All language subtitles for THE BEST Lightroom Develop Module Tutorial For Beginners - Complete Guide (inglés_ASR)

Lightroom is an extremely powerful

editing tool but if you don't know how

to use it correctly you're just sort of

moving sliders so this video is designed

to be an intro tutorial to the Lightroom

develop module if you haven't already

watched it check out the video in the

upper right hand corner that's the intro

to the Lightroom Library module where I

explain all the basics of the library

module in this video we're going to be

covering the develop module this video

is going to be extremely helpful for

folks who are new to Lightroom and folks

have been using Lightroom for a little

while but still have some holes that

they'd like to fill in in their

knowledge base we're going to walk

through every single tab in the develop

module panel on the left and the right

hand side and cover some very basic

editing techniques to get you on your

feet before we get started I invite you

to check out nature mik.com where I

offer some really great articles infield

photography workshops and private

post-processing lessons so here we are

in the develop module D is the keyboard

shortcut to get here if I wanted to

switch back to the Library I could hit

the e key to go to the loop view or the

G key to go to grid and then D is

developed those three key commands are

really useful to remember and I highly

recommend it first things first you'll

notice that my develop tab is blue

that's just because I changed my

Lightroom settings and I do have a video

on how to do that which I will put in

the description of this video if you'd

like to change the color of the

Lightroom modules or if you'd like to

add your name to the top Lightroom

toolbar so we're going to go ahead and

start on the left hand side the first

thing is our Navigator if I click in

here I can zoom into the image and drag

around with my Mouse um we we also have

a couple of Zoom options by default that

it's going to go between fit and 100%

the spacebar will toggle between the two

or if I click on 200% then I'm going to

toggle between fit and 200% if I'd like

to change that Zoom amount I can just

click and I can come down here to 800 or

I could zoom all the way out to

6% and this can be useful when you're

using local adjustments which we'll get

into in another video and so right now

I'm going to go back to fit and you

notice when I hit the space bar go back

to 6% if I want to go back to 100% I

just click on 100 and now when I toggle

it'll toggle between fit and 100% simple

enough right next we have presets and if

I scroll down here I'll find the Adobe

presets the first presets that adobe

offers are adaptive presets and these

adapt to the actual photo so it uses

layer masks such as selecting the sky

selecting the subject or the person

within the photo so if I'll just go

ahead and click on this one and I'll

open it up by clicking this arrow on the

left hand side and then I can just hover

over these and I'll automatically get

previews and if I click on one it gets

applied to the image if I want to undo

that I can go to edit undo command Z on

a Mac control Z on a PC and if I want to

close this out I'll click the triangle

again and maybe I'll come down here to

Seasons and again I can scroll through

these different presets now it can be

tempting to use presets but the problem

with presets is they were built on a

specific image so a lot of times they're

not going to look very good unless your

image is very similar to the image that

the preset was built off of they can be

fun to play around with and they can be

nice for beginners because if I click on

this and then over head over to my basic

panel you can see my sliders are already

moved for me so I can see what this

preset is doing to the photo and the

corresponding sliders now I want to

reset this preset so I'm going to go

down to the bottom right hand corner of

the screen and I'm going to click on

reset and that resets the photo to the

way we started and I'm going to come

back up to Adaptive sky and I'm going to

choose blue drama and you notice when I

click on this I have a preset amount and

that's going to allow me to adjust the

intensity of the

preset when I'm done I'm going to go

ahead and close this out and I'll go

ahead and close the entire preset tab

the next tab is snapshots and this is

one of my favorite tabs in Lightroom

Lightroom does not save photos like a

traditional program would every time you

move a slider that action is recorded

within Lightroom so there is no saving

but sometimes you'll want to get back to

a specific point in your editing

workflow and that's where snapshots come

in so if I go ahead and click this plus

sign that's going to create a new

snapshot by default it's the date and

time we can name this if we want to I'll

just call this edit one and hit create

and so there it is and these snapshots

are stored in alphabetical order so I'm

going to go ahead and I'll click another

preset real quick uh let's do these

light leaks something something kind of

