Photography Masterclass - How I Would Edit Your Photos

[Music] good morning everyone happy friday it's that time of day and that time of week once again very happy to be here it's been a minute i've been out for a couple of weeks uh getting things ready for adobe max but i'm back and i can't wait to stream live to you today for what we're gonna do so for those of you who are new welcome to adobe live my name is terry white worldwide photography evangelist here at adobe i see a bunch of people in the chat already good people that are usually here on time i love that and i'm just checking a few things making sure the stream's going everywhere and it looks like it is so we will kick things off with just a couple of very quick very short housekeeping things and then uh from there we will get into today's topic so uh like i said first and foremost i've been out for a couple weeks just getting ready for adobe max if you haven't signed up for adobe max yet adobe max is free um this year is just like it was last year's virtual so it's free and therefore you can go and sign up for it at max.adobe.com and just join us live starting on the 26th for this great free event tons of classes tons of training tons of everything so you can just get all this free goodness uh from the 26th i believe through the 28th i think it's three days and with that said i will be there i have a class on photoshop and i'll also be there for the keynote so i can't wait to see you guys there also if you are watching this on any of the various platforms uh youtube facebook twitter wherever you're watching this linkedin great that you're here you can hang out wherever you want but if you really wanna want me to see your comments if you want me to if you wanna participate in a chat if you got questions head over to be.net slash adobe live because that's the one chat window i'll be looking at so i see sometimes on my youtube he's not paying attention my comment it's because i can't look at all the windows and teach at the same time so if you really want me to see your question or comment while we're live head over to be.net slash adobe live and if it's if it can wait uh you can always send it to me on social media and i will try to respond as quickly as i can and i know i don't always respond as quickly as i can but i will try to respond as quickly as i can going forward all right uh yeah i know who doesn't like free right david so david's here sam's here uh shayna's here uh murray chris larry mike welcome everyone kyle webster good morning uh kyle's probably gonna be doing a stream later today as well uh that's it okay a bunch of names i'm just repeating so if you are new to this series on fridays uh kyle just reminded me that we have um the evangelist doing their master classes all day today so paul was up before me then we have the daily creative challenge after me then paul will be back for photoshop then i believe it's howard after paul that we'll be doing ui ux design then jason levine will be here this afternoon doing video and audio and kyle will be doing drawing and painting so you have a full day of content every friday that we're working on fridays sometimes we have the day off and uh i'll be here this week and next week and then max so uh can't wait all right today's topic today we're going to be taking a look at user submitted photos so these are photos that i always put the link up ahead of time usually the sunday or monday before the stream i let people uh upload their their jpegs and raw files about all voluntary of course and you can um see my take on how i would edit your photo so this doesn't this is not a rule it's not you have to do it my way this is certainly not my way the only way of course it's all subjective it's all opinion it's just these are the things i would do you might do something totally different it's a buffet pick and choose the pieces you like leave the stuff you don't like and do it if you have a better way to do it do it your way nothing wrong with that and what i what i love is when someone says well why didn't you do it this way or or or i would do it this way then great do it your way so again this is just how i would do it if you got a better way by all means do it your way all right so with that said let's dive in and take a look at today's submissions i got portraits i got landscapes i got uh as usual all kinds of things here let me just get the window back up and let's switch over all right let's get rid of that okay cool so um i always take the folder of submissions import them into lightroom classic so that i can see them and arrange them or arrange them but see them and uh and just start the reviewing and editing process now sometimes i do get like 10 photos from the same person and that would be the only time i'd arrange because i'm not going to get through all 10 i may pick one or two move those up to the top put the other ones below in case i do have time to get to them later never happens but anyway um these are pretty much the random order kind of the way they came in and there may be one or two from the same person but that's pretty much it so how would i start with this looking at this first photo now i purposely left two photos from this person because one is way better than the other one this is the photo that i honestly for the person that submitted this i would only edit this photo if it was the only one you had because you got a better one this is a much much better photo so like unless there's something significant about this particular photo something i'm missing i i i wouldn't again unless it was the only one you had which is not i wouldn't even bother with this one and the only reason i left this one in the group is because i wanted to show you that i wanted to show you that you've got the problem with this particular photo is that the the the person blocking the horse is and i could lighten up the horse's eye and we could see more of it but there's there's not really that's not the moment this is the moment so that's the one that i