Mastering Color Essentials Course

1. Introduction to Mastering Color Essentials: Color can be one of the most important elements in your photos, but how do you make the most of them? The mastering colors essentials video course from sleek lens is all about giving you the skills to work with any color situation and make your photos amazing. In the first section, we will talk about the basics of color theory, so you can see what types of colors typically work together. Then we will go over many of the color greeting tools in both Photoshop and Lightroom, which includes curves, levels, color match, gradients, and even creating your own Lutz files. In the third section, we're going to cover real-world examples. Creative lighting effects, such as creating your own Boca and creating light leaks, creating Instagram inspired looks and cinematic looks with 13 videos, 2.5 hours of content and downloads to follow along the mastering colors essentials video course is great for those who want to truly master the color in their images. 2. Section 1 - Color Theory Basics: Hi guys, welcome to the mastering colored essentials video course. This course is going to be all about color and how it can affect your photo. How, how are different ways of changing your photos in Lightroom and Photoshop to apply different kinds of color tones and an effects to your photos, camera calibration, colour calibration, all that stuff, color grading. We're all gonna cover that in this course. But before we get started with anything actually on the computer, I wanna go over the colors theory and what it means to your photos. So here's a basic picture of a color wheel. This is a standard color wheel that you've probably seen all the time. But in the very middle, at the top we have kind of an orange and then it moves into like a yellow going, going kinda clockwise there, and then goes into the greens and the blues, purples and violets, and then back to red and oranges. Now this is a standard color wheel. You're probably going to see many different versions of this. But the reason we're talking about the color wheel is because I want to talk about four different color theories that go along with the color we're on. I'm gonna show you these on the actual color wheel and show you some examples of photos that kind of implement the specific theories. So the first theory we are going to cover is probably one that you've actually heard because it's kind of a common theory, but it's the more basic one. And a lot of photos actually implement this type of color theory. And that's complimentary colors. So would have complimentary colors made. It's basically two different colors that are on the opposite side of the photo will directly from each other. So for example, green and red, those are on the opposite side. We have blue and orange, those are on the opposite side as well. So what they do is basically complement each other. So if you have a photo that has kind of a bluer tone and orange tone kinda sandwiched together. Those, those colors are going to look automatically pretty nice to you're either gonna be very pleasing, they compliment each other. These colors kind of create a high-contrast look between each other. And when you implement them in photos like this photo right here, you see that it all comes together really the really nice we have the blue sky warm sunset committee, and so we have a complimentary color of blue and orange together that makes the photo look really, really nice. If you're just specifically looking at the colors in the photo, they blend in very, very well. Don't worry about the exposure or anything like that. We're just concentrating on the actual colors in the image. So here's another example of complimentary colors, and this is the one that's basically use all the time. And what's cool about complimentary colors is mother nature. If you're going out and shooting landscape photos, for example, Mother Nature actually gives you these colors automatically. You don't have to do much to him. Here's another sunrise image. We have another, another sunrise M, which is a blue sky, the warm sun coming in the warm foreground area. And they all just blend it together. Just looking at the colors they blend in very, very nicely. It doesn't look weird or awkward to your eye. It all just blends in nice and it makes it look like a really nice photo. The next one we're going to cover is analogous theory. This one means that the colors are actually grouped together, usually in threes on the color wheel. So as you can see in this example, we have the colors right there at the bottom. They're all grouped together. So if you find a photo with those specific colors in them all grouped together, it's automatically gonna look very appealing without you having to do much else in the editing part of it. We have this photo right here is just a picture of a sky, but as you can see, we have the purple and the reds and the yellows and oranges kind of all grouped together in that sky at automatic, automatically makes for a very, very appealing sky. And it's just a great photo of kind of like an abstract sky. But the photo, the colors all look together. So let's say you wanted to take this guy, pop it into another photo. The sky is going to really complement the rest of the photo. So it's a great photo by itself just because of the colors. But if you want to pop it into another photo and do a sky replacement, this is probably one to do with if you can fit it into a nice summer sunset foreground or sunrise foreground, something like that. The next theory we're going to cover is the triadic theory. The triadic one. Basically colors that are equally spaced on the color wheel. For example, red, yellow, and blue. Those are equally spaced on the color wheel. So those colors are gonna automatically look great together. Here is a photo of the triadic theory here. And you can see that we have kind of a purple, green, and a yellow all grouped together in one photo. And it makes for a really great photo. Don't mind that it's a flower photo and those are sort of cliche for photographers and take pictures of. But overall it's just a very great photo because the colors blend in very nicely. That is the triadic theory. And they move all around the, the, the color wheel so they don't just have to be purple, yellows, and greens. They can be all over the color wheel as long as they are spaced equally apart or so. The last thing we're going to concentrate on is actually called split complementary theory. So this theory basically takes two colors, matches them together, and chooses the opposite one from the opposite side of the color wheel. For example, we could choose like a light orange, darker orange, and then a blue. So for example, we have the two oranges at the top of the color wheel. And then directly kind of opposite of that using the complimentary theory, that blue is down there by itself, so they kind of compliment each other as well. So if we have this photo here and we have a nice blue sky, the nice blue water. We have a little bit of the darker orange on the right side of the building, but then we have the lighter orange on the opposite side on the left side of the building. So all of those colors actually come in really, really nicely. They all blend together and that's split complementary. Most of the time you're not going to really think about all of these theories, you're probably only going to concentrate mainly on the, the complimentary. That's that's one that's pretty much an almost seems every photo out there, if you can find the two colors that are opposite each other on the photo, we'll, whether you have to do in an editing or you find them naturally, it's automatically going to make for a very pleasing photo without you having to do much else. I mean, you'll probably have to change the exposures and do all that basic stuff. But as far as color adjustments, you probably won't have to do a lot to make it a very pleasing and appealing photo. So that is a basic overview and a kind of a review of the color wheel for you guys. It's really important to learn the color. We'll just actually, you can have it in mind and kind of kind of look at your photos and say, okay, I see a blue and orange together. Maybe I can incorporate that in my photo and just automatically make it appealing right there, right then and there. So that's a basic overview of the color wheel. Now we're gonna talk about different tools in both Photoshop and Lightroom to kind of change these colors and do some colored rating as well. In the next session, let's hop into that. 3. Section 2 - 2.1 - Levels and Curves: Okay, so in this section we're gonna talk about all of the tools that you'll need to use to create different colored changes, both enlightened room and in photoshop. Now some of the features that we're gonna talk about are only available, were only accessible rarely in Photoshop or Lightroom. So like in this first video, we're going to talk about curves and levels to actually help almost instantly. Cola correct your images and why it works for color correcting or images. Now the method we're going to talk about in this video can't be done in light room. So if you're more familiar with Lightroom and you want something similar to this, you might just have to follow along in Photoshop and learn this technique. And Photoshop, it's a really great technique. It's gonna be really easy to instantly color corrector photos. So I'm gonna show you how to do that with curves and levels. And I'm gonna show you why it works. So let's jump into it. Okay, so here we are and we have this image here and it's a nice seam. And you can probably tell just by looking at it, that it's a little bit blue, it's a little on the cooler side. Mainly you can see in the sky, obviously this guy needs to be a little cooler because it's a blue sky. But especially in the mountain area here, over here on this side, right here on this right side. And especially in the road, you can tell that the road is a little bit cooler, a little bit blue. The yellow here on the lines of the road are yellow, but they're not as, as punchy of a yellow as they should be. They don't have that little bit of warmth in there. So you can tell overall that the image, the color, and the images are a little bit off. So the first tool we're going to talk about when we're talking about color correcting this image is actually the levels tools. So I'm gonna go down here to my circle adjustment layer here, click there, and I'm going to choose levels. Now a lot of people use levels for adding contrast. For example, if I were to go to my properties here and I get my graph, I can increase the blacks, meaning I can change how dark the blacks are in my image. So I'm increasing the blacks, the amount of blacks in my image. This way, I can do the same thing with the whites, are the highlights area here and also mess with the mid tones. And I'm basically selecting on basically selecting the types of black and white tonal ranges that are in my image. If I were to go and remove this, you can also, if I add it back, you can also go ahead and play with different kind of colors as well. So RGB, so red, green, and blue colors. And you can see up here we have RGB. And what it's doing is affecting all of the colors in the image at once. But if I were to go over here and click here, now I can select the red tones. So what I can do is actually increase the amount of greens that are in our image because this over here would be the reds. And you can see right here we're increasingly mental reds and our image. And I can increase the amount of green tint that's in our image. So you can see we're kind of creating a different image, especially in the, the highlight area. You can see right here, we're adding a lot of red into where are our highlight areas. So this, this right side, this right slider here on the levels maintains and only kinda concentrates on the highlight parts of the image. And this one does the mid tones, and then this one does the darker side. And this is going to add a little bit of red as well. So you can see, you can mess with each individual color channel. You can see we got greens here as well. We can add more. More of a purple hue, more Magenta. We can add a little bit more green on this side. So you can see we're messing with a lot of colors. So one of the things you can do when you have that Levels Adjustment layer, if I go back and add it again, go down here to our levels. As you have these little eyedropper is over here. What these eyedropper indicate if you were to hover over the middle one, this means your mid tones. If you were to hover, hover over that one, it says, it says select sample in the image to set the gray points. So what you're doing is actually clicking on this little eyedropper here. And you're selecting something in the image that should be gray in real life. So if you were standing in front of this image and you were looking at this image, would be gray in real life with his image, obviously, we have a road, so that would most likely be gray. So what I'm gonna do is click on the road right here. And as you can see, as soon as I click on that road, it changes our image now it's not as blue anymore. Now we have more warmth in the mountain area here. A little bit more warmth from the road are yellow. Looks at lorry, yellow lines here look a little bit more punchy. So we did instant color correction with just that one sample picker. Now what we could do is click around the image to see if we can get a little bit different of a tone. Because we're not selecting something that's I'm perfectly gray. We don't have a gray card that's in our image. So we're, we're just kinda clicking around and let's say I like, I like this area over here that adds a lot more warm. So you can see we toggle off and toggle on. This is our cooler image that we first started with. And then this is our image with the instant color correction. This obviously looks more realistic, more as you were there then this image. So now if we were to go back to our levels layer, we also have these other eye dropper is here in the middle one here, obviously the one we just use for the gray point. We also can select our black point and r white point here. So if we go to our black point, let's say this is kind of a darker shadow area. We click here, it changes the image. We can do the white point. We can go back here and say, this part of the cloud should be perfectly white. Click there, it does a little bit of adjustments. But usually when you're working with these kind of color correcting images in Photoshop, the gray point is the more dominant points. So if I were to click on this road, we instantly correct it back to the way it should be with our levels layer. So now that we've talked about levels, let's talk about curves. And I'm gonna show you, you'll be able to see with a Curves Layer pretty much exactly what this is doing. So now that we played with our layers, I'm gonna go down here to our circle adjustment layer here. And I'm gonna click the curves button. And here is where you're going to see your curves graph here. I'm gonna pull this down so you can see a little bit more. And so what you can see again, we have our color channel is just like we did before, red, green, and blue. We can play with each individual color channel. Again, curves are usually used for contrast. So just as a simple, simple example of that, I can take this first here and drag it down, and that adds a little bit more blacks to the image. I can take this top point right here and drag it up. That adds a little bit more white to the image. Because this section over here usually represents the shadow area. This is over here in the highlight area. And this is pretty much everything in between. So that is a simple S curve. When you hear somebody talking about an S curve for contrast, that's basically what they're talking about. Dragging it down a little bit of the shadows and dragging up a little bit of the highlights. And you have a nice little S curve just like that. But what people don't know is you can again do color corrections with the curves layer. So I'm gonna delete this here and we get another Curves Layer again right there. And you can see we have the same eyedropper xs that we had with the level. So again, I'm going to click on the, on the middle layer of the mid tones sample picker here, and just click again on the road where I was before. And now it does the exact same thing to our image. Now our images as colour corrected pretty much. And you can see that it looks a lot better than the original. But look at our graph here and eat and how you can actually see you exactly what it did, what it is, you actually give a little bit more warmth, a little bit more red tones in the image, a little bit more red and yellow. And also we have this blue line over here that the blue channel there and then added a little bit more, little bit more blue, actually took away a little bit more blue and add a little bit of yellow. So you can see what it did there. You can actually see a visualization of what it actually did, which is actually pretty cool. So this is a great method. Both the levels and the curves are great methods for this. But what if you have an image where you don't have something that is gray, that should be gray and the image, there's a very easy way to correct this. So what we're gonna do is we're going to delete the Curves Layer. And I'm going to show you an example of what we're gonna do here. But, but, but first before we do anything, I'm gonna go ahead and create a blank layer. And what I need to do is fill this layer with 50% gray. So what that means is as basically on a color spectrum from pure white, pure black, there's a point right in the middle, that is the 50% mark. You were to invert those. This section right in the middle is a perfectly gray point. That's a point with basically no color or lack of color. And what we need to do is kinda mimic that in this scene. So