Lightroom Mobile CC: How To Edit Everything

1. About The Course: Hi, guys. A lesson here. Thank you very much for choosing this course. And I hope you're ready to learn everything you need to know about editing. If you're completely new to let him to see, I would recommend you watch the first part of these course in there. I tell you everything you need to know about where to find the tools, both in the latter mobile. That's the version and the movement. Version two. But if you already know where older tools are and you want to learn how to edit your pictures, you indirect plates. I've designed this course a teacher first, how to use all the different tools, both the global and selective adjustment tools. And then I'm gonna talk a little bit about color theory, how to match the colors to get those cool presets of tissue that how to create your own presets, install your presets and the main difference between presets and color profiles in light room that may or may not change the way you retouch your photos. After we finish with the desperation, we're gonna go to the mobile one. I will repeat the same process off showing you how to install your presets how to create yours. Animals are gonna show you how to reattach one of the photos in the mobile version as well . Just to make sure you know how to use older tools. Most of the things that you have fun. You learn how the tools work and you make them work for you in the cuss project. You can also find to color propels and one color preset that are free for you to keep. Thank you once again for choosing discourse, and I cannot wait to see what you have created. 2. Exposure: all right. Before we start going into the anything panel, let's prepare the space. I'm going to select this picture. There have been editing throughout and you might have this library panel open, so you can either close it or you will notice. When you click on the editing panel, it will be closed automatically. The other thing that you might have iss the filmstrip. It might still be on Andi and the filmstrip will not be clothes when you open the editing panel. So you have to do it yourself and to close the film. Streep, you just go here at the bottom on the filmstrip icon and just breast hide filmstrip. Another thing that I would like you to do before we start and I will do myself is to open the editing panel, click on the three dots and go down to single panel mode. When we click this Onley, one panel at the time will be opening. So it will be easier for you to just concentrate on the current panel and then all the others will be closed. As you can see in the editing panel, everything is very well divided. We will start with light and to be more precise with the exposure inside the light panel. Now the exposure is the overall brightness off the image. So it's the amount of light there we have in a photo. We can change exposure by going right or left on. When we go right, the exposure will be increased, so there would be added light into the frame on When we go left, the exposure will be decreased. So as a guideline to understand when to stop in terms of the exposure in this picture, I'm gonna use her hair. Obviously, um, I want to bring up. I want to bring out some light. I usually bring out light in the face, and I have to make sure that the hair doesn't go doesn't become over exposed. So when we talk about being over exposes when there's too much light in the picture and which was detailed when we talk about under exposed is, there's not enough light in the picture to be able to see the details. So in this case, I just want to raise exposure a little bit and not too much because I just want to see the I just want to see her face a little bit better on Let's go here and click on before and after it. It's very subtle and I don't want to raise it any more off anymore than this because, as you will see in the next lessons, when I have details in the shadows and I have, this isn't highlights as well. It's best to work from separately. Okay, let's move on to the next lesson. That would be about Contras. 3. What Is Contrast?: the next thing we have is interest. Contrast is it's basically just a difference between the light and the dark pixels in a photo. So when we remove contrast that we reduce the contrast, we will see that the picture is letting grayish on when we increase. The contrast will see that the picture also tends to look a little bit more saturated. So this is basically what the contra starts, so it either increases or decreases the contrast indeed, off the pixels inside one image. Now it all depends on your personal taste and on what you have in mind for your photo. But sometime countries can be very helpful to, um, like here in this particular photo to bring out a little bit of color and to enhance the image a little bit more, because if you look at the picture here, it looks a little bit washed out. But if you like the washed out look, you can decrease, contrast and then work with colors when we get to the color. Here, work with highlights, shadows and blacks to increase or decrease just the black tones 4. Light & Shadows: talking about highlights. Andi shadows. So the name kind of gives it away. The highlights work on the highlights, which are the brightest part off the image. Just keep a close eye to the head and look at this part. Where does a lot of light if I increase it, that part is going to completely lose details. But if I decrease, it is gonna gain some details now. I did reduce the highlights, but I've also lost some light on the face, which is why highlights and shadows go very well together because I had some light on the face. Let's try and exclude the hair for a second because they're distracting. Um, see how I can decrease that or increased that. But because the two can work separately on separate things, I would say I would like to work on highlights, and I'm going to say we save some highlights and when what I mean by that is we save some details in the highlights when we go to the left, so we reduce the highlight intensity. That's good. We don't want to go down here because that looks unnatural. We want to go to a place where It still looks natural, but we still see some di dio on this. Looks like this is decent. Yeah, this is It's natural. Um, and then we want to move to the chefs Now, the shadows through the same thing moving to the left. The shadows get darker, moving to the right. The shadows get brighter again entirely up to your personal taste. I would like this picture to look as natural as possible to bring up the shadows just a little bit. Let me show the before and after. If you don't like the detail on the other hand, you can lower the shadows. I actually like it more this way. You are allowed to change your mind too. So just experiment with highlights and shadows. And if you feel after adjusting highlights and shadows that the picture is a little too dark for your likings, just go back all in the exposure and this raise that attend letter B to your right and let's look at the before and after. There you go. And once we're happy with this, we're going to move on with whites and blacks 5. TIPS: Adjustments: to look at the before and after. Just click on this. I can hear that, says shows a show original and is going to let you know that you who are seeing and viewing the original and if you click on the X here, it's gonna go back to your retouched one another. Nothing I don't remember if I mentioned before is that you can adjust the values. For example, if you say, Oh, I want to touch the picture exactly like you're doing. It's very difficult to reach a precise number by drugging adult on a line, so you can also click here, double click and right the number. And if you want to reset the tool, you can get on stop here on top of the exposure or contrast on top of the name, all the tool your using on either click reset or or you can just double click on the dot and we can move on to whites and blacks 6. Whites and Blacks: So why? It's an blacks do kind of similar thing off highlights and shadows, but they will make your pixels white completely. Just look at the difference between this preserving detail on this completely. What? This will work really well on pictures where you have white details. For example, this one on you may be one of work on just saving, um, which means preserving details on whites, or maybe just enhancing the whites of their would be more to make them stand out until you reach the point where you actually burn the photo. Let's, um, I wouldn't touch it that much on this particular picture because I don't have those many details. I want to make white. So I'm just gonna reset the tool for the blacks. Same thing if we moved to the left and our colors get darker. If we move to the right, we will try. We will bring up the colors a little bit, So if you click on if you hover on top here, it will tell you that it sets the black point off the image. Which means it says the darkest point off the image. You could make the darkest point darker and all the other colors will follow. Or you can make the darkest point writer and all the other darker colors will follow again . Something here You can make the white ist color darker and all the others will follow. Or you can make all the brightest. The brightest called her brighter and all the others will follow. So so for this picture, I think I would like to go darker with the darker tones. And again, I'm not sure I want to touch the brighter tones because I don't think this picture needs it . Maybe a little bit to increase contrast, because again, contrast is the difference between white on the black pixels. So if you like it this way, please feel free to copy the settings before remove on into color, cause once I opened this little window, the top one will close. And if you missed the lesson Ah, in which I explain why it closest is because taken under three dots, I have activated the single pan and load just so I can keep everything clean. You also have a curve available, and you can work separately on different channels red, green and blue. It is a little bit more tricky to work with the curve because it's not as straightforward as the stool. Uh, the stools up here. You can perfectly work on your picture just with this. So this is all about the light panel. Let's move on to color. 