Photo Editing For Instagram Using Lightroom

1. Introduction: I think photo editing is an optimally and art like singing, dancing, or even playing football. It is in my opinion, one of the most important steps there are in photography. Because no matter how good a picture you take, if you're editing of that picture is not good, the whole picture could actually get annoyed. But then if your picture wasn't so good, but then you're editing is impeccable. Your picture actually stand attempts pipe, My name is Michael SysML and UML photography and cinema took over from John aspects of African amended shoot commercial work for different brands. In this course, primarily for beginners. And everyone just wants to improve their knowledge of labor. I know Don to consume. When you think of editing, you might think that you might actually mess up the colors. Or what if you're just not good enough and you're not alone? This was me just four years ago. And that's why in this course I'm going to break down all the fundamental things that you need to know when editing your pictures. And I will do this in a relevant demonstrate away. That'll get you editing your pictures in no time. So I look forward to seeing you there next lesson, chips. 2. Fundamentals Of Editing: Hi, and I'm glad you could join my costs. Now, before we jump straight into Lightroom, I want us to understand what exactly it is that we are editing. That is a follow. What is a photo? That a lot of definitions out there about what a photo is, but I would define a photo as simply a composition of a light, color, and detail. These are the fundamental constituents of any image that exists. And so when we're talking about editing your photo or an image, in essence, what we're talking about is simply editing color, light, and detail. And we're not just editing them for the sake of editing them. Rather, we have a goal. We have an image, and we could wanted to be a bit moody, vibrant. It all depends honestly on what we feel in the moment, and most importantly, what we want the audience to feel it. You can get your audience to feel with your edit, then you have succeeded in establishing a connection. And that is the end game. Now, for the next picture that all the editor with you guys, I'll be going for more of a moody ish feel of the portrait. And I look forward to seeing you in this next lesson. 3. Importing, Raw Vs JPEG: Hi guys, and thank you so much for joining me for this course. And without further ado, we're just going to jump right into electron at this point. So when you first open up your Lightroom and this should be the general interface that you have. And this is basically Lightroom Classic, as you can see over there. And essentially the difference between Lightroom Classic and Lightroom CC is the fact that Lightroom Classic is more tailor-made for desktop devices, but then Lightroom CC is more for mobile devices, which means that it allows you to use information or use some of your data photography data that you have across multiple devices. So it's more for people who are always on the move. Yeah, so that's basically the difference. So there isn't that much of a difference between the two. It's just a matter of flexibility, I'll say. However, the advantage with classic is that it gives you a bit more, just a little bit more customizable features, especially when it comes to your export settings. And what you want to do first of all, is that you just want to come over to import over here and make sure that you import the photos that you want to get. And my photo saw from the downloads. So this is basically in the downloads and then I'm just going to pick the photo that I want. Initially, it will highlight all the photos. What you wanna do is uncheck that and make sure that users check the aspect that you want. I could go for any of this here, but I'm just going to go for this one and import that. And then when you import it was just writing polling files. And this is basically the interface that you should get after that. And then what you want to do is now of course, you can always look into the metadata over here and you can see this was taken on a 5D Mark three with 1.250 millimeter lens or a 5050. And what we wanna do for us is this is not too relevant for us, however, it just helps and bear in mind that this is a raw file. Now, it's so important to explain what this is, essentially the difference between RAW and JPEG and the most simplified manage that rod gives you so much more flexibility because when you take a picture and then you take it in a raw format, so much more information is stored in that image than if it were taken in the JPEG format. What happens actually is that your device collects all the information that is, and puts it all together and stores it in a raw file hands, while raw files are generally larger in terms of space. But JPEGs are not too large because jetpacks some colors, your device decides on which colors to take and which colors not to take. So that's essentially the difference between what is wrong and what is JPEG. Now the editing a raw file, because I feel it gives more flexibility. We can do this, of course, with a jetpack as well. It's just a matter of preference, I'll say. Nevertheless, her role bear in mind. It gives you more flexibility in terms of colors, which is ideal for editing. So what you wanna do next is that you just want to come over to develop over here. And once we get over to develop over here, this is where we get to do all the tweaking that we want to do in our photo. So as you can see, this is the general interface that we have. We have this awesome histogram over here and some information, original photo, some cropping info and different muscle that you can apply, filters that you can even apply. And then we have this, all these panels over here from the basic tone curve. I'm going to be going to be going through each of these ones. I will focus especially on the ones that I feel are relevant for us for this stage. Progressively, of course, in later courses, or be able to elaborate more on other aspects of this. But for now, let's just go into the Basic Panel. 