would spend my time on editing i would not spend my time on this one and i'm not going to so for that reason i'm going to come in here and work on this one all right so let's uh let's get into the develop module first let's get out of full screen develop module all right so i'm in the develop module of lightroom classic just like it would be the edit module in the lightroom if you're working on that version um and let's go to basic and let's start to do the things i would normally do now again some people submit jpeg some people submit raw files this is a jpeg so i don't deal so in other words there's no raw profiles here to start with so again no reason but since this is a jpeg i can do a few things like for example i always always always do an auto tone just to see what lightroom is going to give me so i click that first and if i disagree with any of those sliders then i would turn those sliders the way that i would want them to go but this is pretty much it did the right thing it lightened up the photo a bit um let's see what contrasts it add a little bit of contrast to it which i would have done and i might add a little bit of texture to this photo because the horse can take it and it's not really a portrait of the girl so it doesn't really matter for her i like the backlight that's coming in here i would normally crop this off but because of this this feeding pan i believe this is what this is i would leave it on here and then we've got some issues to deal with the stuff that's on the wall here or whatever that is so that needs to come off and just we need to do a little cleanup here as well so now the only other thing i might do while we're here in lightroom i see some shadow clipping nothing important i see some highlight clipping of course it's going to be in the um in the sun there but it's also on her pants so i would pull back the whites in this photo to kind of kind of eliminate some of that clipping or the highlights being blown out i should say in her pants so i would just basically pull it to the point to where when i hover over this warning there's no more red warning on her pants if i pull it all the way up oh actually i didn't need you didn't need to pull it that far at all so there's a little bit now and this is what it used to look like by the way so you can see the difference maybe you didn't catch it see all that red on her pants those are the areas that are completely blown out like there's no more pixel there's no more there's no more data there's pixels there there's no more like contrast data there is just all white so i pulled back the um whites in this photo now normally i would pull it away until this white triangle disappeared but it's never going to disappear because of the sun in the doorway um so i would just pull it back until i hover over it and i don't see any more red on her pants pull it back a little bit more okay the red's pretty much gone and a little a little tweak there all right that's enough um because like i said you're not going to get rid of it in the doorway because it's just too bright all right so now that i've done that i might still go up on the exposure just a hair that's about it and now um i i pretty much have done the things i want to do in lightroom i i might look at the sharpening in this photo too while we're here because jpegs don't get sharpened automatically like raw files do so might bump up the sharpening a bit all right that's pretty much it so now that's what i would do from a lightroom perspective but there's some things i want to fix from a photoshop perspective so i would right click on this photo at this point now that i've done all my non-destructive editing in lightroom and i would choose edit in photoshop and because it is a jpeg it will ask me this question it'll say hey do you want to edit with a copy of the things you already did yes i do uh do you want to edit just a copy without the adjustments why i would never want to do that or do you want to edit the original nope i would never want to do that so when i say edit a copy that makes a copy of the photo in lightroom takes it over to photoshop and lets me do whatever i want so when people like always oh i got to duplicate the background layer first and start there that way i'll have a safety net to go back to i don't worry about that because i've already got that safety net back in lightroom but just for the sake of people that can't can't handle if you don't do that there we go i made my major background copy for you all right now let's go in and let's deal with the things that are bothering me the most which is this stuff up here all right there's just a splatter of something i'm not going to try and guess what that is but this is this is what would be bothering me in this photo because it's going to make me look over there instead of looking at the moment which is this so it's either crop to the moment which that wouldn't be a bad photo but if you want all of it then this stuff has got to go now there's a couple ways to get rid of this we could clone it out we could patch it out we could um we could paint it out by using a lighter color of the wall to paint in the darker areas that's so i'll show you a few different methods you pick the one that works best for you so first thing i like to do is start with a patch there we go so just patching things like that to try and get me get a clean area first all right now that i got my cleaner area then i would start in sections here and start patching this and again you know i've made that selection too big because it's pulling over the um the horse's mane as well so i might have to come over here for this first patch and then uh continue working so you could and i know it's not a clean patch because we're not done but you can begin like that patchwork that's even worse you could begin that patchwork and if you're on an edge like this you're going to get that kind of blurring unless you use content aware instead of normal content aware will do a much better job on edges than normal does there