what I'm gonna do is go up to here. I'm gonna go to Edit, Fill. And I'm gonna choose 50% black from my contents. They actually give you the pure 50% black color spectrum there, right here. So you can choose easily what it is. I'm going to click there and I'm going to choose, okay? And that's going to fill my area with 50% black. And now what we need to do is actually change our Blending Mode. Two difference, some of overheat or normal. And I'm gonna choose difference for our blending mode. So what you're basically seeing is the 50% gray, the difference between 50% gray and all the colors. So what you're really looking for in this, this is not to stylize your photo or anything like that. What you are basically looking for is the most pure black point that you can find in your image. So obviously it's not on the road. But if we were to zoom back here, we can see a lot of black in this image. So let's go with this area right here, right at the base of this mountain. That's the closest that I can find, that Photoshop could actually find using an algorithm that is the, the, the purist to 50% gray, that, that is actually in this image. So the reason we're doing that is to, again find a part of the image that doesn't have natural gray in this. So this is the closest that we can get is this black point right here. So again, if you were to put 50% gray over here, change the Blending Mode to difference. You're basically looking for the blackest point. In this section and that would be the base of this mountain back here. Now if we were to go back to our curve and we will go down here and create another Curves Layer. And we'll deactivate are 50% gray area. If I were to get my midtone picker here and I would go to the base of that mountain. You can see that pretty much we get almost the same exact result as we did when we clicked on the road. And that's because the road is pretty much almost gray. So again, this is how that works, is is he got the 50% gray back here. That's the closest day confined and it automatically corrects your image. If we were to click on the road again, you can see it changes up just a little bit but not much. So how exactly does this work? Let me go ahead and just remove both of these. And what you are basically looking for and what you're telling Photoshop you wanna do is find the difference between the colors. So for example, if I were to click a layer here and I'll do another layer. And let me hide this original layer here. I'm gonna get a, just a regular brush and Photoshop. And I'm going to choose, I'm going to choose pretty much any color. I'm gonna go down here to RGB that we've been working with. And I'm gonna choose 25500 and that is peer read. The can't get any more red than that. That's the pure red channel colors. So I'm going to click right here and create a red, a red circle. And I'm gonna go to this other layer and choose a red circle. And now I'm gonna take this top layer and I'm going to choose difference just like we did before, as the blending mode. So what you see here is the difference between those two colours. The difference between these two pure colors is actually black. That is the, that would be the gray point for these two colors if I were to click on that and sample it. So this would be the difference between those two colors. That's why choosing the pure grey and the difference blending mode. That's why that works, is because you're choosing the greatest point and that would be the difference between those two colors. So again, I'm going to take this away, bring her layer back, and I'll go ahead and do the curves again so you can see, so click on curves. Get our midtone picker here, and choose that gray point, which is roughly around here. And there we go. Alright, so there we go. That is a really fast way of doing very simple, minimal color Corrections. In Photoshop, there's many ways of doing this. You can either use the curves or the levels. It really doesn't matter if you're just doing the color correction. But there's many different ways of doing the regression. This is probably the most simple one. Obviously, if you go to a place and you hold up a gray card in front of your photo. You're gonna make it a lot easier on yourself to sample that pure grey. Because what it photoshop is gonna do is take that eyedropper color, sample, that gray color, turn it to pure grey based on the scene, the available light in the scene, and then it will be almost perfectly color corrected in your photos. But this is a way of doing it after the fact that you don't carry around a gray card with you most not everybody does. So this is a really great way of doing it. But this will automatically correct the red, green, and blue channels in your photo to be that perfect grey, 50% gray. So now that we talked about that in the next section, we'll talk about the HSL panel and how to use that to color correct different images for interior photos, skin color, and so on. So let's go jump into that. 4. Section 2 - 2.2 - HSL and Selective Color: Alright, so now we're going to talk about the HSL panel and the Selective Color tools that you could use in Photoshop. I'm also gonna jump into Lightroom a little bit to show you a little bit of adjustment you can do there as well, along the same lines as the HSL panel. So basically the HSL panel means hue, saturation and luminous. So hue is basically changing the tone of the colors. So you can go from a little bit more of an orange color to a little bit more of a yellow color along those lines and on down the color range, the saturation, basically, what saturation usually does is you can intensify the color, basically make it more red or more dull adult color all the way to black, black and white, a monotone. And the luminous panel is basically how bright that color is, that people usually mistaken that with the saturation. But the how bright the color is is basically like if you have a landscape photo and you want to make the grass stand out a little bit more, you could actually bump the luminance up of the greens and your grass is going to be a little bit, a little bit brighter. And you can also accompany that with the saturation is going to be a little bit more saturated as well. So I'm going to show you those tools, and I'm also going to show you the Selective Color tools to show you how to instantly change different kinds of tones in your colors outside of using the HSL panel. So let's jump into it. Okay, so here we go. I have two examples here that I'm going to kind of run through here I have this interior kitchen photo and the reason I'm showing this kinda show you the difference that actually color correcting a photo or changing the colors to better suit the situation, how much better it can look. Also have this photo here of a girl here and you can tell it's a little bit desaturated. There's probably some some issues with the color, mainly in the face area and also in this little hair light back here that's on the back. This is the kind of mimics the Sun is behind her. So we really need to intensify that and make it a little bit more yellow and just get a better all around color. Both of these images, as you can probably tell or a little bit underexposed. So not only am I going to have to play with the yellow hue saturation and the overall color. But I am going to also have to play with a little bit the exposure just to help the image a little bit. So let's start out with this kitchen image. So I mentioned we're gonna talk about the HSL panel here. So I'm gonna go down here to my circle Adjustment Layer tool here, and I'm a click here and I'm gonna choose hue saturation. And this is going to bring up the hue saturation panel. And you can see that you can have the hue saturation and lightness or a luminance of the colour here, we can change all of these with the master color. So this is basically changing everything. So I could take the lightness down with the whole image. Almost acts in a way of kind of an exposure slider. But once you start getting here, starts to get a little bit of that gamma range and didn't want to play with that as much. But let me make sure that's down to 0. You can also play with the hue as well. So you can see I'm changing the hue of the image. And you can see the kind of tone is that it can have, I'm changing the, the lights here to more of a red color and that's changing all the other red tones as well. And they also have the saturation that's going to basically just do a global saturation through everything in the image, every color. And you don't really have too much control on Watch, which has a lot of saturation and what doesn't. So you can actually back this down and you have a grayscale photo here. But what we're gonna do is actually concentrate on the individual colors. And just like we can play with the individual colors using a dropdown and the curves and the layers panel. You can have the same, same options here, but you get more of a color spectrum. So you can have the reds here. You can play with reds individually, the yellows, the greens assigns the blues, and the magenta is. So for this image, we're basically going to only concentrate on the yellows. And the reason we're concentrating on the yellows is because of the lighting. These cabinets over here in this kitchen are supposed to be white cabinets, but they look a little bit to warm. We can try to play with the white balance adjustment. But I've found that if you play with the white balance first, first off, when you're editing a photo, that whether if you pull it to the cooler or warmer side, it starts to get a little bit off. You have to really use the eyedropper tool to sample and get a perfectly color, color balanced image with a white card or a gray card or something like that. But we're going to only concentrate on the yellows. So I'm gonna go up here to our drop-down here, and I'm gonna choose yellows. And the first thing I'm gonna do is basically just play with the saturation. It's a little bit too warm and that's an easy way to take down the saturation of this particular colour is to use the saturation slider. And like in this, in this photo, it's gonna probably instantly become a more natural looking photo. So I'm gonna drag this down. And as I drag it down, you can see that the image gets a little bit less warm. I still have the warmth and the lights here in a little bit down here, but the candidates are looking a lot more white, a little bit more white color balance. And I can toggle this off and toggle this back on and you can see the difference. Now, one thing you might notice is the legs of the chair here. They also change as well because they have a little hints of yellow. And also a couple other elements in here have a little bit of yellow as well. What we could actually do is play with this color range here. And what this basically does is this allows you to select specifically which color you want to play with. So right now we're basically concentrating on a little bit of the oranges over here, in a little bit of the yellow and a little bit of the kind of line green looking Keller. And what you can do to narrow down that color is actually drag in these little handles right here. And as you drag them in to a more specific color, you're starting to just kinda narrow down that color that you're wanting to play with. So we see I've taken this down here, playing with the colors and I'm just narrowing down that, that color that I want to play with. So now I can take less Saturation down a little bit more. And now my photo has a little bit, a little bit of warmth in it, but it also has that more, more basic looking Cabinet though the way they were when we were there shooting it. So if I toggle this off, you can see that it's a lot more warm. But if toggle back on, you can see that it starts to look a little bit more pure. Now I also mentioned again because the image is a little bit underexposed, I need a brighten it up and that's going to help sell the image as well. So it's not just about changing individual colors using all the various color tools that are in Photoshop. But it's also about playing with the exposure. So I'm gonna go over here and just do a basic levels adjustment here. We talked about this in the last, last video here where we can take the white point here and we can just drag this over. And it starts to lighten up the image a little bit more. And roughly around here. That looks pretty good as far as being like a nice bright open kitchen. And then you can go down here and play with the colors again. You can play with the yellows, the oranges. But just, just see the example here. Here's the before, and then here's the after. It looks like a much better representation of what. Was actually in this kitchen. We still have the warmth. We still have the nice warm, inviting tones, but is not nearly as harsh as it was if we left it like this. So this is the hue saturation with the exposure changes is hue saturation off? And this is where that on. You could tell the difference there. It looks a lot better with those adjustments made. Alright, so now let's go to the portrait here. And we're basically going to almost do the roughly the same thing using the hue saturation and luminous panel. But we're also going to use a little bit of selective color. So let's go and get the hue saturation adjustments out of the way. So I'm gonna go back down here to where I was in the previous image. Click on my Adjustment Layers, view hue saturation. And mainly what we want to concentrate on is getting a little bit more warmth in the skin. Again, I mentioned before that the image is a little bit underexposed, so we will have to correct that. But we're going to play with a little bit of the warmth and the skin. So I'm gonna go first and concentrate on the reds because majority of the skin color, the red tones are more of a redder tone. So here's where I can take the Saturation up a little bit. And you can see I'm starting to get a little bit of redness in the face, a little bit more warmth in the face, and take the lightness up as well. And that's starting to bring it down a little bit. They can play with that. That gives you a little bit more too wide of a tone. We can actually play with the lightness and go down a little bit, that's a little bit more darker. Probably the sweet spot for this image will probably be around positive 15. And that looks pretty good. So we can actually play with the saturation more, bump that up a little bit to get a little more saturation in the skin. And you can see I'm starting to get a lot of natural tones back in the, in the face here. So just with that one simple selection with the red tones, we went from this image to this image. We have a nice warmth and the skin here, and that looks really, really nice. Alright, so now that we have that selection may let's go ahead and do our selective color. So just like before, I'm gonna go down here to my adjustment layers and click the very bottom one that says selective color. And this is where you can individually change the cyan, magenta, yellow, and the black tones for each individual color as well. So right now we have the yellow selected. We can go up to the reds. And this is again going to concentrate on the majority of the skin here. So we can change the cyan, we can add a little bit more, more of a magenta tone. We can add a little bit more blue tone here. And as you can see when we slide it over with the cyan, we're actually getting a very nice skin tone, skin tone color. We're getting a little bit more red. This is a little bit to read, but probably roughly around for this particular image, negative 60, negative 45, somewhere around in that range, we're starting to get a nice lively tone in the skin and it's already looking great with just that one slider. We can play around with the other ones here. We can change a little bit more yellow and a little bit more yellow is there as well. We can definitely add more blue this way, and that starts to get a little bit more purple. But on this right side here of the yellow, we're actually highlighting a lot of that color that's in that hair light that we talked about. So we have that yellow tone back there and it's starting to look really, really nice. It looks like the sun is really hidden from right behind her. And it's really highlighting that very, very nicely. So we can change that as well. And then we can take the blacks up, we can increase them, decrease them if we go too crazy than the black start to kind of minimize the adjustments that we've made already. But we can keep it roughly around. Let's say, let's say positive two. Not much of adjustments, but that looks pretty good right there. So just messing with the reds, especially in the skin tone. We did a really nice job of bringing that out. We can go down to the yellows now and we can further intensify that, that yellow back there with the hair light here and also a little bit of the background. So you can see we're dragging this down. It's starting to affect that background there. So if you wanted to have a nice creative at it, you can actually add a little bit more of the cyan here. And it's starting to kind of a dark in it a little bit with the greens or you can kinda add a little bit more warmth back there and get a nicer creative edit. I actually do prefer this, this look over the previous example over in this area here. So I'm actually going to keep that somebody overhearing just knock that down to roughly around negative 70. So let's do it that way. So there we go with it looks really nice. And actually what it's done, we can bump the exposure up a little bit. What is actually done is give us a little bit more exposure where we wanted it to brighten up the colors a little bit. But I'm gonna go ahead and take my levels again. I'm gonna go over here to my levels and we get my white point here. And I'm just gonna drag it slightly over. Just to, again, I'm kinda concentrate on the face, get enough exposure on the face. But also making sure this