Transcripts
1. Lightroom iOS introduction : Hello and welcome to this
Light Room IOS course. My name is Wayne Stables and I'm a filmmaker photographer
and projection mapper. Throughout this course, I'm going to be
teaching you all of the basics of how you can use light room
for your own work. Or how you can edit pictures and hopefully start a creative
career for yourselves, if that's where you want to go. As I said during this course, we're going to do a
complete deep dive. So we're going to do
a complete overview of everything that's
in light room. We're going to look
at the AI precepts, which is a new thing that
Adobe have come out with. We're going to look at how
you can manually edit. We're going to look up
portraits, landscapes, remove tool cloning, tool,
waste, recycled vehicles. We're going to go
over a great deal of different types of editing, different types of images. What I'm going to do
is I'm going to set up a shared folder where you
can download the images that we're using in this course or you can use your own images because actually what we're
looking at is the techniques. So the image bit isn't
the most important bit. The most important
bit is the doing. I'm going to be using my
apple pencil as we do this. Don't worry if you don't
have an Apple pencil because you don't
need to use that. If you have one of these,
you're good to go. My ipad is a third
generation ipad Pro. It's one of the older ones now, but it still works really
well with light room. So Light Room and
Adobe have done a really good job of making it optimized for
different devices. The other thing that I
just want to say before we jump in and before we start learning light
room and how to be creative editing
geniuses, please do. If you feel able to contribute to the community,
pose questions. If I can't answer it, I'm
certain somebody in the group, one of the other students, will be able to answer the
question, Share your work. I love seeing work and I know other people
love seeing work. And sometimes you know
you're having a bad day. You don't really feel like
doing one of the lessons. You see one of your
fellow students work. And it perks you right up. And it creates a conversation. It creates a debate. And
it means you get off your book and you do a little
bit of learning yourself, or a little bit of practicing. The other thing with
this course is it's very learned by doing so
the more you do, the better you get,
The faster you get, the less you have
to think about it. Okay? That's enough from me. 'cause we're not here
to listen to me talk. We're here to learn. Lightroom.
See you in the session.
2. Lightroom iOS Downloading and discover page: Hello everybody and welcome to this light room for
IOS training course. In this course, as
I've already said, we're going to cover lots
of different things. This one specifically,
we're going to look at downloading it
from the app store. And then we're going to
give you a quick overview so it's not too
overwhelming so you can see what's inside the app and then just really get to grips
with where everything is. A couple of things
that I want to say before we jump into that. So for me, this course is
continually developing. So as and when I
can, I'll update it. I really rely on your feedback. So please do share your
feedback with me and let's continue chatting
inside of these apps. There's also places
where you can chat to other students and you
can chat to each other. And I really, really encourage you to do that
because I think a lot of learning will happen
when we share our work and we ask for advice and we offer advice to other people. So do be as active as
you feel able to do. So I know some people are
not that great on chat, so it's not a requirement. I'm just putting it out there. The other thing that I just
want to quickly say is, so I'm recording these in my
home studio as you can see. And I'm recording
them as and when, over a couple of weeks. So you'll notice
my outfits change. Let's have a really lovely,
noncompetitive competition. Let's see how many outfits and how many
different hairstyles I can rack up during the
course of this course. Okay, that's enough
waffling from me. Let's just jump
in to light room. Let's get it downloaded. Let's have a look
around. Okay, everybody. As you'll see from
my ipad screen, I've already
downloaded Light Room. If you haven't
downloaded light Room, let's go ahead and
we'll go do that. So just pop over to the App
Store and search light room. Just searching this now. So light room, there we go. And you'll see there's a
couple of different options. Obviously, I've downloaded this, so it's asking me to open it. I'm on an ipad, so this is a light room
for the ipad course. So what we're going
to do, we're going to either download it if you don't have it or
click open if you do. But before we do that, I
want to show you something. So this is a subscription
app, actually. So if I just go
down, you can see down here the different
kind of price tag. Now if you're not sure about it, you can use the free version, but you can't edit raw and you do have some
functionality missing. But again, don't commit
to buying it yet. Do the course, see
if it works for you, or do what I do and just download the app and then
just do a one month trial. So 499 or $4.99 depending
on what country you're in. Download the app and then you can see if
it works for you. And if it does, then you can
maybe subscribe for longer. All right, let's jump in. So I've just opened the app here and it can be
quite overwhelming. So you'll notice your face with a couple of
different things. So the first thing
we have Discover, we have device, we
have a light room. We're just going to look
at the Discover for now, because actually this is a fantastic resource
to get you started. So if I just click
over and I go for you, you'll see there's lots of
suggested images for me. I'm not going to go
through them all because you're here to
learn about light room. But this is a really
fantastic place to start to learn
about light room. If you haven't had any
photography experience, I've just clicked
this image here. Now if you look at
the right hand panel, what you'll notice is, you'll notice that actually I've got all of these options. So I've just click
Sergei's profile. I can see his images. I can follow Sergey. If there's photographers
that I really like on the forum,
I can follow him. So I'm just going to
click follow Serge. I'm just going to come
back out of this for now. So I've got one of
Sergei's images here. You can see, I can
see all of his edits. I can click between
them and I can see the different stages of his edits that he's used
to create this picture. And then I can see the
original picture also. And this bit guys
is really cool. I can see what
he's done equally. I can click and I can
start making edits myself. So I can go in and I can start editing this image. I
can use it to practice. I'm going to do this
really quickly. I'm going to click Lie Again. I'm not really
thinking about this, I just want you to see that you can actually
edit these images. Again, just to reiterate,
you don't have to be a fantastic photographer. There's a whole industry
built around finishing. So you might want to get into
a creative career where you edit other people's images or
you start finishing photos. So people send them to you and then you get to do fine tuning. This is a great tool to learn
that Adobe have really, really done a great job. So again, you can
see with this app that I can go in and
I can look around. I'm just going to
discard these edits and I'm just going to
go back and we're just going to have another look. So if I come out of
this in a moment, because you'll see there's