4. Understanding Your Histogram: So now we're opening up our basic panel. This is where we'll be doing outset the first stage of our editing process. And if you click right here on the Basic panel, as you can see, we have all this information about the colors and light. All of this has to do more with light. All of this has to do with light. And in all of this has to do with detail. And then this over here, all of this, the last two sections already have to do with color, which is what we did talk about in our, in the previous video that you must have seen by now about color, detail, and light. This three other fundamental keys to editing whatever photo dot who want to edit and outside this basic panel gives you that flexibility to do exactly that. It's more like an introduction into editing. This is the first stage days into basic editing bay that you can do out of any photo. This is why you have this same options in most even phone devices. You're able to do this in with a lot of ADT software's sided basic tools that you definitely need to edit or to transform your image. So it's crucial that we know them, it's crucial that we understand them, and it's crucial that you must do them and willing to go into all of this very slowly. No rush right? Now to start off, I want us to look into this histogram over here. On. The histogram is one of the most overlooked features of Lightroom and yet probably the most powerful tool of Lightroom on say, the histogram, as you can see, it's divided into sections of a year. If you come over here, as you can see, it writes for you that Deb legs. Let me just do this. Our blacks, the shadows, there is an exposure, highlights and the whites. Now, what this information is basically saying that this other blacks, it means in this image, your histogram displays all the information that is found in your image. It decomposes it into different sections. It tells you that this are the true blacks that are found in your image. Meaning our image is made mostly of areas that are truly black. These are areas that are completely black and not on any collects up to black. And then followed by the shadows are areas that are slightly brighter competitor true blacks. And as you can see, because there's a bit of this going on over here. There's a bit of this going on or whether the true blacks only come from, as you can see from my beards over here, right? Which are shaved by the way, right? But the true blacks come from this over here. But as you can see, there isn't too much of this true blacks weighing on. As you can see, my skin tone is a bit brown and much of my skin tone will be found in this area over here. But then in the shadows of a edits are areas that are slightly brighter compared to the who likes. This is a little bit grayish, little bit. Ish. This would explain areas like that, areas like that. There is areas a bit like here. There's a bit of areas that are in the shadows. And then we have the exposure over here. The exposure over here, this is where we have the mid-tones. This are the areas that I didn't mid-range of. I dot se and bear in mind that with your histogram as well, you can see those colors showing off here. This is to tell you the colors that stand out the most in that area, in that region that we're concerned with, whether it's the shuttles, we have moved the blues, the greens, and the science over there. Then in this mid pons, the midtones are the colors that are not too bright, not too dark as well, but that are perfectly balanced in between them. We call them the mid-tones or over here, the exposure area, I'll say. So over here we can see this is going to be a content, especially for areas like this, areas like that. And this is why you start seeing a little bit of pink, a little bit of such a reddish pink stuff to show over here on maroon, depending on what you see. And then we have the highlights, sort of very bright spots like the white here, the wide coming out here in a bit partly from the student to whites, as you can see the end. A lot of them as well. It means it's coming from this white shed over here because our warrior workshop and pretty much a wide shoot, you could say. It's a little bit grayish, little bit whitish. That's why you have it coming right here. Right here, next to the highlights and next to the two whites. That, that's why that accounts for that section over there. 5. White Balancing: So without further ado, we're just going to jump into a basic panel over here. And then the first stage outset that is so important in your editing process to make sure that you all white balancing is accurate. Now what is white balance and white balancing is simply a process of removing unrealistic color casts in your image. What does that mean? It simply means that, for example, you take a picture, you just take out your phone or your capture device and then you take a picture. And then let's say it's a picture of someone wearing a white shirt. But when you take a picture, that white shirt seems a bit blue or yellow. Most likely what must have happened is that your camera must have chosen a wrong balancing of color. This balancing of color is ideal for different situations. If you're in a house, for example, and you have your lights on, your tungsten lights, for example, or filament lights or whatever type of fluorescent lights rather, whatever type of lights that you're doing on those colors will influence the color of your white shirt. That means if it's a fluorescent filament that you're using in your house, which is a bit bluish. For example, your shirt might look a little bit blue. There's been a color cast on that. If it's a bit clouding, your white shirt might look a bit gray. There's been a color customer if it's tungsten filaments a little bit yellowish, your shipment look at bit yellow. So to balance that out and make it look proper white. We do this process called white balancing because it's very handy for videography and photography as well. The beautiful thing about editing is that it allows you to do that. It allows you to fix this while post-processing. It allows you to fix this in post, which means that you can actually use this section over here. As you can see, the white balance as sharp. And then you can choose different options of which one it is was a daylight cloudy, shady tungsten or fluoresce. And the cool thing I'll say about this is that you get to even use this wonderful dropper over here and then pick the brightest spot there is in your image automatically, lightroom will set the right balance to this image. So if you click over there, it has