Moody Style Photos With Adobe Lightroom Classic

1. Introduction to the course: The Moody style is becoming very popular in the world of photography. I love famous photographers and influencers are using this style and you know what? It's not difficult if we follow a few rules. Hello, My name is Mario and I'm a photographer, videographer and YouTube Creator from Peru, currently living in Slovenia. And let me tell you that I am using a lot this moody style in my editing. And I'm even selling some of those pictures in some stock platforms. In this course, we'll talk about the moody style in a way that as soon as you finish the course, you will be able to apply it on your editing. We will learn by practice. I will edit, fill pictures with you and explain you everything into detail so that you can understand my workflow and start creating yours. Are you ready to start creating amazing pictures? Then I'll see you in class. Take it, take it. 2. Understing The Moody Style: Editing using the moody style is basically giving your pictures a lot of contrast, dark shadows, muted highlights. Normally you will add a natural colors to your picture so that you can express emotions through them. You can make any picture MOD picture, and it works with a lot of colors. That's why for sure you heard dark moody style green moody style, blue moody style, orange still moody and others. But you have to know which one to use depending on the photo you're editing. E.g. you're going to use the green moody style in a picture with buildings. Normally green moody style will work with the pictures with forests, e.g. or any pictures with greens on it, you would see how a regular picture becomes an amazing picture. And I say irregular because I'm talking about very normal pictures, the ones that you can actually just go outside right now and take them. Any picture can become a beautiful, moody picture just by doing some editing on it. And this is what we're going to do in this course. But before start editing, Let's go to the next lesson where I will show you some of the moody pictures of photographers and influencers that I follow. Let's get inspired. Take it, take it. 3. Let's Get Inspired: One of the best places to share your photos on Instagram? Well, actually any social media, but we're going to use Instagram for now. I follow a lot of photographers in this platform. Now I will show you feel the pictures they post to get inspired. Sometimes when I feel like going outside and start taking pictures, I use Instagram Pinterest, able to get inspired. I look for the people I follow and start to check some pictures out and let me tell you it works. Okay guys, the first person I'm going to recommend in exactly somebody that I'm following for a long time, even if his YouTube channel is Peter McKinnon. I don't think he needs an introduction. Most of you for sure already know him. He's using the moody style photography for a long time. He uses a lot of dark colors. I'm going to show you this picture that I really like. As you can see here, the greens are not too dark. Remember I mentioned that for the moody style, you have to use unnatural colors to express something. In this case, this green is, don't tell me that you go to the woods and you find these greens because they are not there. Now, if you saturate the greens in your picture, they're not going to come like this. I will show you in this course how to get to these greens. This is something I wanted to show you also, the floor, these wooden floor, remember I mentioned that they are not highlights in moody style photography. It looks wet and actually they're using raincoat. So it was raining. So it is with but there's no this strong highlights and normally the water brings because that's done in purpose. The moody style photography is like these. I will show you another picture. It cannot be moodier than this one. And look at these unsaturated, a lot of dogs but muted also the leaf here. As I said before, this is an unnatural green. It's not like this. He left some of the highlights here to show you that it's wet, but it's so cool. And all of these we're going to learn in this course. Let's go to the next one. Sean Dalton, this guy is really good. He lives in Indonesia, if I'm not mistaken, he was living, I think in Thailand and Vietnam or something like that. But it makes his photography very interesting because he's traveling around those areas and those areas are so photogenic that the photography's so, so nice. Let's check it. This picture here, the greens are unsaturated as well. These light that is coming, I think it looks like Keith did it maybe with some effects that you can do in Lightroom or even Photoshop. I don t think they are not all coming like this, but it's a nice picture. You can see the silhouette here, it's all nice. Let's see another moody style picture. Look at this one. The green is unsaturated. There are a lot of shadows, a lot of darks around. It looks like he could make media radiant filter here. So these leaves are better and more exposed than the others. But it's still, it's a nice photo. It's a moody style. Now let's go to the last one I will show you cinema streets. And also they have moody style photography. But basically most of these pictures are moody started photography and you know what, they're taking pictures in the city. So there's no excuse. It's not that the moody style has to be in nature. These are all in the CT. Look at this picture with a lot of orange and it's moody. Look, it's all shadows here. You can actually see in the corners a little bit of noise and muted shadows. In this case, look at this. This is the dark, moody style, all dark colors. And I keep mentioning this. This is a natural if you