we go like that and so i would just keep patching until i got all of this cleaned up and so it'll take a few passes to do that but that's what i would do for this photo so i got all of that wall area now you're starting to get into a darker area of the wall so the patch is going to be more noticeable so at one point i would switch back to normal so it starts to blend in more but let's get rid of some of the bigger stuff first all right so now so we don't see where we did it then i would switch back to normal and that way when i do a patch like this it's not so obvious it kind of blends in as it goes back so it just starts to naturally get darker so that's for those of you are wondering what's the difference between normal and content aware content aware is going to be more of an exact patch normal is going to be more of a blended patch so because you're blending edges that's why the edges blur when it's on normal and versus content aware it does not blend it does not blur nearly as or if at all nearly as much so now you might at this point like the patch tool might be kind of like hard to work with within the main chair so you might go in and start doing cloning at this point so hit the letter s go to my clone stamp tool make sure it's set up on normal like it always is hold down my option or alt key get close and just start cloning around some of this area here so you kind of just naturally get rid of those those spots same thing here just naturally getting rid of some of that stuff and now again you would go in tighter and work work better but i just gave you your like that's what i would do to get rid of that um you could also here's another just another technique so you have it one of the techniques i do either with the clone stamp tool or with the paintbrush is setting the brush blend mode to lighter because what you really want is you want the lighter color in the darker areas so for example if i go back to the clone stamp tool you notice that it has a blend mode and i i could choose um lighting lighten as the blend mode so now what that means is that if i pick a sample is and by the way i might not go 100 lighter i might drop the opacity down to maybe 40 50 so that way it looks more blended more natural as opposed to it's just an exact copy of those pixels so see here those pixels keep getting lighter lighter lighter as i brush at 40 at a time as opposed to or 50 whatever i'm at as opposed to 100 just to kind of lighten that area up same thing here so that gives you a more natural look to your clone as opposed to an exact clone after the fact all right so now we got that there and this is your before and after boom big difference boom big difference so yeah and you know you don't have to stop there if you feel that you know this stuff over here starting to become a distraction now that you cleaned up that wall so well i'd start cleaning up this wall as well and again it doesn't have to be perfect we're just trying to reduce the the attention that someone might spend looking at that area of the wall okay so now that we got that cleaned up i don't have to worry about my eye being drawn in that corner anymore now i can focus in on what's going on over here so uh because this is a jpeg there's like some noise and artifacts in here um because this was a apparently a darker a scene when you photographed it she's facing away from the light that kind of stuff so there's you know you can do a little bit here but not you can do some noise reduction back in lightroom but not a ton so now i might go in and i might start to just you know fix a few little things that i see standing out on the horse or the person just little specks little things that's that grass is fine just little things like this and then i might go in since the eyes are important even the horse's eye i might go in with a dodge tool and just kind of brighten this area up a bit and i might brighten this area up a little bit but again there's only so much i can do with the pixels because they'll the grain will start to show more all right and um yeah that's about it so i might crop it down just a hair as well but i can do that back in lightroom just trying to make sure there's nothing else i need to be in photoshop for all right so those are the things that jumped out at me right off the bat you could always you can spend hours doing more but those are the things i would take care of right off the bat and i'm saving saving behind me you can't see the progress bar there we go close it and when i come back to photoshop or i'm sorry when i come back to lightroom from photoshop this is what you see you always have the original jpeg you started with or the original raw file you started with and then of course you have the one you edited now the one i edit it is up for fair game to do more too so i can crop it down a bit like i said i don't need to see this much of the horse from the back so maybe something like that just to kind of eliminate some of the stuff that isn't isn't necessary now again i said i wouldn't crop the dish but maybe i would now so again just where does my attention need to be and it really should be in this area now the last trick i might do from a lighting perspective is because again i don't like the the fact that the back of the horse here the stomach is lighter than the rest of the photo so either a continue to crop in a bit more or b um expose them a bit more so one of the things i might do is i might grab my radial filter come in here and just grab a radial filter right from the middle in and kind of like put a little spotlight on them using exposure up let's do the invert there we go invert the spotlight do a little uh exposure on them not too much obviously just a just a hair brighter just to kind of put that emphasis on the moment and like i said that bright part is is bothering me a bit more than i thought it would so i might come in something like that but again that's me you you might want to keep more of the horse that's totally understandable but to me this is the moment