funky okay so we got another preset

applied here I'll close the presets tab

come back down to snapshots I'll hit the

plus sign and this when I'll call light

leak

and hit

create and there it is it's right

underneath edit one not because that's

the order we created them but because

it's in alphabetical

order and we can always open these and

close these and if I want to go back to

edit one I just click on it and now I'm

back at edit one next we have history so

the history is everything that we do

from applying a preset to adjusting

sliders if I just move the exposure

slider you can see that gets recorded at

the top and I can just kind of move the

around and you can see that this history

fills up really quickly so that's where

snapshots come into play they allow us

to save our edit at a specific time so

I'll go ahead and hit another snapshot

and this one I'll just leave set to the

date and time and you can see this time

it went to the top and now I can toggle

between these and if I come back to

history again you can see how large our

history is getting which means snapshots

are a lot easier to navigate than the

history tab now right now I'm in Solo

mode which means only one tab can be

open at a time so I'm going to control

click on a Mac right click on a PC I'm

going to go ahead and turn solo mode off

that way I can open up snapshots and

history at the same time so you can see

I only have three snapshots here but a

lot of history another downside of the

history is if I come back to our first

edit of

temperature and then start making

adjustments maybe to saturation you can

see I just lost all my history that was

above it and there's no way to get that

back after you go p a certain level of

undo steps and so that's where snapshots

become handy lastly at the bottom we

have collections I covered collections

in my Lightroom Library tutorial so I'm

not going to cover these in this video

again if you'd like to see that go ahead

and click on the link that was at the

beginning of this video or check the

description and I'll put a link in the

description of as well the right side of

the screen is where all the editing

takes place in the develop module if I

want to go ahead and reset this photo to

the way we brought it then I'm going to

go ahead down here and hit reset and

starting at the top we have our

histogram the left side of this graph

represents black the right side

represents white and then the middle is

the in between Grays so here's our

darker Grays these are some lighter

Grays here and watch as I move the

exposure slider how that histogram moves

you can see we have this dark spot here

in the Rock and down in the sand and

that's this bump in the graph right here

if I take the exposure to the right that

moves over to the right hand side and if

I push it really far everything becomes

Overexposed and I can tell not only by

looking at the photo but by looking at

this graph and seeing that it's riding

up the right hand side and you notice

when I click this triangle these red

spots in the sky are telling me that

there is zero data left here this is

100% white no texture or detail at all

as I bring that down that starts to go

away

and if I come over to left and click the

left triangle and bring my exposure down

you'll start to see blue

appear and when I get to that blue

that's saying there's absolutely zero

detail left in this spot now obviously

this looks pretty terrible so I'm going

to go ahead and double click exposure

and that resets the slider heading back

up to the histogram I'm going to go

ahead and turn my highlight and Shadow

warnings off and looking underneath the

histogram I can see my shooting data so

I shot this at ISO 200 16 mm F14 at 4

seconds and underneath that it says

original photo and if I click on this

that would allow me to build a smart

preview smart previews allow you to work

on photos even when the actual photo is

offline such as on an external hard

drive that's not connected to your

computer I don't use Smart previews

because I use an external hard drive

that contains both my photos and my

Lightroom catalog this way I can work in

Lightroom and Photoshop while on the go

if you'd like to see how I set up my

Lightroom catalog I'll put a link in the

description for my video how to properly

set up a Lightroom catalog and that

walks through the entire process of how

I set up my Lightroom cataloges so I'm

just going to go ahead and hit cancel

here and one last thing about the

histogram if you look where our shooting

data is once I start hovering over the

image I start to see letters and numbers

the letters stand for red green and blue

and then the numbers stand for the

luminance of that channel so monitors

use red green and blue channels

and this is the brightness of those

channels if I come to this bright area

you can see the numbers get higher if I

come down to this dark spot you can see

the numbers get quite low underneath the

histogram we have our local adjustments

and crop tool right now this panel is

set to editing mode which is the