a whole range of things. So this is a personalized
view of you, so you'll have a very
different view if I go into the new tab. Looks
the same, right? Apart from one massive
difference across the top, there's a bar that
has different things. So if you're really into
aerial photography, you can look at other
people's aerial photos. Quick caveat. They're not
always aerial photos. It depends on how people
have tagged them. You'll notice in here, there's a couple of photos
that are not aerial. And again, I can go
into the original edit. I can go in and
edit them myself. I can go across the documentary. So I'm a documentary
filmmaker and photographer, I can look down, I can see
other people's styles. I can also get inspiration. So I can look at
these and go, oh, I really like how
this is put together, but I'm not 100% certain how
they've created that look. I can go in here, I can see how they've
created that look. I can even kind of
copy this style if I want on my own images, just
going to come out of that. There's lots and lots
of different things. I can also sort these into
newest or into featured. I generally go into
newest because I like to see what
people are creating. But here you can see I'm in the featured and some of these
are absolutely stunning. And with this course, guys, you are going to be able to make equally stunning
images and you're going to be able to edit
equally stunning images. That's my promise, that's
my guarantee to you. Okay, so that's a
really quick overview. What I want you to do is I
want you to pause this course. Here, stop. I'm doing what you
should never do, what you should never
say to students. Don't continue the course
yet. Have a break. Download the app, open it, jump into this page, go into this page,
have a look at it, see what it's all
about, and have a play. It's non destructive. You're not going to ruin it. You're not going
to break the app. You're not going to ruin
somebody else's work to do this, Go in, have a play. And then once you
feel comfortable with this page, come
back to the video. And then we'll jump in and
we'll start looking at the device part of it and the light room part
of it and a bit.
3. Lightroom iOS Overview: In this session
we're going to do a really quick overview
of Light Room IOS. So I'm working off an ipad. So what we'll do is
we'll open up the app. We'll have a look at
how you can import photos from your device
and how you can edit them. And then how you can import
photos and organize all of your content inside of the
light room portion of the app. And how you can then
start to navigate around. So this will really help you speed up your workflow as you're starting to develop your editing skills and
your editing style. And as you start
using light room for the ipad or for your
phone a little bit more. So let's jump in and let's do our quick overview
of the entire app. So if I just open light room
and down at the bottom, you'll notice I
have got my device. So I've clicked that and I have access to the
photos on my device. So if I click one of those, I get all of these
editing properties. So the first thing, auto, if I click auto that
uses AI and it gives me what it thinks this
image should look like, I always use auto as a base. So if I go down here, I've
got my different light. I can play with my color. So if I click color, I can
play with my white balance. I can have it as shot, which is the image it's taken. But I can also play with that. I can also do, if I go into the
top con I can undo, let me come out of that
because we're going to do some detailed editing later on. If I go down to light room, I have access to all
of my images here. So if I click my edits, you can see I've got
some of my edits. If I click all of my
photos and scroll, you can see that I've got all of my different photos in there. If I go back to my edits, I'm just going to
click this cloud. You can see, again, I've got all of the properties
down the side. Let's have a look unedited. So Light Room organizes things for me in a way that
it's easy to find. Obviously some are duplicated. So I've got edits, imports, people I've not
actually set up yet, so it's not quite
working that out. If I go to my albums
down at the bottom, I can create albums
or folders and that's a really good way to organize your content. So I've
done that there. So I've got this kind project that I'm working
on at the moment. Come out of that. I've
got Biblico Beats, I've got get Doncaster moving. So, I like to organize my
albums into different projects. So if I create a folder and
then I can put subfolders in that I can also
search for things so I can search for
things that I've tagged. If I go over to
the top and Right. You'll see that I've got
a notifications there. I've got no notifications. I've actually paused my
syncing to the cloud. But if you can look
here with my plan, I get 100 gig cloud storage and there's different
plans out there if you've decided to buy a plan or whether you're
using the free version. And I'll talk about the
difference between the free and the paid version later
in this tutorial series. If I go to my three dots, I can see I've got a couple
of options down there. Some of them won't work
if Sinking is disabled, just so you're aware of that. But I can segment my images
into different orders, so date they were chosen, I can add overlays. I'm going to do that now because I think this is really useful. So I have a raw overlay
so that I'll tell you if it's a raw photo or
if it's just a Jpeg. I can put flags on it. So when I'm going through
my review process, I flag them and I'll
talk about that. Photo information or
camera information. You'll notice in the bottom
left corner of the image, it's giving us different
information setting. So it really depends
on what you prefer. But I'm going to keep
photo information here for now so that way I know what each
photo has got in it, properties wise, down at the
bottom corner, just there. So I know if it's a Jpeg,
I know the size of it. So this is 6,000
by 4,000 pixels. Again, my sharing is disabled because I'm not sinking
to my eye cloud. If I just go back in, I can check the type of photo it is. So if it's and I can
search specifically. So I've got 24 raw photos in this folder and I've
got 132 photos. So they're just J pick
and the J Pex, again, it tells me in the bottom
left corner of that image, if I'll just click to this one. So this is another
project I'm working on which as you can see,
is about recycling. But I can put different
parameters in here. So I've gone up to
the three lines in the top right there, and you can see 27
photos, 20 raw photos. And I can search
specifically now, what's the difference
between raw and photo? I hear you ask. Well, on the face of
it looking at this, not a lot, but there
is quite a bit of difference in terms of
the editing process. And I will do a separate session on photo and raw later on. So you can see the
difference here. I'm just clicking through
and just exploring. And I really urge you just to
click through and explore. You can always go back, but get familiar with this
interface because it'll save you a lot of time
as you start editing. And with the editing process, we can go really simple. We can auto everything and
it's done and it's gone. Or we can go a bit
more into detail. I like to start with the auto
and then go into detail. So just moving down here again, I can see that I've got 300
photos, 270 raw photos. And I can click between them. And that really for me, is an organizational thing. I'm just doing this
on a couple of albums so you can
see it in action. Have a play for yourselves, see what you can come up with, get really familiar with it, and then figure out kind of what do you prefer?
