short class that was the claim, it'll remember its under developed and you can click it and all the tools of air and even go across and look each other dots. If you wanted to. Um, just only the doctor, you can literally just click on just or click and impress. Delete. So that's what the choice is. Yours as normal. If you got any questions, please ask. That's it for class three. I will see you in class for thanks for now. 5. Class 4 Hue Saturation and Luminance : Hi, guys. Welcome to class for this class is all about hue saturation on a luminous or hate yourself for short. These are all the things that we can change to do with the color on our particular photograph. So in the last lesson we talked about Cloney, I still thought that we did all that. If you remember, that's just have a quick recap. There was the original image on. We went back and we looked at the boxes we removed them on. We changed some of the bits over here and appear, and stuff like that made the image different. This is our current image that we work and I'm right now, So if you're going along with the course, you should be saying this kind of image in front of you. So what I'm gonna do is I'm gonna go over these three settings huge saturation and luminous s so that you understand that what they meet. So if you look at this particular photograph, the dominant color is yellow. So let's let go down to our yellow setting here what you can do. Just as a quick example. This is fun. You're gonna like this is grab a slider left, click and drag, and then just bring it down to the bottom. And what's the color of the car? Changes you dio not to sound now, or the colors change just the color of the car. That's because we've picked just yellow, even does the reflection on the floor. Look, can you see that? How fantastic is that? So, um, let's put that back to zero. You can also do that, say, for instance, there's blue in the image just on the floor, and you wanted to change the hue. So the shade of the blue you can do that. It's quite subtle, that one. I'm not really sure what else? The colors are in there. We have a tool here, though, which is absolutely fantastic, so you can pick a color. So let's just do the car again. Just cause we know that it works and you can click and hold and move the mouse up or down. So bless you more you and that Does it on that color alone have phenomenal, is that it's just absolutely unbelievable. Okay, let's try on another color. Maybe we do. On the green of this exit sign So I was going right down on then super bright and almost to a blue. What about on the floor? Here? Let's try that. Wow, that's that blue call. If you look at what the slower doesn't do much and doing this, you can see that the Akwa and the blue. So if you can't actually pick out the color for yourself. But you wanted to change the floor, for instance, this is the best way of doing a group of colors together. So I'm gonna set that'll back to zero just for now so we can see what each told us. So that's you basically shade saturation. Um, good way of explaining this is when it's really run in its heavily saturated with rains. So lots off. The less saturation, the less there is. If we take this yellow right down is going to remove the amount of yellow in the picture like the saturation if I take it right up, is going to increase that yellow. Now I'm a huge fan of highly saturated images. So if we look at these two together, this is one on the left was our original. This one on the right is our new version. How much more stylish in cool does that look? Obviously, you know, photography is in the eye of the beholder. You might not like that version, but it's my personal preference. So I really like this one. I think the saturation is slightly over the top. There we go. So again with the colors, if you like, we know that blue was in the floor. We can reduce that, but it's also in the wheels as well. So just take it down a little bit. Can you say the yellow is popular in the floor there? How cool is that? It's really, really nice. I think if you're going to use an image like this and you want it to be all about the car, then the less distractions in the background the better. So maybe we could take down the red because we know that this sign over here is red on the green. That's a look at the green exit side of the back there, actually doing anything on that several up. If it doesn't do anything, why not pick the sort of drop it all here, move over and then take it down like that. Do you see what I did there? Let's do that again. Click the tone, Dr. On Click and drag on the color opened down that you want to remove on that Read out. Wow. Look at that. Now, in just the wheels, Maybe we could increase Call it a little bit so I did that. Just left Click open down. Don't ever too much. Yeah, but I like that. So saturation is the amount of color, and then we've got this last set in here, which is luminous. This is sort of the brightness of the color, if you like. So let's do on our yellow. Wow, the amount of light that goes into it. Isn't it fantastic? You can change that just like that. That's ever let's zoom in and never look at our yellow open down and that the horses are still there in the same call out. So, you know, with another image, you got to do this in another. Why? You know, I like the amount of light on that image. There might be a little more. Make it pop. Um, the Bauer blues. I think we'll keep them there like that. Okay, so we've gone over the three settings. There is also a cooler bought me. It does exactly the same. So instead of having the words red, orange, yellow except for you, click the yellow. And then you have all the settings for that particular color hue, saturation and luminous. So it's just another way of doing the same thing. But now let's have a look. Are two images one above the other? This is our after image. This is our before image to look at a car pops. It really makes it subject to focus. So for our hue, saturation and luminous lesson, that's the end. If you did enjoy it, obviously, please leave a review. If you have any questions, just dropped the questions in the project, and I'll answer them as soon as I can. I would love to see your progress. So far. I really want to see how you make in this car look and a making this image look to see if we can, you know, let's see what everyone's doing. It would be good toe go through. So that's it for the end of class, for I hope you've enjoyed it, and I'll see when the next one Thanks for watching 6. Class 5 Gradients and Vignettes: Hi, guys. Welcome to class five. Class five is all about Grady INTs and vignettes, so let's get straight to it. We've got it all over here called a Grady in talks is next to the clone tool and the brush tool that we've used before. What we're gonna do is we're gonna click on that there. It gives us our standard lot of settings again. Like this. Okay, on what we're gonna do is it turns it to across there. Look, so at the moment, it does nothing. But what we're gonna do is we're