definitely done that. Now, I will just go back so that you see the difference. I just press Control Z to undo that. If you watch on the temperature and the tint here dabbled to be some shifts that I went to happen. So let me just click on the brightest spot I can find it right here. Now bear in mind when I have 5250 instead of 5000. This means white balancing of this image wasn't that bad. It was pretty close, but then Lightroom and simply made it more accurate for us. And so that's one of the cool features I'd say about using Lightroom's effect that you don't even have to worry and fuss about choosing the right white balance and all of that. You can simply rely on the application itself to simply do that for you. 6. Basic Light Adjustments: All right, so the next thing that we wanted then look into is editing of light for our image over here. The way that we're going to do that is that I want to start off with my exposure over here. And just going into the exposure over there. As you can see, I have this exposure set away and as you can see, my histogram is starting to show that it's focused more on by exposure, the overall exposure of the whole image, in essence, the mid-tones, which could affect the shadows and highlights as well, and the two whites off the whole image, if I were to say that. And so I'm just going to increase the exposure a little bit. I'll click on exposure this way. And once I click on exposure, it allows me to modify that with the keyboard, which is so much more convenient because using the slider sometimes it's not so easy, especially if you want to do very, very little tweaking, very little tricks over there. I feel the image is well exposed, but it could do with a little bit of brightness. So I'm just going to give it a plus ten over there. And the exposure is basically how bright your image is. The more exploited has, the brighter it gets done unless export it has the darker it gets. And in order to properly elaborate on that, I'm just going to use this histogram over here to help guide us. And as you can see, if you do this is true, right? It shows you do is highlight clip that you can use over here. And this shuttle clip that you can use over here. Now what this shuttle clip and highlight clip allow you to do is that they and it allows you to be able to detect the areas that are overexposed OT, and exposed. That means the areas that are very, very dark in the image. Those are areas where you're starting to lose information, either because they are overexposed or underexposed. So in order to do that, as you can see, all you have to do is just click on this over here. This is the highlight clip, this is the shadow clip. And if I push my exposure all the way that side, as you can see, there's this reddish dots coming in over here, this red that's coming in. It means that I'm starting to lose information over there, means that it's overexposed and so much information is being lost because it's over highlighted or overexposed. And then the opposite is true as well. If I do this all the way, it means that I'm sudden cubism information where right here remains. Here. Information is completely lost, completely lost. So it means it's underexposed and I'm losing information over there. So this is a very, very important, I would say I'm tool that you can use to help you detect areas where maybe you're overdoing things, right? With a similar thing that goes on with cooking actually, when you put too much salt or a little salt, you know, sometimes you're not able to tell when you're cooking. It just requires experience. You could say it's a similar thing with editing requires experienced for you to know that an image is overexposed or underexposed. In some situations we acids well evident, but in some situations it really quest the more experience you have and the easier it is for you to identify that. Nevertheless, they hack here is knowing that Lightroom can actually do the work that could have taken you show long to know. Latin helps simplify that work for you. It's able to tell you then that the overexposing or your underexposing. So I'm just going to increase this and increase and increase and increase it and be short. Always use your eye as well. Don't get over technical way. You are only relying on the histogram to give you information. You still have one of the most powerful tools there is in the existence of human beings, which is your eye. So I can always help as well. So I'm just going to leave it at plus, I want I like it at plus 10. So I'm just going to leave it at plus 10 over there because I feel it's a well exposed, maybe a little bit down, surely. Plus 5 plus 10. Four plus stone work, but plus five-sevenths much better. So let me just proceed like that. And plus five, that's much better. As you can see, it's just a little bit brighter if I press wire can see the before and after, which comes in very handy. And then the contrast, basically what it does is that it spreads out and adjusts your highlights at the same rate that it does the shadows. So it's just simply stretches those out by simply emphasizing on the colors and making the bright areas get brighter and the shadow areas get more shadowy. Which should create the following effect if I increase it all the way, notice how there Already shadowy areas, I get more dark and the bright areas I get it brighter. This is necessary in the sense that it helps you as well pronounced particular elements of an e-mail to make your image look, feel, and texture as well. Bear in mind this is not necessarily detail, editing detail, however, this is editing in essence, how rich your colors you want them to be. Do you want them to be written exotic of vibrant, or do you want them pale or faded? So contrast definitely helps with that. So I'm just going to increase my contrast clustering and bear in mind that all the trick is that we do right here in the Basic panel for the whole image. That means that for everything that I do is applied to the whole image, not particular spot in an image, but the whole image progressively as we go on, we'll be able to focus on particular spots. So just moving on, I'm going to go on to the highlights. The highlights as the name say it's this are the areas that are very bright in the image just before the poor whites. So they're not exactly the brightest spots they are, but just before the brightest