Do you shoot in raw? Do you shoot in Jpeg? There's no right or wrong way. It's really up to
you. And again, as I'm talking, I'm
just digging around. So if I go down into the
bottom right corner, you can see there's different
ways to import images. So I can import from my cloud, I can input from
a connected card. I don't have a card
connected at the minute, so I have a third
generation ipad Pro. So it's an older
one, but it still works really well with
light room and as you know, if you've got a US BC ipad, you can then bring in cards
and that kind of thing. You can also shoot images
off your native camera, which is down at the
bottom right corner. Sorry, I clicked that
but I was too busy explaining the US BC
port on the ipad, which I'm sure you
know all about and I'm telling you
things you already know. But you can take pictures directly off your ipad and
you can import them in. So there's several ways in
which you can bring images in, but also the other
way is you can also connect your camera and
bring that straight in. Have a play, dig around again, I'm going to say what
you're not meant to say, but pause this workshop,
pause this tutorial. Get really familiar
with the interface, because that will
really save you time as you're moving on, as you progress and develop
your photo editing training. Okay, that's enough.
What fall from me? See you in the next session
when you've had a dig around. And we're going to move forward and we're going
to do some really, really cool stuff as we start
to develop our own images.
4. Lightroom iOS Masking Landscapes: Welcome back everybody.
In this session we're going to look at masking, how you can mask specific
objects inside of a light room. Specifically for this workshop, we're going to look
at masking landscape. So I've got some
drone photography that I've taken and I'll pop some photography
sample examples in a folder so you guys
can work with those if you don't have
your own images. So we're going to look at specifically mask
and how you can mask the sky versus the
urban landscape below. And then how you can then differentiate between
the two or how you can affect one part of the
image. So let's jump in. Let's learn all about masking then hopefully in a
couple of minutes, we'll come out the
other side and we'll all be a little
bit more knowledgeable. Okay, so what we've got
here is I've got this image that I've been working
on and that I've taken. So I'm just going to pop
over to the side here. And you'll notice if
I click the A, I, I've already got adaptive sky already set up, so I'm
just going to click that. It takes a little
bit of time to load depending on how
fast or intimate is. Mine is not very fast. Okay.
So if I just click that, you'll notice I get a
little bit of control. And I can adjust it. I can go to sunset, I
can go to blue drama. So it gives me a really
base look for what I want. I don't want any of these for this particular image
and this workshop. So I'm going to cancel that. I'm going to go down
to my masking feature. And you'll notice already if I click the little
plus in the bottom, I've got some options. So I'm going to
click Select Sky, because that's what
we're going to work on. What's happening now
is light room is doing its AI magic and it's
about to select the sky. And there we go. So
you'll see there that that is all kind of orangy, pinky purple, the out and that means that that's
affecting the sky. So whatever we do now will
only affect the sky image. So what I'm going to do is it's going to go to my light and I'm going to play
with my exposure. And I'm going to do a little
bit of both in terms I'm going to make it really extreme so you can see what's happening. And then I'll start fine, adjusting so it suits me. So I'm just going
to pull that down. I'm going to bring
my contrast up. Play my highlights as you
can see in my shadows. And I think one of the
things I'd like to say to you guys is when you start doing this for yourself, have a play. So go to the extreme, go to one side, go
to the other side. You know, get the
color tool and really pull it to the edge so you
can see what it's doing. Because when you can see
it, you can understand it. When you understand it, you can then figure out how you
want that image to look. I always think it's really
good to work backwards. So think about the
image you want to be at the end and then
work backwards. I'm just refining this because
I want this a little bit bluer and a little bit deeper
inside of those clouds. And I really want to make
those clouds pop out. So I really want to
see the difference between the clouds and the sky and that kind of
urban landscape underneath. So I've just popped down
to my effects and texture. I'm going to slide that across. So what textures? Let
me just zoom in here. But texture, it's
really hard to explain, but it essentially
texturizes the image. I don't even know
if that's a word to be honest, but
as you can see, as I zoom in with
two finger pinch, it starts to make it a little bit more thre des as it's popping through there. So we're just going
to have a look down here and I'm in my
clarity, that's fine. Go to my detail, two options. Noise sharpen, so I can
add some noise which makes it feel like an
old 35 millimeter image. And when you see the
old photography, you get a little bit of
noise in there and I can sharpen that and
I can full screen it and do all of
those things there. I'm just looking at my
list at the bottom. That's good. If I go down
to the bottom little clock, you can see I can go for
my original and micro, I can see the difference and I think that's really useful. That feature, I can see what I started with, see
where I'm going, and see if it's actually
what I want within my image. Because I don't know
if you're like me. I sometimes get carried away and I start going
crazy with my image. So I'm just popping back
to my light and just adjusting my exposure and contrast because
I've seen the two, it's a bit too much for me. So let me kind of
play with this. If you're working along with me, with either your own image or a similar image in
terms of the resources, you know, pause it, have
a play come back to it, or work along with me. So I'm just going to play with a noise reduction there
because it's a bit of noise. So if I go to one end, you'll see the effect there
it has on the clouds. And if I slide it cross, you'll see that I'm
just gonna drop the smoothness. I'm
really refining this. This is so subjective,
guys, honestly. This is really about how
you want it to look. If I again, jump into the
optics and you'll see that. And so this is really course. I can play with the
geometry of it. So I can look at distortion. I can do vertical, horizontal. So if my image isn't just
quite where I want it to be, I could just play with it. I could just move it around
and I could just get that kind of geometry right
within my image. I can also play with the
scale and the aspect ratio. So I'm just going to
undo that for now. I just have a increase, if you increase the
scale, you can see it's got a little bit
of a curve on there. That's because
I've just slightly played with the
geometry of this. I'm just going to look at
the offset a little bit. And all I'm doing, if I'm
on it, is I'm tinkering. You can always undo this. You can do it, boom, boom, and you can always undo it. So none of that is initially because it's a non
destructive editing process. So I'm just going to
do that play around. Yeah, that looks, oops,
a little bit too much. Let me just even that
up a little bit there. So if I take strain, crop it or keep the
proportions there. So I'm just going to
go back there to my original and micro
so you can see the difference between
the two and the drama between the two there.