gonna click are left mouse born on, Just track down. You'll find that when you do that, it just moves anyway. Wanted to. So, as as a really good tip. Let's get rid of that for a minute. You hold down shift. Before you do that, it draws straight lines, which is fantastic. Now, when you draw a Grady int like that and you go from the top down to the bottom, the area that's going to be affected with your editor is in between the first on the middle line there. Nothing else down here will be affected. It all set for instance, if we just change the exposure, you see you above it and down to the center line. Nothing else has changed slightly feathered, but you'll see what I mean That you can change any setting you like within that Grady int. So it gives you sort of a faded well, Grady effects. So let's just take that off for a minute if you went the other way. So you went from the bottom up. Everything from this middle line down is now going to be affected. So we could, you know, whenever the exposure just on the floor there, which brings the detail of the car really out. Very well. Uh, we could give before a little bit more detail with a clarity. We've done all these kind of things before when we looked at the editing tools at the beginning, maybe a little bit more shadow to the cars really standing out. Now you don't just have to have one, Grady, and you can have numerous Grady INTs set. So let's see if we did one from the top there. Can you see how now this is inherited? The same settings is before? Because I didn't click new so I'm gonna commands it. Get rid of that. Now click new. Now, this is a brand new Grady int. And I can change the settings as I wish. So you can have as many grade It's as you like on one screen on it won't affect anything If we did want to go back to the Grady int find a little dark when you're on the tool there. I don't buy that short cut key for this is M for Mother. Uh, if you click that it will show you where the Grady INTs being displayed, that's there. And then you can keep it on if you want it to this show. Selected mask overlay I ordered. Move, you mouse over, I believe. Yeah, There you go. Um, you could do all your edits, sir. On. Then just press escape. And the doctor is just that as soon as we turn off radiant, see, other dot disappears. So if you're looking for and he can't find it, you've got to go on the actual tall first and then find the dots toe. Add it. What it is you're edited. So that's Grady INTs. We've got one more thing which I really, really like. Let's so let's turn off radiance for now, if you scroll right down nearly to the bottom, um, post crop vignette, it sounds really complicated are used one setting on this and one setting only what this does. Let's give it an extreme example. If we take this right down to minus, can you see the edges of the pictures getting darker slightly outside of the lens? Really, but a shadow. I just like to add the tiniest bit off vignette in if you go the other way. Look, you've got a warrant setting by a lot today, just minus a little bit, just to add a bit of tone to the outside of the image on. That's what I think is that that is literally it. I don't change anything else where you can, of course, change different settings and do whatever you want with that. I like that just to cover the corner. So let's have a look at what we've got so far. Just kind of created another copy of this picture and let's have a look at the two together . So now look at the floor. This is what we created with Grady int. This is the original image obviously appear on. This is the edited one. We've added a bit of vignettes of the corners. A slightly darker, the colors that popping like you wouldn't believe. Andi. Just double that with everything in our 1st 5 lessons. So this lesson words Grady INTs on vignettes. That's the end of this one. Hope you enjoyed it. Any questions as normal? Please ask once you've got to this stage, please post your image. It doesn't have to be of this car. It can be of anything. But I would like you to have followed some of the steps and maybe even described with your image what steps you used in order to get to the stage of your before and after. So thanks very much and I shall see you on lesson or class six 7. Class 6 Tone Curves : Hi, guys. Welcome to class six. Class six is all about tone curves. So let's go into the develop module appear on and it's just down at the bottom. There. Just scroll down a little bit. There it is. Okay, so tone curves controls the highlights, the lights and the darks and the shadows within an image. This can be set at any time during your edit process. Maybe at the beginning or the end is a good place. But, you know, let's just put it in there now so that you can see what happens now. With this, it will create on what's called a tone curve. But just for the simple way of doing stuff, we're going to do it this way. So that's more mess with the highlights. First, just bring that down on the image. Can you see? It's very subtle changes in the image. There just pop in the highlights, bringing them back a little bit. I like them just about there now, uh, with a dog. I want to bring that down a little bit, giving up a bit more of a I mean look, because the car's super mean, okay, and then with the light just to touch that on the shadows. Let's bring them down. Okay, So can you see We've got, like, almost on s kind of shape of this curve. That's basically the best way to have stuff. It's important that you use this set in in order to alter the light and the dark in your image, because you got a lot of control over that which can make the image so, so much better. Okay, I'll settle the highlights. Lights, darks and shadows back to zero. I'm going to show you another way of doing that. So what you can do is move your mouse over the line, click the left mouse born and hold on, then drag when you're doing this, what's what's happening with the image? It's very subtle. This of the lights, remember, look at the door on the car. That's the easiest way to see this. Just enough like that. Maybe Onda, let's go about here. Maybe this will do our shadows, not miss telling us underneath. You can bring the shadow right in, or let's get a bit detail just on the lower half of the door on that black section. That's good and then less Have a look at this section or no, that's getting very door. So let's bring the image up nice and bright. So that's another way of creating a tone curve. Obviously, as I said before, your photography is down to how you want it to look. But, you know, using the tone curve will definitely help with the look of the image later on on, I think about Class 12 we're going to look at. I'm doing an image from start to finish, using all of the different settings that we've done so far. So watch out for that one. If you got any questions about tone curves as normal, ask Let's have a look what you've done with your tone curves and how you've changed your image. Poor before and after in the project settings. Okay, let's