spot there, which are the two ions. Nevertheless, this adult you could service are generally very bright areas, perhaps like areas like that, areas like that. That's why if I increase this, as you can see, this gets bright and so bright, so bright, so bright. You can see that happening over there. So I'm just going to decrease that so that you see that it's really happening over a year. I decrease it. As you can see, it goes all the way down as well over here. Especially you notice how not much is happening. Decided something is happening, but not that much because this is where you have the slides. And here we're trying to focus more on the highlights, which are the areas that are slightly less white than the whites. So we're just going to have this here. I'm just going to leave the highlights that plus two. I don't want to increase them too much. I feel like actually I could even decrease a little bit of them, not increase them and just live it. And negative six, I think that looks really good. And at this stage already, yes, there are some things that are starting to be evident that the difference is starting to be there to now first image on our second image, as you can see, this is little bit peel, but this is getting a bit more rich in color. That was because of the effect of the contrast that we did, which is causing this drastic difference already. And then the shuttles as well, the sudden less bright areas I feel like I could do is maybe just adding a little bit to make them a plus two. I don't want too much as well. I want just a little bit. And then the y's, this are the true ice is where you focus especially on the list. That's why if I increase it, you can notice everything gets wide, very, very wide. And this patterns well, because what's going on is that the highlights ended dog over to iIt's, especially the toroids they increasing. So I'm going to focus, I'm not going to increase the cephalic worthy of a lot of that going on. So limited in negative 2 pattern. Then now we move on to the blacks. Now the blacks as the name does say, Lexis at a true blacks that are concerned of your image. This has more to do with very dark areas of your image, especially the blacks. This one's over here with some impact as well on the shadows. That's why if I focus on the blacks, granted, it will focus on this true blacks, but then it will have some effect as well on the shadows as you notice when I move them up, notice what's happening, especially on those, true. So this is underexposed as well. And then if I do that, but as a rule of thumb by generally don't also like overdoing it. It depends on what image I'm setting. But because I'm trying to go for a fairly moody image over here, I'm going to just decrease this struggle, right amount over here. I think negative 15 is pretty good. Thing that I like that. Yes. So does look really good and I love it definitely this way. And that's it about my legs over there. And then next thing that we'll be dealing with is called presence. Now, bear in mind that all the treatments that we have done until this stage are tweaking. These are the basic tricky things for if you notice the exposure, the whites, the blacks contrast. This has to do more to do with light. But then for the next set over here that will be focusing on which is called presence. This is where we deal more with the detail of an image. Remember those three fundamental components of any image, color, light, and detail. Now we're going to detail and as well as we are editing in here, we are. Dealing fundamentally with the overall e-mail as well. Not particular spots in an image, not specific areas, but the whole image as well. So as a rule of thumb as well, I generally don't like over doing my texture. Texture is basically how crisp is each detail that I find in my images. You'll notice over here if I am Crystal texture, notice what happens over the beards over here. Increases all the way down that way. Notice how firmly crisp it is. And if I do go out like this as well, looks very, very sharp. Nevertheless, I generally don't like going beyond plus 10, so usually they'll just stare on this. And then clarity as wall is generally how clear your image AS and for quality as well. I prefer not overdoing it. So John and they just come over to a target of plus five and that would just be sufficient for an image. Now if you go all the way to the side, gets a bit cartoonish as you notice. And if you go all the way this side as well, it gets too dreamy. So I would just prefer staying at on classifier. That's a fair in a good amount of say right over there. Yeah. Moving on now, the next thing that will be tricking is called the D Hague's removing those fine suspended particles in an image that make it look very dreamy. Each, if you've seen how fog is in some of our images, sometimes they might have that for grayish look ordered looked at it makes it be a bit dreamy, if you will say so what the haze tool over here that we have here, what it basically does is that it allows you to do a trick on you go this way. It removes all that dreamy feel about those suspended particles that make it not be clear for you to see? All you can go this way to increase them. So generally, I don't feel like this image requires any of that because I kind of like the way it looks. If I didn't need, it is a bit dreamy. Especially if you look around here. It's PUC in a particular manner, but then that's exactly what I like about this image. I love that overall look over there. I don't want to look in so crisp over there. Nevertheless, if I were to increase it, as you can see, there is going to be a change over there. Notice how here we're here. Notice that difference over there. Nevertheless, for me, I'm just going to leave the Dehaze just as it is over. Yeah. Because I feel that this name is doesn't meet that. Right. So Ben, mindless robots, That's exactly how it is in Lightroom, is not necessarily every option, the ends here that you have to use, you get to use it, but then you don't have to use it. So choose wisely which tools you want to use and when you want to use them as well. It depends on the image that you are working for. And overall look that you are trying to get to. Those are the most important thing. 