are here, this for sure, not all black unless you are in Gotham City with Batman. This is not like this. This is a natural, but it's nice because it's showing you something is expressing some emotions. And this is the idea of the moody style. Remember that photography is also art and big part of these art is in the editing. I always come to Instagram for inspiration also to Pinterest, you can find their pictures. You can literally type in Instagram moody photography and look at this. You are going to come here and look at all of these and you can discover new photographers that are using this style. And I will suggest you to do it. I do it all the time and sometimes when I'm traveling e.g. I'm going to New York. I can put moody style photography New York. And you will find a lot of inspiration, and you will find a lot of ideas. You see, I feel like editing now. Now it's time. Let's go to the next lesson and let's start editing mode. Take it, take it. 4. Editing Green Moody Part 1: Okay guys, now we are in light room. I assume that most of you are going to know more or less how to use this application, this program. So in this case wherein the develop section, as you can see here, we have a normal picture. This picture is actually very normal. It's not like, oh my god, the composition is, it's a masterpiece. Not at all. I just went outside and took a picture. This is a picture in Denmark. I was traveling around it and I got these short. Okay, so we're going to start with the cropping. Now here where it says original, you can choose the cropping. And if you want for Instagram, you can press four by five. In this case, you can see that it's like horizontal. So if you press X, it will go vertical. You just have to move it a little bit and there you go. You could use it for Instagram, but in this case, I want to do it horizontally. We're going to do it a little bit bigger. And I think I'm going to set it like they're following the rule of thirds, a little bit lower. So these here flowers, these purple flowers on the bottom can be in this side. And I think that there would be fine. Now what? So you can see that the building is a little twisted to one side so we can actually arrange this angle and we can move it a little bit so it's more like straight, better. Let me see. I think there will be fine. We are done with the cropping. I'm leaving a lot of greens here because this is a green moody style. And I want you to see exactly how the greens are going to change with the editing. So we're going to start with the basic. We're going to make this a little wider. So it's gonna be easier for us to understand and see what I'm doing here. The white balance, I'm going to leave it as it is because we always can come back and fix it. If there is a problem. Now will have exposure and contracts. What is happening here? I'm not going to touch the exposure either. Even though you can see that here we can add a little bit of exposure. But if I do it, I'm going to overexpose this guy. And at the end, every time you do some tweaks and tricks here like shadows, whites, texture, clarity and everything. We're gonna do, tone curves and everything. It makes a picture a little darker. I will wait until the end to fix the exposure. Contrast. Also, I can add some contrast if I would like to do it, but I will wait because I want to add the proper contrast with the tone curve and then I will come back if I need to add a little bit more. So let's go here in this area where we have highlights, shadows, whites and blacks. This is a very important part for them, moody style, because in the moody style, we don't want any highlights and we want to recover. This guy. Highlights, believe it or not, -100 per cent. As soon as I took the highlights, you can see more details in this guy, but of course you will save them money or you're losing a lot of details around in the shadows. Don't worry. We're going to recover the shadows. We're going to go up in the shadows like 41%. I think it's okay for now. Like I said, always you can come back. This is funny and a little tricky, so don't get confused. When you take our shadows, you're actually auditing, you see it's plus 41. So it means you're adding these options of shadows, but what you're doing is actually taking the shadows from here so we can see better than the details. Yeah, you take shadows when you add them. It is confusing, but as soon as you start editing and doing this practice will make it very normal and you will get used to it in whites. I think I'm going to add white. If you take out whites, look, the picture gets very dark. We want to give a little bit of life to the picture. Remember that we already took the highlights. So maybe if we add a little bit lacking plus 17, I think it would be okay. And now in blocks is going to be very similar than shadows because when you take out blocks, you are actually adding blocks. And when you add blacks here, you're actually taking. So I want to add a little bit of black so we can create these contrasts. Not much, not much. Maybe. If I go like in minus nine, I think it would be fine. Now we're going to go with the precedence and we're about to finish with the basics corrections. Now, texture, I don't use it all the time, but in this case, because we have buildings and all of these details and then the flowers here and the leaves and all of these. I want to give the details into the picture. So I'm going to add a little bit of texture maybe like in plus 37, 38, I think 37 would be fine. And it's already, you can see some details here in the picture. Now clarity, if I go to the opposite side minus clarity, you can see that it becomes like the kids a paint. We don't want that. If we go completely to the other