Okay, brilliant. So I'm really happy with that double checking again,
you know what they say? Measure, measure, excuse me. Measure twice, cut once, same principle, Check
it a couple of times. I've just gone back
to my mask and I'm going to do a gradient now. So if I go in, click the plus, you can see that I'm doing
the gradient across there. And I'm just rotating that
and turning that around. And you can see all of this in the bottom right corner
here is showing me. So it goes from
darker to lighter and that's the strength of the
effect as we go through that. So again, if I
increase the exposure, I'm now exposing a
different level, a different layer
that I'm working on. So just giving that urban landscape a little bit of
a lift because it just felt a little bit like you 'cause I'd done the sky,
it was a little bit darker. And, you know, again, just
double checking all of that, yet really, really
happy with that. That feels like it's
where I want it to be. One thing I wanted
to add that may help you speed up your workflow when you're working on the ipad is I always edit using
my Apple pencil. Now of course, other devices are available, so you
could use your fingers. If you don't have an apple
pencil, use your fingers. I personally find
this a little bit clumsy or any stylus really. Or work just wanted to add that quick tip because I know sometimes when you're
working off an ipad, you're working off speed and you want to get the job done. Hope that workshop has
been really useful. And I hope you understand
masking a little bit more. And I will see you
in the next session.
5. Remove tool: Welcome back everybody. In the next block of sessions, we're going to look
at the Heal Tool, the clone tool, and
the removed tool. I'm going to set out
a couple of sessions to really deep dive
into each one, but I'll jump across them and
we'll see what they can do. I'm a big fan of really pushing these apps inside
of it to the limit. I might use the tool to do something that's not
necessarily designed to do. But I think those things are really great little tricks and those little hacks
that we can use. As I say in all of my courses, there are lots of different
ways to do any one thing. This is just my way. Let's see how it
goes. All right. Open the app, let's get in the heel tool and let's
have a play around. Actually, before we do
that, one thing I want to say as well is please do pause this session or any of
the sessions at any time. Stop. If I say something
that's not making sense, pause it, jump around, have a dig around, have a play. Then feel free to come
back into the workshop. If there's anything
that's kind of thrown you any questions you
want to ask, please do. And hopefully I or somebody else in the course will get
them answered. All right. It's enough for me.
Let's jump in and let's get some healing and
cloning tools worked out. Okay, So I'm in my editor within the light
room as you can see. And I've got this image that
I've taken of this chap, smiling and looking
at the camera. And what we're going
to do is we're just going to click
auto first of all. So we're just going to give
it a really simple base edit. And then what we're going to
do now is we're going to go down to the little plaster
on the right hand side, and we've got the remove here. So I'm just going to play with the brush size a little bit, just making sure
it's the right size. I'm just going to two
finger pinch, zoom in. And what I want to do
is I want to remove and heal some of the shadows
inside of his glasses. Let's have a play around
zooming a bit more. Let's have a play around and we'll see how good this tool is. So all I'm going to do
is I'm going to scribble over the person or the object
that I want to remove. And let's just have a look. It's not done a great job, but bear in mind thinking
about scale here. So this is inside his glasses, so you're probably not going to see this little
bit of blur here. But let me increase
this brush size. Let's have a look again, it's a little bit
blurry, but I think it's done generally an okay job. Let's just have a
look about that. Let's just increase this, see if we can clean
this up a little bit. Oh, no, we're not
going to do that. Let's just undo that there. Let's have a little bit here. Let's see if we
can merge that in. Zoom out again. Because of the scale in which we're working at, you're
never going to see that. Sometimes it can be a
little bit more forgiving. So let's just zoom
in to this one. And we're going to do
exactly the same thing. So we're going to
remove these people, but I'm going to do
it all in one go. Let's see if that
makes a difference. Let's see if we can remove that. No, that's not quite
working. Let's have a look. A lot of this is trialing area, so sometimes you need to
just do it and smooth it, and test it and try it. Let me keep looking okay
again in the glasses, so we're probably never
ever going to notice this, but it could look like a
smudge on his glasses. So let's just zoom back out. Looking at scale, I think that actually looks pretty good. If I'm honest again, if this was something
visible on his face, I probably wouldn't use this technique because
as you can see, it gives a little bit of a blur. But let's just see how close
we can get to these glasses. What this is doing
is it's taking part of the image and it's
replacing it over the top. As you can see, the
more I brush in, it gives me different
parts of my image. Trial and error, really. I mean, that's good enough
for this tutorial. If you're doing this,
then you might want to have a little bit more time. So I'm just going to go down here with the
removed tool and just remove this sunscreen. Mark was a really
sunny day to day, so we're just going to
remove that mark there. Let's just move back. Great, let's have a look,
let's this mole here. Let's have a look at this mole. I personally don't think there's anything wrong with
this chap's mole, but I'm just showing you to highlight how you
can use this tool. Just smooth that in a
little bit there again. Once we've done this, we
could then use something like the portrait version. I'm pretty happy with that in terms of what it looks like. Again, it's all about scales. Let's just go back. Let's
pick something else. Let me go down into my library. What am I looking for
here? Let's have a look. See if there's any other images. Oh, this should be
really interesting. Let's pull one of these up here. So this is from a shoot I
did about waste recycling. And let's say I
wanted to use this for something like stock
footage for example. Obviously, I don't want the
company's logo all over it, so I'm just going
to slide in here. All right, let's have a
look. We are just going to. Move this number plate that hasn't done a great job as it. Let's just increase that
zooming a little bit more. Just scribbling over it with
my pen or with my finger. I'm scribbling again
based on scale. It's not that bad, you're probably not
going to notice this in terms of
the scale of it. Let's have a look at some of the other things that
we can get rid of. What about the signs? Let's have a look over here. We're in the remove tool and we're just going
around the signs. A brilliant because of the surface of these concrete
blocks as you can see, it's a little bit more forgiving
when we're doing this. I'm just going to try this on
a couple of different ones. If you've got
something like this, you can work along with me. I'll stick some of these images in a Google
folder so you can access them, so you can either
work along with me or you can use your own images. Let's go over here
and let's have a, let's come out of this met.