7. Vibrance & Saturation: Right now we're getting into color. And for color, there are basically two things that we're going to be focusing on, vibrance and saturation. There's a lot of confusion that goes on our honor to and a lot of people actually mistaken the 24 B1 when actually there is a difference between Vibrance and Saturation. Now essentially the difference is that when you increase your vibrancy using Goal software, that whatever you're using, your software is able to detect all the highly saturated areas in your image, including the skin tones, preserve those and increase the overall color depth of every other aspect of the image, which means that only the highly saturated areas will be left untouched or if touched only a little bit. That is more the case of saturation. When you increase your saturation. Saturation basically causes a color depth, depth or a color increase or a richness of color toward get to the whole image with sometimes can cause problems, right? So outset that you have to be very smart in how you treat this generally as a rule of thumb. I like increasing my vibrancy just to nine for example. For example, over here, I think it looks good. And then my saturation just a little bit over here. I think that's okay. And then we'll be all. That's pretty much it for the basic settings and for the stage, you have to congratulate yourself that you've gone this far. This, This is amazing and you being able to do all this basic adjustments right at this stage is the difference from your image looking very faded and almost go feel and very caught it. We can very warm, very crisp, very beautiful actually. 8. Master Your Tone Curve: And now we move on to the tone curve, which is by far the most important tool days in Lightroom. Why? Because the tone curve allows you to be very flexible in your editing. It allows you to tweak and colors in a very particular way. That is, you are able to tweak only the shadows, the mid tones, all the highlights of your image. And that is an incredibly handy tool when you're dealing with images. Because sometimes only your shadows might have a problem, only want to preach only your shadows. But then when you tweak using the basic settings, your basic settings tweak the whole image and whatever effect you're trying to apply to the shadows or me, we'll be applied to the whole image, which is something that you don't want to happen. So this tone curve them gives you this flexibility to do exactly that specific spots in your image, which comes in very handy as I say, without further ado, let us go right into the tone curve. And basically it's divided into separate sections that can see the saw some lines over here, different lines leading all the way to that last one more here. And we have two starting points. And always make sure that you are a channel is first of all set to RGB, which means the greens, the blues and the reds all combined to give a wife in essence. So what you wanna do is this. You want to make sure that you put some point right here on different sectors that you can see this is like a sector over here. The first square over here, just click at this point over here. Those are your shadows. Here. I make sure it's over here, straight. And then you click right on this point in the middle over here. That's about 50%. Some watched the rating over there. It's about 50 percent does your midtones, and then over here you have your highlights. And then all the way hi, here you have your true whites to blacks, shadows, midtones, highlights and your true whites. Now what you wanna do is this. You wanna just want to increase just a little bit of your true blacks who were there to give it that overall face look, which is very cinematic. I love it because like I said, I'm going for something a bit moody ish. And that moody feel or that Moody editing style needs you to bump up those blacks. And then I'm going to decrease the whites, increase the highlights a bit and decrease just a little bit of my contrast over here. And aim or the objective in doing all of this is to have more of an S curve because it's been proven time and time again that if you go for an S curve in your image, then this should produce ideal results. Bear in mind this does default cost from image to image, but this is an overall or general belief and which is very accepted and very much true. Now this is, you can notice the difference between this image and that image over there. I'm just going to decrease this over here and increased just a bit of my whites just a bit over here. And I feel like I love the way that it's turning out right now. And the next and that you want to do is just limb, just increase a bit of this mine contrast here. Yeah, I'm going to leave it like that. And then what you want to do is let us say you want to just this spot over here, for example, just the spot over here. What you can do is that you can actually even just click on this point over here and then drag it over there. And then when you break it or whether a point will be created over here, notice how there's been a point here. And then it means that this point that's been created over here is to tweak exactly the spot that I just highlighted. So if I drag it up, you can see it get brighter. I drag it down, it gets a bit dark. So I think I prefer it just switch asked a bit dark, just a bit dark. Don't be shy to move it, of course. But don't overdo it those well, this is good enough right here. I'm like It just dot way over there. I think that looks pretty good. And that's what a wonderful thing really. Let's say there was some areas of the image that way. A bit underexposing. You wanted to tweak only those. You could actually do that with a sprain curve. Just click on that and you can see we have a point showing up right here and then you can move that, move that, that any focuses, especially especially on that point over there. Sometimes yes, it might take other areas that are of a similar cut display. But then just, this is why in the overall sense, just want to make sure that what about tweaking the least possible to get the result that you want? And then once you're done, now I don't need that actually for me, but once you are done, just make sure that you you can live it overall this way. Yeah. And that's really about the tone curve concerning their white colors. In essence, we're in essence doing what we did with the basic panel. I just in the blanks, the shadows, the highlights, midtones and why it's however here