see what you can do. I'll see one class seven 8. Class 7 The Crop & Straighten Tool : Hi, guys. Welcome to class seven. This class is all about the crop and straight and told in light room, So we'll go straight into it in the develop module hip on just on the top left. Of all these tools that we've spoken about so far, click this box. This will give you the crop and straight until now, most of you, if you don't photography before, will have used a crop tal before. This is quite a straightforward thing to use, so it's a very quick lesson. Basically, there's a few different options that you can use normally when light room starts. Just got this padlock locks a lot, that which means it's going to constrain the aspect ratio of the image. So basically, if I try and make a square like this by left clicking and holding on, I can't do it. It's just going to keep that sort of three by two ratio. That I photographed normally is. However, if I undo the padlock, my second day make absolutely any shape at all, so you can see what that does. So you know, cropping is all down to how you see an image. Obviously, there is rules and photography regarding this. But we've got these nine squares. This is called the Rule of Thirds. Generally, you play stuff over these lines in order to get their sort of pleasing to the eye. I'm kind of result so you can see the car go straight across that line There. You could crop like this like a different kind of shaped image. If you're going to do an instagram corner shop, you could do a square. So this image isn't really suited for that. But say, for instance, you liked, uh, that section of the call. You know, that's quite a call taster kind of image. Um, let's take that back. All I'm doing when I'm taking it back is impressing commands that you can just keep doing this and you'll keep going back to the step before. So let's go back to the crop tool here. You got your angle. So if I press the angle, but what you did there and then draw a line across the floor, not that it will automatically crop on strain the picture toe that line, which is really cool. So let's try that again, but let's straighten it, Thio added. this line here, So let's press the ankle bone. July. Hold on press and click on that. According T light room is perfectly straight, and it just changed the look two in minus 0 00.96 So, yeah, I'm happy with that. Will keep that is constrained to image button, for instance, if only to do a crop like this, and maybe only to go off the page just to keep that section whence constrained to images highlighted, it will only actually let you do that shape within the image so makes perfect sense. Let's turn that off. Let's go back a little bit, Okay? Also that you've got some custom settings in here and also pre built sort of cropping templates. If you click one by one, that's generally an instagram size See that makes a square number of what you do. It will always make a square one boy born square and express escape on that and then try again back into the crop tool. I Let's do a I don't know. 16 by nine. Let's see how that works so you can see straightaway. I've also made one a three by night, so that fits that image very nicely. So you could use that. Maybe is your Facebook header just experiment? You can put in custom settings just here. Say, if you wanted that a bit high, you could go for by knowing like that on. Drag that out a little bit, make it a bit more. The waste us might be a more suitable crop. That's quite nice. But obviously the choice is yours. You know, photography is in the eye of the beholder you want. Name it. You won that image, which is perfectly fine. So, yeah, that's it for the crop and straight and tall. It's very straightforward tool. You probably used it before another software. If you do have any questions, please ask. Let's see some examples of the creative cropping with before and after images in the project on. That's it for this class. I'll see you on the next one. You know 9. Class 8 Custom Brush Presets: Hi, guys. Welcome to Class A. This one is about brush presets. Now, in earlier classes in the course, we did some stuff about the different brushes. So you should be so familiar with that kind of process. I am. I've got two images here. I've just duplicated one. In fact, let me show you how to duplicate an image so that you can have two copies. Here's the man we're looking at on. We're going to right click create virtual copy on what that does. It's not an actual copy. It's just a virtual copy for light room. So you can add it as much as you want. We're gonna keep this one on the left is the original on this one. On the right is the one that we had it. Okay, so we're gonna go into our brush tool. Remember, we're in the develop module stuff on in here. We've got loads. A different customization is that we can use with brushes. So, for instance, if we wanted Teoh sharpen up this image, we can just click the sharpness and it automatically has pulled up 25 sharpness. So let's do that. That's sharpen this personal. Okay? If you wanted to have a look at where you've drawn, you can see the red look. Remember, without mask tal from previous and you can go over I never and over and just keep going over to you. Happy with it? Now let's see these two side by side. What you did to do this is you press shift and click on Go have you brush Tool on that leads to here. So we want to see these left and right like that. This is the after this is the before not much of a change, but you get the idea. It's a little bit different. Okay, So what we're gonna do is we're gonna go to this one again on its own. Not that I'm gonna go through our normal changes. So first of all, let's go to the exposure. I think he could do with brightening up a touch. How do we tell without highlights? Do you remember these two blondes here? The under exposing overexposed. Can you see any? Any bread or any blue to do that? Look, there's a read on passably said we needed to the middle ground. I think that looks great to me. I'm really pleased with that on. Let's go off on. Just do the tone curve that we did before. So highlights just a touch. Andi, don't miss Trotman down a bit. Give a big contrast. Yeah, this is looking nice. Just It's been under experience on these glasses, but they are black glasses, so that's fine. Let's do the hue and saturation, so let's look at the main color. In fact, while we're at it, let's do his T shirt. That's the light that illuminates on this change. The hue helps with his cheeks as well. Look, wow, you can change all sorts of stuff. We know how to do that, so that gives you the sort of example, and we'll say it. Say, for instance, are images at the perfect state that we wanted to be in now. So let's go over to our brush tool on Let's pick a softened skin. Okay, so let's look what this is done. Before we start painting, the clarity has gone down to minus 100 on, the sharpness has gone up. I don't want the sharpness to go up. I want it to go down, so it's a bit more smooth. Let's start painted