sliders but if I come over to the next

icon that's our crop tool I can click

outside of the box to rotate the

crop I can drag In and Out From Any

Corner to move this around if I hold

shift and hold the Corner that will keep

the proportion of the

crop and the X key will rotate between

vertical and horizontal crops if I want

to back out of this crop I can hit the

Escape key heading back to the crop tool

resets to the original Crop and I have a

few options down below I can tell

Lightroom if I want to lock the aspect

ratio and I can lock it to the original

or I can come up with a custom if I want

to set this as a 4x5 or 8x10 I could

click here and you can see the edges

have cropped in and now when I grab the

edge of the crop it stays in a 4x5

aspect ratio and you can see the lock

has been locked if I click on that I can

now move it any way I'd like and to

reset this I'll just go down to reset

and this time I'm going to grab the

angle tool this is a really useful tool

if you have a horizon that's not quite

straight you can click on the tool and

then I'll just click on the horizon and

drag a line across to the other side of

the photo and then let go and you can

see Lightroom automatically straightened

my image and brought the crop in so I

don't have any empty spaces on the edges

when I'm ready to commit this I can hit

return and now I have a straight photo

going back to the crop tool I have the

aspect tool and once I have the tool

selected I can just draw in the image

where I want to crop and hit return and

there's my crop I'm going to undo that

and come back here one more time you

notice by aspect it says original I can

also lock this to a 5x7 or any other

aspect ratio for that matter let's do

16x9 grab the tool and now you can see

my tool is locked to a 16x9 aspect

ratio okay so now I'm going to reset

this and I'll go back to my ruler to

level the Horizon hit return and we're

ready to move on to our next tool which

is the healing brush now when I click on

this a little box opens up and I've got

three different modes I've got this

eraser which is content aware remove the

healing brush and the Clone stamp most

of the time when you're trying to remove

something from a photo you're going to

use this content aware remove it does

the best job and at this point there's

probably not too many reasons to go to

the healing brush or clone stamp unless

you're having issues with the content

aware remove tool underneath our mode we

have the size that's the size of our

brush so I can Inc decrease the brush or

increase the brush size then we have our

opacity That's How Strong the effect is

typically you want to leave this set to

100% And so we can go ahead and zoom

into our photo and see if we can find

any dust spots up in the sky and the

zoom shortcuts are command plus and

minus or control plus and minus on a

PC and so there's a little bit of a spot

right here I'm going to go ahead and

click on

it and you can see I get this little

icon that shows up that's telling me

that the content aware remove has been

applied to this part of the image and I

can even move this if I wanted to say I

missed my spot a little bit I can move

it over here so you got to be careful

when you're clicking and dragging in a

photo for example if I wanted to brush

right next to this if I get too close I

just start moving the spot around so you

got to come in as close as possible and

then once you see this icon show up or

the hand you've gotten too close and you

got to back off a little bit until you

see your brush appear and then I can

start to brush next to it and even over

top of it if I want to and there will be

times if you have a lot of dust spots or

just some Twigs or something that you're

trying to remove where you might have to

do something similar to what I just did

looking across I don't see too many desk

spots here another one right here which

might be hard to see on the video and if

you are having trouble seeing spots even

on your own monitor Lightroom has this

handy dandy little tool down here called

visualize spots and if I click on this

my photo starts to look really

strange but what this does is it helps

find areas where there might be a dust

spot like right here I go ahead and zoom

into that area

and turn visualize off I can see there's

a dust spot that might have been easy to

miss if I didn't turn on visualize spots

you can adjust the intensity of this

visualizer by dragging the slider left

and right I usually like it kind of

intense that way I can find those spots

might be something else right here I'll

just kind of look

around the rest it looks like

clouds

and I think we're

good to get out of this view I can

either just turn off my brush or turn

off visualize spots but then my brush

marks will still be here and right now

these overlays are set to Auto I can

tell Lightroom to always leave them on

that way I know where they are I could

tell room only to show the selected

brush spot which I didn't have any

selected so if I wanted to come back I