in your photo all right um yes you now know how to get rid of poop on a wall there you go all right moving on uh so again if you look at the photos now we're gonna just quickly like that's not the moment that's the moment that's the one you would print that's the one you would share uh it's just because you don't really see her face you just see a horse uh all right so let's go ahead and move on now to this one we got a portrait here looks like wedding day so i got a couple of these um i kept both of them because like there's a couple quick things i would do here um i noticed that both feel crooked they may not be but the other one the buildings are leaning so it is crooked this one may not be just they just may be on a hill and the trees kind of look straight up and down so that that's okay but just first glance it looks crooked it's not but it does all right so let's let's talk about again what the subject is the subject of them i like how they're not centered in the frame great great job on the composition um the sky is not amazing but again the attention should be on them not an amazing sky so i i went into i would i would be tempted to go into photoshop and do a sky replacement and then it just dawned on me yeah making the sky better so you look at the sky is not really the goal here the goal is they should be the the focus so it's okay that the sky is not amazing because it's not a landscape photo it's a portrait so again let's go back into the develop module i'll go to basic um this is raw so i can set a raw profile i can set it to portrait mode or portrait i can go in and choose auto and auto really brightens up the grass it really does a lot of nice things for the background but it made them look not as good so and that's okay it kind of balanced the the pro the image was probably a bit overexposed so it brought the exposure down like almost a full stop and again that was the right thing to do for the rest of the photo but not the right thing to do for them so i don't mind that i'm going to keep it where it is but now i'm just going to maybe spend more time cranking up the shadow areas because that is where they live they're they're like kind of in the shadows because the background's so bright and then i might do that same trick that i did before where i you know put like a little bit of spotlight on them using exposure and invert there we go oh too much not a flashlight just add a little bit of light see see again this is this is that's nothing that's no light and just adding that little bit makes all the difference in the world there we go something like that and again you can move it around you can see what it looks like without it and see what it looks like with it and i would probably do something more like that just to put the emphasis on them all right um well do anything else like i don't really see a huge need to go to photoshop the image looks good images clean there's not like a lot of a lot of stuff i need to remove from the background so this this could very much be just a lightroom only adjustment um let's go to the lens correction let's see what the lens correct oh oh there was an opportunity for the lens correction see the curvature that it took out of the photo so uh and because it recognized from the raw file what this was shot with the canon image or canon camera it was shot with in lens it took that bowing out of the image so i would definitely do that detail let's go into sharpening so um because there are people um if i crank up the sharpening like that like it got you know super sharp all all the way through the photo you end up with this so that's too much sharpening let's take let's undo it that's the right amount but what i don't want to do is i don't want to sharpen her skin at all i don't want his you know no one cares about his skin i wouldn't sharpen her skin at all so one of the things that with the the biggest trick in lightroom classic is or lightroom period is that you can use masking so that lightroom knows what people are and it only affects everything except the skin so let me zoom out a bit and let me zoom in to just where you see their faces and let me show you what i mean by that so if i hold down if i slide masking back and forth you can zoom in and see what it did and what it didn't do but the best way to do this so you know which amount to use is to hold down the option key or alt key and drag until everything the skin is dark and everything else is light so all the other things are light the skin is dark and what that will do is everything that was dark will not be sharpened everything that was light will be sharpened so that way you end up with um in here i'll zoom in on her again so we can see it you end up with skin that doesn't get overly sharpened and here let me pull back the masking so you can see the difference oh i'm not going to hold down the option key this time that's unmasked and that's masked so now i can go to town on sharpening like saying crank it all the way back up nothing happened to her skin but everything else got overly sharpened but uh everything else got sharpened and her skin did not so that's just use a masking when you don't want to over sharpen someone's face and that way you uh you keep the skin nice and soft and you get everything else nice and sharp all right um from a color perspective this looked good so the other thing i might check is the white balance so you have um because this was in raw i get to pick i get to pick my own white balance so this is daylight so i might use daylight but daylight's a little too warm for this photo like they got a little too yellow so i might pull back on the temperature just a bit but i like the warmer skin but not too warm i don't want them to look yellow so just pull back the temperature a bit a bit and that way i get a custom white balance okay now um if that background's important keep it the other opportunity of course would be to have a version where it's crop so because you're in lightroom classic you get that option to create a virtual