Just have a quick look. Let's go back in
and find something else in this folder that
we want to have a look at. I'm just looking
through my albums just to see what I've got. If like me, you've got
101 different albums and images on your ipad
or your phone. Sometimes it can take five, 10 minutes just to get the right image that
you want to use. I mean, obviously because we're doing it for
this tutorial, I'm just selecting at random. But let's have a
look at this one. Let's say we want to
remove this ball, so I'm just going to
zoom in as far as I can. Then get this ball. Go back to remove again. No image looks flattering
when you zoom in. It's such minute detail that's
done a really good job. That's probably
done the best job out of all of them so far. So that background seems
to really like it. So I'm just going to get rid
of some other little things. This is a great tool if you've got things in
the background that you might not necessarily
want to share. Or you might have, I don't know, a fire hydrant or a bird on a cable that you want to
get rid of, for example. There's multiple
different applications. So I can refine this as well. So I can refine the
capacity just by clicking. And slide into the left, and slide into the right. And again, have a
play with it yourself and see what
settings you prefer. So I'm just going to
come out of that. If I go down to the clock here, I can see my original and
I can see my current edit. So this is non destructive, so I can always go back. That is super useful, especially when we're working in edits where we might get
carried away, for example. And I do that a lot. Okay, so that has been the removed tool, a couple of different examples
for you to work with. I hope that helps and hit me up. Any questions? I'll see
you guys very soon.
6. Lightroom iOS Clone and Heal tool: Hi everybody, Welcome
to this next session. In this one we're going to look at a combination of tools. So we're going to look
at the healing tool, and I know you've done a
session on that already. We're going to look at
the remove tool as well, and we're going to look
at the clone tool. I'm going to look at
how those three can be combined to work inside
of your workflow. So I've got some images that
I've taken that I'll pop in a shared folder for
us so you can use those. If not, use your own images. And what we're going to do
is we're just going to have a deep dive into
the three together. So that's enough from me. Let's jump in and
let's get cracking. I know I've done specific
lessons on different tools, but in this one I'm going to mix the heel clone and the
removed tool altogether. But I'm going to focus more on the heel tool with a
little bit of the other two. But let's jump in and
let's get cracking, right, So we've got this truck, we've seen this before, so this is part of a job I've done for a Waste Cycle comps. I'm just going to get
the removed tool. I'm just going to
remove the name. So again, I might want this
to be a bit cleaner or use this for stock
footage, for example. Unfortunately, it's quite
a painstaking process, so you have to scribble
over the bit you want to remove and then it removes it. So sometimes it doesn't
always work perfectly. So you have to do this
a couple of times. You could, of course,
increase your brush size, but because this
palette isn't huge. So if I do that, you'll see it's not quite a good job just getting rid of
some of the marks. Going over that there. Really, it's a great
lesson in patience. This just go over
as you can see. Sometimes it takes the
edges of other things so you just have to
double edge that. We'll just go over this
if you have clips that you're working on along
with this. My apologizes. It is the most painstaking
part of photo editing, but it is one of
those things that sometimes you just
have to do it great. Well, that looks brilliant,
so that's got rid of that. Let's have a look at some other things
that we might want to get rid of or things that we
might want to clone or heal. Going to discard that
because I know we've voted in a session on removing, but I wanted to show you
how that can work on different devices.
Let's get the heel. What I want to do
now is I'm just going to go over all of this and you'll see what
happens straight away. This takes its surroundings and it does what it
thinks is a heal tool. I can do a bigger area, I can just go over all of
this like this and I'm just rubbing across
from my finger and they're much cleaner,
much simpler. This is the way I use the heal tool when I'm
doing jobs where it requires a little bit more
little bits of removing. For example. Again, it isn't always perfect because
it takes the surrounding. So I might have to zoom
in and get rid of some of these scuffs here because
this is a working vehicle. So it's going to get beat
up every now and again. Go across this, there you go, look at that scuff, Let's
get rid of that, okay? Excuse me. And go back and just, that looks great from here. And again, I'm super zoomed in, so you
don't see any of this. But let's have a look
at this. Let's go around this with the heel tool. You might look at that, how it's taken all of that, so it didn't work
specifically on that. Let's try it this way. Let's just cover all of
it, dad and perfect. For some reason it
worked like that. This is using AI. It's taking the surroundings
and it's analyzing it. Again, that didn't work. You see, this might be
too close to theater, but let's try it one more time. Maybe we have to
do it in sections, and as you can see, that's
taking a little bit of a door handle then I don't
think this is going to work. Let's just undo all of
that and bring that back. We'll just have to cope
with L 17 for now. It does work very similar
to the removed tool, just healing that section. I don't know exactly what's happening behind the
scenes in all of this, but what I can do is
I can heal this rust, whereas the remove isn't quite the right tool
for doing this. If I wanted to be uber pedantic, I could go through all of this. I'm just going to undo that. Let's go into the clone
tool so we can see exactly what that's doing now that does exactly
what it says on the tin. But actually you have to specify the bit
you want to clone. So if you'll notice here, I can move it around
and where I've touched the point is the bit
that it's going to clone. So if I just make that a little bit bigger so we can see it. So if I go over
here on the tire, you can see in this circle,
it's cloning the tire. So I can clone this. Put that there so I can duplicate bits. And I can just play around with the size of the scale and
just move that around. And let's say I want to put
that there for example, so I might want to
get rid of it on the top of the door
and just put it there. I mean, I don't know why you would want to do
that, but again, just showing you how that can work and I
can just feather that across so it almost blends
in a little bit more. So it's got a little bit of
worn look to it, for example. That's a really quick overview
between the three tools. I know I've done a
more detailed one. Let's go back to
the remove here. I know I've done a
more detailed lesson on some of the other ones, but I wanted to do one
that showed you how you can incorporate all
three into your work. I'm just back into
my light room. I'm going to bring
another image up here. Let's have a look at this. Let's say I want to remove this goal post
from one of these. This is an aerial
drone shot I've taken. So I'm just going to
go to the remove. There we go, go, finished. Finito. I always find the remove works really well when it's things
in the distance. So let's look at this
branch, for example. Let's see how you can perfect. You can never really tell
how it's going to react. But I wouldn't use it on something that's
near in the image, something that's further
away just to give you or to get rid of those
things that really annoy you. We all know what
those things are. Yeah, that's an overview
of all of those three. Enjoy any questions,
please do, ask me, pop them in the community, chat or message me and yeah. Let's jump into the next
session. See you soon.