can actually click on this and now when

I go down to selected you'll see only

that one shows up or I can tell it to

never show them typically I'm going to

leave this to Auto unless you have a

good reason to turn it off otherwise

Auto will show them when you're hovering

over the image and they'll go away once

you hover off of the image the next tool

is the red eye tool I obviously don't

have any red eyes in this image but if

you did have an image with red eyes you

could click here click and drag and that

will help remove it right now Lightroom

is telling me it can't find a red eye

and that's because this photo doesn't

have any red eyes to find and so we'll

hit okay and lastly we have our masking

options and I'm not going to cover

masking right now because I'm going to

create a completely different video All

About masking and local adjustments so

stay tuned for that moving along we have

our basic panel now this is where we

start to manipulate the image and make

it our own artwork at the very top we

have a couple of options Auto black and

white and HDR if I if I click Auto

Lightroom is going to automatically move

the sliders for us in a way that it

thinks might be pleasing and this may or

may not look good it hasn't hurt to try

it but typically you're still going to

want to make some minor adjustments even

if you hit the auto button if I want to

reset this I'll come back down and hit

reset but you notice when I did that I

lost my crop so I'm going to undo that

command Z and I can hit command Z once

more and that'll take away the effect or

I could have gone down to my history and

backed up here but command Z on a Mac

control Z on a PC is a highly valuable

key command it works across the entire

operating system so I highly recommend

remembering that one next we have black

and white so if I want to quickly

convert this to a black and white image

I could just click black and white and

my image turns black and white if I want

to go back to color just click on black

and white again and it goes back to

color next we have the HDR button and

HDR stands for high dynamic range and

this button might not do what you think

it does this button is not designed to

to create HDR images but rather to

display HDR images on high dynamic range

monitors so you can see when I click

that this image got brighter and as I

move the exposure slider over you can

see that this part of the sky is

completely blown out and if I look at

the histogram it makes sense because the

HDR histogram goes much further than the

SDR which is what my monitor is

displaying if I had an HDR monitor I

would still have detail here but I don't

so in this case I'm going to turn HDR

off and I'm going to double click

exposure to reset moving along we have

our profile by default this is going to

be set to Adobe color if I click on this

I can choose between a variety of

profiles now a profile doesn't

technically edit the photo it tells

Lightroom how to render the colors and

tones within the photo now this will

affect the way it looks on screen and

the way it looks on print so you could

think of it in a sense as a way of

editing the photo it's a good way to

pick a starting point and so we can come

through here and navigate through these

but it's even easier to go to these

little four squares if I click those

that opens up the profile browser and I

can just hover over these and see what's

happening to the

image Adobe has seven different profiles

to choose from and then if I scroll down

I'll get to my camera matching profiles

now these aren't technically camera

matching even though that's what Adobe

calls them camera manufacturers closely

guard the profile

information so Adobe reverse engineers

and does their best to try and match the

camera and then if we scroll down we

have some black and white profiles as

well some artistic ones and a few others

most of the time you're going to want to

stay in Adobe raw camera matching or

black and white I think this Adobe

landscape one's looking pretty good so

I'm going go ahead and click on it and

it's now applied to get out of this view

it can be kind of confusing I can't go

back without clicking the close button

so make sure you hit that close button

and then we're back into the basic panel

underneath profile we have our white

balance settings you can see right now

it's set to as shot I could change this

to Auto or

daylight flash or any number of

these I'm going to go back to as shop

and on the left hand side we have this

Color Picker if I click on this I can

move to the image and I can find a

neutral part of the image and set the

white balance based on something that's

supposed to be either white or gray uh

we don't really have a lot of neutral

area maybe right here this Cloud so

click there and that neutralizes that

cloud so the cloud is white and the rest

of the image sort of transforms around

that choice I actually kind of like this

sort of cooler effect here so I'm going

to go ahead and let this be I'll come

back to the basic panel where I have

access to my temperature intense sliders