will be more particular way in essence, just adjusting in the shadows, how much of those shadows we want in the highlight, how much of those highlights we want. We're just adjusting it in that sends over there and getting the results that we want and prevent be more creative. You can even go onto are just particular colors. When you are just particular colors in essence, we are saying you decomposing the whole image and saying, white is made of green, blue, and red. So you're in essence saying, what if I take the red alone and then prepare the ribs in there? Two reds. The shuttle part, the shadowy part of the reds, the mid-tones of the red in your image and highlights of the Read India he mentions, well and then the true, The complete, the completely brightest spot of your rate or the completely dark spots of urate in essence, or it's up to you which one you want to do. But for me, I'm just going to tweak a little bit in the shadows. I like giving it that overall decrease. My It's in the shallows. And when you decrease them, bear in mind that you get the complimentary color to red, which is green. And that's why I get a bit of a greenish local weather there and just leave it like that over here. It's just very, very minor tweaks going on over there. But then it's always according to how you want it to be. I'm interested more in moving the blues because I feel I wanted to try a bit of some blue, especially in the shadows. I feel like it would compliment them looked in to go for yeah, I could sort of complement that. I think that looks pretty good. Pretty good. The greens, I'm not going to touch them for now, but if I wanted to tweak them, I could still do almost a similar thing as well to my liking. And that's what you get to do as well. You have to tweak it always tour. What do you feel that there was a feeling for you? What makes you happy and what, what gets you feel any emotion out of your audio editing. And Ben minded, in essence one, we're still tweaking the reds, greens, and the blues with the tone curve where in essence doing the role of something else called split toning, which means that we're adding some of those colors, the derivative, the blues, the greens, or whatever colors that we want to tweak. We're adding them into shuttles or in the highlights of our image. Now, later on you'll see that we actually have this in Lightroom where we have sliders that can allow us to do this. As you can see, the split toning over there, but we'll talk about this a bit later. But I just wanted you to know that bear in mind that with this tone curve, you are able to adjust both the light and color as well in a particular fixed manner. So for now I think just doesn't look good as you can notice, there's quite a difference between these two images here. Now. Quite a difference indeed. 9. Split Toning: And then the next stage of our editing involves the HSL slider, all the hues, the saturation and luminosity of our image. Now the Hughes is simply the color that we're interested in. What type of colored we want it to be. We want it to be very deep autumn. We wanted to be very light. So the light colors, light green, light LED blue LED orange or Deep Blue, deep green or deep orange up towards whichever one, That's what the hues do, the saturation, they simply as well saturated the color depth of that color that we're interested in. And then the luminosity gives you the brightness of an overall image. Now, I generally don't use much of this because I feel like the camera that I'm using, I'm able to get the most out of it already. And nevertheless, let's do say that in your scenario, the camera that you're using, you're not able to get very accurate colors. The good thing about this HSL sliders that you are able to do that then you're able to come over to this section over here and add a bit of more read. Perhaps if the reds you select are not so pronounced, were able to make him a bit darker. Or the oranges or any of those aspects are able to do all of this. The Houston luminosities over here, you're able to do all of those as well in this very stage right here, as you can see here, maybe I'm even able to set the color over here. I can set it to whatever I want. That's the cool thing about Lightroom, gives you so much flexibility with colors. Now, as I said that I generally don't use this because I feel like my ankle to get away with colors already. Quite okay the way that I like them at least. But if ever you feel like your camera does not give you the ability to do that. This is where you able to trick all those colors to your liking, as you can see with magenta over here, I'm able to achieve in change. Some of this comes to mind liking. Now, if this HSL sliders that are divided into two parts, that is you tweaking the colors. You can do it in two ways. You can use this HSL slider and you can use this color here. And then you're able to determine for each one, each color, color by color, the greens, the yellows, the purples, blues are able to be all that which you just saw here, just with a different interface. And then we get into the next stage of our editing, which is split toning. Now, bear in mind that we already did some tweaking on toning the overall image with different colors with the tone curve that we're able to use a bit anyon nevertheless, it's still important for me to come and explain what's the ketone and years and maybe do just a little bit of tweaking as well using sliders, alea on wavelength choose Curves to do the work of split toning. But here we're going to do a bit of that as well using some sliders over here. And how it works is simple really. It's like we did with the basic adjustments that we did. First stage of our editing process. And simply, what you are able to do with your split toning is that you are able to add particular colors only in the shadows or the highlights of your image. You're able to focus on particular areas as well, just using sliders. It's not as flexible as the tone curve, but it gets the work done. It's pretty much like what we did with the basic adjustment just here. It's tailor made for you to add colors and shadows and highlights or colors in your, especially colors in your shuttles or in your highlights, any color that you want, you can set and definitely add a bit of those colors over there. So I'm just going to add a bit of them as well. It does