side, it's a lot of clarity. We don't want that either. Remember, we're doing the moody style, so we're going to add clarity 47. I think it would be fine. Now, D. Hayes, if we go to the opposite side, indicates you see that it's like a big cloud cover the picture. We don't want that. And if we go to the right side, look at this is like a horror movie. Storm is coming. We don't want to exaggerate. We don't want to add that much decades because it's very unnatural, even though the moody style is using a natural colors to express emotions. Still, we don't want to exaggerate. So we're going to add just a little bit of DKs maybe like class. I think plus 14 is going to be okay. Now let's talk about vibrance and saturation. Saturation is actually the saturation of colors of everything all in the picture. And vibrance is playing with the colors in a more intelligent way. I mean, by that is we're going to add a little bit. Let's do it in plastic steam. But saturation, we're going to take out saturation. Remember it's moody style. We don't want it to be very saturated. So I think minus ten -11 would be fine minus ten. And we are done with the basics for now. Remember, at the end, we're going to come back if we need it. Okay, so we close the basic take it, take it. 5. Editing Green Moody Part 2: Okay, Now we're going to do the tone curves. And the S curve is the one that is going to give you the best contrast. So we're gonna go a little bit like this, and here we're going to add a little bit like this that is basically an S curve. But remember that for these moody style, we want to have a mutant highlights and also muted shadows and blacks. What you can do here is to pull this up a little and you can see that it's muting all the blocks. We go all the way up, you can see it's horrible. So we're going to, we're not going to exaggerate. But if we come here, you can see it's already like an antique map color. We don't want that. It's too much. We want just a little bit, so I think we can come here. And if you want to add a little more of a punch into the blocks, you can actually pull these a little bit here. Remember we also want muted highlights. So we can actually pull these down here. And I think this would be fine. Check that we're using the RGB curve here. Okay, we're gonna leave the tone curve like this and we're going to go to HSL. That is basically where the magic is going to happen. We're going to start with the hue. Here's where we're going to do a little bit of tricks and change some colors so then we can take out the saturation. The rats were started with the reds. There's no rats in the picture, even though you could think that there's some reds here in the building, there is no red. If you move it like this, you will see that nothing is changing. Okay, So we're gonna leave it here. We're going to play with oranges in most of the moody style photography, you will see that they all tried to tend to go to the oranges and then they will desaturate it. And it looks very nice. So we're gonna go with the oranges, not too much. Let's go maybe like 2028, 25, every picture is different, so I will always suggest you to just try, try, try and try. And always don't get scared if you do something wrong because you're always can come back and fix it. In the yellows. If we go to the right side, we go to the greens, as you can see here on the corner. And if you go to the other side to the oranges, we said we want to go to the oranges. So we're going to go minus, Let's do it very similar than the, than the orange. So let's go -24. I think there is. Okay. Now we're doing green moody style. And this is the color that we have to change if we desaturate right now these green, the color is going to be like, it's just a simple green that is the saturated. And it could be like in black and white and we don't want that. So what you have to do in the hue is you have to change the green. So then when you desaturate the green is gonna be amazing. We grant to exaggerate here we're going to make it like a, like a mutant green. If we go all the way, look at this. It's like an alien from another planet. Don't exaggerate. We're going to do it, but not too much. Okay. Let's go to like 45 or 46 around they're still the green is unnatural, is weird, but don't worry, when we take out the saturation, it's gonna become a very nice ring. And you will understand because in most of the pictures when you are doing the moody style, you're gonna go to the right side of the greens, okay? Now we don't have, if we move it, you can see that there's no much of a change. So we're going to leave it there with blue? Yes, because we blew. You can move and you can see that it's changing this guy, right? So we want to add a little bit of a hue of blue in the sky so we can move a little bit to -30, 31, 32. We can leave it there. Now, purple. If we move it, you can see that there is some changes where ear, we have flowers that are kind of like purple flowers. So we're going to move it a little bit, then we're going to blast 13 to give more color. So when you saturate, this is gonna look very nice in magenta. We don't have magenta is like the rats. If you move it, you will see that there's nothing. So we are going to leave it how it is. Now, we go to the saturation where basically you will see what is going to happen and why we did what we did. The hue and saturation where we have the orange. We're going to take out the orange. We're going to start the saturating everything. And I think the orange could be like let me see. I think -32 is going to be fine. You can see that the color here is changing in the building. If I go again, they're look, the colors are changing so we want to desaturate it, but not too much. That's