before painting. Bit more painting. Okay. Uh, so let's have a look. What that did, shall we? Here we go. Just a little bit of red. Can you notice? Yeah, that's good. Turn off these highlights and shadows. I'm so he's softened his skin a little bit. What I would like to do is a new brush on. I would like to or it's not there what I like to do. I would like to sharpen his mustache, so let's get the brush So it fits on. If we look, let's just change all these settings back on. That's all the sharpness of touch and up the clarity of touch. Because I'll do it now I'm gonna draw over his moustache so it's more defined. And I'm also gonna do over his glasses so they really start standing. You can see them starting to pop up. Let's do the same overs. Hey, okay on. I don't wanna do it on anything else. You can double go over this as well. Okay, so now we're paying to do with those areas in the areas that I wanted. Teoh sharpened. I can adjust that Make it more sharp or less sharp if I wanted to, based on no settings. So let's just have a look at these two pictures side by side, like we did before. Turn off the brush on. Look at the difference in these two pictures. Now can you see the bridge is on his forehead on quote So deep eyes, moustaches, what's more defined and his glasses and much more defined as well. So, yeah, we were heading in the right direction, um, with the brush that we've just made that we made at the Clarity 35 in the sharpness. 38. We can go into custom and then we can go save current settings is a new preset on. We could call this whatever we want, but what we'll call this is hair shop, Okay? And then what we can do is if we like that setting next time when we go into our custom settings, Acela and you can literally just pit hair sharp on those settings will be recalled straight away, which is really nice. So let's just finish this image off a little bit. Let's go back into a couple of tools agreed before. Let's get our clone tall Or maybe all hell tall. Not this on. Just make this chap a little bit younger. Just a touch when we were talking about face lifts before And if you remember now, press escape on the lines also disappear. And let's just go be a cloning as well. Let's do bear that. I think that's enough. Can you see the difference? Now look at that. You know, if this person was a friend of yours and they'd like to be retouched but not too much, that's a good method. You see. Look like this crease on his nose here, in between his eyebrows. I would never remove that because it wouldn't look like him. But as an example, let's just see if Liked Room is capable of doing that for us. And yes, it is. Look at that straight in there. So now it looks the same person, but less creases. So what I want you to do is download this image of this recording. Mr. Mustache on, I want you to have a go at the steps that I've just shown you but also create some brush presets on Let's share them. I think you can actually export these up. Don't quote me on that, but I think you can, Um, but let's save your own brush presets. Take a screenshot of this area so that you can show me what it is that you've created and tell me what you've done to the image. Let's have a look at your before and afters on this. So that's that for brush presets. Class eight. Let's get moving on to Class nine has normal. If you've got any questions, please ask. I would like to see as much progress is possible with everything that you do and keep up the good work medium very well on. I'll see when the next one. 10. Class 9 Develop Presets : Hi, guys. Welcome to class nine. This class is all about developed presets, ANC creating your own. So let's get jumping. Straightens. Well, let's get back to this gentleman's picture here. This is how the image came out of the camera. But what we're gonna do is we're gonna have a look on the left hand side. We're still in the develop module on the left hand side. We've got all these different presets, which you can literally just apply. You can see other pictures gonna look when you move your mouse over them. Eso If you say, for instance, you liked that style, then you could do that. And use that as your starting point to make that image exactly a wanted it. So I think that's a really, really useful talking. One thing that's even more useful collection of images. Say, for instance, let's duplicate this image as it is, Sigh three times just to give you an example. So we're creating virtual copies. These there are three images. What I'm gonna do with these three images is I'm just going to select the yellow here so that we've got two groups of images ready. Ongoing in the press seven on the key Pratt on each of these and put them in the yellow group so that you can see that they're different. Okay, so let's start on our main image. Let's do our exposure first. We're gonna do a really, really quick at it on this just to make sure we know what we're doing. We're going to go down on with the highlights and give a big contrast making look really nice. Okay, then we're not gonna mess about too much with the colors just to save us from time. But you can do that. Obviously. Um, yes, Paul, but a vignette. They just on the corner. Is that just a touch on then? I don't know. Let's, um, change contrast. Too little tight. But maybe we sort of flattening out a little bit. Maybe we It's kind of style to the image. So we've got a new kind of look. All right? Yeah. So we've got a totally different look from the original anyway. So when you look at these two originals on the left after is on the right. So offset, though, so that it's ready to go. So if I didn't want to have to duel that again. And I had a collection of images that I wanted to just deploy this filter to. Here's how to do it. So you go over to presets, press the plus button press, creates preset and then give it a name. So let's say this is all the name and all the tools. What? I'll explain those in the second. So let's say we called it how today car show, cause that's what it waas. We're gonna put that into user presets or we can have a new group. So let's have a new group recorded, uh, Rob's presets. Now you most of if you're into light room and you wanted to start like room. Maybe you've come across adverts for, like, custom, like bring presets. Well, the way that the people make those for you is the way that we're doing it now. So that's how it's all done in the settings here. You get to choose what settings record when we save our exposure. Are highlights are clarity or everything that we've just settled where you get to choose what to save in that sort of profile, if you like, So that's created okay, now down here in the presets. Look, we've got Rob's presets and car ship. So if I went Tiu, say this first image here, remember, we created these three while this 1st 1 is just as it is. If I press car show, it matches perfectly. How cool is that? So I don't have to do all that work again. But what we're going to do isn't a high level three. I press shift and then clicked