require a bit of an understanding of color theory, which is basically that particular colors are able to blend best with some colors and not so well with other colors. So understanding of that as well does come in handy into this, which is why I am going to add this in the project notes as well. You'll be able to find a link leading you to this website where you'll be able to see and be able to even tweak some of the colors over there. So for me over here, I'm just going to add a bit of some saturation in the highlights over here. I want a bit of this bluish feel. I feel it plus six would do enough for me. And then I'm going to as well add a bit of saturation in the shadows and give it a bit of some orangeish feel. To go for something close towards blue and orange, orange and teal for, especially in video industry, they call it an orange and teal look. That's exactly what I'm trying to aim for over here in the overall thing that I'm doing, it's not exactly it, but it's games and overall feel of that because there's two colors are able to blend best with each other. And then that's it about split toning. And the next thing that we'll be dealing with is detail. 10. Detail & Noise Reduction: Now, earlier on we're able to deal with detail as well, the basic adjustments, but here this is detailed in more detail. This simply means that here we'll be dealing with sharpening and then we'll be able to be able to sharpen with more flexibility. This is basically it here. And as you can see over this here we have this shopping in section here. And you can increase, the image is sharp, it's at 40, but then you can increase this as well to your liking. And the radius over here as well. It just basically means to what extent are you constantly sharpening to be and how wide should each sharpening to be. Another radius basically examines the distance of the effect that you are applying. This does hold true regardless of whatever effect that you are tricking, whether it's, you're adding the vignette or it's sharpening or whatever it is usually, radius is just a measure of the distance or the effect that's being applied. So in essence, this is it over here. Nevertheless, I do show that this image as well, it's quite sharp. But if it wasn't so sharp, I would increase this all the way up to maybe 16 or something like that. But then I do feel that it's already shapes. I'm just going to leave it at maybe 45, just for demonstration sake. And as you can see, the images pretty sharp on able to get much of what I want from the image and the rest of the details as well. I filled them not so crucial, especially with all the treatments that we're able to do. But if you did want to do some details while here, you could add a bit of this as well. This is also to make the image more sharp as well. Nevertheless, I feel it's already shot, but you can always take this higher as well for the Ministry of and be more sharp nevertheless, for me, this is pretty good. This is all right here. And This is the masking as well. It's just to what extent are you applying that effect as well? That's the effect of a higher it goes, the more the effect will take place. I'll just leave it like that. And then the noise reduction. Now let's say you were shooting your image and it was nighttime. There wasn't too much light going on. And then you relied on your camera to give light to the image that we're about to take. And so it means that you bumped up your ISO, you are shooting at something beyond 6400. At that point. What happens is that your capture device will give you an image. But then because it's a light that was given from your capture device itself, most times, most likely it will be very grainy. Hence, why we need the noise reduction. What the mice reduction basically does is that it reduces all the greeny things that you have in your image. If your image was very grainy, there was a lot of green going around, then when you will simply increase the luminance of your noise reduction, what it does that it, it removes all those greens in an image. Now, this image was well-lit, he was relocated. So I don't need any of this noise reduction, but this was just for demonstration sake. Basically smoothens out all of those grainy details that were in your image. Or let's say that you are shopping so much or you over sharpening your image at times it does good greenie as well. And then doing this noise reduction as well helps you with eliminating some of them grain in your image, right? I hope this is clear. 11. Vignette: Then the next thing that we'll be dealing with is now the lens correction. It's not so relevant for us right now. Nevertheless, let's say you were using a lens that has a distortion on it. This is where you are able to set up all those and then select based on what type of camera it is and all those details, you're able to select the make and all of those. But for me, I feel like overall my the settings that I'm working with already are pretty okay. But let's say that there was a bit of some admiration gray model, which is when colors are studying tool highlight or oversaturated. And there's a mixture of colors almost like a ringbone feeling the image. All you have to do is click on, Remove Chromatic Aberration, and then it eliminates all those areas that are that have done rainbow ish feel on the image. This is the only thing that we'll focus on and this lens correction. And then the next block we're going to focus on in the transform side over here. Of course, this is if you want to adjust, not necessarily the dimensions, but then how your image looks, maybe you want to distort their bed or make it, or maybe it was slightly twisted or moved this way or moved in a particular direction. And 12, you're able to fix all of that with the Transform panel over here. We're going to jump straight into effects. The effects are where I want us to focus and see something pretty much the last days that I want us to look into in our editing process. And as you can see for the effects, we have this post crop vignette. A vignette is simply something that you have at the borders of your image. It could be some bit of darkness gray and one are on the borders of your image. Or sometimes it could be even a very cloudy should Larry H. That's going on at the periphery of your images. And so there are three adjustments that you are able to do. All three kinds