7. White Balance: Okay, so the first thing we find when we open the color panel is the white balance with temperature. You basically go up in the warm tones or dark in the cool tones, and whenever you have either off the two tones, you want to compensate with the other to make it more natural. Ask possible. So let us assume this picture was sticking this way with this tonalities and these color. How do we fix this? What we can do is if we have a white or neutral tone in the picture. We can use this to endpoint to a neutral area. But let's see what happens if we click on an area that it's not neutral because it thinks that these green is the neutral part. It will compensate with the particle, which is the opposite off the green. And you might ask, why did not compensate on this color? Because even though this color is not entirely white, it is still neutral, so it's not a strong color. If we click on the skin that's not neutral, it's more saturated than this. This picture is a picture that I will use later on to explain to you something else. But for now, let's just take a look at the white balance. I shot this in a backstage are a few to show while the show was running on and there was absolutely no light backstage. So what happened with this picture is that I did try to, um, adjusted as shots when I showed it. But let's just assume I didn't I can take my balance selector aunt. He's wearing a white shirt, so if I click here technically, it will adjust the color temperature so you could see a skin. It's a little purple we want to compensate, but just that tiny beat that looks more like skin tone. Not to the point where it looks fake up until here, and let's see the before and after. This is what temperature and tens do. Andi. They usually work together because most of the time we have a picture that requires both. Or in the case of the picture that we decided to use in the first place, it just needs the temperature adjustment, and we can move on to vibrance and saturation 8. Vibrance and Saturation: vibrance and saturation. So let's start with the saturation. So the situation either removes old colors or effects. Old colors on it brings it up until it looks like this. Yes, I know. So in plain English, that means that saturation effect the intensity of color and enhances every single color in the image. And the reason why I'm remarking the words every single color. It's because this is what Vibrance doesn't do, because vibrance it's smarter than saturation because it increases intensity off the colors . There aren't more muted, let's say off the ones that are not so bright already. And it leaves. Of course, I'm pushing the city limits, so be kind to vie prints, but it leaves the colors that are not already well saturated alone. See, even now that I'm pushing the vibrance all the way back to minus 100 see how the skin still has some color and the hair to, And then when we push it all the way up this skin, some parts at least still look kind of natural. And let's do the same with saturation, with saturation, everything the creases, so until to the point that it gets the picture now is black and white, or everything increases so the skin no longer looks next skin. What I tend to do is if I want to give a little bit more color to the picture. I'm going to try with Vibrance first on and make the cholera small, vibrant. And hey, if I see that that's not enough and I want a little more, I'll push a little bit with the saturation. One thing to be careful about, what? Especially when you're photographing people. It's that the skin doesn't look orange. So, yeah, I would say like this. It's good. 9. Advanced: Colour Mixer: you might have noticed the reason. Tiny call their wheel up here and in the color panel. Let's click on it. This is the wheel where when you don't know those cool presets most all the adjustments are probably made in. There's a few ways of seeing this. Um, this color mixer you can see color be colder where you can adjust in one panel for every color hue, saturation and the minutes. Which means if you're gonna move, something here has got to change the hue. And then in the same panel, you can change the saturation and you can change in the millions. Great. Just great. I'm sorry. I just needed to show you And you happen to be orange and an orange happened to be selected . Anyway, it was like you. We can changed the hue and have all the colors together. Yeah, no grocery with orange. So you can see the difference on this poor model. I'm sorry. Double click to Recep, or you can see the situation of all the same colors altogether and change a separation. And last but not least, you can change, Your Eminence. Just look at the lips on this one. and skin in general is red and orange and sometimes yellowy. Okay, lets reset everything. So, yeah, this is what the color mixer dots. It allows you to work on the single colors and adjust its hue saturation and limits the hue . It's just Q. I don't know how else to explain that. Um, but the selected color. Let's start with red. Actually, that, sir, with green let's leave. The model alone will change the huge off the color. The saturation we make the selected color more or less intense and eliminates will make the color brighter or darker. And this happens for each and everyone off the colors here and in here, too. What if I want to change this color or her skin tone or her hair and I don't know which one to pick is gonna take me too long to Big Juan and Donna Justice and go back? That's okay. It'll be thought of that too. We have these beautiful to that is called target adjustment. Click on that and the same bar you have here will appear here below. What this allows you to do is like a color picker. You click Andi, you can drag left, all right, and it will adjust in this case, the hue. And then you can go down here and change to saturation and you will click, said the bar. Appear on. Drag your mouse to right over to the left and it will change the situation. See also how it changes here on the bar, on the side. And then you can change the limits to again clicking on the same color. Ah, to the right or all to the left. No, that's double quick. Reset everything. Sometime I find it easier to work on single aspect. So work on the Hugh first and then moved to saturation and then moved to Luminant. Andi, because I don't want to get stuck with one color on the clicking here. What's will allow me to work on the hue of this. Who? Look at this. It's slightly blew it or it gets more warmer. I actually like this one, too. Let's see about this jacket. Shall we make it lighter or darker? SNI clay like this also because as a lot of green around her in the time in which it took the picture, you would notice the skin as well, we'll change color or the hair was lately changed color. That's because we have some green cast on her skin on. We always speak up light from our environment. Just next time you're in a colorful room, pay attention. If it's a sunny, it's a sunny day, and you have, like, coming in from the window and you have, ah, out of a blue room or a red room or whatever. Call the room, pay attention of your skin tones and look. It might have some red or blue reflecting on to it. I do. I do like the greens a little greener on moving to, I think, moving to saturation that's clicking here. I wanted a little more saturated the greens as well. Honestly, just have fun with it when we're close to the skin. Just one little tip. When we work in a skin, you don't want to make it more saturated or less saturated. You want to stay somewhere in the middle again because we know how it skin looks like. So we don't want you to look too crazy, greyish or too crazy in the yellowish tones, unless it's an effect that we want to do again discourses about you and what you want to do . I'm just here to tell you what the tools do. So if you're not happy with what you've done, you can click. That's so if you're not happy with what you done right now, But you still want to have this color mixer just in case you want to fix a few more things before you go back up here on the top right off the color mixer window, you have this little dot You can slide it to the left, and the color mixer will keep your adjustments, but it's just not gonna be applying them to your picture. And if you want to close it, just click on the ground. Call the wheel on the panel will close. So yeah, that's all about the colors. Let's move on to the next one, which is gonna be effects 10. Texture Vs Clarity: The main difference between texture and clarity is the texture acts on the texture off your elements in the picture. Going towards the right brings up the texture on going to his left, brings its extra down ends with the clarity. All the picture will be affected. The clarity changes the contrast around the edges off your elements in the photo. Usually texture is moved to the left for poor traits because also skin has got texture on and the texture of the skin is basically force. So the one enhance the hair or anything else. Make sure that if you do that, you keep a close eye to the skin. So usually what happens is import traits. We tend to reduce the texture a little bit, but we want to still keep some contrast on the edges off the elements in the picture. Because we don't want to lose all the clarity. We don't want it to look like this. Keeping the clarity up, we'll still make sure that you have some details just the tip from photographer. You can lower the texture too soft on the skin, but please don't lower the clarity because you will lose all the edges. Oh, the nose, lips, hair and you will lose all the details. So keep the clarity a little it up and work on the texture if you have to work on the skin . 11. Dehaze and Vignette: next on on the effects we have D. Hayes and been Yet De Hayes was originally thought for moving haze from pictures. It's a very interesting tool. We don't have any haze here, so if you move it to the right, it will try to remove haze, which in this case means increasing contrast because it's none or adding Hayes because we don't have any haze in this photo. I'm gonna show you what happens when you actually do. And here, the region Victor was like this. So if I have to go to the left, I would have increased the original Hayes or fog or smoke and it sometimes it works because it gives a more dramatic effect. But what I wanted to create with this picture, which, by the way, we're gonna work on together to get the same result. Because this was the before. So be prepared. We're gonna work on that together afterwards, but going back study Hayes. If we go to the right, it actually increases a little contrast, and it brings out the detail in the smoke, which is what I wanted for this particular foot going back to this picture, which doesn't have any fog or any smoke or anything. I'm not really gonna use the D. Hayes. What I can do if I want, is to add some been yet The net is just This will add a kind of, ah, white or black frame to your image. Andi, it will add ah, white frame if you go to the right or a dark frame if you go to the left. I use this at CNN Tiny beat when I want to bring more attention to the center off frame. In this case, it could actually work quite nicely the dark one because we already have a dark image around us. So if, for example, I have to add some white, it would not work as well, I think. But when you have pictures taken with your camera, usually what happens is that you have signing your lens creates a tiny vignette around your photo. So here is where you can adjust. Adjust that been yet if you have it and you notice it in your pictures on. Of course, if you have it and it looks like this and it's white, you can compensate on the other side with dark or if you have it on its darker, you can compensate on your decide with some brightness. If you don't have anything yet in your photos, you can just simply use it artistically to enhance your subject over just to create something a little bit different like this. And next thing we have and this is it for the vignette ing and D hazing. 