the 1st 1 and last one I named Carl Ship. But look, this one is not applied, which is such a shame. It should be so easy. So how about the 1st 1? Just click it. Hold down shift. Prasit. There now, something is really, really cold. Is this sink bottom? Press that and again it shows UAL the information. You've got to be careful with crop and spot removal. Either western, those off. But anything else you can synchronize those settings for those pictures. So what did you see? How they all changed Also, if you like that set in, maybe you could try on your other pictures. These were photographed on the same day they go car show car show. So to me. I just put it on this chap here and see him change. Or we did. I think that's that's suitable for that image. But you get the idea. So let's create a user pro for a user preset for this particular image. Okay, so what we'll do before we start? Well, create a virtual copy so we can compare afterwards. So this job here in the developed settings let's give him let's make him a bit dark and moody. In fact, let's make it easier to start with one of these already done presets. I like this one, Matt. Okay, but I'd like it to have a vignette so you can start one of those and just change stuff. I'd like it to have a vineyard on the edge like this. I would like that Red to really pop. So let's get the saturation on the red blasted out there. Also remember when we used this and and we split up and down, See how that goes to gray? Oh, yeah. Look at that. Okay, um, and then we're gonna just increases shadows just a little bit. She had that tone curve. Is there? Look, that's from the highlights in the shadows on, then we're gonna increase the clarity to make him look a bit raw. OK, so now let's make that as our presets. He pressed the prosper. I'm gonna put in Rob's presets, and just for the sake of it recalls Beard. OK, we're going to save everything. Okay, so let's look at these two pictures side by side down. I didn't want to look at it like that. I want to look at it a little bit different. Uh, just a second. Here we go. Is the after his the before. Love this. What we're gonna do is we're just going to apply that new beard filter to this one on the right on the left story. So going to develop and then find my set. Ens rocks, presets, beard. Okay, let's just get this one picture on ghostwriting to bid on while there is, so you can build up a whole library of these developed presets. If you search on Google, there'll be lots of developed presets. In fact, why don't we in the downloads section, I will give you a set of developed presets to match the style of the pictures that I've done so that you can import your pictures and then apply these presets to see what they actually look like. Then you can have a mess about with them. So with the developed presets, what we need to do is go onto one of these images. You can use these images. We can use your own, uh, going to the develop module on the presets on the left. There, try a few different ones. Find the one that's most like the way you want it to look. First of all, click it. Have a mess about with Saturn's. Get it exactly how you want on. Then go over here on create your own developed preset With this prosper. You can, of course, close these down because there's lots of them already built in there. You know, im. Once you've done it, then you can apply that style toe Ah, whole collection of images. If you need it to, it will save you hours and hours of time. This is our used to do it at the portrait studio. Very, very straightforward when she spent the time setting me up. So I hope you enjoyed that lesson that was class number nine. We're going on to class 10 now. As usual. Any questions? Please ask. I'll see when the next one. Thanks for watching. 11. Class 10 Printing : Welcome to class 10. This is all about printing. So let's get started. Let's jump over to the print module here. Um, this is just gonna be a very, very quick lesson. This time we're gonna use the built in templates, so let's have a look. I've selected all the images. First of all, she had to do that. You press command in a or controlled in a on. Then you can pick these different templates so you can see. Look, if I click, it will show you how stuff's gonna look. Tell you how many pages I got it. Based on U K A four size so contact sheets there really useful. If you wanted to print office, whole collection off all of your images. It's got the image numbers underneath. Force a client, select a flight that aled. Different kinds of layouts. You know, this is quite nice. This is quite nice. Different kind of stuff, you know. Let's have a look at this. Other was one here like this. So maybe if we look at that layout, maybe we could drag a picture and drop it in there. We could drag another one. Drop it in there Maybe we were talking about this one. I don't like that one to be all right. Clicks there and send forwards. I'd like that to be in front on. May be on this side. We've got some options here, so let's have a photo border on. What else could we do? Let's see if we can change the background color. Where is it? Hey, we go Page background color while selected black. Now, when this prince it won't print the grid lines on their the grid lines of for you just Teoh . Line up the photographs to make sure everything's in the line. If you wanted a watermark, you can put that on there. I've got some different ones down there. Say, for instance, I got a logo here that I could just drop on, and that's what a logo Look on each of these pictures. If you don't have a logo but you want to put one on, you can add a watermark. So, for instance, we can put that as text so you could put, um, copyright etcetera on that. And can you see how it fits on the image automatically on the bottom? Right. You can choose the fun. You can choose the positions to flight that away. You can go ahead and choose a graphic. So here I've got lots of different graphics, but we weren't going to too much detail. But I'm gonna put copyright etcetera on. We'll just call it a raft because we're gonna get rid of the enemy. Okay, they go put some copyright information. So basically all of these different things you can set up so you can print. If if we wanted to do all of the pictures eso, for instance, we did a to buy to sell. You'll notice. Look, if we dio on each page, it puts all the pictures in the order that they are so that you can print them off. So if you've got some nice, glossy photo paper, you can do that as well. There's lots of stuff in this that you can sort of mess about with with your images and settings. Also you printed Just so you're aware, if you're printing resolution is 300 points porridge on. But that's what standard printing is on. Have everything managed by your printer, then it would be easy for you to use. You can print. It's gonna go off to my printing Allah, and it will do it here just to save paper. I'm not going to make that happen just for now, but basically this would come out as a for just as you see