7. Lightroom iOS Portrait: Hello everybody, Welcome
back to this session. Today we're going to be
looking at portraits. Specifically, how you can edit portraits in different ways depending on the type
of look and the type of feel that you want
for your images. So first of all, let's jump
in to an image that I've taken and I've been working with quick warning,
it's an image of me. So if you're not sick
of seeing my face here, you're going to see my face
on the ipad. Let's go. Okay, so this is an
image of me that I've been working with in terms of developing different
portrait edited techniques. Quick caveat to this, this is done via the adaptive presets
and I'm going to show you how to get this look and how to almost hack those presets so that you can create a really stylized look. The other thing
to mention again, is if you jump into
the Discover page, you'll notice other
people's edit. So you can use
those as basis for, if you still can, you need
a bit of inspiration, jump over to that
page and have a look, and maybe it'll sparks my ideas. Okay, so first thing
we're going to do is I'm going to go to my history. And I've been
playing around with different looks for this. So some manual, some generator. But what I'm going to
do is I'm going to go back to the original. So let me apply that. So this is the original image I took. Yes. You don't have to
say, I do look tired. I was very tired when
I took this image. So the first thing,
let's just edit it. So the first thing
I'm going to do is I'm going to click
the auto button. Now I know a lot of photo
editors this is sacrilegious. I do this all the time
because it gives me a really nice base to work from and it just saves
me lots of time. And I don't know about you,
but I edit a lot on the go, which is why I'm doing a
light room for IOS course and I really need that
flexibility and sometimes time isn't on my side. If I'm on a train and
I've got to kind of get all my kit out and you know, you're sat next to
somebody and it's a bit squished becomes
a bit of an issue. So the ipad for me is perfect, so auto. Back to the session. I've done my auto there and
I've got a really good base. So what I'm going to
do, the first thing I'm going to do is
show you the presets. So let me just click
on the presets there. So I mean you scrub
back at that. So the first thing in fact, click the recommended light room is doing its analyzing magic. And it's going to take my
image and it's going to show me different
options to work through. Be totally honest with you guys, I'm not loving these. But let's click a few so
we can see what we're at. So if I like this look, I can click more like
this and it'll give me more And again. Oh, that's a bit weird,
isn't it? Look at that. It's almost like I'm
on a green screen, so there's loads of
different Oh, my days. What is going on there? Wow. Okay. Well again, I can go across and I can
have some more subtle. I can have some strong images and I can have some
black and white ones. I'm not going to
use any of these, I'm going to jump
straight into this one. And as I said previously, we have all of these
different versions of these premium themes. If you pay for light room and you can get light room free, but if you pay for the
cloud subscription, you get all of this
stuff in there. So if I just go to, actually before we do any of this,
I've still, there you go. I've still got my gritty one
on. Let me go back there. Okay, so the first thing
I'm going to do is I'm going to click
and enhance port it. Did you see what happened then? Let me just undo that. And
let me go back in there. Let me zoom in, I'll hurt
those tired eyes. Right. Watch the eyes. This
is enhanced portrait. Did you see that made
all the eyes pop? I did more than that, really. But that was the most
noticeable thing to me. You know, it's given me a
bit of a fairer complexion. It's not highly in
those grays though, so I might need to have a
word with Adobe about that. It's whiting my
teeth a little bit, et cetera. That's a
really great base. I could be happy with
that and I could go yet, happy, done, perfect. But no, let's just
have a quick explorer. So this is a bit more glamorous. If I click this button here, you see I've got this.
Ooh. Look at that. Look at those lips. Puck her up. Be okay. We can have a bit more polished. We can have a gritty
portrait making me feel like I'm in one of
those 1940s thrillers. Enhance the eyes and
the teeth and so on. So let's go back to portray. Let's just click done. Let's say we're done. We're
done with that. Now most people
would move on and do something else,
not this chap. Let's go back to that. And now what I'm
going to do, because I've already clicked done. It's loaded that in,
it's stored that. So I can go back in and I
can be a bit more refined. So I'm just going to
go to whiten my teeth. So I'm just going
to whiten my teeth and I'm going to click Done. It's stored it. I'm
going to go back. You see how this
is going, right? And let's darken my
eyebrows a little bit. Oh, let's have a
little bit more. There we go. Click back texture, my hair click, go back. So the reason we're
clicking done and going back in is because it's
storing that information. If I was just to click these
inside of this framework, it would overwrite the last one. Because it would say that the last one you click
is the priority. Whereas obviously, I want to have all I want to have
my cake and eat it, I want all the enhancements.