why I said -32 is gonna be fine. Now, yellows, we didn't do like a crazy changes in the yellow. So we're going to desaturate also, but not much less than we did in orange. Let's leave it in -17 because when we move the yellows, but look at the plant here next to the building has yellows. And if I move it, gonna be changing a little bit. You see it's exaggerated, it's desaturated. So let's saturate it like I said, but just a little bit like in -17 like I did before. Now greens and this is where I want you to see the greens. Remember that we add these hue that is like a mutant, you like an alien hue of green. Okay, it's like a radioactive. So we're going to take out the greens and there, yes, we're going to take out a lot. Let's take out like maybe an 80 or something like that. And you can see now that the saturation doesn't go in black and white. It goes actually in a very cool and moody green because we add the hue, we exaggerate with the hue. So then when you take it out, it becomes like this. So that is the reason why we do it. So you see, when you start to edit with me, you start to understand why I'm doing everything. And this is what normally the Moody stylist, you have to do it like this. Okay. Now, I quote, We didn't do anything, so we're going to leave it like that. Remember that we move the blue so we can add a little bit of a hue of blue in the sky. So we're going to do that. We're going to take out blues, the saturated, but leave these little hue so we can go like in -42, 43, Let's leave it like that. But still you can see that it has a little bit of a hue, a little bit of a blue hue, that you can actually change it later if you want. But for now we're going to leave it there. The purple, the purple, remember the flowers here. We also added a lot of you that then we can desaturate it without changing and making it black and white. We're going to do -26 is going to be okay. Now the picture is becoming more moody, as you can see. Now let's go to luminance. We're also, we're going to add a little bit of life into some parts of the picture. So in luminance orange, that is something that we moved. We're going to add a little bit of luminance. We exaggerate. You can see that look at the building, It's like a light up building, like a lot of highlights there. We don't want that, but we want to add a little bit of luminance. Let's make a difference. Let's make the building shine. So plus 21 is okay. Now, yellows. I want you to see here these plants here over here next to the building that had the yellows, we're going to add like plus ten or something like that. If we exaggerate, look how it's lighting up and if we take it out, a lot of the greens have yellow, so we're going to add a little bit, okay, likes plus 11 is going to be fine. The greens in the green. So we want to do the opposite because this is green moody style. We want to make it moody. And you can see here the greens on the top, it has a little bit of light. We want to take that light out. So we're gonna go in minus something, minus ten -14 -14 is okay. Now, in the sky also when you take light, you actually add details. We're going to take the luminance of the blue and we're going to take like in minus, Let's round the number up to minus ten. If I take it out completely, you can see this guy, it looks like a storm is coming like before we saw. So let's don't exaggerate when you start editing. I'm doing now we're starting, right. Let's don't exaggerate. Let's do everything settled. And then if we want to come back, we can come back. You will see the final picture is going to be very, very nice. Now the purple, I like these flowers and they are like lost there. So we're going to add a little bit more of luminance there so we can see the flowers maybe plus 40, 40, let's make it plus 45, I think for now this is it. We finished with the HSL and now let's go to color grading. We'll take it, take it. 6. Editing Green Moody Part 3: So color grading is actually very easy. Mid tones, shadows, and highlights. We start with the shadows. What you normally feel when you think about moody and sought is blue shadows. So that's what we're going to do. We're going to have a little bit of blue shadows. You see all the features becoming a little bluish there. But don't worry, because when we come here to the highlights, we're gonna do the opposite. We're going to add a little bit of wildness to the highlights. I said a little bit it so don't exaggerate. Now the photo is changing, you see it. You start to move the mid tones around, not exaggerating. It's not a big change unless you go like this, look at this purple. We don't want to move the mid tones for now, so we're gonna leave him there. Now. Here you have blending and balance. We're going to blend this every time you add it, I will suggest you to go all the way to one side and all the way to the other side to see if there is a big change. I don't see much of a change, but I think that if we put it in 35 is not exaggerated than the blending is going to be very subtle. I think that's going to be fine. Imbalance. Again, I will suggest you to go from one side to the other blue, a warm blue to the side, warm to decide. We don't want it to be crazy. So we're going to add a little bit of warmness in the balanced like 13 is going to be fine. The picture is nice, is becoming very, very cool. You know, there is a trick. If you press the backslash, you can see how the picture wasn't the beginning. Look how it started, and look how it is now. Again, backslash. And then you press Backslash again. It's amazing the change of the picture. I could already pause the picture, but no, no, no, no. We have to keep going. Let's go to detail now. And detail is where you're going