hair light really pops off because that's what's really setting this photo apart is that nice hair light there. So right there looks about goods, so we've done those adjustments. So this photo, let's check him out. Here is the before you can tell it looks like a dark, gloomy photo, especially with that hair light here. It's supposed to be meant it looks like it's supposed to be kind of a warmer, warmer feeling image. Here's our hue saturation that we apply. Here's our selective color adjustments there, and here's just a little bit of the exposure and it comes out to be a very nice-looking photo again, full before and then full after. Alright, so now let's jump over to Lightroom and I'm gonna show you some similar things you can do in the Lightroom as well in case you're not really familiar with Photoshop, these tools are really, really very easy to use in Photoshop. But if you're not familiar with it and you just want to use Lightroom, let's go over to Lightroom real quick. So here we have that kitchen photo. We can do sort of the same thing here. We have the hue saturation and luminous. We have the HSL panel here. And again, we can concentrate on the yellows and really concentrate just on bringing the yellows down as you can see there. And it brings all the yellows down just like it did in Photoshop. But really we don't have much of a way to bring back some of that stuff, like the chair legs that we did before. We can add a little bit more orange, but that just ends up brightening up most of the yellows that we already took down. So really with these kind of photos, you can really play with the orange and yellow sliders and you're probably going to make out pretty, pretty well. But let's go and bump the exposure up on this one, it looks around half a stop or so under exposed. So I'm just going to go down to a positive, positive 0.50 here. And that looks pretty good. So, you know, it's not as good as the Photoshop example that we had, but it's still pretty good looking him at someone and look at the before here you can see the definitely, definitely see the difference here. We can also play with the white point here and kinda widen that up a little bit. And that'll help with the cabinets there. But overall, it looks like a nice, decent photo. If you're not familiar with Photoshop, if you're just wanting some basic edits. That is something they can easily do with Lightroom and here as well. So we're going to go down to the girl image here. And just like we did before, we need to concentrate on the reds and yellows suddenly go down to the hue saturation here. I'm gonna go to my Hue panel here, and I'm gonna play with the reds and the oranges and yellows. So you can see I'm trying to, trying to mimic that effect that we gotten Photoshop adding a little bit of a red here, a little bit more red. There we go. We can try to add some of this back. And you can tell that Photoshop definitely has an advantage over these, these types of edits because you have a whole lot more room to play with. Just like the selective color, we don't have really a Selective Color option. This is pretty much as good as we get. And the hue saturation and luminous panelists as good as we get, we can saturate the colors. We can change the brightness of the color, but we really can't change each individual color individually applying hue, saturation and luminance to it. So again, we take the greens down, kind of play with that, trying to mimic that, that style there. And you can see it's very hard to do so you can get somewhat close with this, with this style of edit. But it's going to be very hard to do if you, if you've already done it in Photoshop, if you seen what photoshop can do. So it's very hard to do, but we're, we're doing as much as we can. Take the reds up, brighten that skin up a little bit. Same with the oranges as well. And let's go ahead and bump our exposure up a little bit as well. So there we go. Not a bad image, but it could use a little bit more warmth in the face. But definitely the first image that we use in Photoshop is definitely betters. So if you're gonna do really advanced color toning just like that, I would definitely recommend Photoshop. So there you go. Those are just a couple of tools that you could use in Photoshop and Lightroom to kind of enhance the colors of your image specifically using specific colors. Hsl panel, perfectly fine for using most all edits. Hue, saturation and illuminance does a really great job of that. But if you need to do a little bit more advanced, you can do the selective colors that's going to really work really, really well. But you can also see that you don't have a lot of creative freedom when you're in Lightroom, you really need jump over Photoshop and start editing there. And you'll see that you have a lot more love, more advantages when you're using Photoshop. So that's just a quick little example of the hue saturation and luminance and the selective color. 5. Section 2 - 2.3 - Working with LUTs: And then we're gonna talk about in this video and what Lutz is LUTS, and it stands for lookup tables. So what this basically means is a way a photo could look. We're only gonna talk about photos really, but if you're a video editor, you can also use lots. You might have heard of them before. You can also use lots as a way of styling your video. So when it comes to Photoshop, you can actually create your own lots or you can use some built-in ones that Photoshop has almost show you where those orange just a second. But think of LEDS as sort of a action or a preset that you might find in both Photoshop or Lightroom. It's a way for you to style a photo and apply all the different tonal ranges and tonal curves and exposure adjustments, all that stuff and kind of export them and have it in one file. That way you can kind of import it back into Photoshop if you wanted to and apply that similar look to your photos. Or you can also take that load again and pull it into a video editor like Adobe Premiere or Final Cut Pro. You can pull that blood in there and have the same style looking video as your photos. So I'm not going to get into the video portion, but I will show you in Photoshop where the built-in lots are, how to create one and how to export one and kinda import back. So you can see the type of type of example that he gives. So let's jump into Photoshop. Alright, so I'm gonna start off with this photo and I'm going to show you first of all, we're the built-in lots are. So you can look at those and play around with your photos as well. So if you go down here to the adjustment layer here, down here at the bottom, click on there, you will see that you find color lookup. So you click on color lookup. You'll highlight that and it'll give you the little Properties box here. And you're gonna see low to 3D lot. And you're gonna see little drop-down. If you click on that drop down, you're gonna see these kind of kind of Lutz here. That's what the lookup file or a dot look file. And when you click on these, it's going to apply a kind of a tonal curve, a tonal range to your photos. So I click the to strip. It's going to add a little bit of, of a pink hue and the photo, it's going to make it look a little, a little more warm, kinda faded out a little bit. So if I go over here and do the three strip, it's gonna do kind of like a warming tone. It actually looks pretty nice for this particular photo. So I toggle this off, toggle it back on. You can see the type of effect that it has. And there's a bunch of them, there's a beach bypass. You can press that one, that one doesn't technically work for this photo. You can do candlelight. There's a lot of different looks that you can play with. Warm crisp is another one. I won't go through all of these, but there are a couple that are really, really nice. Let's see futuristic, bleak. We can see that when I was kind of fun. But one thing that you might find useful, what these lots, let's go back up to the three strip here. One thing you might find useful with these loads as you can actually treat them as if every other layer out there. So it's basically creating a, a, a look for your photos on one specific layer. So what I mean by that is you could actually, if you don't like, if you if you like the look of this, but you don't like how intense it is. You can actually take the opacity of that layer down and it starts to minimize that effect. You still have the effect of photography this off and turn it back on. So has the effect. But it, it kinda lessons at a little bit, or you can play with the blending mode. I don't know if any of these will look good, but you can play with the blending mode overlay. You can do that when it comes a harsh fact there, you can take the opacity down there. It kinda has a little bit more contrast there, so you can see the before and after. So you can basically can use these as any other layer in Photoshop. And that's what's really cool about these lots. You can technically do this with Photoshop action. But this is kind of a fun or a more fun way to do it. Because you can really play with laws, a lot of styles here. So I'm going to remove this here. And I'm gonna show you how to create your own luck. It's very, very simple. It's probably more simple than creating a Photoshop action. So what I'm gonna do is go ahead and just start messing with the photo. So I'm gonna go down here to the adjustment layers. I'm gonna choose. Let's do, let's do photo filter. I'm going to warm this one up a little bit with a photo filter. And you can see I'm not playing around with anything specific. I'm just grabbing a couple things to kind of suit a photo. So I'm gonna take this cyan down a little bit and just play with this here. I might do a more warm tone here. Let's say we add a little bit more red. And extreme, just kind of playing with the different colors, trying to get something that I as a sort of enjoy here, I can even do. I don't have to do just color changes. I can also do exposure changes so I can go to my levels here and I can increase my whites, decrease my black. Sears and Gil had been more contrast here. Change the midpoint and also do a Curves Adjustment also faded a little bit, do simple fades. So you can do that by clicking here on this first top of the first box here, creating a point and dragging this one up. And it kinda starts to fade out the blacks a little bit. So it's not as harsh. We still have a little bit of contrast with the levels, but this just adds a little bit of a fade there. So let's say I like this a lot. I like that. Wow, this looks, I think it's a pretty decent looking photos. So let's little before, after here real quick. This is what we started with. This is what we came up with. Nice warm tone. It's really inviting. So this is what I want my loved to look like. So to export my luck, what I'm actually gonna do is go to File export and say color lookup tables. And this is gonna give you a dialog box to choose the type of life that you want, the type of name, the quality, all that stuff. So I'm gonna call this warm tone. And you can actually add copyright information if you're going to share these looks with everybody, you can actually get copyright information, which is kinda cool. The quality of the grid point. Basically, the more grid points, the higher the quality of the tone. I usually just keep mine at high and it'll stay there. Formats, I only really play with that. There's a lot of technical descriptions for all of these. I only really play with the cube formats, so I'll just get rid of all these because if you have these checked, It's going to export each individual one, but I only want the cube. So I'm gonna go in and just make sure that cube is selected. No other formats are selected there. And I'm going to choose, okay, and this is going to bring up a dialog box to allow you to save it again, you have to name it again. We're going to call this warm tone, is going to have a lump file, a dot lot file at the end. And I'm gonna click Save. So there we go. We've exported our log file. And if I bring up my folder here, we have r dot cube file here. And it's exactly what we wanted to have a warm tone cue file. So now we can actually load this back into Photoshop to another photo. So I'm going to minimize this, and I'm gonna go to this photo here. And I'm going to apply this tone to this photo and see what kinda, kinda look at Gibbs. So I'm gonna go over here to our color lookup. Again, I'm gonna go to our adjustment layers, go to color lookup. And if I click on this box and I'm going to just click on there and it's gonna say load 3D lot. I'm going to click there and I'm gonna get a dialog box to bring it up. Now I'm going to click, we're are saved my life. And I'm, I click open. So there we go and applied that lump file, that lookup file to this photo. So now we have this as the before and this is the after. So you can see these tones pretty much match almost identical to each other. And it's a really great way to pull in a specific, specific look for a photo. Now if I wanted to have this these photos and play with the photos and apply them to multiple ones. I would have to do this same process over and over again. But what you could do is if you're really interested in keeping a kind of a catalog for your looks, this is one really easy way to kinda export that lump file or the dot cube file. One really great way to export that. And you could save these in a folder. So if you know there's a specific look that you always want to play with. You can always have that look file in a folder and you can just drag it into Photoshop and apply it to your photos. Now if you were a video editor, you can go in there and take the log file and apply this to a video so your videos can have the same tone, the same colour ranges, and everything like that. It would look really cool to have both photo and video match really, really well. So that is a quick look. Luts in Photoshop, it's a really, really awesome feature. You can, you can actually probably find if you Google lots. If you just do a web search, you're gonna find a lot of different people selling lots because they, what they'll do is create a, a look for a photo and they'll, they'll sell them or give them away. So people can have like nice stylized videos and photos, really, really awesome tool in Photoshop. So if you haven't played around with those, Make sure you play around, get some cool looks at your photos and export them so you always have them ready for if you want to play, put up a specific kind of tone to a different photo. So hope you enjoy the quick look at Lutz. 6. Section 2 - 2.4 - Color Match in Photoshop: Okay, so now let's look at another feature in Photoshop that helps you, if you're trying to blend two images together, specifically helps you when you're trying to color match multiple images that are kind of blended together. And I'm going to show you how to do this because I cut out a model and put the model on a background. But they, they don't blend. The colors are so off from each other that it doesn't look realistic. Misha, you're really great feature that, that automates kind of that process of blending those colors and together might show you that feature in Photoshop. So let's hop into it. Alright, so here we are. We have this image here of a model, and as you can tell, I just cut this model out of another background so I can freely move her around here anywhere I want to, but I'm gonna keep a right here. But what I want to show you is how to match this scene with the model. How much? I'm basically going to add some color adjustments from this image, the background image, to the model. It's a really great feature in Photoshop. But before I do that, I want to be able to show you the before and after of what happens here. So I'm gonna take this model image, I'm gonna duplicate it, drag it down here to the below, the lake layer that we have here so that you can see the before and after. So this is not going to affect the image at all. I just want to make sure you know why that layer is down there. So I'm going to click on this image and we click on the image of the model. This is going to be the one that I want to apply the effects to. And I'm gonna go up here to image adjustments, and I'm gonna go down here to match color. Now here you get this dialog box here. And this isn't going to allow you to select an image that you want to match from and the image that you want to match to. So what I mean by that is I click on the source, I'm going to choose the only other image that is available now, and that's basically this background layer. And now I'm going to click the lake image as well. I'm going to click here. It's going to apply that layer to the layer that's selected. And as you can see, it automatically applies some color warming adjustments. So I have some more ongoing warming tones going on here. A little bit cooler tones and the dress, it doesn't look perfect right now, but I'm gonna show you some sliders here that we can play with to help sell this effect a little bit more. So let's go over these sliders here. These, the Illuminate slider here, as you can see, says adjust the brightness of the image so that's pretty straight forward. If you move it to the right, your image is going to get a little bit more, little bit more lighter. To the left is going to get a little bit darker. So that's pretty self-explanatory. Color adjustments or the color intensity is going to adjust the saturation of the image. So it's going to take the images, the colors that were ripped from this background image. It's going to either kind of desaturate them a little bit. Kind of saturated, malignant More and more than we want to. You can see it kind of doing a little bit of saturation there. So that's what that slider does. And the fates ladder kinda fades in the amount of how the effect is being applied. So it'll kinda fade between your image that you hadn't originally. You can see this has no effects to it. And then we have the image that has the