12. Grain: that's been at least nor effects we have Great grain is one of those beautiful effect that , if used correctly, can give your pictures a very nice on old style kind of effect. So I'm just gonna change picture because that one is a little too dark on. I want to show you guys how this looks so it will generate artificial noise because that's what grain is. If you have had ever shot Wade old film cameras on have ever used film you will know that all the different film roles have different A s A or ask translated in digital noise. It's called I s O. So the grain just does that adds grainy dots on top of your pictures. Ah, one suggestion. Don't overdo it. So start from ah lot Andi reduced until it looks kind of natural ish ons. Just work your way down because if you try to work your way up, you always gonna add an odd and aunt. But if you start from the very end and reduce it, it will be easier to understand when this looks normal. Granny, something I really like to add on my pictures, especially where I have skin because sometimes when I don't want to add texture or I want to soften the skin a little. But I feel like adding some grain. No, too much. It makes the skin looks more detail. But that's just something I like to do. I really like to do that on beauties as well. Anyway, this is old for the grain in this particular picture. I think I would like to add just a little bit. I don't want to overdo it because it can really gets too much. And then we might lose some quality off the picture as well. So and for quite a mean, we might lose some detail. All right, so let's move on to what's inside of this little button up here. 13. Advanced: Split Toning: we're back with the split. Toning returning is a coloring to you have this shadows and highlights and you have all these colors you can choose from. When you go up, you increase saturation. When you go low here, you you decrease situation on when you move left to right, you change the hue off the color. Now the only thing you have to remember is that the dot on the left side belongs to the shadows, and the dot on the right side belongs to the highlights. If you saw them, you will see that when you click on the dot it will tell you which one it iss. So before you start going crazy with the colors and ask yourself why the picture didn't come out as you wanted to let me tell you something about color theory. I don't know if you studied anything about complementary colors, but these are basically just called her set. Go very well together. If you pay attention to some of the presets there are out there, they're always gonna be like blue and orange or yellow on blue. There's usually a cold caller and a warm color. How does this help us, Wade our photo, you might ask Now, lets reset again resetting. We either go up here and reset or double click on the dot These helps us this way. If we set our shadows and the blues, we will set our highlights in the orangey tones. Also, be careful about the how much saturation we applied to it or if we apply. Yeah, like that's see how one is blue and the other one is kind of yellow. Now, with this effect, we can say we want more blue tones unless highlights. So unless yellowy or we can say we want more yellowy and less blue in this case, I'm gonna go this way and because we don't have an option to decide how much we want apply . Other than this, we can always lower the situation off the same color in in here to try to have a little less, uh, they had to try to have a less intense caller, but going back to our color, we are roughly here. Yep. So if we put this side by side wait, will see that this is exactly what is happening right now. Off course, This depends on the picture in here. We have a load of Let me open this in here. We have a lot of, um, light blues on. We have some reds on the skin is always in the orangey tones. Now, mind you, this picture is not edited just yet, so we might have to bring some nights out here. But just for the purpose of showing you how these still works, we can add some some orangey in the shadows and some bluish in the light. Oh, too much, too much. And then just compensate whether we want a little less or a little more, and then we can go back into the lights and just adjust this a little so you can also, in terms of adjusting with splits owning, you can go back to remember to the collar panel clicking here, and you can still work on the colors. There are affected by, um, by the spirit stoning. So you can always changed its afterwards and adjusted afterwards. So, yes, it's a pretty pretty cool tool. I usually prefer to use the caller mixer, but, um, but depending on the picture, it's nice forgiving some nice contrast between shadows and highlights in terms of color 14. Sharpening: All right, Next on, we have the details panel. Now, remember when at the beginning we talked about the clarity with the sharpening. We have a proper technical tool. So instead of being an effect, sharpening acts on very small details. So if we increase it to the max, we don't see much of a difference in the picture. But if we zoom in very closely, we will see a difference in the change off the details how much more detail we can get out of everything. The reason why sharpening is indeed in the detail panel and not in the effects is because it doesn't actually make much of a difference in terms of how the picture looks. But it makes a difference in terms of how much crisp and how much detail we can actually have in the photo without its being affected in terms off style. Because again, if you go into clarity and have an out more or less, the picture will be more or less intense in terms off how it looks. But in order to see the sharpening taking full effect, we have to zoom in a lot, so use sharpening when you see that the details in your picture are not. Ask liras. You want them to to be on a usually at a little bit of sharpening when I have to print my images because otherwise details that hair and other small details like the leaves and so they will not look as crisp as they should. 15. Noise Reduction: In order to explain the next two settings, I will have to change picture. So if you remember the beginning, I had this photo to explain to you what the white balance is and how to use the white Bannon's, um in the color panel and choosing the right temperature and tent. Now we're going to use the same photo to work on noise reduction and color noise reduction . I don't know if you can see, but if you zoom in very closely, we will find that we have noise in the picture. Noise is these very annoying grain that we confined in our photos when we shoot at very low lighting, especially, or when we should with very high eyes up. Andi. Sometimes you can be added for an extra creative effect, like we did before by adding the grain in the effect window. But sometime we just need to correct the one that we have in order to get a more detailed picture because grain sometime takes away detail. So how do we correct that? First of all, we will notice that in a picture like this, because it was very, very dark and very elevated eyes. Oh, I have so much noise and you can see its color color noise. So look what happens if I just reduce the noise without reducing the collar first. Okay, this is a very stretched example. It's way too much reduced, but it's just to show you have the tool works. So see, I still have some color, and the picture still looks noisy when we have the type of noise we have to work on the colder noise reduction. Look how much of a difference that makes if we go the way in the picture is probably gonna be mostly black and white in the areas where we have that much noise. But if we just apply a little, if we just supply a little a whale help with the reduction off the color, just apply until the point where we don't see color in in the noise anymore. And at this point as just a 20 we can actually it actually looks like the like. We applied the grain afterwards, but let's just say we don't want to have any noise anymore, So now we can try to remove it with the noise reduction tool. It's still very dark but we have no longer noise. Two visible noise in any part of the picture. And we definitely don't have any more color in the nights. So FBI, this is also called luminous noise on. This is just called color noise. Yeah, this is all about the detail panel. 16. Fringing / Colour Aberration: Okay, let's talk about the optics panel. Ulan starts some things that you might not notice. Whether you're shooting on the phone or on your camera. You might see that sometime. Your lance leaves a little being yet or you have some, uh, colder operation as well. So in here, if we zoom in, we see that we have these little purple lines on and in the background. We also have some wonderful green lights. I actually struggled to find a picture to show you this. So I have to thank my dear friend photographer. I will put his name around here because he he gave me this picture just for showing you guys. What this the fringe does is what happens when dark edges meet very bright edges. And you concede in here you concede in here and he has usually two colors purple and green . Let's just go and see what happens when we have this kind of effect on. We don't want it. Obviously, you can't see it when the picture is zoomed out. So you have to zoom in on just check and see how much off the effect you can. Actually, I see. So in order to remove this. We have to go on the purple here. We have to identify which type of fringing we have. And then we can just click on the dot on Go to the right until we see this disappearing. Just have a look at this before and after, and look how much it has removed. It's amazing if it removed almost everything. But now if we go on the back of the photo, we will notice We still have some green one here, and we might have some green left over here, too. And in the hair. So we click on the green and then we can move to change the hue off the green. That we have in this case is slightly more greenish than the blue that it was originally. And again we click on the dot on we removed it slide until we remove it. I look at this here is completely gone so purple it's completely gone clicking on the before and after we see a little different now just because we know the effect was there before and again, assuming in this is the original on and going back to the edited version look how amazing this is a Cisco's. I've never used a different Jing before in a picture I get to see for the first time to how great the stool works on the pictures. So I hope your pictures don't have any different ging to be done, but in case they do now, you know how to do it. 17. Lens Correction: The other thing we can correct