it. So whatever settings you set on the right hand side would automatically come out on your page. So that's straightforward. Very easy Lesson. Thanks for watching. See you on the next one. 12. Class 11 A Full Edit: Hi, guys. Hey, doing welcome to this class. This is the last class in the Siri's. What I'm going to do on this one is I'm just going to take you through an entire head it off One photograph. So we're going to start with this car, actually spoke to the owner of this car and driven thousands of miles to come to this show . It was really, really one impressive vehicle. So let's try and do our best to make it look the best it can. So, in front of others, then let's have a look. Not just press the f k. This is the full picture. The full size screen. Okay, so there's lots of things to consider on. This is a beautiful day. Not a bit of sunshine. Got the aerial cars going over the top there. Things like these leaves could be tied it up on the floor. I think the exposure could be a little bit brighter. Um, I don't like this pain, but I do like the orange. So let's let's start with that as a starter. So what I'm gonna do is I'm gonna work on the exposure first, so let's have a look at the image and see with our exposure what looks best. In fact, let's do the under and over exposed stuff so you can see that sort of sun. Glad by the wing mirror is a little bit overexposed, but generally it's not bad, huh? Yeah, I quite like that. I think that color is quite nice. So let's go down a lot to do the tone curve next. So let's put a little bit dark back in on. And yeah, this is nice. So I'm just adjusting the lights there. And Harlow, it's maybe a bit. Don't bring the scar back a little bit. Can you see that? See, if we do that and the score is gone, I can bring it in a little bit of that. And it's not so bad. Okay, so we're getting there. Let's turn off the exposure guides there. OK, so now let's go back up. What I want to do is I would like to bring up some detail in sort of the bumper on the car itself and make the rest of the stuff a little bit blurred. Maybe, but first of all, I'm gonna have a tidy up, so Let's use the clone and he'll toe. Um, let's try first of all, trying Teoh clone out. This been happens Sometimes it works really well. You see, that's not bad. Not bad. But can you see also, you've got a double reflection. Yeah, it's not the best, so maybe we could save some time. This is just my method of doing stuff. You have to follow this. It's just interesting to see how somebody edits. We could save some time by cropping out instead, I quite like it. We've got a straight line, so that's usar angle told you. Remember, let's draw a straight line across where that grasses. Maybe. Let's see what that looks like. Yeah, it's not bad. I think I prefer the car to be straight. So, uh, let's use this along there. I think that's more pleasing to the eye. I hope you agree. I like the color of everything going on there. I think team was black. Maybe more be about or deer on this one. Let's get to our brushes. Um, what I want to do is doing new brush completely new on. If you double click one of these items, it just send it back to zero. So you don't have to type zero, which is fantastic. What I'm gonna do is I'm gonna paint the car. So let's turn on our show selected mask. I gonna go over the whole thing. Wheels included. Do There is again that little I'm editing song that I tend to do You go. Okay. Now, I can make adjustments to that image as much as I like, and I can do quite quickly as well. So let's see if I was gonna make any difference. Okay, so let's set the brush up. I'd like it. Were there 79 flow and a little bit of feather Say 45 you can change the brush eyes here. I tend to do that with the square brackets, the left one on the right one. Just keep pressing it to you. Get the right size, so I'm gonna paint the car. I've got auto mask turned and it was going to show the red as I do it. It's not actually altering the image in any way. It's just showing you the areas of the arm painting that we're going to change with. Yet it surely let's make this brush a little bit smaller. Do you? Do you do? There it is again, the famous Rob singing What is editing? Actually love editing pictures? It's, uh, something that you forget about on Gwen. You get into it. It's just really, really nice. So we've painted that. I'm happy with that. What's what happens when we make these changes? Now? Clarity. I love clarity is my favorite thing. What about Bay of Exposure? Bring the car up just on it so that super glow. But no, no, seriously, um, we could bring the car up a little bit if you want to. Um, also, I like a bit of sharpness on that. Just to touch on. Let's do a new brush. Let's see a bit more of the wheels. Okay, so, paint I know I went over the edge of their set. Let's turn on our show. The mask thing. I needed about one as well. Both this Sure we know where we painted. All right, now, I would like to bring up those wheels because I remember. Cool. Can you believe that you can do that from just what waas a black wheel and I can even adjust where I'm doing the edit, which is just phenomenal. I can change the source of the bro. A shocking change, anything I want to do that. So, yeah, I like the wheels, but don't like this back. One said several. Can we get to the But one that not so keen on the back. Okay, maybe we do two separate brushes. Okay, so let's delete this one. It s okay to just keep open ago. You say you don't have to get it right? First time. Uh, that's just good way a lot. That there it is. Just so we can see Don't do too much. Okay? And in this bat one, I really do a new brush, but we use the same sentence. Okay, let's turn on our mask just a little bit. Well, there said we'll use the back one staff with and bring. And that just a touch. So you could just see the room of the wheel. But we'll give it crazy, and yeah, that's really good. And then we'll go back to this one. Me and my clarity. Oh, yeah. There's the wheel. Just enough. Give you the impression that was actual wheel there because this sort obviously was on this side of a car, so that would fall into shadow normally. Okay, so you got a nice car there. Um what else do you want to do? Let's see, just for the sake of it, with our are you Tal if we can change the color of the car itself. Wow. I cannot remember ever use that toe before. What do you think? Should we go the bread? Yeah, I think so. Um, about the saturation on the red. So we go crazy red Just a bit down. I think that's good. And in the light on the red. By that? Yeah. Excellent. OK, so I want to clean up the floor next so we could do this really easy. They just use the heel tool. I don't know this shadow where the lightest the lights where the cable is in the sky. So let's make it disappear. That's good. And also more Should we have these leaves if we don't need them? Excuse me? Just a few. Get rid off like this. I had like this and I've noticed that really Iran on the edit. I did just on that particular