color match effect to it as well. So if we go and right in the middle. It's kind of blending the natural scene and the original colors from the image. So let's go and take that fade down. And what we're gonna do is play with the luminous. I'm gonna take the illuminance up a little bit. Not a lot, but just a little bit there. And then I'm gonna take the color intensity. I wanna kinda back that down, maybe just the touch because it's a little bit too much going on, especially in this face and the arm area. So I'm gonna take that down a little bit to roughly around there. And then we'll take the fade and I'm gonna start playing with the fade. The fade is really what kind of helps sell this effect. Some of the faded and a little bit more. And as you can see him certain fade more and more and more. Starting to look a little bit more natural. But you can see the kind of effects that it has width, the color tones in this image. Let me take my illuminance down a little bit too dark in it. There we go. It's looking a little bit better. We still have a little bit more work to do, but overall the colors match fairly well. So let me click OK here. And I'm gonna show you the before and after of just what we've done so far. It's going to take my model image, drag it up here. This is my original model. Somebody toggle is off. That is what we started with before. And this is with the color match adjustments there. So as you can see, total Big difference there. So I'm gonna take this one, the original one, take it down to the bottom, and I'm going to apply a Curves Adjustment Layer. So I'm gonna go to the curves, go right here and apply a Curves Adjustment Layer. And I'm going to clip this to the model layer. And here's where I can play with the individual colors. So let's go to red. And we're gonna take the red and we're going to apply a little bit more red to the skin. There we go, looks pretty good. And then we're gonna take the blue. And we're going to take the blue and probably, let's see how more blue looks, starting to look bad. You can see there, but if we add a little bit more yellow, starting to brighten it up a little bit more as well. There we go. We don't need really mess with the greens here because you can see it starts to give a little bit more red. That's kind of bad luck and give a little bit more green and teal that's bad looking as well, so we don't want to mess with the greens. But reds and blues definitely helped a lot with that photo. And now one more thing here, just because we want to match the saturation of these images. I'm gonna make a Saturation adjustment layer down here. Go to saturate. And I'm just going to take the saturation down a little bit right there. I'm going to clip it as well. So that way I can just only concert on the model as you can see. So roughly around there. So that is it, that's pretty much the match color effect with a couple little basic adjustments here. Usually you're never gonna find an image that, or an effect or a tool or whatever in Photoshop or Lightroom that does exactly what you want the first time. You always need to make a couple little adjustments. So basically what we did was take the match color feature in Photoshop, apply that match color to get our basic tone. And then we just refined it a little bit with our saturation and curves adjustment layers. Now quickly just the CIA before and after I'm gonna go ahead and group these adjustments together, put them in their own group. And I'm going to take our model, our original model image, drag it up there to the top. So this is what we started out with. You can tell that the colors are way off. She's a little bit too pale, got a little bit too much red or purple in the skin, more magenta. And then we just match it up right there and it looks a lot better. So that is the match color feature in Photoshop, really great feature. It doesn't just work on photos of models and blending them into the background. If you have a landscape photo that was taken at around sunset or something like that and you want to blend in a different sky or blended a different foreground. That also works there because you can select the source of the image, which is the sunset, and apply those colors to a new foreground or whatever you add to the photo, you can apply those colors there and it's going to look really, really great. So again, just a little bit of fine tuning there. But for the most part, the color match feature did a great job of bringing all those colors together. So that is one other feature that you can use in Photoshop to really master the colors that are in your image. 7. Section 2 - 2.5 - Color Grading in Lightroom: So now we're going to talk about different colour calibration effects and also different color grading effects and tools that you can use all in Lightroom. So if you're not familiar with Photoshop, you don't even want to touch Photoshop whatsoever. You can do a lot of different things in Lightroom that you can do in Photoshop. It's just kind of arrange in a little bit of a different way. So I'm gonna go over split toning. I'm gonna go over camera calibration and white balance as well as a little bit of the ages cell panel as well. So you can kinda see how all of that comes together to really correct the colors of a photo. So let's jump into Lightroom. Alright, so here we are in Lightroom. And again, I'm just going to go over some of the basic panels you could use to really correct a photo. We have this photo here, it's a little bit too warm for me. It's also a little bit to underexposed, but it's a little bit too warm. And what we wanna do is correct the warmth, again, give a little bit more blue back into the photo. Maybe correct the dress a little bit because it should be a little bit more white than it is. So we're gonna do all of that. So the first thing we can do, the first method we could use here is actually under the Basic panel, it's obviously white balance. You can actually click on this little color picker here and select something that's whiten the image. So let's say we'll select the dress here. When we click on that, we can see it adds a little bit more blue here. You might not be able to see it on the screen because it's slightly shifts the blue a little bit. But if we were to reset this, it goes to 00 for the tip and the tint. But if we click on the color picker, select the dress again, you can see that we get negative seven and positive ten. So what it did is add a little bit more blue and add a little bit more magenta as well. So from here, what we would do is basically just start correcting the image as far as the exposure goes. So we could take up take up the exposure a little bit. It probably looks around half, half of a stop underexposed here somewhere. Bring that up, give it a little bit more punch there. And then we can also play with the HSL panel again to mess with the colors that are around the model. So we'll go to the HSL panel here. Here we can play with the hue saturation illuminance. So let's say we're there, the greens are in the image here. We can take the greens and play with those a little bit. You can see it kinda warms the greens up a little bit, get a little bit more green into them. We can play with the reds as well. The reds are going to really adjust in this image. It's going to really adjust the skins on. So look at the skin here, its very, very green. But as soon as we back it down, we get a little bit more warmth in the skin. Adding that little bit of red in the skin actually helps with a little bit more, more warmth and more kind of a cozy feeling to the photo. That's what a lot of reds and oranges and yellows typically do. So you can see the before and after here, if we toggle this off, total it back on and a little hint of red into the SCA1 makes it look really nice. We can also go to the luminance panel as well and play with the greens to really brighten up a little bit of the greens in the background. So you can see what we're doing is not just concentrating on the model, we're concentrating on the whole entire image because whole entire image was a little bit off. So we're going to play with as much as the image as possible. So first of all, try to get the model corrected and then work around and try to get as much of the image correct as possible. So here we are as adding a little bit of yellow. And that's kinda affecting the little house back there, also affecting a little bit of the skin, so we don't want to mess with that too much. But if there is something in the photo that you can't tell which slider. You want to change what? Because you don't know, I mean, change the greens and it didn't really change a lot of the greens in the trees. It actually needed me to mess with the greens and the yellows. What you could do is actually take this little tool over here. You can click on this and you get your cursor and it changes to this little tool. And what it allows you to do is, let's say you want to bump up the greens down here. You can click and drag up. And you can see as you do that, it's going to increase the sliders that need to be increased for that particular colour range. Same thing with the model scan. If we want to brighten or dark in the model skin, Click on the models arm there and we can brighten up the skin or we can drag it down and dark in it. So this really helps, especially with the Hue. If we go over to the hue slider, we can change the colors of the trees. Again, given more green, back it down at a little bit more yellow into the greens. And just create a different type of a feel for this particular image. So just using those couple tools, let's go and click done down here. And let's look at the before and after. You can see that's a drastic change. This is very, very yellow. The white balance was pretty off on this photo, but we easily added that back in. The dress is now pretty much as wide as it can be without blowing out all of the image and all of the detail in the dress. And the image looks very, very nice, very, very color corrected. But I'm gonna go and reset this image because we can also do a couple of things using the camera calibration slider. So we go down here to camera calibration. And here's where we've been playing with this, especially in Photoshop, kinda works the same way. So if we want to play with the blues here, because we want to add a little bit more blue to the image. We can drag this over, play with this a little bit, see what we get a nice look. Play with the greens as well. We can add a little bit more yellow to the photo. And you see as we drag over to the right, we're adding a little bit more of a green and bluish color to the photo and that helps corrected as well. And we can play with the red that's really gonna mess with the skin of the model. So we can go to a kind of a pale again, and this is kind of back where we were. But we can drag it up a little bit more. Warmth. Play was a saturation as well. We can saturate it, we can not saturate it. There's a lot of different options in here to play with. The image is obviously still underexposed. So we're going to bump the image up, bumped the exposure up there. So roughly around there. And then we can also play with the other sliders that are typically found in vibrant saturation. Just like that you can see once we do those skins starts to get really, really yellow. So we might have to go back to the HSL and play with this to try to tone down that skin to ride around there. Maybe it will maybe take the luminance down right there. So let's look at the before and after of this effect. It's a little bit different. But you can still see the difference in their, we've really brought out the skin and the model, the warmth and the model set of her matching pretty much the whole yellow tone of the image. You wanna kinda make your model stand out a little bit more. And this is a way to do it, adding that warmth in there and then messing with the surrounding areas. So that's a couple of different tools in Lightroom to help you with kind of calibrating your photo. So just because you don't have Photoshop doesn't mean you can't really do advanced colour calibration in color grading. You can do a lot of fantastic stuff in Lightroom and it will really get you buy unless you're doing some very, very intense stuff, like we've been talking about with the color match and colour colour effects that you can apply, different creative color effects. You're not going to really need that. You can do a lot of this in Lightroom. So if you're not familiar with Photoshop, you don't ever want to touch it. You can still do some really great stuff in light room. And, and that's just a couple of simple tools that camera calibration is probably your best friend. I really love that module. I keep that model open most of the time if I'm ever doing some colour calibration and color effects because it really helps out. You have those three simple sliders. You don't want to mess with the hue saturation, but gives us three simple sliders that can really help with your image. Dragging men, drag him out, play this saturation. You can do a lot of great stuff with that. 8. Section 2 - 2.6 - Changing Colors in Photoshop: All right, so in this video, I'm going to show you how to change objects in your photo, change the colors of them in your photo. And the reason you might wanna do this for this particular image right here, we have an image that is of a girl laying in the field of leaves. And the whole image is pretty much a cool image. So the leaves are cool, her shirt is cool, and we want to make it a little bit more complimentary. So what we're gonna do is like we talked about in the very first section. We're going to apply the complimentary color theory to this image by changing the color of her shirt. We're gonna change the color of her shirt to little bit of a more orange slash yellow kinda tone. And you're gonna see how drastically different in how much I pleasing the image is when you change that and you, and you look at it with the before and after, you're going to see how a whole lot different of a photo it can be. So I'm gonna do this very easy, it's very simple to do. So I'm not sure I do that in Photoshop, so let's hop right in there. Alright, so here is our image here. And the first thing we need to do to change her shirt is actually make a selection of her shirt. So I'm gonna go over here to the Quick Selection Tool in Photoshop. And I'm gonna zoom in a little bit so I can see exactly what I'm doing here. And I'm just gonna make a selection of the shirt. And the Quick Selection Tool does a really, really great job of making simple selections like this. You can go really crazy when and start using the pen tool and, and all of that to make a very perfect selection. But the Quick Selection Tool does a really great job. I wouldn't use the magic wand on this because the magical island would probably get a lot of it wrong. It'll start selecting things that it shouldn't. So I'm gonna go ahead and do that around the edge of the shirt here. Look around here to make sure I'm not forgetting anything. Go over here to the right side here. Alright, there we go. Looks good. Looks good. There we go. Alright, so that is our selection. So what I'm gonna do now is actually make a brand new blank layer. So I'm gonna click the New Layer icon down here. And I'm going to get a brush. I'm just gonna get a standard Photoshop brush. The hardness doesn't matter. It just needs to be a standard brush. And I'm going to double-click on my color picker and I'm going to choose a more warm, a warm orange color, so roughly around here. So if you want to have this exact value, just type in this code In the hex value field and you'll be able to get this exact same tone. So type in IE 67, F 24. And again, that's just going to get you this exact color I'm using. So if you're following along with this image, that's the, you're going to pretty much get the same results and I'm getting here. So I'm gonna click OK here. And now all I'm going to do is just paint over with a larger brush, paint over the selection. And because we made a selection, it's not painting anywhere else but inside that specific selection. So I'm done with my selection Eric and click Menu control D to deselect it. And now we need to blend this color in with the shirt, the existing shirt. There's a lot of ways to do this and this whole effect, but there's plenty of ways to do this in Photoshop. I'm trying to show you the easiest method to do this. Now I'm simply going to just choose a different blending mode. I'm gonna go down here and we've been using overlay Soft Light. A lot lightened in this particular case. We've been using a lot of these different blending modes, but we haven't talked about color, colors, a great blending mode for something similar to this. So you'll see what happens when I click color right here. It blends directly in with the shirt. You can see that. You can still see all the creases and the wrinkles and the texture and everything. It does a really great job of that. But I can see here that I still have a little bit of blue showing. And because I still have my brush selected, all I have to do is go over here and just start painting in manually painting back that edge. So a little bit of that blue doesn't show through. And I'm zoomed into roughly 300, a little bit over 300%. So the fact of this, these little fine pieces of blue sticking through, the fact of those being seen as probably very unlikely. So I'm not being as, as as accurate as I probably should be. But again, I'm zoomed in so far that I see it, but a regular viewer might not see this. So just kinda fixing these edges here. And this, you know, depending on your selection, that'll probably show a little bit different, a little bit more blue, coming through a little bit less blue. But if you made a really decent selection, you're probably not gonna have to do this a whole lot to your images. So going up here, getting this little spot right there. Let's check the other