in the optic Spano is the lens. You may or may not have noticed that when you take a picture, the outside off the photo might be slightly bent compared to the lines that are in the centre off the photo. This is called lens distortion, where straight lines will remain straight towards the centre but curve out at the edges. Now when we click, enable lens correction here, the picture gets automatically correct if the softer recognizes which type of lens you're using. In this case, because this is a row file, it has old information inside of it on the softer knows what lens has been used to take this picture. Now the wider the lens. So the smolder, this number here is the more distortion and you will have. So, for example, fish. I have so much distortion that the picture almost looks like it's been taken at 3 60 degrees and because of softer recognizes what type off this what type of lens has been used . It also knows what type of distortion to correct, because the lens with always create the same type of plants, distortion. So what the softer does is it applies. It applies an algorithm based on the specific lands model in simple words. It knows what type of lens has been used, and it would know how to correct it automatically. So whether you're no sure that the lens you have used to photograph is this one, or if you want to change it or in case like another picture, if we pick bacon on the photo, that is a cheap bag and we go up here enable risk lands corrections and, he says, manually select a profile. We enable lands Correction Creek on top off the mark and model off the lens and click here so as much as D lenses. All the different cameras as well have the have different ways that they distort the light and lines. So choosing the right model is very important to have the program make the right decisions in terms of correcting the picture. So in this case, I know my friends started with the cannon and I double check with them. But very likely the meta data inside of the picture are always correct. So I'm sure he shouted with this and you can do the same thing here if you don't have a profile. But you remember shooting this picture with, um, a nickel on our cannon Aunt, remember what type of lens you were using? I almost you always use the 50 millimeter unless and shooting beauties, In which case I use 100 which I don't see here. It's OK on it will automatically recognize the type of profile Anna will apply it. But because this picture has already being corrected before, the only thing ISS is not gonna correct you win are going to see much of a difference. But if you correct it again, it's probably going to make it worse. So make sure you corrected only when you imported a photo. If we, um still see, that is something that needs to be adjusted after we have made Thea automatic selection. Usually it's it works, but you can still have some been yet on the side so you can adjust it by adding some more white on the side or by adding some more dark. In this case, I think it's pretty much okay. Maybe I will add some whites a little bit more and yeah, that's a little bit better in terms of distortion. I think you can pay attention to these corner up here and you will see they figure all the way to the right is going to try and straighten and even more. But if you go all the way to the left's gonna bend the lines in words. In this case, I'm just gonna live it this way because I think this works. And once you think this is done, you can close it on, go back and adjust the light off the photo. The different gin and the lens Corrections are pretty much everything you can do on. Do you have to do in the optics panel and, as you will see at the very end, when when I'll be retouching my own photos from beginning to end? This is one of the first things I like to do because once I have corrected the general lens aunts because I know that the lens influence is also the amount of light that comes into the the camera. As you can see, the before and after here, I will do it immediately. So all the corrections that have to be made are made and it can move on on just edit the picture 18. Fixing Perspective: all right, We're back on our last but not least two over the editing panel, which is geometry. So sometimes we have pictures that are very nice but are not entirely straight. Or even if we use the crop tool, we cannot straighten them properly. This tool comes after the optics for one reason. Because, like I said before, the land sometimes distorts the picture. So before you can actually straight in the lines, you need to enable the lens correction. I don't worry. I've already done this lens correction before. You have important this picture in legend plastic to export it in jay bag. So the correction has there had to be made and this vital that I have some no very straight lines, the back. So what can I do? I like this photo. I just think it's a little adjustment. I could crop it on and I could try to straighten it. But for the sake of explaining how to still work, I'm gonna do it here. So what we have is two options. Let's start with the automatic one. So with the guy, that too we have this. We click on one line with drug. It down straight following the guideline and the guy line is which ever lying you picked. I picked this one, so it just goes straight down here. It doesn't go here. It goes here and then I have a second line which needs to be in horizontal one. So for this one, I think I'm going to try and pick this horizontal line here. Let's see if that works. It is straight in the picture, but I think it's a little bit too much. So what I can do is click on here and press backspace and get rid of that and Glicken here on press backspace. I can have the auto one, which is probably going to do a very, very decent job on, and then we have level, which is gonna find a line and level the picture. Then we have vertical, which is gonna align the picture based on a vertical line, and then we have the full, which is going to take into account vertical and horizontal lines. It did a very decent job for this picture. I'm not gonna lie. I'm pretty pleased with that. We conclude common spit common said and go back or we could just Greek in here and click off. When you're picking any of these options, you might see that you have a box here that you can take, which means the program would automatically cropped the picture when you adjust it. Has this assume I was not happy with the automatic adjustment? If I click on these Aiken, I have all the options I could possibly once in terms of distortion, you can go right to shrink the picture or left to enlarge the picture. Keep in mind, you can also use these to create special effects like this might be funny or or might be like a particular style. Looks like a fish eye. So if you had a fisheye anyone to correct it, you could try and go back. No. In this case, I might just want a little correction just a little bit. And then you have the vertical and horizontal stretching. I call this stretching, so it will either stretch the picture upwards or downwards on this again. It's very useful for straightening buildings. Lines on. I was a little above her eye level, so I am just gonna tilt this a little bit to the right. Then we have something horizontal stretching all the way to the left on all the way to the right. And again, sometimes you have a picture that requires you to use this. Ah, in this in this case, I think I am going to stretch it a little to the right, just a little bit. Just a tiny. Then you can also rotate the picture to the left or to the right. Well, so you might have noticed that you have a guiding lines all over. So if you pay attention to this part, I am now going to try to align. That's with one off the lines. We have Very Yeah, like that. Okay, the aspect is just gonna keep him stretching, but it's gonna widen the picture or is going to shrink the picture down. So I don't think we needed in this photo, so I'm just gonna double click on the reset bottom and just leave it there for now. We can also scale The picture scale is kind of like a crops was gonna zoom in or assume out very far. Then you have the offset. So with the offset you come over the picture along the x or Y axes. So I just like it because it seems like she's coming back. And then she's leaving again. Sorry. Okay, um, again, you may. You may not use these tools on by the why does the same thing. So when you move left is gonna move the picture down when you move it to the right is gonna move the picture up so you might have pictures where you use all of these. That might be pictures where you only use a few. What I want to do for this one is I want to constrain the crop. Which means because I made all these adjustments, I now don't want to go here on crop, so we have to stand. It'll incorporated here we click it and it's gonna automatically crop. If you take these in the very beginning, anytime you move, something is gonna You move and you live. It is going to constrain the crop right away. So I think we covered everything. This picture, it looks okay, since as you might be more than happy with the automatic adjustment and sometimes it doesn't work. So here you go on, you know how to fix it, in case you need to adjust it a little further 19. The Crop Tool: Okay, Now that we have completed all the editing options, let's explore these side panel before we move into the presets. Next on the list is the core pinto. Now, this might be very straightforward. We have a few options, though we have the aspect ratio. So you can already comp the picture for a ratio that you know you need when they succumb. Only allowed square pictures, you have to square one. And then you have all these others that you can feel free to explore. I think this one is also the new instagram go to. So we probably gonna stick to that. Then we have eight by five for 11. Um then we have all these others. We also have his air shot. And if you go back here, you have original as well. You can click on custom too. On you can move this up and down. Now you might notice that it does not keep the proportions bottle. So you're completely free to move this. And if you hover your vows on the side, you see that the arrows shape changes, which means if you click on d rotate, you can irritate the image inside the crop and then issue hover again with your mouse, uh, on the picture and you see a hand appear. You can click, the hand will grab the picture, and you will move it around you can with this little I can up here click, and it will rotate the crop so it will make it from vertical portrait mode of horizontal like landscape mode. Let's go to four per five for by five you see now the padlock ISS locked. So when I move when I moved the selection, it will keep the proportions. If we go on the padlock on unlock it, we are free to move around a little so we can make our own adjustments. You can also rotate the picture and flip the picture horizontally or flip the victory vertically. By doing this and using this, the picture will rotate with with rotate and flip with the crop by just doing this up here on Lee, the crop overtake. The picture will stay the same. So I'm gonna go ahead, Andi, just slightly crop these photo here and you can either press enter or double click on the picture to complete your group. If you're not happy with your result. You can go back up here and this is going to reset everything to the original. 