to sharpen some parts of the picture. In this case it says sharpening here. On the bottom you can see masking. Why if you press out and you don't let it go, just press out and hold it there and you move the masking. You can see if you leave it there all white, it means that everything is going to be sharpened. But if you start to move it and move it and move it, move it, and then you reach I want to reach in. Let me see. Like there is fine. You see, then all the white parts are going to be sharpened. So the leaves, that point of the leaves the building. This is what I want to sharpen. Then I'm going to add a little bit of sharpening. Maybe in 65 is going to be fine. Every time you add sharpening, you add a little bit of noise. So you want to reduce the noise, but not too much. I normally, when I use the noise reduction, I use it like in 24, 25. Let's leave it there. 26. Okay. Okay. Okay. It when there is a reason, Let's leave it to the destiny, and that's it. Now let's go to Lens Correction. Because light room nowadays it's very clever and it understands the lenses that you were using. If it doesn't understand the lens that you are using, you can actually do it manually or you can leave it how it is. In this case, it understands that I was using the Panasonic Lumix 22, 60 mm. And this is with my camera that I used for this picture that is the S5. So I'm going to put here remove chromatic aberration, and then that's it. Okay, In effect, we have the option to add a vignette and we want to do it because we're going to make the viewer to center the attention here in the center of the picture. So if we exaggerate, you can see that the vignette can be really ridiculous. Not much. Maybe in -20 or something like that. I run -22, I think it's gonna be fine. It's like almost not noticeable, but it's there and it's actually making you look in the center of the picture. This is the only thing we're gonna do in effect. And then we go to calibration. And calibration, we have to be very careful because these tools is very strong. Everything that you will change here is going to change the whole picture. It's not just the red colors, e.g. here, it's going to change the whole picture, e.g. if I go to the left side, you can see the color of the building changed. And actually if you see a little bit of the greens also change, if we go to the other side, more orangey color, you can see that it's not just the red colors, but the green is also changed. So we don't want that and we don't want to use red in this case. But if you like it, you can use it. Like I said, this is art and everybody is going to have a different taste with the Greeks. Yes, we're going to use the greens are doing the green moody style. So we're going to use it. I'm going to show you if I go all the way to the yellows, this is actually becoming alive and very yellowy and we don't want that. And if we go to the other side, it's also very moody. We want moody, but well, in this case I don't want that. So we're going to add yellow, but not much. And when I say yellow is because in these green I'm going towards the yellow. Okay. So we're gonna go to -20. Let me see what I like. -28, I think it's gonna be fine. We're not going to take out any saturation because if we do, it's not going to look nice. It's like a black and white or very towards the black and white. So I'm just going to leave it how it is. Now we're going to play with the blues. The blues is very interesting. I actually like it a lot to play with the blues because before it was very popular, these orange field editing style of editing, and this is where you do the magic in that style of editing, e.g. if we go all the way to the left side, this is basically the orange tilt. I don't know if you remember those pictures. Like they were very popular. I don't know why they stopped being popular because it's actually very cool. I can actually print that picture like this. But we're doing moody style, so we're not going to exaggerate. We're going to add a little bit of the oranges, but not too much. Maybe liking -15 would be fine. I'm not going to take out any saturation or play with the saturation. I'm going to live in like it isn't. And we are done with the calibration. Basically, we are done with all the corrections that we had to do here. We're going to finish with this editing. And I don't know if you've noticed, but here in the picture there is a nice little small lake here on the bottom that looks so nice, but it's not visible. Nobody can see it, right? We're going to make it a little bit better. So what we're going to do is want to create a mask. We're going to use the brush. And as you can see here, it says Auto Mask. So Lightroom is going to try to understand what is it that I want to mask. And we're going to mask the lake. Okay. Like this, we're going to paint the leg here. I think it's becoming nice to understand. It doesn't have to be perfect in Lightroom is trying to understand why he said This guy wants to mask. I think that is enough. We don't need more. Now what I want to do is to make the lake more visible. So I'm going to add a little bit of exposure, just a little bit subtle. 