part here. Here we go. One other thing to note with this blending mode, that color blending mode is you can see that there was a shadow from this leaf here that was affecting the model. It even kept that slight shadow, so that's really great. So this is our blouse or dress here change to a different color. It already looks pretty nice, but maybe the effect is too intense. So what we need to do is just lower the opacity. That's one way of doing it. We can just lower the opacity. Now it starts to have that orange tone to the image, but it's not overpowering because if we left it at a 100 and this probably would be a little bit too saturated for the overall scene. The overall scene is a little bit more faded. It's a little bit more grungy. So we want to match that as much as possible, still keeping that color. And that's one way of doing it is just lowering the opacity. So now I'm gonna show you another way of doing this if we wanted to keep changing the colors of the blouse so we haven't orangeish color right here. Maybe we want to put a different kinda color on there. Instead of painting it back in, what we could do is actually use a hue saturation layer. So let me go down here to the bottom door Adjustment panels, but go down here and click hue saturation. And now I'm going to clip this hue saturation and adjustment layer to our dress. Larry or somebody click hold Alt or option between these two. When I click between those and now all it's gonna do is affect all everything we do here in this hue saturation panel. It's only going to affect the dress. So I can take the dress, I can decrease the lightness down so it's starting to kind of blend and more with the scene. I take the Saturation up, keep playing with this as well. And you see that kind of tones getting, I can even change the overall color if I wanted to seek and get them more more reddish color, that still looks great because it's in the same realm as the oranges and the reds. So I can keep going here and you can see I can get crazy with colors if I wanted to, but I like to keep it at the color that we put in originally, so I wanna keep it there. And I can just continue to play with the values here until I get what I like. So I think in that one looks pretty good. I might take the opacity down just a little bit more of the dress. So roughly around there. So that is our final image. That's as easy as it was to change the color in your image. So this is our afterimage. This is kind of what we'd be along the complimentary color theory that we applied to our image. So this was the before, still a great image, and then this was the after, still looks great as well. So there's a lot of different options and this method can be used with tons of different images. So that was just an easy way of changing it with the blending mode. Super, super simple, tries to show the easiest methods possible so that even though beginner in Photoshop who's really never touched Photoshop before, they can still get in there and make these awesome changes and just have creative freedom to do whatever they want to with their images. Again, it's just as easy as changing blending mode to color. I found that that one works the best you can play with the other blending modes as well. Try all of them, see how they work for you. But I found that color works the best if you're doing simple color changes like this, really great bilinear muddy use. So that's a way of changing certain pieces of your photo to do kinda different color scheme here photo, especially if you have a model who is wearing something that you probably didn't want, the color hub, you can definitely just change it in Photoshop easy as that. 9. Section 3 - 3.1 - Light Leaks and Bokeh: So in this video, we're going to concentrate on two different things that we can add to our photos that are really creative edits. We're going to concentrate on adding light leaks, which are really fun to do. I'm going to create them solely in Photoshop. And I'm also gonna show you how to create bokeh in Photoshop. So Boca, if you don't know, for those of you who are really new to photography book is that really blurry background and your photos. I'm actually going to show you how to create these like bocce orbs that you typically see when you have lights or something in the background. It kind of creates that blown out really, really round circle. And you'll see what I'm talking about in just a second. So I'm going to try to create lightly and bokeh effects in Photoshop, just using Photoshop, really nothing else. So let's go and hop into Photoshop and we're concentrating the light leaks first, she had to make that really simple, creative at it and they were going to happen to bogus. Let's look at it. Okay, so we have this photo here. It's already a really great photo, but we want to add a little bit of a light leak effect. And you might have seen this effect a lot over the internet. There's a really great effect that you can do to make it act like a, like something happened with the film. Like it like kind of hit the film back in the film days. It's a really kinda cool effect. You can go really over the top with it, where you can kind of get a little bit, little bit lesser of an effect. And either way, it's going to really create a cool little atmosphere to your photo. So I'm sure he had a crate that solely in Photoshop. So the first thing we're gonna do is just create a brand new layer, a blank layer down here. And we're gonna go and grab our gradient tool. The gradient tool is the main tool that we're going to use here. And what we're gonna do is click on the gradient tool and click up here at the top left. And this will give your gradient editor. And you can see I already have a lightening effect applied. But if you don't see this down here, you're probably gonna see either this effect here with your background and foreground colors are going to see a transparency here. If you just click on this one that has the blue, the purple, and the orange and the red. You click on that one. This is going to get you started in the, in the direction that you want to go. So we don't want any kind of purple or blue in our photo. We really want black. So we want to keep the red color in the middle and the yellow color on the very far right end. But we want to change this blue color, we want to change it to black. So we're gonna click on this little blue square here. And this will give us the color picker down here that we can change it to black. We're gonna go to pure black and click OK. Now to make sure we have this sort of the right ratio for our light leak, we want to have a little bit more reds and yellows and our photo here. So we're going to kind of drag these over. You can kinda match this and follow along. But we want a little bit more black. So we kinda want 50% black almost with a little bit of 25% red, 25% yellow. And that'll give us the right effect that we're going for. So now all we're gonna do is just click OK. Alright, so let's say we want to go ahead and apply our lightly, and we want to have it in this top left corner here we will have a nice cool color burn in this top left corner. So what we're gonna do is actually drag from probably around the middle of the photo here. Drag it up towards that left corner and that's going to put the black over here and the yellow and the red right there. So this is a little bit too, I want a little bit, a little bit less of the yellow. So I'm actually gonna do another one. I'm drag. A little bit closer to the corner. And there we go. That'll, that'll look pretty good. So this is kinda the effect that we're going for. So now what we need to do is actually get rid of the black. And the way to do that, the easiest way to do that is with a blending mode. And you can click over here on the blending Modes and choose screen. And as you can see, once you choose screen, you have this nice cool little kind of color effect that we have there. It looks really, really great. This is kinda that light-like effect. Now if you wanted to have a little bit less of it, you could actually click on this layer, make sure that layers there and Command or Control T to transform. And you can try to drag it up here, and you can see it starts to go away a little bit, drag it that way. There we go. That kinda gets it in that corner here. And we can also right-click and we can choose warp. Warp is going to allow us, instead of having a straight line just like this, we can actually drag it like that and kinda warp it a little bit to make it not so perfect. So I'm just playing with it. Try to make it not a straight line. Just warping and around, having fun with it. There's no real right or wrong for this. So you just have a little bit of fun clicking Enter. And there we go. We have a little bit of a light leak effect there. So now we have a couple options. We can create a brand new layer again and make another one. If we wanted to have one little bit down here, we can do the same thing. We can drag from the bottom up a little bit and we have a lot of light leak there. We can actually go down this way just like that. So we have another light leak there. Do the same process, change the Blending Mode to screen, and that's going to do another little effect there. This one is kind of a cool one, but we can actually lower the opacity if we wanted to. And we can also do the same thing we did before. We can Command or Control T, right-click and we can warp it a little bit like that. There you go. So that's just kind of like a little creative edit that you can do to your photos. It's really kind of a cool thing that you can apply. Again, this is the before the photo here with the full screen here. And then the city after, really kind of a cool effect that adds a lot of different effects to it. And you can go, you can put another one over on this side. There's really no end to this, but that's creating a light leak effect just directly in photoshop, really using nothing else. Okay, so now let's concentrate on adding Boca and creating the bokeh in Photoshop. So I have this image here and I want to add a little bit of that Boca. If you look at this previous image that we were just working on, this is the kind of book that I want to add, these little white circles that are everywhere and they're kinda blurry and blown out a little bit. That's the kind of effect that I want to put into this other photo. So I want to create the Cree Boca directly in Photoshop without having to use any other, any other kind of tools or images or anything like that. And the really great way to do this is with what's called a field blur. A field blur is a filter in Photoshop and it'll allow you to actually create buckets. It's not necessarily meant for that, I guess, but you could definitely do it. It gives you bokeh options to do it. So it's, it's one of the things that really helps with making the bokeh it directly in Photoshop. The only thing that you're going to need as a separate image, and I have this image here. So what your thinking is, well, how are you going to create Boca out of, out of this type of image? Well, what you're really looking for is an image that has a lot of like brighter spots in the image and a little bit of dull spots are mainly a hot, more high contrast image. So what we have here in this image, we have the lights from the train here, we have the really bright spots and these posters that are on the wall. Bright lights up here. Bright lights over on this area as well. A little bit in the background. We have a lot of bright areas and that's what you're really looking for, are photos with kind of spaced out, bright areas. And we have all this other dole stuff into the kind of cool, Cooler tone areas of the photo. And that's going to help a little bit. So believe it or not, out of this image, we're going to actually create Boca. So let me show you how to do this. First thing I'm gonna do is click on my move tool on this metro image and drag it over to the image that we're going to edit on. So I'm just going to drag it over here and kind of place it and just directly over the top so I don't see the other image whatsoever. I'm gonna click Enter to make sure that's on there. And now what I'm gonna do is actually apply the field blur. So to do that, I'm gonna go to Filter Blur Gallery and then field blur. So this is going to open up in a different kind of window here. And you have a couple options that we're mainly going to concentrate on. First of all, is the blur. We definitely want to have the blur kind of bumped up a lot. You can see what it's doing there. It's kind of almost already creating those are those little white orbs already there. So I'm going to take the blur up a pretty good amount. Older 165 for this, we can play with it obviously once we keep applying the effect. And now we have this light Boca slider. When you do that, you are actually increasing the brightness of the little, the little orbs there. So you can see we're starting to create those bright orbs everywhere. We have this big, big one here right in the middle. I have a couple of little ones spaced out. But what we're needing to do here is actually kind of tone that down just a little bit because we apply this to our photo. It's not gonna look that great. We're just gonna see a bunch of bright spots. So what we're gonna do is take down the blacks. And that's gonna start minimizing those really intense ones. Take down the black slider. Just like that and you can see it starts to make that BOC affect. Bring up the white slider here. And that kinda takes it away a little bit as well. So we're just trying to minimize it, not make it as stand out as, as, as it, as it was before. So again, I can increase the bulk amount here. And this is just a matter of playing with it. Now it doesn't even look like there was a metro image there. But we can do that as well. We can also play with the color. This is going to add a little bit of color variations to it. Actually, it looks kind of cool. I'll probably keep it around 64 here. And let's go with the light against tick the light down just a little bit. There we go. So if you want to follow along with these values, we have the blur of 165. We have the light Boca at 46%. We have the boca color at 60%. And the black value for the light range. We have it at two, 41254 for the white. So this is really the effect that we had just applied. We just created Boca out of a training image, believe it or not. So we're going to click OK here and we'll go back to our image. Alright, here we are back at our image and what we need to do is actually blend in with the underlying image. So how do we do that? We can do the opacity and you can see it starts to bring that back. That's not really the best method, but you could do that depending on the image. We're actually going to use a blending mode. So I'm going to choose a blending mode. I'm going to try overlay and see what that does. So you can see it adds a little bit of the light effects. We have a little bit on her as well. But if we toggle this on and off, you can see the effect that it gives kind of darkens up the background and gives you that little Boca effect there. We can try soft light as well, get a little bit more with a soft light and the surrounding area. And we can just keep playing with it being go to lighten, see that ton of crazy effect that we can get their screen as well. That a brighten it up a little bit. So this is, this is the point where it's really up to you depending on what kind of bocce effect you want to give. So some of these blending modes are obviously going to work better than others. But probably, probably some of these Vivid Light, Linear Light might look good. Overlay will probably be overlayer. Soft light would probably be the more, the better ones. So really it's just creating a small little effect to your photo. Again, this is the before. This is the after. If we don't like it on the person, it's as simple as creating a Layer Mask, getting a black brush, and just painting that away from the person in the photo or whatever the subject is. So now it's just on the background area, loose, kinda cool. So we can actually take the same effect and go to a different image. So I'm gonna go ahead and delete this layer mask. So now that I have this Boca made and it's on its own free layer. I can drag this Boca up to another photo that I have and apply the same effect, the same effect on another photo. I do have to scale it up a little bit. But just like that, easy is that to create a kind of a bocce effect, if we want a little bit more intense, we can actually do a duplicate layer. And we can start taking that away with the layer mask paint over the person. Kind of get rid of the face. That's kind of what you're kind of looking out there. You don't really care much about the body area, but mainly the face. You don't want it kind of intruding on the person's face. But there we go, it kind of creates that cool little effect. And it looks pretty, pretty neat. So all of that just created directly in photoshop, no other things. Just kind of a cool little lighting effect that you can play with your photos. So that's it guys. That's as easy as it was to create light leaks and bokeh in your images. Now, depending on which images you choose for the boca effect, you're gonna get different results are definitely play with different types of images. But again, you're looking at really high contrast images, a lot of bright and dark areas, so you can blend them in really, really nicely. So if you want to add some cool color effects to your photos, those are two really great ways, lightly acts and Boca, to really create like a creative edit to your photos. 