20. Healing & Cloning: next on the list. We have the healing brush toe. The healing brush toe is used to remove unwanted spots or items in your photo will appear like a circle with a smaller city circle inside. So we have this ice on and to the left is smaller. To do right is bigger. I always recommend to have the brush slightly bigger than the item you are removing. Whether this is for skin retouching or other kind of retouching. Then you have feather which is this. See how the two circles are now meeting or how they are going further apart from each other . This is because the feather measures the softness off the brush. Let me reduce the brush a little and make it very, very hard rush. So when I click here, it is going to be Let me just put here see how the edges off the brush are very, very sharp. See very sharp edges. Now if I increase the feather, it is going Teoh, blend this in much more Now off course, I have picked the wrong place to remove that, but if we look closer, if I pick another place that it's close to the object I want to remove and I decrease the feather a little cause that weighs not the way I'm doing it is not really removing anything . But if I push it too much to the left is actually just copying and pasting something which is not good, because I can see it's been retouched. So I'm just gonna have to find halfway. And then if I'm not happy with that, I also have the capacity. While feather is something that will allow you to control the edges off the brush, opacity will allow you to control how much off the effect you want. Apply in this case. Ah, 100 minutes. You want whole effect to be applied. But the lower you go down 20 means not much or nothing will be applied. So in this case, because we want to remove that, we will go around here. Still looks kind of natural on if you click on the told until we disappear. And let's see before and after our spot is gone. Cologne tal is really good at copying patterns. So if I have to copy a chunk of hair from here to here, and I have to correct that I can do that because he has to keep the pattern second, over the capacity a little can up the feather a little bit more and eventually that is gonna blend in. But it's not gonna work when I have to retouch skin or when I have to retouch or blemishes like this ones because it is going to live a stain in the picture to remove the brushes, you can either click on the brush and quick backspace, or if you don't want to remove it by you, just wanna, you know, put it in another. In another place you can. You have the brush divided in two parts. One is the source, and one is what is gonna be replaced with. So in this case, I can click. Either way, I can click on one. And any time I see a hand appearing, I can move it around. And this works whether I have the clones selected or the healing brush tool selected. Andi, if I'm not happy with the selection because I see it's not matching well, I can click on the other part and just move it around. I will always have a preview off where I'm going in the original brush in here circle on, then let's get rid of that. And if I have multiple brushes, let's just assume I have more. I can always go back to one brush, click on it, and I will be working on that specific brush. Now with these letter mobile, we have to stool that is, go visualize spots. Now get ready for this because it's got transformed the picture in a kind of a high pass filter. This is cool high pass filter in a photo shop and what it does. It creates a lot of countries, and it allows us to see every single detail in the photo. Now there is a threshold so you can adjust it, which means you can either have very few details showing or everything showing which in this case doesn't really help. But it might help. When you have a picture that is very soft at, you need to really see a lot, I would say. If you can see the details to fix in in here already, I would say Don't use it because you might end up retouching way more than you actually need, but If you do want to use it, use it in a very, very low threshold. So in this case for the skin, I'm gonna use the healing brush. I'm gonna make it smaller If you're in a mouse Bad Just gonna slide down with your fingers to make it smaller or up to make it under the bigger on And because number touching skin I will do I will make it very soft self brush and then a little bit smaller I'll click on here And this is another thing How am I gonna be able to see where I'm sampling from? If everything is black and white, once you have spotted what you want to retouch remove this on flag it. Go back here and just move your mouse around and try to find a place where you can remove the spot easily again. Here. Hoops. Uh, okay, this is another way to enlarge your brush. Better way and click on here. You see this ariz appear on you just make a bigger The reason why I don't use it is because it's very difficult to control on. I just really rather do it. Before I would touch the doctor or if I just have to adjusted, I'll just make a very small, small adjustment. But sometimes it can happen if anything happens and you just want to go back, just press command Z on Mac, and I think it's controls. Add on the windows and you just go back one space in the just go back once, or you can just go on edit and undo what you just did it. You don't have to use this tool as a dot. You can also click on something. Keep pressing on and just go ahead with your selection. Once you've made your selection, you need to find a spot where you actually can replace that a little. It was it difficult. It's a difficult spot, but that's fine. So this was just to show you that you can actually have multiple brushes. You can remove more things. Usually, whatever is closest to the item you're removing will have the same or very similar lighting , so it's very likely you'll be able to get away with this. I was not able to get away with this right here, but if you want to continue retouching this, you can ons you can just try this. What I would recommend what I usually do is I retouch in very small parts, so I would probably retouch bits off this and I would never touch it altogether. But this looks kind of okay if we look at the before and after we see we have removed quite a lot with just the healing brush to Andi just to show you with. If we go up here, we can actually use the cologne too on we can do the same thing. And because it's the same background, same color, we can open the pattern without distorting anything. We will have a very low feather, which, when so very, uh, harsh brush. Not soft Onda. We will have a high capacity. So again, low opacity, high capacity. So see how it actually does a pretty decent job off removing hair in here because the background iss the same before and after. So again, hitting brush tool will blend things in for you. Clone stamp toe will not blending things for you. They will just copy and paste whatever you select to wherever you wanted to go being based . It is so I hope you find a good way of using these two tools. Andi, If you have to remove any blemishes or anything, please use the healing brush toe and I use the Constanta. All right, so this is everything you need to know. Hope this was helpful. You can go on and remove as many spots as you want from your photo on. There are some editing is that might come easier on focus Shop. Like probably removing these hair or any edit that is very close to the edge, is it's It's weight, Better Don and Photo shop. 21. The Brush Tool: next thing we're gonna explore in the selective tools is the brush with the brush so we can make selective adjustments in the picture. And I have picked this ah, neutral Calder background just so I can show you what the brush does so we can find the brush all on the side in the adjustment call them. The first thing we'll see here is that we have three different Aikens on a size. Let's go here on expand this window. And other than finding the size, we also find three new settings feather flow and density. In order to show you what the's do, I'm going to set the exposure to minus four, which means I am going to reduce the exposure off this, Um uh uh, this color by four. So let's reduce the flow on the feather 20 on select one size and start with density. And if repress shift, I can draw a straight line on the paper. If we imagine having a brush and having some paint on top of it, density allows us to pick a lot of pain, and their pains will be applied to the picture. So density is basically how much of my adjustment will be applied and it will keep these adjustment to 100%. So I will be applying minus four of exposure at 100% over the density at all times. See if I reduce this to 50 and I paint here. It will be 50% off the strength at all times. It doesn't matter if then I decide to go crazy on top. It always will be 50%. And then if we go back to 15% oops and press shift to make a straight line, it would always be at the 15%. Now moving on the make click on top on Get rid of this moving on to the flow. So get into density at 50% because we need some paint in on the brush on and keeping the flow at 100. I am going to click and drug. You may say this looks exactly exactly the same. But now let's go and reduce the flow at 49. Actually, let's make 50% and let's drug another line here. I see how if I if I draw another line on top, you will get darker and darker until beverages the same point as above. Let's reduce it again at 2 10%. Let's paint another line. And if I pains again on top, I keep on painting until again, I reach the maximum off the density. The flow basically helps you build up until the rich the amounts that you set by the density. Because look of this. If I lower this to 20% and they have to flow at 8% I will. Quick aunt Drug. And then again. But as you see, even if I build up so much, I will only reach the amount set by the density which is 21%. So to sum things up, the the density is so much adjustment will be applied. So it kind of sets the, um, stop point off how much pain I can put in total. And then the flow helps you gradually build up the paint until you reach the maximum. Now to the last setting off the brush, which is the feather by having again exposure at minus four. We set a decent flow on and, um, 100% density and you will see how the brush is Super. Ah, has super harsh edges. Take a look at that now, when I changed the feather also, keep a look on how the brush shape on how the brush changes. A smaller circle inside will appear, and that will show you. Let me just live in a 48% and reducing the brush. How much the edges gets soft. Now see the difference and let's go 100%. And the brush is so