0.39, 0.38. Oh my God, that's too much. You know what? Let's type it. 0.38. Okay, we leave it like that. Maybe a little bit of highlights, like 25 highlights or 26. Okay, let's leave it there. And this is where that difference is going to happen. Look at the shadows. We're going to take out shadows. Remember to take out the shadows and make it more visible. We add this slide. So we're going to add like a 70 or maybe more than 70. If I go to 78, e.g. look, now you can see that reflection here of the flowers, a reflection of the plans even looks much better. So I'm going to leave it there. I think we are done. Remember that I told you that exposure, I can do it at the end. We're gonna go to Basic Correction. And what do you think if we fix the exposure? I think the picture is properly exposed, is just a little bit more than we cannot just give these live to picture even though we want to do them moody style, I think we can add like plus 20. I don't wanna go too far because this is the point. The point is to make a moody style photo. Press enter and we are done. Look at the picture. We started with this, and we end up with this picture. Now, this is a deep, if you press L, you will isolate. The picture is half isolated. If you press L, again, it's going to completely isolate the picture and you can see it properly. You can go to prepare a coffee, come back and see it again if you want to make any extra changes. It's not think I like that picture. I think we are done. Take it take it. 7. Editing Blue Moody Part 1: Okay guys, we're going to try to make this picture bluish. Okay? This is going to be a moody style, but tending to the blue colors because I think it's good for it. You can see this guy the mountains, he can be blueish. Now in the grouping, I don't think I'm going to do much because I like the picture, how it is, is properly composed. I don't want to take any corners of anything from the picture, so I'm going to leave it there even the level is okay. I'm not going to use any angle leveling or anything. It's perfect. I'm going to leave it like that. Okay, so we start with the basics. And again, like in the first picture, the temperature and the tint, these white balance, I'm not going to change because it's properly exposed and white balance is okay. I'm going to leave it like this in exposure, I think, like in the first one, exposure and contrast. I'm going to leave it because for moody style, I like to do the contrast with the tone curves. At the end. We can always come back here to the tone to fix this exposure or contrast. Remember what we did in the last picture, highlights for moody style out. Always we take out the highlights and we add the shadows. I think 100% here would be fine. So we'll do like this, minus hundred highlights, shadows, whites. We're going to add a little bit because there's a lot of whites here in the Church. There's a lot of whites also here on the top. We're going to add just a little bit of white, maybe like 12, Okay, blocks. We're going to go to minus nine, I think minus ten could be. Now, that means that we are actually adding a little bit of lux. Remember that the contradiction of Lightroom, when you add the shadows, it's because you're taking out the shadows from the picture, the same with blocks. Okay, now we go to presence. Here. We have texture. Remember what I said in the lesson before, when I have plants and leaves and these buildings, I wondered details to be visible. So I'm going to add texture. And in this case I'm gonna go close to 50 per cent maybe. Okay. I will leave it there. 47. Okay. I will leave it there in clarity, like in the last picture. I'm going to add a little bit clarity. I think like I'm going to leave it there. Plus 29 then indicates, remember if we go to the left, It's like a cloud over the picture. We don't want that. So we're going to add a little bit of the case. Now we're going to do the vibrance. Remember what I said? Vibrance is like playing with the colors in a very clever way, more intelligent way. So I'm going to use the vibrance and I'm going to add like plus ten. And as every moody style we take out saturation. So we're gonna go like in minus, not too much, maybe minus, yeah, you know what? Let's make it minus ten. Now let's do the tone curves with the tone curves, you know what I like to do? I like the S curve because I'm actually adding contrast here. If you will add the contrast up in the basics, then I don't need to do these very strong but tone curves actually you have more control with the contrast. So I'm going to do it here and I'm going to mute a little bit the blocks. And you know that I like to add punch to the contrast a little bit punch in blocks. I'm going to also mute a little bit of highlights and I think this is going to be fine. But in this picture, I'm going to do something different. I'm gonna go to the blue here. Remember we're playing now with the RGB. That is basically all the colors in one curve. I'm going to go to the blue here. We're going to rise up. If I exaggerate, look at this, it's gonna become so blue. So we're gonna go just a little bit, like they're just touching, just touching. Okay, we are going to mute a little bit the blues like here, and the highlights also we're going to move them a little bit because we're playing with the blue highlights a little bit there. I think this is going to be enough. If we come here to the corner, you can see here that switch. If we take it out, you can see how it was without the curves and how it is with the curves is becoming more bluish. So we're done with the curves. Take it, take it. 8. Editing Blue Moody Part 2: We're going to go to the HSL. I'm trying to go in order so we don't lose each other. Okay? We're going to start with the hue. In this case, we do have reds. We have these oranges, but if we move the reds, I never read them. If you want to see which colors basically you have here, you just play with these slides, move them all over. And you will understand like if I go here you can see the ceiling is changing. The salience of the churches. If I go to the other side is the same thing. So what I'm going to do is I'm going to try to go to the oranges. I don't know why I like to go to the oranges, like I said before. Now I'm tending to do that, the haze. I'm tending to do