10. Section 3 - 3.2 - Insta-Inspired Looks: So in this video, we're going to concentrate on applying different effects your photos, using Lightroom. And it's going to be kind of mimicking the Instagram filters that you might see. I'm not going to show you how to create specific Instagram filters because you can find that anywhere. But I'm gonna show you how to create Instagram like filters, Instagram mix inspired filters. And you can put your creative little spin on them as you go forward. So we're going to do this all in light room. It's going to be very simple. I'm going to use one simple tool pretty much to achieve these effects, and that is the tone curve. So let's hop into Lightroom and I'll show you what I'm talking about. Okay, so here we are in Lightroom. And again, like I mentioned, I'm not going to use pretty much anything over here on this right side. I'm not going to use the basics right now. Any of the HSL split toning camera calibration right now, I'm only going to use the tone curve here. And so I'm going to click on the Tone Curve and here's where you typically add it. You know your contrast, it's not going to mess with alarm that colors. But it's gonna, it's gonna kind of give you that contrast look here. It might saturate them a little bit, but it's nothing major. Like we're getting ready to do, just changing individual colors in your image. So I'm gonna right-click on these little dots just to get rid of them so we can reset this. But I'm going to click on the channel here. And instead of it being RGB to, to kind of change all of the colors, I'm going to click on the red, and this is only going to effect the red tones in the image. So what I wanted to do here to start off with our image are kind of Instagram filter is take this black point down here. This represents the black area of the tones here. And I'm just going to drag it over this way. And it's going to add a little bit of green in the image just right there. I'm gonna do the same thing with the white point, but I'm going to drag it towards the left, keeping it parallel with the top of the panel. There. There we go. So it's kind of increasing the green's a little bit, but also warming up that little rays coming through. So we toggle this off. You can see what it does there. It kinda pumps them up a little bit and it starts off really, really great that way. Now let's go to the blues. I'm gonna click on the blues. I'm not gonna really mess with the greens much, but the blues I definitely want to mess with. And here's where I'm going to kind of create a line that you can see this is a perfect, perfect bottom left to top right line here. I'm kinda gonna kinda sway it a little bit. And so what I mean by that is I'm gonna grab this black point just like we did. And I'm gonna drag this up and you can see it starts to add a lot more blue to the image. And we go to the white point here, and I'm gonna drag this down. We can go crazy with it and drag it down here and get a lot of warmth to it. But I only want to add a little bit of warmth. So roughly around there. So that kind of looks like what you would typically see on Instagram. And this is kind of our effect. We didn't really do much else. We didn't play with any other kind of color schemes except just playing with the tone curve and changing the channels and messing with the point curve here. But we can take a little bit step further if we, if we just like this effect, we're good, we don't have to really do much else, but we can take a little bit of a step further and go to our basics. If we wanted to increase the clarity or decrease the clarity, whichever style you want to go for. We can take our shadows up a little bit because we could be losing a little bit here. And this is all going to depend on your image. We can take the highlights up to cutting, increase those rays there. You can see what it does there and it starts to look like a really, really nice image. So that's a really easy effect to do. And I really, I really think it looks a lot like a bunch of Instagram filters that you might see there. So here's where you kind of create a preset for this. You can go ahead and save a preset for it so you can quickly apply this effect to your images going forward. Really easy to do there, but let's go and create another one. So let me go ahead and reset this same image because we're going to create a different looking effect. We kinda had a bluer type of tone to this image before. Now we're gonna go more for the warmth aside. So again, I'm only going to play with the tone curve here and I'm on the red, so I'm gonna stay on the reds here. And this is where I'm going to start creating another type of curve. So I want to add a little bit more to the image as far as the raise the rays coming through the trees go. So I'm gonna create a couple of points here. It's going to create a couple here, put about four there. And what I'm gonna do is start dragging these up and seeing what kind of effect it has on the image. So I'm gonna drag this first one up here. Do the same thing with this one. And I'm kind of kind of making a small arc right there. And you get a little bit more of an effect. I can go up a little bit more. There we go, starting to warm it up a little bit with the reds. There we go. And drag this one down. He can see it starts to add a little bit more red and the shadow area. So I'm just going to bump this up roughly around there. So that is the red channel that we're going to mess with their looks OK, looks pretty good, but we have a little bit more to go. So now let's go with the greens. So I'm gonna click on the channels here, go to the greens, but kinda do the same thing. Create a few points here, right there. And I'm going to bump those up as well, kinda do another kind of arc to it. So there we go. This is kind of creating that nice warm green summer tone. There. It's helping out with the rays as well. So there's really kind of compliments, the red and the green, because think about the complimentary colors to red or green, and that is the other color, it's red or green. So this kind of really starts to help out a little bit. Now let's go down to the blues that can just match that small little arc there. Let's go to the blues and we're gonna do almost the same exact thing. But except for this top point right here. So when I create another one right there, just to have a Madu, another arc. Just like this. Bringing this up there. And all we're doing is just creating another small arc here. But I'm gonna take this top point. I'm going to bring it down a little kinda messed up there. If you always mess up, if you happen to create, click on the point and mess up a little bit, just right-click on there and click delete, and it'll snap back into place. So we'll just keep messing with it. Year. Dragon this up. So there we go. That looks pretty good. Let's go back to our reds and start messing with our reds again to get a little bit more red in the image. There we go. We can add a little bit more red in the shadows if we wanted to. Just like that, but I think we're gonna keep it closer down here. Let's go back to our blues because we might want to add a little bit more of a over warmth maybe. So we can drag the blew down and it starts to add a little bit more warmth there in the res. And there we go. We kinda got that warm tone to our image. So this is kind of another effect that we have a little, it's a little bit more warmth to the image than the previous one. Again, just using the tone curves. If we wanted to take a little bit step further, kinda like we did with the other image. We can actually just concentrating on the color portion. We can go down to the camera calibration and start messing with the green primary to warm it up a little bit. You can see what it does there. Or we can take the blue and mess with those a little bit as well and just start playing with it. It's just, it's fun to play with this stuff. This kind of a look right here where you have the greens, the oranges, and the blues, that looks really nice. So this is kind of another effect you can play with. So a lot of people think when they go into Lightroom and they are messing with colors, really all they're going to stick with is the HSL panel or the split toning. It's pretty much the only way you can get really nice color, but the tone curve is also a fantastic way to kind of mess with the colors and get really nice, unique, creative colours as well. So That's another tool to play with there. So again, this isn't a great Instagram filter style photo. So go ahead and save this as a preset and you'll always have this width, these ache and apply it to other photos going forward. Alright, so there you go. Really easy effect in Lightroom showing you how to use the tone curve to create these really awesome Instagram like photos. These filter photos that you might see. You could also do this in Photoshop. You shoot using the Curves Adjustment Layer. Same thing. It's gonna do the same exact results. So that's an easy as it was to create and mimic kind of Instagram filters using Lightroom. 11. Section 3 - 3.3 - Creative Color Effects: Okay, so this is going to be a really fun one because we're going to work on creative edits to your photos in Photoshop. And we're going to create three different creative edits to this one particular photo. And they're going to be kind of inspired ones, inspired by a movie poster or one sort of kind of like an Instagram filter. But kinda NADH, it's just kinda playing along those lines of different kind of color combinations. But we're going to concentrate on really creating some awesome effects with very, very easy tools. So it's going to be very fun, very cool to create different kinds of effects using the simple tools. So let's go and jump into Photoshop and I'll show you what I mean. Okay, so we have this photo right here. And again, I'm going to create three different effects for this photo. It's gonna be really, really kinda fun to play with and see the kind of effects that you can get. So the first effect I'm gonna do is sort of like a purple and orange tone overlay that goes over the top of this image. So it's very easy to make ONE wanna do is create a brand new layer here, a blink layer. I'm gonna go to my Gradient tool and I'm going to open up the gradient editor right here. So when I click there, I'm going to have these gradient options that we've looked at before. And I'm going to choose the purple and orange one. You can do this technically with a bunch of different colors, but I'm going to use the one that's kinda built in here, the purple and orange is actually going to match a little bit of the tone of the existing image. That's why I'm not going for like a red and green or anything like that. So I'm going to click on the purple and orange. Now I'm not gonna mess with any colors. I can technically again change the colors down here, changes the ratio of how much orange and how much purple is here. But I'm not going to do any of that. I'm just going to leave it exactly the way it is exactly stock. And I'm going to click, okay, so now that I've got my gradients will select it in my blink layer. And the type of gradient that I want, I'm just going to drag from the top left to the bottom right. And I'm going to let go. So what it's gonna do is put the very saturated purple up at the top-left, very saturated orange, and on the bottom right. And it's going to have a little bit of feather in the middle. And that's going to actually play to our effect. So to blend in with the underlying layer, I'm gonna change that to soft light. And you can see the type of effect it gives. It gives a really kind of faded end. You can still see all the details of the skin and, and the, the fibers and everything in the hoodie there. But it actually blends in very, very nicely. Now if I want to add this effect more, if I want to kind of intensify it a little bit, I can actually just duplicate this layer. And you can see it adds a little bit more saturation to the image. Here I have a couple options. I can try different blending mode. Let's try lightened, see what happens there. It kind of creates a cool little effect with the, with the just the face showing up there. But we can back the opacity down. And there we go. So we kinda got a little bit of orange flare going up from the bottom. And then we've got the purple at the top. And that's a kind of a cool effect there. The only thing we can do here to kind of Help it a little bit more, is actually create a small fade to the image. And we're gonna go do that with the curves here. So just like I've shown you before to add that there's a couple ways to add small fades, but I'm just gonna do a real simple one here and just drag this up. And that's going to add a little bit of a kind of a haze to the image. So right there. And that's there, that's the first effect. It's very easy to do. You can see we just made made some color adjustments are colored layer and then blended into what they blending mode. And these different blending modes do tons of different things. So you can definitely check those out, but this is technically going to be our first effect. So I'm gonna go ahead and group these together, McCleary command, control G with those highlighted. And I'm going to call this effect one. So now we can see the before and after. This was the before, and then this was the after. Okay, so that was our first effect. Let's go ahead and create our second effect. And we're gonna kinda do it along the same lines. But this one is actually kind of inspired by a movie poster I saw. So I'm gonna go ahead and create a blank layer just like we did. And we go back to my gradients, go to my gradient picker. And I'm gonna choose the foreground to transparent slider here, the foreground to transparent gradient. And here's where you can see kind of fades out to be nothing. It kinda goes transparent, but you can pick the color that you want to be on the left side here. So I'm gonna double-click on this little box icon and that'll bring up my color picker. And I'm going to choose a very saturated red, somewhat go right there. You can choose the same read if you want to, the exact same red, it's e 0000 for the hex value. And I'm going to click OK. And I'm going to click Okay, one more time to go back to our image. And here is where we can pull our gradient out. I'm going to pull this one completely parallel to the bottom of the image. So I'm going to hold the Shift key as I pull and want to hold the Shift key, you can see it creates a straight line just like that. So I'm gonna hold it and drag it to the center of the image a little bit. There we go. Now I'm gonna do almost the exact same thing, but what I'm gonna do it with a blue color. So I'm gonna go to the new layer here again. And I'm gonna go back to our gradient picker here. I must select the same gradient, double-click and choose a new kind of blue here and the more saturated blue. And this hex value, if you want to type this code, n is 12467, e to someone to click ok there And click OK again. And again. I'm going to drag this completely horizontal parallel here to our image. Drag it in. There we go. So it looks pretty even on both sides. If it's not exactly even we can always nudge it over a little bit. There we go. We can command control T to drag out a little bit of it. There we go. Alright, so this is kinda the effect that we are going for now we want to blend this into the image just like we did with the first effect. So the way we're gonna do that is probably the way that you see it going his who'd using soft light. So I'm gonna go down here to our Blending Mode. She's soft light for the red. Choose soft light for the blue. And soft lights are really nice effect to help it blend and more. We can choose soft light and overlay. Those are the really two good ones for this type of effect. But Overlay has a little bit more harsher of a look. So we can change that over. You see, it's more, more punching, more read, more saturated. But I wanted to just slightly blend in a little bit to where it looks like it's almost a part of the background. It's like the background was spilling over into the guy's hoodie here. So now what we can do is actually increase the contrast a little bit. I want to do that as well. So I kinda want most of this to kinda get faded out and get kinda blacked out a little bit. So let me go to my adjustment layers. I'm going to go to levels and I'm going to drag the black slider. And a little bit. There we go. And I'm gonna drag the slider and a little bit as well. And then maybe mess with a mid tones and try to bring those more towards a darker side. So there we go. So that is the second effect that we got. And I just noticed that I might want to brighten this part up a little bit more. It's a little bit too dark. So what I can actually do is create a new, another layer, a blank layer. Go to my gradient here again, click on the gradient editor. We'll go to black to transparence a foreground transparent. I'm gonna choose white as the Gradient Color. Click OK, and then drag up towards the image. And that's going to add a little bit of whiteness there. And what we can do is change the blending mode to that, to overlay. And what that's gonna do is add a little bit of pop there at the bottom. We can see it just adds a little bit, not much, but it's just enough to bring out a little bit of the detail. You can see the buttons here, stuff like that. So that is our second effect. It actually looks pretty fun. So again, it's, it could be a movie poster if you wanted to, you can put text down here or something like that. But that is our second effect using almost the exact same technique we did for the first effect, but just a little bit of different inspiration for it. Some a group these altogether commanded control G. I'm gonna name this effect to. Alright, and so this was our before with it. And then this is our After. All right, so the last defect we're gonna do is more of a monotone black and white effect. But I'm going to show you how to add a little bit of color to it and make it not, not blend in as much as a lot of people would put harsh colored or their photos. So it's going to be black and white, but it's gonna have a tiny bit of color to it. We may do read, we may do blue, we may do green, whatever color we