soft. So again, um, density. How much paint we have flow? How much of it? You won't apply with every stroke until you reach the maximum density set by the density and with feather. Let me just get rid of this. You can choose how soft or how hard you wants your brush to be. Now let's go on and see how we can apply this in, um, quote unquote real life or on a real picture. Let's go to the class files in here and I'm going to pick this beauty clicking on this side . Go on brush with the knowledge that I would have off thes different settings off the brush . Ah, I also want to show you how to create and how to modify your brushes by clicking here you have. Plus, you always have a new brush. In this case, I want to bring out some highlights in in the hair on. What I can do is to have a brush as the size as the highlights I want to make. I most likely want to have a soft brush, and I don't want to make it too obvious. So I'm gonna set density at the maximum off 40 and then with the flow, I'm going to set a 17 18% percent off the whole 100 and I'm going to raise the exposure so I can see what I'm doing. And then I'm going to go with small strokes in here, and I'm going to check the before and after to see how much I am applying. Because what I want is very natural, Um, highlights. And I think this is working very well. Let's have another look. The same applies when I'm working on skin, so I can ah, zoom in a little ons. I want to do the same with the eyes cause I want the eyes to kind of stand out a little bit more ons. What I can do is either increase the density or increase the exposure. But you see, by having this brush selected and changing the exposure and other settings in here, I will change that brush. So if I want to create a new brush, forward the eyes, I can go here and press the plus button, and it will give me a whole new brush. And just to make sure that it's a whole new brush, you will see that here I have adult that appeared, and if I hover on top, it will end a click on it. I will go back to that brush, and it would also tell me their selection. That's the areas in which that brush has been applied. I have created a new brush, and I am going to make it smaller, and I'm going to work on the eyes on and on the left eye as well. I mean her right eye, but it's on my left. So, um, anyway, so let's see the before and after. It's very subtle. What if I want more? I can up the exposure a little, and I can also up the shadows cause the lights that the eyes Aaron dark right now and a little more in the highlights as well. Remember, we want to keep this natural. And then I would really like to change the background to change the background. I would like to create a new brush, make it a little harsher, and then used this feature down here which is called Auto Mask. What the autumn ask does let me increase exposure, increase the contrast, and down here, I can apply some color by doing this, okay? And it would increase the saturation. I want all the density and old flow all together on what that does is it will help me see how I'm going on top off her head. And it's still trying to mask out all the hair it will help me with, um, harsh selection, like with selections that I have sharp edges. Of course, it's harder on the skin because everything kind of, um, every details kind of melt into each other on the skin. But between the background on her, we have some more contrast on. The edges are sharper. So this stool is really helping us to mask everything out. And of course, you can help the tool by selecting a brush that it's the correct size for the area you're working on and making it bigger when you have a bigger area to work on. And I'm going to crop this image afterwards. So I'm not gonna be too thorough with the bottom part of the image. But as you can see here, I have groups. I have made a little tiny little mess. So what I can do is trying to be us precise is a can. But these things happened. So we also have an razor here, click on the razor, Same settings again as the brush I wanted super, uh, old flow, old density. But I also want to super soft, and I'm gonna make it smaller. And then I'm going to raise where the brush has been on. I don't want it to be a plight small there. Okay. Ah, and then we can go back to the brush if we click right underbrush instead of picking on the plus, We go back to the brush we were using before we erased everything. Now this is what I have and you might say, OK, but what is it? What did you do So with the brush, we have the same options that we had with the other editing tools. When we were edited, the light on we edited the contrast and colors and all of that. But in here we might notice some differences. Like, for example, we only have saturation and we don't have, um, Vibrance. And at the very end, we have, ah, this tool that we can use to, uh, color change the color off a picture off a part of the picture that has been selected. So, for example, here because I didn't like particularly the the pink background anymore. I want to make it warmer because I think it will go better with the model skin. Do you remember when we did this plate zoning? So when we go up, we have a more saturated calder, and when we go down here, we have a less saturated color, and then we can change the hue by going left to right. And in this case, I want to pick a very pitchy kind of red, maybe on this side, and then I can work weight saturation so I can also make it less or more saturated, and I want to stay here and then work around with exposure and contrast to make it more as I want it on. This is pretty much it for the brush to. So I'm gonna go ahead, show you a before and after, and please feel free to add it. The picture. As you wish. Andi, remember to post your photo John below so I can see what you have done with it. 22. The Linear Gradient: we're gonna go back to our class files that we uploaded last time. Andi, we're going to work on this picture. The next tool will be the linear Grady int. As I mentioned before, brush the ingredient and radio radiant. They're all selective tools again, dismissible work on one part off the image and not the overall image with the Lena grid. And just pretty straightforward. You just click on drug it to see its effect. You have to activate it by changing any of these adjustments here. I would like to bring out some light in the shadows without affecting the sky. So I'm just gonna go from the bottom up and I'm just gonna draw the ingredient. I can lift up the shadows either by lifting the exposure, going to the right or going to the shadow he shed was here on going to the right to get. Then I want to work on this guy. I want to make a brighter but not too bright. So I am going to go back here. Andi, try to brighten it up a little bit. We can save the highlights in this case, so we keep this area still bright Onda. We will work with the shadows. Let's increase some contrast, Onda. We can increase the saturation a little bit on the clarity on little Be more before enough to another thing that we could do like we did before. It's a click here and add a little color. I would say This looks nice, a little less intense, maybe, and I want to go back to here and edit the image globally, the same as before. We can click on it to see where it is. We can inverted, which means it will apply the same effect on the opposite side. Or we can erase part off the Grady int if we see that that's too much. For example, in the woods. Er, that's too much. We can remove a little bit, but we have to make sure we select the right radiant first who that's too much so we can adjust the flow on the intensity and maybe make it a little softer and with a soft brush, take up. And here, too. And here, too. Let's move on to the radio. Grady in now 23. The Radial Gradient: This is actually a great picture to explain how the radio radiant works now because we have this lovely sunshine coming from behind the model. What I want to do first is to adjust the exposure a little at some contrast and then remove some of the shutters on lower some of the highlights. I really would like to use this light here to show you how these radio Grady and can be used so radio grading works exactly like the linear radiant but is just round. So we click and drug to create a circle, which then once it's done, we can move around. This also has a feather. So it's, um it measures how intense the edges are, how sharp the edges are. So what I want to do with this because there is a light coming from the back. I want to add some light, change the color temperature of the light to match the light on, um off the source and then increased situation a little bit and try to match it with a warmer color. And it does make a huge difference in my opinion. Then same goes as before. If you feel like the center is not right. You can move it around talking about the feather. You can sharpen it to create more like graphic effects, or you can soften it even more to make it look like a flare on camera. If you inverted again like before, the effect is going to be applied on the other side of the image. If we do, you raise that we can filter some of this out with the radio radiant brush. We can add some same as before. We can remove some off the Grady int by clicking on it on just dilating some in order to work very well. With these three tools, you need to understand how the global adjustments work, and once you're done with this, you can apply creative effects in a more specific way. 24. Exporting Your Photos: Once we're done with our pictures, we will have to export them in here. You can find all the settings. Very likely. This little option here will be close on. You will have all your settings up here. You can export the files in J packed if and D and G, which is digital negative file, also said as row file. If you have a J pack to start with, it will be very difficult to export a DMG file. So just go with the J. Paige on either pick a small or a full size version. If you have to post on Web or if you have to print it or maybe uploaded on a website, you can pick the quality, which can go from 100% to 30% and this will affect the overall quality or picks. Elation off the picture, usually around 90 is good. You can even push it to 100 if the picture is not very heavy to begin with. In the more option panel that would open up, you can include all the meta data, which is all the data they were already inside the picture, or you can include just your copyright, you can decide if you want to change the name off the picture by clicking on custom name and rename it. You can also choose to apply some sharpening, whether is for screen or matte or glossy paper. And for more advanced settings you can choose if you want to change the color space. I would not recommend touching this Leave S RGB as your default color space. Once you're done, you can click on export, and it will ask you where you want to save your photo and you can save it on your design folder. Down here, you have quicker export options, so once you click in here, it