copy so let's go to photo create virtual copy so that just creates a copy of what you just did and then you have that extra copy and of course not taking up any space in um on a hard drive you have that ability to say for example oh this would make a nice 5x7 and we can crop in and we can crop in some more and there we go you end up with a nice kind of portrait like oh don't want to cut their hands off don't want to amputee don't want to cut fingers off there we go something like that so that way you have both versions you have the full extended version that you can use and then you have the one that is a little tighter cropped i like tighter crops for people and away you go all right so that way you have both now back to this one um always learning something thanks michael okay it's just really obsessed with the photo words uh i learned that always sharp in a hundred sharp in a hundred percent know who uh sharp at a hundred percent can definitely be too much depending on the photo depend on resolution of the photo too all right so let's go into this one this is what i meant by the building was qriket so like i know this image is crooked so these buildings aren't leaning like that so that's my dead giveaway and then the next thing you would have to ask yourself is are these buildings important like ridges is that significant i i don't know the story so i'm only coming in after the fact saying maybe that's where they spent their honeymoon maybe that's where they work i don't know i don't know anything about it so i would question whether or not that's important but it is crooked so let's start with that let's go to uh transformations let's do an auto upright there we go now it's not crooked anymore i didn't have to do it manually auto took care of it great now i can go back to basic and get started so same thing it's a portrait uh let's do an auto tone auto tone really again brings back all the color of the background i might pump up the shadows a bit more just to bring them out a little bit more and then again uh unless that is important to you like unless that building is important or this background's important the background is the distraction because everyone's going to say what's rigis that so i'm teaching just a standard we get caught up in things that aren't important and don't pay attention to the things that are important so with virtual copies can they be included in a collection for the client to see both versions absolutely virtual copies in lightroom classic for all intents and purposes act like regular photos even though they don't take up any extra space so you can have 50 virtual copies in an album share them to the client and they would see all 50 versions of your photo all right so um for example i don't know the story so i am going to make a virtual copy and now that i got the virtual copy i'm going to go into that virtual copy and corrupt all right because uh that is just serving as a what is that building what's that why is that building there is that building something that we should know and if it is keep it and if it isn't um you might want that version so same kind of thing just add a little spotlight to them invert it and exposure too much just a touch of light there we go and of course then i start to see other little things like this whatever this is on the ground click gone i don't know what that is behind our shoe but now it's gone yeah too big yeah so that's what happens when you try and make you try and uh you're lazy and you're not using a smaller brush like you should there we go and then i see this little thing peeking into the frame so like i don't know what that is so it's just gonna make people say what's that and we don't want people saying what's that we want people looking at them all right cool again uh there's not not something not a ton that i would go into photoshop to do on this so i would just end up with my lightroom correction um oh look at images in 100 when you're sharpening yes i agree uh so that was so he wasn't saying sharpen to a hundred percent he was saying zoom in to a hundred percent so when you sharpen that's what you're seeing and i would agree with that all right so next up uh here's uh just uh sunset sunrise sunset looks like so it's over snow mountain it's over a mountain i didn't notice that at first um so it's a raw file so let's go into um profile let's make it landscape see how the colors change just that quickly that's adobe color everything's kind of flat with adobe color on purpose but then when i go to adobe landscape for that for that the colors automatically start popping right off the bat just a little bit not a ton and the thing about these profiles once again i'll just remind people is that when you're choosing a raw profile to start with you're not affecting any sliders you did so whether you did the profile in the beginning or you forgot to do it in the beginning and you came back and did it after the fact it would not adjust your um it would not adjust your other adjustments that you did so i do see a couple comments over here on facebook and yes it will be on youtube and record it and it's there now and it will be there when we're done and okay good morning good morning all right anyway moving on so um all right cool now we did that and of course like i said i always do an auto and auto is going to either make it better or worse and because this is a raw file and i see some vignetting i think this is in the upper left and right corner see those dark spots in the upper left and right corners that's lynn's vignetting usually so if i go to lens corrections and turn on the lens correction look at how much lighter that got didn't remove it completely but it did get lighter so i might go in because it is so you could always crop it obviously but the other thing you might do so if you want to keep the whole frame is you might go into not that i'm going to go into effects and i might uh just pull back a little but not a ton now it's just it's not gonna it's not gonna give me enough of