line. There was a bit that I wasn't a fan off. So just delete these two. And that's carefully do this line again. Press with a smaller brush. The good thing about editing is there's no rush. That's good. Maybe start that. Go over that and then start here. Go over that. Get rid of those little leaves. Yeah, that's really nice. Okay, so it's cleaning up. Well, I'm I think I'd like to paint the background, so it's a little bit softer, so let's do a new brush you again on Let's turn on our mask. Now, the background starts about here. You don't want to start it near the foreground because that's not how focus would work. So I wanna make the car pop a little bit away from the background. So we're gonna paint everything big brush, takes less time, That s what we're on the back. Okay, that's good. I I'm just going around the car, all right? And then about their because the focus would be there. And then what we can do is turned down the sharpness. So if we take the clarity back, watch what happens. Say the background goes a little bit blurred. Look, it a bit misty or super sharp. I like it just off a little bit like that. On also, let's take the contrast back of ill yet on, Let's see about the sharpness as well. Remember, we just said it in the areas in bread. So now the car really, really stands out. I don't know what else we can do without. I think this lamppost here, it's probably no in a good price for May. So let's make life easy and bring the car up. Okay, Um, I would like to see this front just slightly brighter, So let's have a new brush. Let's let's paint that front end just a little bit. Not this on. We could just bring up the exposure. Yeah, bomb. There is, uh, and bring clarity on that Brushes. Well, now that is looking a bit more like it. You know, I spoke about the vignette before. Well, kind of any Major Lavinia, if you may, it's It's always been my sort of go to effects. I like it because it's sort of highlights what's in the middle. More shots tend to sit sort of middle weight. It's so what we're gonna do is take a virtual copy of that. Just about to appear on. Then what I'm gonna do just to show you the difference. And I'm going to reset that image back to its original. You know this and then we're gonna see the two side by side. And there we go. So this is just my idea for a quick edit just to show you what's possible in a little time just to give you an idea of what you can actually do with tools that I don't know how long that's taken me. Probably less than 10 minutes, but it gives you an idea what's possible in a little time. I mean, if we locked here, look at that. The corsairs and everything has changed. If you look at this is a full screen image, you can also download this as well so you can have a play with that. What I'm gonna do is I'm going to save that as a my own preset, and we'll call it, uh, orange car. Okay, let's just for the sake of it, let's see both images created of the virtual copy. Okay, Now let's try and put the, uh, preset orange call on their on. Look at this from the original image. Straight to that, said every set in we did just is recorded on if we had more picture of that car, which I do have in a library, but we don't need to see him in the moment is replicated straight where the anything that's not replicated is the crop because we turn the r former saving the presets if you remember before. But that gives you a great idea of how to go about, well, my my work flow when I made it it. So thank you for watching. I have enjoyed that. Andi, I'll see you on the next section by phone app. 13. Class 12 Exporting Images : Hi, guys. Welcome to class 12. This is all about exporting your photos to your hard drive. So we've got to the stage where we've done all our edits. We've got all our selections done. We've got to our final pictures on This is what we're left. With these eight images here, I've just put them into a cooler label blue so that I can highlight them for York. If I just press the green as well, it will show you all my before and afters. But I have only show you the afters for exporting. So there's a few options here. If you just wanted to export one image, you can right click. You can click it with the left mouse and then right click export on. All the settings go there. However, most people generally a set of images on then want to export them all at the same time, I would imagine OK, so if you wanted to do that, you click on the first image on, then go down to the last image, hold down, shift and click, and it selects everything. Alternatively, command A or control eight will do exactly the same thing. So we're gonna get these pictures out of this system into our hard drive so we can get to use them and share them to everybody. So export on the farm menu, let's have a look at what we've got here you can export to the same folder is the original . You can choose a folder later on desktop in all these different folders, or you can make your own. So this is my folder for this Chinese course here, and what I'm gonna do is I'm gonna make a sub folder called, um finished. Okay, Here asks what to do. If you've got an existing file, I would always leave that setting like that. And then if one is already duplicated in that folder, it'll said you want to overwrite it. You want to use a unique name or wherever down here for our name and say, for instance, you photograph for a client on your client was called client one. When you deliver their pictures, then it would be client one, and then the number. It just looks more professional, just renames. And for you, I never use video in light room. So let's take that way on a new file settings. Most people on Internet use J picks. If you're exporting for websites and stuff like that, you might want to limit the file size s so that you can do that. They're dependent on you know, you may have uploaded a picture to a website before, and it says this fall is too big. You've only got, like, our 1.2 megabytes limits. So in here you could go, you know, 1024 or whatever type in your set ins and then export. And it would make that happen for you, which is really handy if you've got a size restraints when you're uploading or you want toe fit the images to something, then you can resize to fit. And you've got all these different elements here. I think it's easier to resource of the long edge on Ben putting your amount of pixels, inches or centimeters on where you get meta data. That's all the owned data on the only data of the image that we did in Class one, where we had brought prices. The owner that was came from the actual camera itself. You always want to include all that information on your export watermarks what we did in the printing class. So if you've got a watermark that you've created already, you can just select it in there, and that will put that on every image when you're exporting, which is really, really handy again. If you're working for a client on, do you need to put their logo on every picture, that's the place to do it there on. Then what