Boom, there we go. The other thing that I
would do if this was me, is I might go to the,
Let's have a look. The healing tool, I might
zoom in and I might go, oh, that freckle there. I just want to get rid of that. This is a bit of a
controversial one this guys, because I'm an absolute
advocate that, you know, we are all beautiful and all of our imperfections are what make us really special
and really unique. I understand the need to
kind of touch this up. So I do this with a sense of
showing you how to do it, but I'm not endorsing
that you get rid of those beautiful freckles
that you have or or that scar on your forehead that I have that tells the story
from your childhood. Anyway, enough for that. You get my point. Okay,
so let me just zoom in. Let's just have a look here. I've got a little thing
there on my toes. Oh, that makes it even worse. Let's just do that. There we go. I didn't mean to do that. Let's just do that. I mean, that is one of the downsides When you're working with your
fingers on your app, sometimes you can click
things by a mistake, I think. What's that there? Shall we see if we can get rid of that there? That little light reflecting
in my eye. There you go. Assuming there's some here. Give a little there we go. Give that a little there
and get rid of that light. There Looks a bit like I've got a dark
spot in my eye there. Let's try that a
bit differently. That's even worse as
far as I can zoom in. Let's try this again.
It's the eyes, right? So we're not looking
that deep into them. For the sake of this tutorial,
let's say that's fine, and a little bit of
reflection isn't an issue. That's fine. So that
looks pretty good, really. There you go. What I could do if I wanted to is I could go down
here and you can see what's happened is
by doing the precess, it's created all of these masks. I can now specifically
go in to each one. Let's go into my eyes, let's go into the color change. Let's zoom in here, and
let's see what this does. Can you see that's changing
the color of my eyes there? I mean, that's quite extreme, so I wouldn't advocate
that you do that. So let's discard
that for a minute. Again, illustrative point to show you the purpose of this. So there's my face, there we go. There's my eyes, my teeth, my eyebrows for example.
So you've got all of that. And there what I might
want to do though is click that and I
might want to go, let's have a look
at a radio there. And let's just go maybe
there like that and I might just want to
bring that to there. And if I reverse that, can you see it's
doing outer I mean, that's an extreme, but again, I wouldn't necessarily, but I
might just want to do that. So it folks, that's
this button here in the corner just flips
it around just to give, draw your eye into that really. So that's a really great
way to use the preset to develop your editing
skills, really. And then you have a dig around. Let's just jump back into this adaptive portrait again
and just come out of there. One of the things that I
want you to notice is what Adobe have done is they've recognized that everybody
has different skin tones. Everybody in general has a different color and pigment and all those kind
of things in their skin. So they've created
different presets. Now obviously these gonna
look really bizarre me 'cause my skin is quite fair. But we have a deep
skin or we have a medium skin, We
have a light skin, so I could have equally used
a light skin really within there we have one for edgy portraits if I wanted
to be really group. If we're with a group,
you want to kind of have a much broader with
the group, for example. So anyway, I'm not going to go into all of those
because you can go into all of those yourself and then you don't need me to
hold your hand through that. So just click done and
there's a great thing. The final thing I'm
going to do, because I'm super Dan and I'm a
filmmaker as well, I'm going to turn
this into 16 by nine. Just readjust that, make it
a little bit more cinematic. And that is my portrait. Done. So I could
then now export that because I'm super Instagramable. There's an Instagram border and even has a little
sign I can do this. They go in there for my
Twitter handle or, you know, I might just Yeah, leave that alone because
that's not my bag. Fabulous. Okay then guys, I hope that's been
really useful. Please share what
you've been working on. I'd love to see it and I know the rest of the group
would love to see it. Have a wonderful day and I'll see you in the next session.
8. Lightroom iOS creating dramatic sunsets: Hello everybody and welcome
back to this new session. In this one, we're going
to look at how you can create dramatic sunsets
like this one here. First of all, this was
taken off a drone, obviously of sunset
over the sea. So I'm going to take you through my edit process in terms
of how we got this image. So let's jump straight in. Okay, so the first
thing we're going to do is let's break this image apart. So as you can see, it's
separated into two parts. The sky and the ocean. Just go to our little
clock in the right. We just can look at the finished version
and the original. So this is the original.
The finish you can see is much more
dramatic. There we go. Okay, so here are the steps that I've
taken to create this. So you can see there's
different steps inside of light room. So let's just go to this one. Just go back up here, sorry. Let's just click the original. And let's click
Apply. Okay, fabric. We have our original image here, so we can still see that if
I want to access my edits, I can still access my edits and go back and use
that as a reference. So the first thing
we're going to do here is we're just going
to crop the image. I'm just going to go
down there and I'm going to give it a 16 by nine crop. It's the filmmaker and me, I really like the
16 by nine format. Okay. So I'm just going
to frame that up. Yeah, that looks pretty good. Evenly spaced grace if we
just go to our lights. I'm just going to
do this manually. All I'm doing is just
doing this by eye. I'm doing the highlights, the shadows, the whites,
the black, et cetera. Just doing this by eye. So I'm just looking
at that and I'm going to go to my temperature. So I'm just going to make
that a little bit cooler, put a bit of a tint in there. Really bring those blues down, add a little bit
of saturation in there just to make
everything pop. Give it a little bit of
texture that I'll just bring those clouds off
the page a little bit. Give it a little
bit of a vignette. So it draws your eye in there. And there's no
secret magic form. It's really about what you
like and what works for you when you're doing
these kind of edits. It's really subjective, but this is just a process
I've gone through, so I'm jumping down
into the detail here, so I'm just going to
add a little bit of sharpening again just to really make that light pop on the ocean and make those waves add a little bit of
noise reduction. Because sometimes when you
add all of these things, you just want to
reduce the noise because it can
start to add grain. We're just going
to remove the CA and enable any **** correction that we need if there's
a little bit of distortion in the **** there. Now I think that's
looking pretty good. But what we're going to do
now, let's jump down to the mask section
and select our sky. Ai is going to do its thing. It's going to figure out
what is sky and what isn't. Then as they go, it's noticed it, it's
found it, it's all in red. As any adjustments I
make right now will just affect that area of
the image again. Let me just highlight that. Drop the exposure down, drop the contrast, the
highlights and the shadows. So I'm just going through
this process again, but just affecting the
sky portion of my image. I'm dragging this around
just to have a look. Let's look at some
fine adjustments. There we go. I don't want to go. That's quite dramatic, isn't it? Moving across? Just
moving the slider with either my finger or my
apple pencil. There we go. That's quite blue
contrast dramatic. I really like that.