the undo undo not gonna give me enough of that to pull that out of there so um you can either crop it to get rid of it you can always take it into photoshop and and clone it out or or patch it out or you could embrace it and say give me more vignetting like so in other words let me put more emphasis on the center of the photo so your choice um [Music] because if you leave it just a little it looks like a mistake so that's why i'm struggling with this it's a beautiful scene i don't want to crop it any more than i have to so i'd probably take it into photoshop and get rid of it that's because again this is what i would do so uh anyway let's before we head over to photoshop and get rid of it let's uh let's finish up here so the auto tone did some cool things i'm not totally happy with what what it where it left things so i'm going to bring up the shadows a bit more i'm definitely going to bring up the uh contrast a bit more i'm going to because it is oh wait whoa whoa whoa whoa whoa whoa whoa something's making that way more i didn't see what did this like bringing this green green over here oh maybe that's just in the scene here let's do let's do that's before it was already there okay that's before that's after it just got more enhanced all right i thought i thought i did something to add some green into the photo i'm like wait a minute that's a little too much green there but that is in the photo already all right um [Music] yeah uh so okay so i can like the reason i'm hesitating is because i'm i'm the sky is perfect i'm not the sky is not the problem i'm not happy with the foreground just from a like it looks kind of purplish in here and it shouldn't so um that's what's bugging me right now so i might go in and um i could use an adjustment brush i can use a gray graduated filter let me try an adjustment brush and with an adjustment brush let me change my preset to let me change my preset oh you know what i didn't do yet hang on hang on before we do this this might take care of it hang on we didn't add any dehaze yet and that's not gonna do it okay never mind all right so let me go to my adjustment brush and let's go in and add just just reduce the saturation a bit because it's really a color thing and let's go ahead and just start brushing this so i'm i'm and let me make sure my auto mask is turned on good all right now that i got this mountain mountainous area painted and by the way i can show the overlay to see where i missed like there now of course you'd zoom in do a better job all that i'm just trying to get to a point here of um seeing what's bothering me about that that area of the scene so if i br yeah if i bring down the saturation just kind of get some of that color out of it that and i know the color is a reflection of what's going on in the sky but it's it's not helping me like it looks like a mistake to me more than it looks like what it really is and there's nothing wrong with it is just what's bothering me about it all right cool now i can go into clear oh yeah see pump up the clarity in those mountains now we're talking that's what i want texture yeah baby and now i can bring down the exposure a bit more because it's about the sky more than it is about anything else and there we go so that's the adjustment i wanted that's before this is where we started and that's after this is where we're at now and i'm feeling really good about where we are now all right so the only thing bugging me left is those uh corners so again uh command e on mac control e on windows or right click to um in photoshop and again just that that and this are bugging me that's the only thing i know what it is i know why it's there that doesn't mean i have to like it and just do a content workflow and away we go save close head back so here's where we are all right let's make another virtual copy just so you learn another trick virtual copy on this one head to this virtual copy and we're going to go back to the history in this photo oh actually it wouldn't have any you're right reset the virtual copy there we go uh so the virtual copy has been or should have been reset yeah that's virtual copy reset so this is where we started this is where lightroom gave us and this was the finishing touch in photoshop and if the sky is bothering you because you now know that that's disconnected because i didn't select all of it then select more of it so it fills it in but where we started where lightroom got us and where photoshop finished it all right cool next um [Music] okay all right john just gave us a gave us a thing he tested and okay all right so next up where we have a uh looks like you're in japan maybe and you got a cruise ship and you got this boat over here um this dinghy and you got a lot of issues here so first and foremost let me see what i'm working with uh this is a jpeg okay and let's go in and let's start with um so many things i don't know where i want to start so first and foremost the i can't tell the horizon may look a little crooked in case you haven't noticed i'm super sensitive to crooked photos so let's grab the angle tool and just check it it may be perfectly fine but it looks slightly off to me yep it's it's fine it just looked like look like that okay back to develop um let's do an auto that helps [Music] so a few things bothering me the sky looks like it's just simply overexposed so maybe a little de-haze might help for that there that's better so again just quickly that's where we were super overexposed blown out photo and um that's where we are now so now the the thing here is that this is so dark you don't really even see the tires on this you don't see the detail in it so you might want to bring up the shadows a bit more you can now start to see the color but then you bring up the shadows there you bring up the shadows everywhere so that's why we have local adjustments so i might go in and set this to [Music] shadows presets all they do is just zero out everything else and give you a little bit of what you asked for so i asked for shadows and now i can come