of vignette is a Highlight Priority, color parity and paint priority. Highlight Priority basically means that your vignette will be applied especially on the highlighted areas are around your image at the borders of the image. All of this occurs at the bottom of your image, but in focus, especially on eliminating the highlights to replace them with the vignette that you want to add all the color at the periphery of the image or the paint overlay as the Ming does say, it's just an overlay of paint around your image at the periphery of the image. So I'm just, I like to usually go for the highlight priority and then I just take it down a bit, take it down a bit, take it down a bit. I think this is enough. Let's just take it this way. And then I increased the mid pond or wrongness and the feather. I take them all the way wide like that to make sure that it's as fine as possible and its effect is not too pronounced on my image. And then I'm able to just slide it out like that and go for the look that I'm looking for without losing detail. I feel like that is enough. Actually, I don't want to overdo it because I'm interested, especially in that. And if I were to go for your print overlook, the paint overlay would look like this and then the color overlay, I mean the color pair, it would be like that and highlight or it would be like this. And overall, this is it really. And this is pretty much it. At the end of the day, this is the image that we have that we'll be able to edit ourselves. And this is amazing. All of this we've been able to do it all salts with the editing and moody. And I loved that has some bit of silent portrayal of empathy to it, but a bit moody as well. It's just amazing. 12. Exporting For Instagram: So amazing that you are able to see this to the end. And you should definitely give yourself a pat for being able to come to the end. And we're almost done. Right now, we're just going to be focusing on the exporting of our image. So you've done the emission, you've done everything, and now it's time to get your image ready for Instagram. What do you do? What you want to bear in mind is that Instagram, they have some standards that they have said on what type of images would go on their platform, right? One of those things that you definitely need to know it, that the dimensions that you have to suffer image, it's always four by five. So I'm just going to set this at four by five and let it look a bit more like this. I think I like that. And then once that's that, just press Enter and then it will look like this. Now, the next thing we wanna do is just simply go over to File in Lightroom and just press on this. There's a shortcut here which is just simply pressing Shift Command and Shift Command E like this. And then when you get this, you should have this interface over here. When you have this interface, advice you to just set a custom mean for your image, let's say portrait or trade. Yeah. And then you are able, there are some extensions here of this gene Pax, should it be uppercase or lowercase? That's not important. Lowercase is really okay. And then the file settings leave it in JPEG. Make sure it's a JPEG for sure the quality should be set at 100, the color space should be at as RGB because that's the overall setting that most devices are able to interpret. Devices able to interpret all the colors of this image in this scenario or in this setting. And then you Ms, resize, just make sure that you resize to fit. And then you can select different options that you can select here, you can, one of them is you can select on width and height. Make sure here you have to 160. And then on the height, make sure you have it empty. And then you have the resolution at 72. And if you export this, this way this can work. This is amazing. This is one of them. You can definitely just use this. And then make sure that you select Output Sharpening for screen. Make sure that you set it at standard. Now you might be asking a question at this point that said, why then do we have to shut them now our image again, because we already shopping during our edit. And the truth is when you upload your image on Instagram, instagram is going to squash the quality of your image, which will affect the sharpening that you already did in your image, which means that your image might even be a bit blurry in some cases because it doesn't lost some quality. So what we do is that we all worship in our image so that when Instagram does wash the quality of our image, at least this would be counteracted by this sharpening that we did while exporting, saw the shopping and I will be left will be the sharpening that we're doing a while editing. Hope that makes sense, right? So we'll just leave it at standard amount over here. And then just make sure that for metadata you can just leave it like this because Instagram does eliminate all the metadata information either way. And then watermarking, you can put it up if you want a brain, your images, this is for your company or just a particular brand that you have. You can always activate it or whether there. But in this scenario I'm just going to deactivate it because I, I feel it's not necessarily the rest of this really. You can just leave it out like that because it's really not so consequential for what we are working on right now. And then once you're ready, all you have to do is click on export. And it will say exploiting one file. Yeah, exploiting one file. It will fill this. Once it's done, it means your image is ready. So once this is done, all you have to do is simply go and look for your image. Some portraits here, a lot of images here, right? But then it should be one of those images down here and portrait. And this is the image. Very simple, very effective, and very cool. 13. Class Project: So as a class project, I want you guys to edit three pictures for me. I will not touch three pictures as well, just some raw files in here. And then I want you as well to edit three pictures you can choose exactly. You can choose to work with the three that I give, or you can just select the three images of your own choosing and on all you have to do is to just simply tell me what you feel like that image is saying prior to edit. And then after editing you can simply as well explained what do you feel that image is saying? All right, I look forward to seeing those images. Cheers.