the oranges. When you start editing and editing, your style is going to change constantly. This is art. What to do? What to do. You're going to change. You're going to have a stages in your life. And in this case I'm in orange. So I'm gonna go towards orange, maybe -18 over here, -19. Okay. Yellow also, I'm going to drop it like this -20 or something towards the oranges. Okay. I'm gonna leave them here. When you change the hue, sometimes you don't see much of a difference. Sometimes you see the difference, sometimes you don't see much of a difference, but don't worry because we're doing that so that in saturation, when we take the saturation, it doesn't go completely to black and white. Remember the Greeks, we have to make it radioactive. So in the desaturation is going to look nice. So we're gonna go to blast 79, go out. We do have our costs and now we're doing a bluish color in the picture. So you can see the axis here. We're gonna move the app or towards the blue. So we're gonna go to the other side, maybe like 79 or something like that. Okay. 80. Okay. It's one-two. One-two, one-two AT, let's leave it in 80. Blue also, you can see that if we go to the left is towards the greens and aqua, and if we go to the right side, we go to blues and purples. We want to go to blue's, not that much in purple. So just like plus 11, maybe it's okay. It's a little purplish, but don't worry, we're going to be saturated this now. Magenta and purple, we don't have much, so we're going to leave it there if you want. We can move it and you can see that there's no changes. So basically I'm going to leave it there. Let's go to saturation and now we're going to see what is going to happen. We're going to desaturate the reds because remember we add the reds and oranges also. I'm going to desaturate a little bit, maybe not much, maybe because I don't want them the ceilings here to be black and white or take out completely the saturation. Just a little bit. Also the yellows just a little bit because I don't want the trees and these plants to change much. So maybe minus eight would be fine. Greetings. Yes, the greens, we have to desaturate them all the way. Maybe not all the way. We're going to leave it in -87 because I don't want it to look horrible. It actually looks very nice because you will see what I'm going to do later. Okay, let's go step-by-step. Aqua. Remember, we're going to desaturate the aqua. This is the thing with Moody you desaturate colors. So in aqua we're going to go to -37. I'm desaturating Aqua a lot because remember, if we come to hue, you will see that we add a lot of AdWords. So we take Aqua, the same with the blue, we're going to change it. But in this case with the blue, we're not going to desaturate it. Because if we take out the blue loop, what it's going to happen. And white, we don't want that, but it's pretty cool. It's pretty quick. But no, we're going to add a little bit of blue. A little bit, not much because it's moody. And now we go to luminance, the reds. I don't want them to get crazy if I add reds, look, you can see here in the ceiling of the church, it's like a lot of highlights, so I'm just going to leave it there. I'm not going to exaggerate their orange. Actually, I'm going to take out the luminance. You're not taking out color here, you are taking out light. Now, let's go to the green and in the green because I think it's moody, but yeah, that's two more. This is really everything is highlighted and this is like nothing. So we're going to add a little bit of luminance to the greens, not tomorrow, maybe. Well, let's leave it in 13, okay. Now, in aqua, we're going to take out illuminance in aqua and blues. Because like that we're going to have more details and the color is going to be more visible. Loop what happened with aqua? If I go to the other side completely, It's more colorful. If I go to the other side is actually light color. So we're gonna go to -28. So in the blue we're going to add -26. If I go all over, look at this. We don't want to do that just a little bit. So -26 will be fine. Let's leave it in -27. And the purple and magenta we didn't touch, so we're going to leave it there. Okay. Now let's go to color grading. Color grading is actually where the blues are gonna come alive for us. Remember that we started with the shadows and the highlights. We're going to add a little bit of blue to the shadows, but in this case, we're going to also add a little bit of blue to the highlights. This is a blue moody style, so we want blue all over. Remembered that unnatural colors are going to come alive. But this is to express emotions and this is what makes art nice and beautiful. Okay? Now mid-tones, it's making the picture a little bit more like bluish and nice. So I'm going to add also a little bit of blue in the mid tones, okay? Now, blending and balance, I'm not going to touch because I don t think because we put all blues, you see, we choose actually blowing mid-tones, bluish highlights, bluish shadows. So we don't need to blend them. They are basically all the same. And if I move it, you can see that there's no much of a change because all of them are blue. If I will add blue and shadows, warmness in highlights, warmness, then I can blend them. In this case is not necessarily also balance. If you see if I move is not much of a change because basically we're adding the same in all of the picture. More. Take it, take it. 9. Editing Blue Moody Part 3: So now let's go to detail. Now in detail we'll do the same as before. We press out and holding Alt, we're going to do the masking. We move this until we see what is that we want to mask. And I think I don't want a mosque. Much of the picture, I think in there, 83 would be fine. All these details