There's the original. Here's our current edit to give it a little
bit more drama. Now, Eagle Elide, people amongst you
might notice that this is slightly different
to the image that I showed you
in the beginning. Let me just add a linear
gradient here before I talk about the beginning
image. There we go. And again, I'm just
affecting the red area. So what that will do is it
will give me a gradient. So it'll affect it
moving up the image. So it would be less
effect at the top? More effect at the bottom? Yes. So what I was saying
is this is very different to the original image
that I showed you. That's because I've used
a different process and I'm going to show you
that process in a moment. But I wanted show you different ways
in which you can edit your dramatic sunsets. I'm just looking at this. Let me see what this
is bringing up. If I just go over the sun, this totally might not
work. There you go. That doesn't work, really
does it, but worth trying. So let's discard that. Okay, that looks
pretty good to me. He's very dramatic,
he's very moody, it looks quite cold because I've added more blue and
brought the blue out. So let's have a look at that. This is the one
that we've worked, is the one that I showed
you in the beginning. And I'm going to show
you how I got to that in a moment so you
can see the steps that I took in terms of that. But yeah, it's
really simple guys. That's how you create
a dramatic sunset or landscape or image, really is doing it by E. So let's just go back
to the original. So another way to do this is let's just go back
to 16 by nine. Another way to do this, and I don't consider this
cheating at all, is to go to our presets. We can go down and go to
our adaptive sky presets, and as you can see,
create dramatic sky with a single click using
the power of AI. Adobe's AI engine is
analyzing my image. And I can click this and I
instantly get a great image. And again, it's
slightly different to the one I've shown you because
it's a different process. But as you can see there very, very dramatic or with
the click of AI. So what I would do really, is I'd use a
combination of these. I'd use this AI feature and then I'd start
dialing it back and I'd start adding different, I might bring the
exposure up, et cetera. So you can see already there's three very different
looks from one image. And again, this is
all subjective, so it's really about what works for you and what works for your process when you're
editing your images. But I hope that's been
useful and I hope it's inspired you to create
your own dramatic sunsets. If you do, please pop them in the group chat so we
can all have a look and we can share and help each
other be better editors. Hope everybody has a great day.
9. Lightroom iOS Exporting: Okay, so you've finished
doing the edits to your photos and it's time
to get them exported. Before we do that though, I want to show you
a quick way to categorize your images so
they're easier to find. If you just click your image, you'll notice that you've
got a star at the bottom, so you can collect five stars. And I'm just going
to go through all of my images and make sure they're five stars because
they're all edited. And it's a really
good way for me to be able to find images
that I want to export. If I've taken 1,000 images, but I only want to export five. If I categorize
them, I can find it. So I click the three
dots in the corner. I click five stars.
I click select. I select the ones I want, so I just select them all. Down the bottom corner,
click the Share icon, and you'll notice I've got
a couple of options here, so I can click Share Photos. So that I'll take a little
bit of time to render, depending on how
many photos you're doing at any one
time. So there we go. What happens is I get this
little pop up menu and I can share it via
airdrop, via my e mail. I can save to PDF. If I can do all the usual
stuff you can do when you share images on your ipad. But let's just get rid of that. I want to show you really cares. If I go down and click Export as I get this pop up menu here. So I can change it from
J, Peg different formats. If I want to, I can change the dimensions so I've
got largest available. I want it big,
Change the quality. So I'm just going to
drop this down to 80% I can include a watermark and I can customize that watermark. If I just click that there, you'll notice I
get this graphic. So I can have a graphic
appear on my image, which gives me these dots. I can also create text, so I've got at Wayne Sales, which is obviously my name. So I can increase the size and the opacity and the horizontal
offset of all of that. I can increase the color and I can make it bold and so on. And then I can scroll
through and I can see that that is on every image as well. So I've got these dots
and I've got my name. So if anybody tries to
reproduce your image, you just make it
really difficult. Or you might want to
do it to send proofs, for example, before
you finalize them. If I go into more options, I can include my meta data. I can also give
it a custom name. So this is just my
name at present. But if I just bring up the
keyboard and I change this, let's call it Clouds. That seems to make
sense. There's a lot of clouds in these images. I can start the number at one to cloud one, cloud
two, and so on. Can decide where I want them. So these are for the screen. I can give them a
really high quality and I can change the RGB. Let's just leave this
to SRGB for now. That's everything on
this. If I just go back here and I just click the
little tick icon again, it's going to take a
little bit of time depending on how many
images you've got. So we're just rendering
that out now. Great, that's all five done. And then what will happen
here is you'll notice I get all the same share options
that I had previously, but this time I've customized each image so
they've got my name, they've got graphics on them. And you can see, I
can upload them to Google Drive and
you'll see Cloud 1234. So it keeps that naming system that I've
already implemented, that's a really quick
tutorial on how to export your images once
you've edited them.
Wayne Sables, Filmmaker | Projection Mapper | Teacher