do you want to do after they've exported? And all we want to do is show in Finder. So let's press export and see what happens. Here we go. So we've got the folder is propped it up for us. As it said on, We've got these eight images. So now they're called Client one. Let that could be your client's name or your business name or your rob price photography or whatever, you know. There we go. There's alright images so you can do with those. Whatever you please on That's how to export images. I hope you enjoyed this class. Thank you very much for watching 14. Class 13 10 Super Useful Shortcuts : Hey, guys, guess what? I've got another lesson for you. This is really good at it. Some extra tips. Everybody loves some extra tips and tricks. So what we're gonna do is going to go through these. There's 10 in total. The 1st 1 is this right? You know, when all you've got all the values here, let's say we altered everything and we changed everything, and we messed about on we. Then we have to settle back to zero. So long, sit along job. And then you don't wanna be typing any ago. Are dragging the slider. You know, wants to fly that you can literally double, click, double click, and it sets it back to zero for you. How good is that? If you hold on old watch what happens Old it changes to reset toe. Hold down. Old click reset. Everything goes back to zero. Number one tip right there. Okay. Tip number two. It's crop in time. Look what I've got there. Did you see that? That's right. You can have a look at some overlay greats by pressing O on your keyboard. By this all different sorts, grades, rule of thirds, That one thing this one and another one and another one that's just so called. That's like leading your I into that circle there on. If you want to get rid of that, you can just press are and it disappears. But how cool is that? Watch again. Cut to press. So and you keep pressing? No, and it just goes through them all. Do you find the one that you want? And then you can crop to that to number two, Right? Okay. Tip number three. Are you ready? Here's our standard shop to give you a good grounding and a good start. Look on the right inside in development. Where is his tone press or take? This is light rooms way of saying that's how I do The photo gives you a great start. Pops of color of sorts. The exposure a little bit for you changes all these settings. Remember, If you don't like it, you can just press old reset tone, reset presence. You can dual that watch when you press hold. It changes all these settings. So that's fantastic. That's our auto tone. Back to the library. We're gonna get grid view. This is tip number four, press G while you can. Also all to the side of the fund nails with this slider that Okay, so tip number five You need this when you're in Libra mode and you want to get there quickly without into movie mouse and click when you're going over to develop, don't go and move your mouse and click Just press D There we go develop mode straight in there, ready to edit? That's tip number five. Okay, so when you have painted a mask, sometimes it's not. The right color is in the way is to flow that you want to change the color of that mask so that you can see it more clearly. You can scroll through some options with using shift and so red, green, white, clear, red green. Find the one that you want, and then you can see it more clearly. Okay, that's that tip. Very good. If you wanted to a race part of that mask wallets highlighted. You can hold down instead of going here and click in the race. You can hold out hope, take part away. Look at that. That literally is like present the old spotting for the arrays bond for you so old is a race. Fantastic. Tip number eight. Now, this one is a good one. Say, for instance, we wanted to just mask. Let's pick. I know this picture. Hey, the original. We just wanted to mask that car, so let's get it. Set it a water from there. Okay, we're gonna paint over. Let's not do the collars to the grass. Okay? So let's cover everything over. It's got grass in it. Okay? You can imagine how long it would take you to go along the edge of the grass. The edge of the gates, around the car, all that kind of stuff. You don't need to do that anymore. You scroll down here, foreign range mask, changed it to color, and then use your job. It'll to select the clear of the grass. Look at that. It's now masked. But the best thing about that is Look, we can turn off the mask, overlay on weaken, de, saturate the grass. We can bring it up. We could make it a lot greener. We can change the clarity, you know, stuff like that. Just the grass look on its own. And you can do that with absolutely any color. So that's range mask. That's a cool one. Back to the library. Let's get our grid mode, Person G. Okay, so you say with a client and you want to show them three pictures Cyber side. So let the three that you want by holding shift and then percent. There you go. Oh, press g, Back to the grid. Move. Hold on, command if you want. If you want to picture sober side, you can hold shift and just get out of that key clicking If you wanna do pictures, there aren't side by side. Click the 1st 1 Hold down command or control and then pick the pictures that you want to be shown in your preview on Impress. And And there are the pictures that you selected, all shown at the same time. Excellent. Okay. And tip number 10. The final tip. This is really good one. Any two keys to do this unit shift on tap And Haidl, the tool bars on just shows you what's in that main focus window. So, for instance, safe. We picked this photo and we just wanted to get rid of everything around him. We could do that with the shifting tap. We can also do that with the F key lot We've spoken about before. But so, for instance, you had a group of images like export president and anyone who's share them on the screen. You can just do it like that by pressing shift and tap. So there are you 10 great light room tips. I bet you're glad you waited to the end on you. Thank you very much for watching. I hope you enjoyed it. There is just one little bit left. Go through. I want you to have a look at that just after this, So I see there. 15. Well Done, You Did it!: Hi, guys. You did it. You got all the way through all 13 classes, right? From the very beginning, all the way to export in your images. I hope you love the course. If you did, I'd love it if you left a review. Even better if you liked it. And you've got friends, do photography. Why not share this course with them and just help me grow my online Chinese system? Make sure if you haven't already, that you've uploaded some of your before and after pictures for everybody to say, put them in the project for us. Thank you once again for supporting May in my course. If there's any suggestions that could help and change on the next course or be better, I would like to know. So please feel free to live some constructive criticism. Thank you again for support And may I really appreciate it and I'll see one the next course bye for now.