pick, we can always change it. So let's go ahead and toggle off our second effect here. And what I'm gonna do is actually go down to our adjustment layers and choose black and white. So we'll go down here and she's black and white here. And what a lot of people don't know, a lot of people think when you just choose black and white, it, it's just going to Curt convert everything to black and white and that's it. But you do have these sliders over here that you can actually help with the colors underneath the black and white layer. So let's say for the yellows, watch as I drag these up, it lightens up this part of the face. But if I were to drag it down, you can see it kind of contour the part of the nose here, which actually helps with a kind of a different effect. If you want to have a nice contrast effect to it, you can do the same thing with the reds, reds, yellows. They definitely work a lot with the skin, so that's going to help that. But some of these other colors won't matter just because they're not existing in the image. You see the purple barely, barely kind of affects this part of it. But overall looks pretty good. So that's a more pretty much like a high contrast black and white. I might take the reds up a little bit more there just to bring it a little bit more on the skin. There we go. So now our effect is going to have a little bit of a color to it. And the way we do that as again with an adjustment layer, but I'm going to choose the solid color adjustment layer. And this is going to bring up just a solid color layer. And we can choose any kinda color we wanted. We can see, we can see it real time of the color that we're choosing. So I said we're gonna start out with blue. So let's try a blue. I'll go right around here. If you want to choose this exact same blue here we have 225, E, a seven. And we'll click OK. And now we need to blend this. And again, we can choose different blending modes. We use soft light before, but we're actually going to choose overlay here. So I'm gonna choose Overlay. And you can see it really blends in. You can still see all of the texture. And that's what we kinda wanna keep is all of the existing texture and just as that color to the, to the, to the entire image. But it might be a little bit too harsh. What we can actually do just take the opacity down to a pretty low opacity to where the, just the hint of colors there. So we're gonna go to roughly around 15. So instead of it being just a regular black and white image, we have a little bit of a cool color to it. And if we like the blue, we can stick with it, not a problem, but if we want to change it to a different color, we can just double-click on the color picker here. And we can choose different colors. We could see the effect real time. So as I scroll down here, you can see it starts to go to like a teal green, a kind of a more harsh green, yellow. And once you get down to the kinda reds and yellows here, it actually turns into like a kinda almost a sepia tone, but a very mellow sepia tone. Nothing too crazy as he can change that color there. You can move this around. This would be more of a harsh sepia tone, but we're just adding a hint of color to red around there. So that is the third effect, easy as it was to just create small a different effects using colors. So I'm going to group these together as well. I'm going to call this effect three. And we can see the before and after here. This is the before. This is the after it kinda cool Moody photo. So let's look at all of them again. Here's our Before effect one. Here is the actual effect. Here's effect too. And here is effect three. So there you go. Pretty easy effects just using just the most simplest tools in Photoshop, very easy to do three different effects with one photo. They all turned out really great. So make sure you go in there and play with the effects. Change the colors, change, the gradients, change the Blending most change everything just to kind of suit your style. But that kinda gets you in the right direction of types of things to think about when you're applying different colors to your photos. So open join that way of creating three different awesome creative effects. Shear photos. 12. Section 3 - 3.4 - Classic Orange and Teal Look: Okay, in this video, we're going to talk about how to add that really awesome Orange and teal tone that you see in a lot of different photos, especially beach photos. You see this kind of tone effect where the highlights and the shadows are played with a little bit. A lot of people think that you actually do that with split toning. You can't actually do with split toning, but there is another method of doing that as well. So I'm gonna show you how to do it in Lightroom. And then we're gonna hop into Photoshop and I'll show you how to do the exact same thing, just so you can do it in both programs depending on which program you typically use. So let's hop into Lightroom. Okay, here we are in Lightroom and this is the photo that I'm going to play with a little bit. And again, I mentioned that you could do this kind of orange slash teal effect in the split toning, which we're not going to actually do it really in this, in this photo. But I'm gonna jump all the way down here to camera calibration, just like we talked about in the last section. So I click on camera calibration here. And this is where you can really do mainly two different sliders. And you're going to really start to affect your, your, your photo and make it have that almost instant tone. So the first thing we're gonna do is we're not going to play with anything over here about complaining about the profile or anything like that. We're just going to mess with two different sliders. The first one we're gonna do is take our blue primary. You're gonna see that right down there at the bottom. I'm going to take that and take the hue all the way down to negative 100. Now as soon as we do that, we automatically almost get the exact same teal effect that we've been looking for. And then this is where we can mess with the other slider here, the hue for the red primary. We can mess with that and start moving that up to a little bit. So what you can do is you can get to get a more RED tone over here. You can see definitely in the hair and sand, it starts to get a little bit more of a red tone. As we move to the right, you can see that it starts to get more of an orange tone and that's kinda what we're going for. So really with just two different sliders using one module and nothing else. No, no exposure, no white balance or anything like that. We basically have created the orange untill effect. Again, you could do this in split toning. You can mess with the highlights and the shadows and assign the colors tomb. It's a really great way to do that as well. You can also do it with the HSL panel. But really the fastest and easiest way, as you just saw is with the camera calibration module in Lightroom. Now there's one effect that we can actually apply here that makes it look a little bit better. Especially with some sort of Instagram filter that you might see that has somewhat of this tone, typically has a slight fade. So this is going to actually just completely overall effect. And the way we're gonna do that is go to the tone curve here. And now you want to make sure that you're only point curve here and not, not the tone curve where you can see all the highlights, lights, darks and shadows. Just click this little button here. You're gonna see the point curve here. And this is where we can create are kind of fading effect. Now this is not going to mess with the colors as much, but it's just going to apply a little bit of a slight fade just to kind of sell the, the, the typical effect a little bit. And the way you do this quick Fade is to create a point on the top of this first box here. My Create a point there, just click there. It's gonna create a little point. And what you can do is drag this first up. And you can see it starts to fade a little bit and starts to look like what you would typically see. A different way of doing this fade depending on how the type of aid that you want. I'm gonna go and right-click and delete this point here, and delete this point and then move this point down. You can also just basically just take this point, the first there and drag it. And you start to get a little bit different of a blur. It's kind of the same thing. It's kind of the same fade. But you got a little bit more, more effects that you can apply to the darks here. You can also take the white point and drag it down and kind of mess with the lights, they kinda get a little bit more contrast. But overall, depending on whichever fade you choose, that's the, that's the kinda styles that you can do. So this is kind of our fading effects. So here is the before, it's kind of a flat photo and here's what that orange and teal look that you typically see in a lot of beach photos. It doesn't have to be beach photo, but this is the kind of effect that you typically see in those style of photos. Okay, so now that we've done this in Lightroom, I'm going to show you quickly how to do it in Photoshop as well. So here's the photo in Photoshop. And if you're not familiar with Photoshop a lot, if you're just kinda like a standard Lightroom user, the quickest way to get the controls that you're more familiar with is actually to go up to filter and then go to Camera Raw Filter. If this is a JPEG, if this is a raw photo, it's going to automatically open up in Camera Raw anyway. So again, we're not going to mess with anything under the basics panel. We're basically just gonna go right to the camera calibration slider, and that's right here. And you have all of the same options here. We can take our blue primary, knock that down. You can see the effect coming back just like we had it. And we can play with the oranges here. And there's the effect that we had just directly in Lightroom. And then we can go to our tone curve here and do the same effect. We can create our point there, drag this one up, and there's our fade. Or we can do kinda like we did before and kind of drag this one down, drag this one up, and there's our fate as well. So you can see how easy that was to do directly in Photoshop. If this, if you're editing a J peg like this photo is, that's the way to do it, to do it in Camera Raw, that's probably the easiest way to do it. But if you opened a camera raw photo, already in Photoshop, it's gonna automatically open up a camera anyway, so you'll be able to automatically come here. And again, I just mentioned you can use a preset in Lightroom to create this type of effect. You can actually create a preset in Camera Raw. So again, I can click here and do an orange teal effect, create a preset for it, and then I can apply it to all my raw photos that I pull into camera. And it had the same effect. Alright guys, that's how easy it was to create a really quick, cool orange slash teal effect in Photoshop without using anything except the camera calibration sliders. Really, really great sliders that a lot of people just neglect. They don't even look at them. So that's how powerful it is to create some awesome, really cool effects. And you don't have to do orange until you can do many different colors in there. So hit around there and play with the slider and see what kind of effects you can apply your photos. 13. Section 3 - 3.5 - Creating the Cinematic Look: All right, so now in this video we're going to concentrate on creating a nice cinematic and dramatic effect in Photoshop. This is an effect that a lot of people want to have their photos have because it kind of mimics the film effect that we all see when we go to see movies that are out. So it's a really awesome affect. I'm gonna show you one kind of cinematic effect that you can create. And it's all going to be in Lightroom, but all of this can be applied to Photoshop as well if you open the Camera Raw Filter. So I'm gonna go and do this in Lightroom. I'ma show you these different kind of effects you can make. And it's really great at the end of this to always create a cool preset for yourself. So that way you can apply these with one click to any kind of other photo. And again, this is just going to be a starting point depending on how this image looks. If you have a different kind of image, maybe one that's a little bit more vibrant. You might need to play with the settings, but overall, it's gonna give you this nice cinematic and dramatic effects. So let's hop into Lightroom. Alright, so here we are in light room and this is the image that I'm going to kinda create. And you can see that it's kind of, it's kind of got a little bit darker tones to it and it has a kind of cool posing for the, for the guy that's in here. So it's already sort of looking a little bit cinematic, but we're going to help it a little bit with all of the colors and all the tones. So the first thing we're gonna do is kinda worked from the top down. What we're gonna do with the white balance for this particular image is I'm actually going to take the white balance and I'm going to crank that white balance a little bit more towards a warmer side. So probably around. Let's go to ride around plus 17 for this particular image. Next, I'm gonna take the tint and I'm gonna take the tint kind of towards the opposite way. So I'm gonna put a little bit more green in the image. So I'm gonna go down roughly. You can play with roughly arranged between negative 20 and negative 35. It's going to look really weird starting off. But I'm gonna go roughly around negative 25 and we'll play with it a little bit after this. But this is kind of where my starting point is. You're going to see kinda almost sounds like a nice green and yellow tint. And this is a great, great way to start off the image just with a couple, a couple slides, but the white balance of the photo. So now I'm not gonna mess with anything for the exposure contrast highlights, shadow of the whites. I'm actually just gonna kinda concentrate on the black slider here. So I'm actually gonna take the blacks down a little bit and that's going to introduce a lot of black tones to the image. And this is going to kind of create a really nice, almost very high contrast image just with that one slider. Next, I don't want my image to be extremely, extremely sharp. It's already kind of sharpened, noisy right here, especially if I zoom into the black, black shirt here, if I go to three to one, you can see how kind of noisy it is. So I'm actually going to take my clarity and I'm going to bump that down to roughly around. Let's go to negative 40 here. And that's going to give a little bit of haze to the photo. We're going to bring a little bit of this back, not with the sharpening, but with the DAs slide that's going to add a little bit of a pop to the image. But for right now I'm gonna take the clarity and bump it down. Next is the vibrance saturation. I'm actually going to take the vibrance down. And that's going to take away a little bit of that green tint, that green tone that we applied with the white balance. But I'm gonna take the Saturation up. And what that's gonna do is sort of take the, it's not the technical term for it, but it's going to sort of take the cooler tones down. So if I take this down, you can see that we still have a lot of, a lot of little warmth in the skin. So it's kinda, you know, playing around with more of the cooler tones of the image. And somebody, Craig kinda go roughly around. Let's go to negative 54 on this one. And I'm gonna take the Saturation up a little bit too, probably around Let's go positive 2526, somewhere around there. And it's already has kind of this kind of cool, almost desaturated effect to it, which is a lot of things that you typically see in a lot of film. So it's kinda got a little saturation here, a little bit of desaturation. So this is a great starting point for the basic module or so. Now what we're gonna do is go to the tone curve. And this is a great way to kind of play with the kind of the blacks, the individual blacks and the whites of the image. So this is going to be a really simple adjustment. We're basically gonna take the black slider here on the bottom left, the black slider, we're going to just drag this up a little bit. And you can see it kind of brings out a little bit of the shadow detail here. We lost a little bit of it with the mean. Doesn't do that. Lost a little bit of it with the blacks lander, but were actually kinda bringing that back a little bit by moving this slider up right there. And now we're gonna take the whites and do a little bit narrower and take the lights down a little bit. And that's gonna bring down a little bit of the white detail, the highlight detail. So it's mainly concentrate on the black point and the white point. It kind of creates a little off, off-center diagonal line here. And that's kind of what you're looking for. Alright, now we're gonna go to the HSL panel here. So I'm gonna go basically just to the saturation. I'm not going to mess with the hue or the lumen is just go to the saturation tab here. And what I'm going to concentrate on are the basically three sliders. So I'm gonna take the red, so the red slider saturation down depending on the image. This one doesn't have a lot of reds, orange or, or, or yellows, but I'm going to take these down a little bit. I'm gonna take the orange down as well. Take the yellow down a roughly a little bit below, roughly around negative 17 right there. And then the greens, depending on your image, you might have a lot of greens like trees and everything. You can play with that as well, but I'm gonna take these down as well. So this is starting to be the cinematic look. And again, I'm going to stress this all the time, that it depends on the image. Again, I said this image doesn't have a lot of greens. You might have a lot of greens in your image. Maybe a photo of a portrait of a woman in a park or something like that. So you might have to play with the individual sliders here, but