over here and paint the side of the boat and i'm haphazardly painting you would take your time and zoom in and do a really good job painting and masking so again i can see my overlay alright now that i did that um and i'm not doing the top part it doesn't really need it i'm just going to go in now and just bump the shadows here just yeah see how you're just bringing out that one thing as opposed to the whole rest of the photo you're making that one thing stand out all right cool now uh this is just a personal thing this is not a you have to do this on your photos but this is a personal thing with me is i hate water that isn't blue i just do i this is just a personal thing with me um that is the natural color of this water it's polluted this is what water that looks polluted looks like but i like that i was you know always read about the deep blue sea and this is not deep blue so what i might do just because it's me is i might go into my adjustment brush and do a new one so you can have multiple adjustments with the same tool i just click new i might take my brush size way up and i might start masking all of this now it's also it's on shadow so that's what it's doing to all of this but let's see what let's see what the brush looks like here there we go and let's make the brush a little smaller and come in here and do this all as well just make sure we get all of this and with what i'm about to do you'll know when you missed spots so you can always go back and fill them in and you'd go into windows and get all those little window areas too i'm just not going to take the time doing that but anyway now that i got that all done shadows is not what i want what i want let's turn off the overlay is temperature just bring down the temperature that water there we go just again i hate it gray i hate it green i hate i just give me a little blue and so you know it it's it's not real it's not real yeah it made it may not even be looking realistic but it is what i like so this is what i would do um and if it's too blue you can always pull back you can always say just a little blue or you can say go really blue it's up to you and it's just affecting that one area all right that if you're if you're going to use this scene that would make me happier about this scene now i might also do another adjustment on the sky still a little bit overexposed but you know it is a middle of the day kind of shot with bad light so that is what you're going to get so um this is i think from the same person mixing or rinsing repeat and so if i go previous it'll bring over those previous things i just did so i hit previous and brought over all those adjustments i just did and i can then go in and and undo or do more to the things i did so for example this one could use more exposure this one could use um a little more dehaze obviously it didn't paint the exact same area so i could go in and finish painting that with the adjustment brush but that is what previous got me just like that all right um moving on so we got a portrait here let's get this kid i i don't know who he is but he always likes to submit things to these i think he just likes seeing himself on my show but anyway uh let's go into develop and let's go here it is i'm sorry this is a jpeg let's do an auto auto auto tone and again does the right thing to the background but it makes my foreground too dark uh so at that point i might just bring up the shadows just a bit there actually that looks pretty good the way it is now your portrait is fine um the only thing let's turn down this vibrancy saturation the sky is looking a little over overcooked your portrait's fine the only thing that's starting to bother me is like uh that looks like a bridge behind you and that's the bridge but like this this thing this tower whatever this is do you need it if it's not important to the story i might get rid of that you got some stuff on the ground around you so i would maybe start to take some of that stuff out of it but you just have a busy background and with any time you have a busy background it's just going to make people start looking at the background and asking what's that what's this i wonder what those power lines are for like you you don't want people distracted by everything that's going on in the background so that that would be my my take away from this now the way we do it in photography if this probably shot on a phone because i see your arm looks like you're doing a selfie um in photography with a lens we would you know just blur this stuff out with shallow depth of field so i might go into photoshop command e open a copy of this in photoshop and i might go into a filter like our neural filters and i might go into depth blur and it will calculate that depth blur i see it in the upper right hand corner and yeah so i might do something like that to where then the emphasis is on you not the stuff in the background and you could if this if it's too strong you can bring it down and it outputs it to a new layer anyway so you can always tweak it and get it the way you want if it's not strong enough you can always crank it back up so let me take it almost all the way up and see what it does yeah like that becomes that because then no one's going to spend time looking at the blurry areas they're going to look at you and that's what we want so i actually even like it super strong like that so let's click ok and again it outputs that as a new layer so this is our before where everyone's going to be looking at all that stuff around you and this is our after and this is the stuff that um that we want people to look at you not all that other stuff so save that it's saving with the layer head back to um to lightroom classic and this is our before and that's our after there you go dude all right we got like one minute left maybe we get a landscape in here in that one minute oh this is beautiful beautiful shot uh so landscape gave me the raw file great um auto tone awesome just awesome great shot like like i just want to say done closed done dehaze