I want to sharpen. Then we go to sharpening and I'm not going to do too much, just like 65 is going to be fine. Let's leave it there in 64. Remember that when you add sharpening noise is going to come on. So, so we're going to fix it. I don't like to add more than 25, 26, so I'm going to leave it just there. And I think for now that is fine. Now in Lens Correction, remember I mentioned before that most of the time in light room is going to know which is the lens that you use. In this case, it's not recognizing the lens that I use. So if I put Enable Profile Corrections or remove chromatic aberration is not gonna do anything because he didn't recognize my lens. I could do it manually, but I don't see any craziness in the picture. So I'm just going to leave it there. Transform is the same as last picture. We don't have many buildings to fix this perspective when you take a picture of a building and when you are done, you see the building like a little bit, like the angle is wrong. We don't need to fix anything here. Everything is good in the picture, so we're going to go to effects and effects. Yes, we want to add some vignetting. So we're going to add some vignetting there to make the center of attention, the church, and to center your eyes into the center of the picture, I think let's make it minus ten. Minus ten would be fine. Now, in calibration with the reds, I don't want to change much because the picture, I want it to be bluish. And if I move the red is gonna get crazy. Of course, when you are editing, you have to experiment. So let's experiment together. I'm gonna go to the left side and look at PC, so weird. And we go to the right side and it's like, it's really weird. That's why I said, I don't want to use the rats even if we go to the right side and we take out the saturation is going to be weird. So we don't want to touch the red in this case, when you do blue, moody style, the greens though, yes, you may be would like to change the green. If we go to the left side of the greens, you can see that there is a little bit of a change, but it's not a change that I like. And if you go to the opposite side, it's actually making the picture very dark. The greens are very dark. What we want to do is a little bit of darkness, a little bit of Moody. So maybe five plus 18 would be fine. But then I would like to take the saturation out of the greens and all of these changes that we did. So maybe in -18, so we add plus 18 in hue and we deduct -18. Now, you have to try every picture is different. So experiment and this is the beauty of this. The picture is already bluey, so I think I like it how it is. I don't want to do much in many changes here. I'm not going to change the blue just for you to know. Remember, if I go to the left side is going to become dislike orange teal to style, but I don't want that. And if I go to the opposite side is like Unreal, this is purple unreal. So I'm just going to leave it there. Now, I wanna do something else before we finish with this picture, I'm going to do a mask, but now it's gonna be kind of like a different mask. This is called luminance range. What is this? When we use the mask, immediately you click it and it appears this bar here, the luminance in the left side are the darks and the right side are the highlights. What I want to do is to take out kind of highlights from there. So what we're going to do, as soon as you touch the bar and you start to pull it, you start to select just the highlights. Look, we're going towards the highlights. So when we come here, you can actually see that we're selecting the reflection of the light in the sky, in the white part of the picture. All these things and I think there is, okay, I selected already my highlights. Now I want to come here and start to do the changes, which are the changes I wanna do. I want to take out more I lied. It's not a big difference, but you can see that there's more details knowing this guy and I kinda like it. Now, I want to take the saturation of the highlights because the problem of my moody picture here is that the highlights are very alive and I want to make them moody. So we're gonna go to the saturation and remember that everything we're doing here is in the mask, just in the highlights. And we can take out saturation like in minus. Let's see. I think -20 is going to be okay. And now I think I did something different. Now the picture looks moody and I think we are done. Remember if you press the backslash, you can see how the picture was and look how it is now. I mean, it's such a nice picture. Now remember something that in art and not everybody's going to like everything. So maybe your taste is gonna be different and you have to experiment. I was doing these lesson and explain you everything in detail why I'm doing these changes. So then you can get your own experience. So start editing, keep editing. This is a lot of fun. I'm going to press L, So we isolate the picture and elegance. So we completely isolate the picture and we finish this lesson. So start editing your own style and you're going to have a lot of fun. Take it, take it. 10. Project: For the project of this course, I want you to go outside and start taking pictures. Could be in the park, in the market wherever you want. Then I want you to edit those pictures with everything you've learned in this course, choose one and share it with us in the project section. I can't wait to see your creations. And I promised that I will give you a feedback. Take it, take it. 11. Conclusion: I hope you enjoy this course as much as I enjoyed making it. Thank you very much to choose me as a teacher. I invite you to check also my other courses. So I hope to see you there until next time. Take it, take it.