will send you directed to your folder so you can export your picture in a much quicker way. And in the next course, I will tell you everything about sharing and inviting people and sharing your pictures on Adobe. Perform here 25. Importing Profiles And Presets: to import a color profile or a preset, we will follow a very similar step. Two important you color profiles. You should be in the editing panel inside thes caller profile window. Once you're in here, click on its upright on the suits. Aiken, click import profiles and you should have downloaded your class files. Inside. I've given you to color profiles and one presets so we will import till skies and click import. I'm gonna click council because I already have it here. But once the color profile has been important, it will be under your user profiles. Same thing happens with the presets. We have to go back. Go to the very bottom of the editing panel. Press presets on. Go on, it's up right. Click on the three dots, import presets and click on Summerhays, and we click import same as before. It will be inside our user preset now. There might be a chance you won't be able to see it if you're not able to see it is because it's been developed by light from classic and sometimes light from. Sisi doesn't have all the tools to read the profile. You can go on the food dots on unflagging the height partially compatible presets. Once the ticket's gone, you should be able to see all the presets, even the ones that you have imported previously that you were not able to see on life from C. C. 26. Presets Vs Profiles: So I've picked this picture because they look quite similar and I want to show the difference between presets and color profiles. Let's have a look of what happens when I apply to this photo. Some adjustments. Okay, Now I've adjusted the light. I was just the lens. I've done all my basic adjustments to make this picture look, um, correctly exposed and ready to be edited. Furthers what happens when I click down here. An eagle presets on. And I wouldn't try all the presets I have created. And to have a better understanding, let's just do this that's just removed the single panel load and open light and color. So we have a good visual here. What is happening to the right? All the setting are changing, which means every single adjustment I've done up to now will be completely over written by the preset. And this is also the reason why presets don't work on your photos because the settings of different and once you have a preset that you like and you won't apply it, you have to go back and adjust the photo. What happens when we apply instead? A collar profile. We go up here. Click on browse, and we go to the profile that we have uploaded before. Now the settings don't change on the the color change, and we can also manage the amount off the the amount off the effect that we want to see. And this is why I love color profiles. And I'm not a huge fan off presets. Not for the editing off. Now, for the artistic editing off pictures, at least I think presets are amazing to create quick and simple sure cuts to add it. Similar photos. 27. Create Your Preset: If I wanna copy and paste what I've done here, I'm gonna go to my editing profile. Go on presets, click on the three dots and I will create a preset with everything included in here. They will be in usurper set. I can also create a new group and safe. Once we have saved our preset, they will be in here. I could go back to this photo double Click it, Open it. Going here down to preset. Andi, I have this one to apply Resetting to original. I can also decide to apply a simple color profile. And with this picture, this deal will work amazing and lower this a little. So he will give may that little hint off color. But if you pay attention when I go back to my, uh, by editing panel, no settings have been changed. And I think this is why I love love color profiles instead of presets for color created color editing. So, in terms off, creating your own color profile, it's a bit over more difficult process. And this is why I have included to call her profiles in here that you can use, um you have to create them through photo shop. So for the moment, just use thes color profiles. They are amazing. I think the black and whites are one off the most beautiful black and white to ever find around. And they already included in the light from library. And I hope you enjoy Aunt are able to do something with the color profiles I have provided you with. 28. Full Editing: Portrait: Now we're finally ready to edit a picture from the beginning to the end. And I'm going to go on with this photo that we started editing in the previous video. Now, if you haven't done this radio Grady in just yet, go ahead and see if you can remember how to do it. First of all, begun a reset two original clicking on the three dots on the side on resetting to original . First thing we do is we correct the optics or the lens. We remove both chromatic aberration and we enabled lens correction. Now I ever really corrected this for you before I put the picture in the student files was Then we start working with the light, so we have very nice lighting coming from behind Andi. What I want to do is to lower the exposure a little to gain back some details in the light areas, increase some of the contrast and save some of the highlights. Not too much. We don't want to lose this beautiful flair that we have behind, but we also don't want to overdo it because we still want to preserve the sky behind the model. So just a little bit. We wanna raise the shadows Just a teeny tiny bead. If we go too much, we lose the details and we lose the contrast. If we do it too much, we will lose everything that we have in the shadows here. So let's just lift a little bit then. What I like to do is to gain some whites and get some blacks back. So on that site, we have decent contrast. And I really like the way the picture turns out Let's open the color panel this picture as b shot outside on a sunny day. What we don't want to do is to contrast the white balance. It will look very unnatural, and it will lose old the warmth that it was originally shot with. So because I shot this in sunny Miami, I really want to bring divide back. So I am going to increase Ah, little bit the temperature in this case, I am supporting the temperature that is already existing. I'm not gonna correct any tent causes no greens that needs to be corrected here. I would like to increase the vibrance so it will increase only the colors that are less saturated remember, Because if I increase the saturation, her face will become completely orange. We do not want that. I turned, not attach situation too much. Maybe just one point. I am not gonna play with colors right now. I would like to go on my radio radiant and enhance this little bit here like we did before . Click on the radiant on drag position the dot where the sun is coming from work on temperature increasing Theo Exposure of little Make it as soft as possible, increasing the contrast off the light, reducing that of though more intense, uh, with saturation. And I also want to add a touch of color on this. That's great. I think I would like less collar, actually a little less on. I also want to move this down here. I make it a little bigger by clicking on drugging this down. I think this looks really great. Then I would like to add some light down here with the radio with the Lena ek radiant click on drug up to here. Moving these down there I am just gonna add some warm light just to let a little bit just to bring up some of those details in the shadow and then gonna make it more intense. I'm not gonna touch a saturation this time because there's a lot more skin on this part off the picture, some are gonna touch that. Then I'm gonna work on small details. I want to zoom in a little. Andi, I want ism in in here. In the bag. Quick on the brush. Reduce the dimension and just select the bag. If I have autumn ask selected, it will help me make the selection on. Is this selection only to be better? See how I'm increasing this just to see where where the selection is? A little bit. There you go. Before and after Andi. Then I would like to bring out some details on the side here. Andi less flow This density a little on the jacket. A swell and a little bit on the side of the face. Then we go back to the global color going to go with the greens, Gonna click the color. The simpler aunt make the grains a little darker just a little bit then more saturated. Then decide is better. Awesome. I like the picture like this. I think it works. The only thing I would like to add some sharpening. Oh, yeah, Much better. Let's see before and after. So what do you think? I hope you were able to follow along with all the steps. Andi, I'm curious. A seat where you guys came up with. Police. Feel free to added the picture as you please, and just posted in the class project Dambulla. 29. Full Editing: Creative: Let's edit another picture that is still a portrayed. But it's not in on outside involvement, so we can get more creative with this one. This is actually a photo I shot for a theater production on. I really like the idea of having lights behind the subject, and the first thing you should notice when you want to retouch a photo is the colors that the photo already has. For example, in here, I can see this side is warmer than this side, so the light that has been used here already has some orange, yellow or red inside, and the light has been used. Year has some blue or a cooler tone inside, which is perfect because they to remember where we did this plate. Owning this two colors really work well together. First things first. Again, we go with the optics, remove chromatic aberration if there's any and we definitely want to remove the um, lens, we want correct the lens before we start. Let's go ahead with the light. Now, if we raise the exposure too much, we tend to lose detail on the, uh, smoke. What we want to do is two lived. The lighting a little bit and then work with Kontras. Lower the highlights. So we maintain the details in the in the smoke not too much and then left the shadows a little bit. I've really like this light in here now Here is a little too dark, but it actually works. The thing I've noticed next is that the thesis here is a little bit too saturated compared to the face. So I would like to have the whites whiter and the blacks darker, moving on to the color. I don't want to just a color temperature too much because this was supposed to be here. But let's from a justice automatically. I want it slightly warmer. And I'm not going to correct the green because I actually like to make it a little bit greener. Just a tiny bit. Not too much. I would like the photo to be more vibrant but not more saturated. Definitely not my saturated And then because I cannot work on the ear separately here, I will complete this with some extra grain. Do we want a vignette? Maybe a little like that? I do know one a d haste iss. So because he will remove will try to remove the