maybe a little bit of dehay oh yeah even got better yep like it's not like you could just spend all day playing with this one because it's just a great great shot um so that's before that's after just quickly easily uh so the background looks pretty unique i i bet he want to keep that in but blurry looks so much mucho better so again that's you know that's what i'm saying these are what i would do because i don't know the story i don't know if that background is important or not if it is important keep it if it's not then yeah i would i would say that it's just going to make people question what the background is and that's not what we want people spending time on in our photos we want people spending time looking at the subject not the background all right and then i might just bump the exposure just a bit overall but you got a great shot here all right so that's full screen and that's before and that's after just a couple quick easy adjustments and the only other thing that's bothering me now is this one little one little thing leap twig sticking up in the background there so i might go in and just get rid of that because it wasn't enough of it to keep it and even this one i would question whether or not we need like do we need it if we don't need it then use the healing brush in lightroom to get rid of it but that's just nitpicking like your photo's great that's it that's great all right with that i am out of time everybody i hope that you got something out of this i hope that you learned um and i'll be back next week i think we're going to do adobe stock workflow how to shoot edit and submit to adobe stock to sell your work especially while you're in these times of a pandemic where you might not be shooting as much as you normally would always nice to have some money making itself in the background while you sleep so cheers everyone thanks for watching thanks for being here thanks for the submissions great job on submissions i ran out of time they're more photos we'll just save them for next time cheers everybody later [Music] wait a minute wait a minute we're not out of time we're not out of time wait don't go we're not out of time yet i just realized my clock says i have three minutes left i'm thinking never mind all right so i'm not sure why i thought we were out of time but we're not out of time let's keep going for these last couple minutes here let's get to another photo all right that's going to shortchange you so let's go go to our next one we got like three minutes left so let's quickly get to a couple more all right uh first and foremost let's get to this guy submitted before i remember his train i remember him and this is like worst case scenario this is like wrong time of day light coming in blowing out everything else not a lot i can do with this but let's uh let's see what we can do so jpeg so let's go ahead and just do an auto and again not a ton we can do this is where we really want to try dehaze because dehaze is designed for this kind of stuff it's designed to bring back in more detail into your scene but the problem with dehaze in this one is that if i go as far as i need to it starts to destroy the rest of the photo so we were we're basically going to just live with him in the sun but we don't have to live with him in the sun as much around him so what we can do is use our adjustment brush uh is the train moving run dude uh no i think he's the conductor anyway so if the train's moving and he's outside the train then we have a bigger problem but anyway let's uh let's go in and let's use our adjustment brush and let's set the adjustment brush to dehaze and with the adjustment brush on d haze we can go in and just oh see i wasn't careful let's zoom in wasn't really careful with where i was painting there we go we can start to de-haze our subject without destroying the rest of the photo and i'll just give you uh these this hint this is going to get a lot easier after max i can't tell you why i can't show you why i should say but after max this is going to get a lot easier all right okay so now i got him all painted in then i can add a lot more dehaze to bring him make him stand out without destroying the rest of the photo so this is like giving me give me dehaze as much as i can for everything and then let me zoom in and get some dehaze for for just my subject and again it's just like i'm not sure if that was an effect excuse me i'm not sure if that was an effect you're trying to create by having this overpowering light coming from your side and you look like you're angelic by just having all this sun behind you but uh it was so overpowering that we couldn't see you as much as we should anymore so now that we got that we can also maybe bump up the contrast again we're doing this just on the um brushed area and we can add a little texture to them as well and a little clarity yeah so this is our before see see how much he's blown out completely and this is our after all right okay um again not a ton i could do that that was pretty much it all right so now we are out of time but i was going to head to this one oh this looks like a really small one but great photo uh maybe we'll start with this one next time all right so now uh you got a bonus one sorry it wasn't a bonus i was jumping the gun on my timing because i don't want to go over but with that said cheers everyone thanks for watching thanks for the submissions great um great job on what you sent me it was fun working with your photos and those are just a few things that i would do but of course the final decision is up to you on your photos so with that said we'll catch you on the next one stay tuned for the um photoshop daily creative challenge bye everybody [Music] [Music] it's

Channel: Terry White

Views: 2,255

Keywords: Terry White, Lightroom, Photography, Adobe Spark Page, How-To, Masterclass, getting started, Lightroom classic, Photoshop, presenting, learning, image manipulation, creative cloud, adobe

Id: 8fpIsjNRVBk

Length: 57min 15sec (3435 seconds)

Published: Fri Oct 15 2021