it's going to get you in that same ballpark. Alright, so now let's mess with the colors a little bit more and let's go down to the split toning here. We're going to give a little bit of a warped to our highlights with our split toning here. So I'm gonna go, let's start off around 50 for the hue slider here. And we'll take the saturation of just a hair, which will add a little bit of warmth. And we might need to play with it a little bit more to try to get a little bit more of that color there, but let's take it down to 45 for this particular image, this saturation as well. And then we're gonna go to the shadows. We're gonna give it a little bit of a cooler tone. And this is kinda that traditional split toning look that you might see. So we're going to give it a little bit of a cooler tone. Let's go roughly around 1192, and then we'll take the Saturation up a little bit. Not a whole lot. Probably go down to let's go let's go to five or six, somewhere around there. So this is kinda certainly getting that awesome kinda teal look. You see in a lot of cool cinematic, lot of colder movies that you might see more dramatic movies. This is kinda the basic effect that we're going for here. And what I'm gonna do is just do a couple of small little things. I'm going to go down to the effects here and I'm gonna put a little bit of a vignette on it, a little bit of a negative vignette to give a darker edges here and make it look a little bit more dramatic. And also men take the DA, slaughter and I'm a bump that up a little bit to give it a little bit more contrast back in the image. And you can see we have this nice kind of orange, green look. It's a really kind of a cool look. So let's look at them before or after. Here. You can see it definitely transit transforms the image. It looks way more dramatic. This one looks kinda of a flatter, a little bit of a more of a brighter image. This kinda, kinda gets at really cool effect to it. If we don't want as much green, we can always take that down as well and bring that back up. So you can see we start to play with the photo a little bit more. This will start to look a little bit more gray, which is actually kind of a cool effects. So there's a lot of different things you can do. But if you want to play with a lot of the cooler, cooler tones, then mess with the tent here depending on your image and also mess with the split toning that's going to mess with your photo a little bit more. And also the HSL. You've gotta make sure depending on your image to see what slider that you need to effect. So again, if you have a bunch of trees in your image, you might want to mess with the greens and yellows, but overall, this is gonna get you that nice, nice effect that you've been looking for. All right, so there we go. That's as easy as it was the created dramatic cinematic look. Again, create a preset of this so you can apply it to all of your photos. But again, it's a starting point. It's not an ending point. You're probably not going to click on, Click on the fact that you applied and it's going to be perfect. You might need a mess of a little bit of this Liars depending on the image, because a lot of different images have different tones and colors and hues and everything like that. So again, play with a little bit, but this is a great effect to put to your photos if you want to have a really awesome dramatic look. This is the warning and ego for 14. Section 3 - 3.6 - Creating the Warm Sun Effect: All right, so in this video, we're going to concentrate on creating that Sonny sunrise, sunset effect. That's applying a warming tone to the photo. But we're not just gonna change the white balance of the photo to make it look warmer. We're actually going to apply a couple different adjustments. We're actually going to create an enhance a natural sun that's in the photo. Let me show you how to do that as well. And then we're going to warm up the entire image and just make it all blend together. And another way of color correcting the image to make the whole scene blend together. So let's go and jump into Photoshop and I'm gonna show you how to do this all in Photoshop. You can technically do some of this in Lightroom. But for the, to get this effective, to really come together, you kinda need Photoshop, so I'm just gonna do it in Photoshop. So let's hop into it. Alright, so we have this image here. It's a nice picture of a girl and sort of like a field. But it's taken, it looks like it's taking over taken around sunset. And the reason I say that is because she's kind of backlit here and you've got the sun right up in this area of this top right portion of the image. And it just, it just makes it look like a really nice photo. It could be a little bit better though. It looks like it's taken again around sunrise or sunset, but it's kind of a cooler image and we want to actually make it more of a warming, inviting image here. So we're gonna do a couple of things. We're actually going to enhance the sun here to make it a little bit more prominent. But then we're also going to warm up the whole image altogether just to make it all come together. So the first thing we're gonna do is kinda mimic listen. We're gonna create a little bit more sun effect here. So the way we're gonna do that as actually with a gradient. So I'm gonna go down here and create a brand new layer. And then I'm going to go to my Gradient tool. Now, up here in this top left corner of Photoshop are gonna see like the gradient picker here. So we're gonna click on there and we get a couple of different ways to, to have a gradient. We can choose this one right here. This is kind of the same thing we did with the light leaks. We can choose this one right here. We're really not going to use any pre-made ones. We're actually going to make our own gradient here. So I'm just going to click on any one of the gradients. Let's just choose this one. And what I want to do is from the left to the right, I want to have it look like, like the sun here. So it's going to be a very bright white, as white as we can get on this point is left point here, someone to choose a white color. And then I'm gonna create a point in the middle. And the way you create a point as just a, just a single click down there, it's gonna create another white point. And here I can click and create another kind of color that I want to add to it. So I'm going to choose more of a yellow, orange color somewhere around there. Make it fairly bright. So we'll go right here, maybe pull it down, make a little bit more orange. So right there, let's see how that looks. And then on the last point, the black point over here, we're going to actually going to make that one more RED tone. So it's going to kind of fade out from white to orange to red. And you can choose any kinda read tone, just kinda get it in that natural area of the reds. You don't want to get it down here because it's going to look a little too dark but more saturated area here, so roughly around there. So we're gonna click OK, and this looks about right. We can move this to roughly right in the center there. So its location is about 50, so that's exactly in the middle there. So now we have a white point, more yellow, orange kinda point here and a red point. So make sure that's all weigh 100 and this is our grain that we're actually going to use. Now if I click the New button here, we can actually name this. So we can call this. Sun flare. And we can say New, and that'll save it right here. So now we have saved gradient. So if we click off of here and go back, you can always click on that one. And this is the gradient that we're gonna use for the sun. So I'm gonna click OK here. And we have a couple of different options up here we have more of a linear gradient. This is the one we used for the lens, lens flare option here. So it kinda goes from left to right here we've got the y, the yellow, and the red. We're not going to use that one, but we have a couple other gradient tools here. This is kind of a reflective gradient. But the one we're actually going to use is a radial gradient that just makes it means it's going to be a circle. So by pull out from the center of the image, you can see that we have the white in the middle, the yellow, and the red on the outside. So this is actually the one we need to use. So I'm gonna go and undo this. And I'm basically just gonna go in the middle of the frame and pull from the middle and just go pull out from the middle of the frame. And the longer you pull out load, the wider you pull out, the more, the more how large the sun is going to be basically. So I don't want it to be so big, but I'm gonna put it right here. We have a little bit of a spot. They're actually wanted to be a little bit larger than that will pull out to run here. There we go. That looks pretty good. So this is aren't going to be our son here. We can actually drag this around and kinda place it over here we want to, but before we do that, I don't care about the excess red that's in the image. I just want this center point and a little bit of red, but mainly the white and the yellow points. So what I wanna do is get my elliptical tool and I'm gonna drag out a circle here. I can hold Shift to make it a perfect circle. So much drag it around here, but I want to get again it centered here. And the way you actually transform a selection is actually right-click and say transform selection. This will allow you to move your selection around without actually moving the whole image. So this will allow you to kinda get it perfectly center. So roughly around there. So that's there, that's our elliptical toilets or selection. Now all we need to do is just click the Adjustment Layer button and that'll remove everything except what we selected. So this is our son, this is our mimicked son. So to get rid of a little bit of that red, what we're gonna do is change the Blending Mode to screen. So I'm gonna go down here, click screen, and you can see that it blurs it out. Really nice. We have that warm, warm white center here. It kind of fades out a little bit. We got that read. So to get rid of this harsh edge, that's the next step is to get rid of this harsh edge because obviously it doesn't look perfect at all. It doesn't look like a son at all. What we're gonna do is just do a simple bowler. So I'm gonna go up here to filter blur and then Gaussian Blur. And here is where I can blur out the sun and blurred out as much as you want to, but try to keep that center point roughly intact. Because that's what's going to make it look like the sun is hitting right there. So for this particular image, I'm gonna go to around one. Let's go ahead and put a number here, 170. Alright, and then we click OK. So this is our Sun that we can kind of move around anywhere we want to. And I'm going to try to put it right where it looks like that son was. So roughly around here. And what that does is allow it to hit the model a little bit, which actually it looks cool, kinda makes it look like the sun is kinda kissing the hair a little bit, so works out pretty well. All right, so now what we need to do to kind of blend in that area around the sun. And a little bit of the model is we want to actually apply a Curves Layer. And we talked about a Curves Layer in the very first section there. So what the curves layer is going to do is allow us to adjust the individual red, greens and blues that make up the image. So I got my curves layer here, and I'm gonna go up to the reds and then click on RGB and choose red. And this will allow me to get a little bit more red in the image. So I'm just going to pull this up and you can see as I pull it up a little bit, I'm starting to add a little bit more warmth, a little bit more reds to the image. And that's kind of where I wanted to go. So right now this is the before and after you can see it, it gave a little bit of a kiss of red over here. Here's well, but now I'm going to go to the blues. I'm a drag down the blues. And what that's gonna do is add a little bit more of a yellow tone. And you can see it's kind of affecting the sun here. What we actually need to do is drag this below our Sun so we're not actually affecting the sun. So dragging it below our son layer. And that'll allow it to only affect the model and the image underneath. So you can see what we did here. We have a little bit more, little bit more red here and a little bit less blue. So that gives us a little, a little bit of an orange tone. And this looks really, really great. So what we're gonna do is click on the layer mass that's given, that's automatically given to the curves layer. We're gonna go to our brush and we're gonna make sure we have a feathered brush, so all the way down at 100. And then we're gonna take our capacity to roughly around 25 and our flow to around 30, somewhere around there. And with a black brush to make it not look as perfect, I'm just going to click a couple times and kind of take away some of that edge there. There we go and go over here as well. We can do the same thing with the actual son here and take away a little bit of that sun omega Malik, perfect. So what we're doing is just varying up the effect that's, that's applied there. It's not going to be a drastic change. If I toggle this off, toggle back on, you can see it's not a drastic change. Same with the sun is not drastic, but what we're doing just kinda feathering, feathering the effect. And so it doesn't look as perfect. So right around there. Alright, so now what we need to do to sell it a little bit more is do another color layer and that's going to be a color balance. Some I go down here and I'm gonna choose color balance. So we're actually going to go to the highlights here. And I'm just going to kind of work on the highlights. And what I'm gonna do is dragged down to the yellow to give a little bit more yellow in the image. And then also take the magenta and sort of go towards the magenta tone here. Go towards here search and look really, really bad with more yellow or more green actually. But what we're doing is introducing a little bit more Magenta. We can play with the yellow a little bit more. We can play with the mid tones as well just to get a little bit more effect there. But I think we accomplish what we need in the highlights section so we can play with that. And there we go. So that's starting to add that warmth there. This is the before and this is the after. You can see it's not creating a huge effect. Again, just like most of these layers, we're layering of an affect on top of another layer to generate the effect that we want. But it's just adding that little bit of realism in the photo and that's what we're going for. Okay, so this is great for pretty much natural photo. One thing we could do just to give it a little bit extra kick is apply a photo filter, a warming photo filtered through all of our layers here. We can warm it up a little bit. We don't want to go too crazy because then it starts to look really bad. We're just adding a little bit of a photo filter kick. You see often on, you can see it doesn't add much, but it just adds a, basically a little bit in the skin tone, which is good. So this is kind of our effect here. So I'm going to group all of these together, highlight all of those. Click command or control g to put them in their own group there. And I'm going to call this sun effect. Alright? And there's one thing we could do just to have a little bit of creative freedom with the image. If we want to add a little bit more of a complimentary color introduced into the, the effect here. Remember a complimentary color is color that is opposite of the color wheel. So we have a lot of warm yellow, orange is going on here. So what we could do is introduce a little bit of a blue tone. And that's gonna make it very visually appealing. So the way we can do that is click on our adjustment layer down here and choose solid color. And this is going to basically fill our frame with a solid color, any color that we choose. So I'm gonna grab a nice blue here again, because these are complimentary colors. Someone chooses roughly around here. If you want to copy these exact settings here, you can choose the hex code, could type in 0, f 4154, and that'll get you the exact tone here. And then click OK. And here what we need to do is change our Blending Mode to lighten. Now what lightens gonna do is actually if, if, if the color is darker than, than this particular color, it's going to go ahead and change it to that color basically. So, so this is what the effect is with, with and without. And you'd see adds a little bit of a nice little tone to it. Again, these are complimentary colors are gonna look good together. But what we can do is take off, take defect down a little bit as far as the opacity, we have options there to make it blend in a little bit more. And we can double-click here and change to a different color. So you get more saturated that it gets a really crazy look. You can give it a little less intense look here so you can see it changing a lot in this dress here. Watch as I move down, kinda goes away a little bit. As I move up and structure placing that black color with that blue. So you can see how that, how that works there. So this is more of a realistic tone here to make everything kind of color match together. This is more of your creative tone. If you're wanting to put a little bit more of an artsy spin to the photo. Alright, so there you go, guys. That's easy as it was. We did a couple little things here just to make your photos look really nice. We created that natural tone, that natural effect with adding the sun, adding all the color balance adjustments, adding the curves, which is a really great tool if you haven't played with that a lot makes you continue to play with that and see the types of effects it can have on your photos. And then we did kind of a creative edit which actually made it look pretty neat. So that's a really quick way of enhancing and really selling that warm, inviting tone books here, photos.