shot, the smoke. So I would like to use this to increase the smoke has a little bit just to give him more effect. And I would like the smoke to have some extra details. Next thing we will take the brush on. We will work on this part off the body. We would go to saturation on decrease the situation of the year to make it look like like this seat is already a huge difference. Now I feel like I want to add some more contrast a little more. And I feel like I want blacks to be darker so that I have to go back and in here added this to have even less saturation. Remember to put the flow and the density up high. Now it works. Now it's even too much. Let's go here now before we get to the fun part. I really want to remove this cause it bothers me, says go to the healing brush. So on click here a select a nearby area on your done moving on to the the near radiant. Now, as I mentioned before, we have their school side of the photo and these warm side of the photo. What I would like to do is to enhance these two. So I'm going to apply a Grady int in here. That is blue on a little more intense, with some contrast. Andi, a little a little darker, just a little bit, okay? And then I would like another one on the other side. But this time we're going to go for this color. Or maybe Red. Yeah. Yeah, this college works. That's better again. You can adjust. Maybe at some clarity. Yeah. Look at the before and after. Was it done with the editing? You can decide if you want to go ahead and maybe add Cem light in here some more. Not too much, but that is entirely up to you. 30. On The Phone: Overview: Now that we have saved the preset, we can go back and click on the very last two. There we have in our toolbar and reach at the picture. We can either reset it to import, which means labels reset it to how imported a picture in this lighter mobile. Or we can recite it to the very beginning. And that's what I want. I want recited to the very beginning and I want to check If my priest said that I've imported before works, I'm gonna click on the original. And as you see, all the settings have been saved. The light on Calder's adjustment have been saved. The only things are missing is the beautiful flair that I have created before on the desperate version off the program. Now, because we want to create that now, let me show you where older tools heart are. In here, you have a bottom bar where you have at the very beginning all the selective tools which we're gonna see in a minute Onda And then in here you have all the other adjustments the global adjustments. In here you have lights where you can see, um, exactly as it wasn't a computer exposure contrast highlights and shadows and all of that again, you have to click on the button on on the button and you will move right to left or left to right to adjust the settings on and okay, and again, you will have the possibility to adjust all the settings with a curve. If you click there, this curve will up here, right here. Ah, again, double clicking It will exactly like in the computer. Double clicking on the DOT It will allow you to reset those settings as original on. Okay, in here, I just want out. Add some safe some highlights and add some more contrast, cause I feel like it's a little bit washed out on deep in the blacks a little bit more. When you click on color, the same will open up, and you also can click on black and white on the top. Left on the picture will be in black and white, clicking again on the black and white. You go back to color. Whoops on, and what I want to do is I want to increase the warmth a little bit more clicking on the dot in here you can mix the colors exactly like you. You did it on the computer and you can go on Just modify the hue saturation and ruminants off the colors like you did before and clicking on this tool right here. You have the target adjustment tool in here on again. Remember, at the very bottom, you can decide whether to added the situation, the winners and who and Hugh off the pictures. So make sure that you are selecting the right tool before you move around in the photo on. Because this is the selected one. Any time you move around, it will adjust based on that color that the color makes you will find, then clicking on the color picking again on days, we will go back on cooking on Don and we'll go back in here, uh, moving onto effects sames before exactly like it wasn't a computer. You can change all the settings here and add either a vignette or the haze or ads. Um, hes on work on clarity and texture, like he did in the Dexter version. Off that, and we also can add some more grain proceeding with the deep. Same thing works for the details where you can sharpen the picture on on the optics. You can correct the lens aberration on the lens. You can correct the lens and the chromatic aberration. Geometry works exactly the same as well. You have the exact same tools in here, and you can know so work as before. Click and drag on click and drag to adjust the picture double quick to, uh, click on the tool. Click on the tool to remove it and click on the tool to remove it on click. Done again. Um, and then we are back to the presets where we picked this one. And in case we like these adjustments as well, we just go back to the top and create a new preset from that one on, I leave that to you. 31. On The Phone: Editing: So now that we've learned how to adjust pictures and how to create your own preset, let's just go back and try to add the same flair on the back off the photo. So the very beginning off these tool strip, I can find the healing brush two on with two fingers, you can click and zoom in, and then again, you have the the tool. When you click on the size and you as light up or down, you will increase or decrease the size off the brush with the middle. You can go up and down, and you will let me show you with the bigger, bigger brush. Um, you will increase or decrease the feather, so make it a very, very harsh with no smooth edges brush or a very, very soft brush, which for the skin works best. And then at the very ends as last setting, you have the capacity, so against lighting up, you have a positive 100% is letting down. You reduce your positive 21 which means if you remember the quantity off color and the quantity off. Actually, the the setting, the quantity of the tool you actually gonna apply on top. So for the skin, I'm gonna keep itself. And then when I zoom in by reducing the size off the brush, I can actually go in and just add it. We'll end it away. If I make a mistake on top, I have go back arrow on. I'm just going to click on that and just, you know, go back and erase that By selecting this and clicking anywhere in the picture, you can change from healing to cloning ons with the cloning. As we said before we, we can copy and paste what we see. Same setting goes for this size, feather and capacity. Nothing new on the, uh, healing ons cloning tools. Next on we have the crop, same as in the computer. And once we going to selective, we have to click on the plus sign on its hope left. And it will let us decide between the brush, which is the 1st 1 or clicking again. We can decide for the radio to great into or the, um, linear great instable like we did before with the brush. We have the same, uh, in settings. So the size, the feather again harsher or a softer brush and then we have the flow as before. We don't have any density in here. Which I assume is is I just take for granted. He's 101 100%. So make sure you just manage these other two tools clicking again on the brush. We will go on the radio Grady int and again aboard. We didn't The computer was to set it at a site big size on feather 99% because we wanted a soft one. And the flow was, um and the flow waas a little like Yeah, I was not 100%. And then we click on drug and again we will see. Once this is done, we can click on the door and move it around on. We can still erase parts off this that we don't want or keep on working on the tool. Once we have decided that we want to select this part, we go back to the light and I wanted to set more exposure. More contrast on's going to color. I want to make it more warm on. We can change the color exactly how we could change it on the computer. The only thing is I would like to go lower a little on go up here and increase the saturation of a little bit more. Andi, if you want to add another one, you can just click on the plus button and odd, Leaner, radiant, same as before. Creek ons the this is difficult. Clear Ken drug hands again. Adjust e exposure like we did on the desktop version off this I'm clicking. OK, to save the edits in might not be exactly the same, but we tried our best serie created on the phone ons. Yeah. So this is it about where you confined your tools on on the phone and then on the very top of these arrow that looks up, it's to export the picture, and we can explore the picture to camera roll once we're happy with that. And again, let's look at our before and after by pressing onto the photo before and after. And I hope you're as happy with your results as much as I am 32. On The Phone: Presets: Let's go ahead and open our light room on our phone. And what I'm gonna do is I'm gonna go to the light from class and open this file right here . Now lie trim will have synchronized this file for you already on. If he didn't just click on the cloud ands resume sinking. Now, what I want to do is I want to try to create the same editing on the phone just so I can show you all the tools that you have your disposal. But before we do that, because we have touched this picture on our computer as well is a good. This is a good way to show you how to save a preset from a picture you have already edited . What you can do is you can go at the very top, right and click on the three dots and you will see there is a create preset right there. Now I have already created is reset before, but we're gonna go ahead and write original and OK, and you can save it wherever you want. But I'm going to save these into class preset group, and then I'm gonna go ahead. And if I want to save the same settings entirely the same settings. I will go ahead and select the tools because it will show me for click on the Arrow that we have linear and radial greedy INTs selected. But because I want to be able to use this preset without the to Grady INTs, I'm gonna uncheck the tools and I'm going to go ahead and injecting inside of the other, um, settings. What I actually have in here, I've changed a Z, remember, we change, exposure, contrast and all of that. So I'm gonna go ahead and keep those impress at the very top the V for added. And once we have done it, before we reset the picture, we we just go to the very end of this bottom bar and click on presets on user presets. We compress and go on class presets, and now you see have saved the other ones and they also have the original at the very bottom. And this is how you import presets on your phone by choosing a picture that you have already edited on your computer and saving the same settings