now I'm going to create a snapshot just

so I can get back to this point I'll

call this blue WB for white

balance and there it is and just to show

you how this works if I double click

temperature you can see what happened to

the image through using the Picker so

again I'll come back to blue white

balance and when I click on this Watch

What Happens over

here you can see that change to 6,200 so

it's just so this tool simply just move

this slider for me and it's always a

good idea to kind of get in here and

kind of toy around and push the scene

harder than you think you would and then

that way you can find this sort of Sweet

Spot between the two somewhere around

there is looking pretty good tint is

similar to white balance except it

adjusts the balance between magenta and

green so if you ever have a green cast

in your photo you would fix it in the

tint slider simply by moving this to the

right I liked where this was so I'm

going to double click tint and reset it

moving down we have our tonal

adjustments this is where you can do a

lot of work really quickly first we have

our exposure which you've seen me use

that simply brightens the photo or

darkens the photo depending on which way

you go the right's going to brighten

left will darken in this case I think

I'm going to leave it alone for now

moving down we have contrast that'll add

contrast to the photo or take it away

and again I'm going to leave this where

it was so I'm going to double click

contrast I don't use this slider often

because I can add and control my

contrast a little bit better using these

four sliders below the Highlight Shadows

whites and blacks now while every photo

is different different in tonality and

color there is no magic formula to edit

a photo unfortunately you have to

visualize it and work with it and the

more you edit the better you're going to

get at visualizing what you want but to

start off you're just going to start

moving sliders and a good little trick

you can try is moving the highlights

down the Shadows up and that sort of

flattens the image it kind of takes away

the contrast and we want to bring bring

contrast back now so I'm going to bring

my whites up and the blacks down I'm

actually going to pull the Shadows down

a pinch and maybe pull the highlights

down just a little bit more and now we

are starting to get a little bit of

overexposure in the sky so maybe I'll

bring the exposure down a little bit as

well and those Shadows back up now and

maybe pull the blacks

up and just bring that exposure up just

a pinch more

I'm just watching my histogram just to

see what I can get away with here now

this is a perfect example of when I

would want to use a local adjustment or

a mask but again I'm not going to cover

that in this chapter moving down we have

texture and texture does kind of what

you think it might do it adds texture to

the scene now you have to be really

careful with this you can see that

texture can be really sort of chunky and

make the image look sort of digitized

and so I don't use this often there

might be times where maybe in the sand

down here it looks good but up here it's

just a little too much so I'm going to

go ahead and double click texture and

reset that if you do use this I

recommend very small doses probably

around 10 or less depending on the image

some images you might be able get away

with a little bit more but again for now

I'm going to reset that next we have

Clarity and Clarity is like a finer

version of texture and that's why I like

Clarity better it seems to do a better

job of emphasizing the texture without

looking digitized or pixelated or

anything like that without creating

artifacts in the scene and so again A

lot of times 10 or 20 is good in this

case I might bring this down just a

little bit more next we have dehaze and

dehaze is a way of adding contrast

within the midtones and so if I bring

this up it's going to kind of darken the

image make it pretty chunky and a little

more dramatic this also will cool off

the image and sometimes make it a little

green so you got to be a little careful

when using the DEH slider I'm going to

back this off just a little bit maybe

something like that but you can see with

just these few edits in the develop

module our image is starting to look a

lot more dramatic this is where we

started and this is where we are now and

to show the before and after I simply

hit the back slash key and you can see

it says before right here if I hit it

again we're back here moving down we

have Vibrance and saturation and I don't

use these very often because I like to

adjust saturation through the color

mixer which I'll cover in a little bit

but since we're here Vibrance is what's

called a skin tone preserver so it's

going to be heavier towards the blue

tones than the warm tones where

saturation adjust all the colors

equally and on a side note don't do this

just because saturation goes to 100 does

not mean that you should take it there I

shouldn't be seeing purple in rocks that

had no purple in them originally so

we're going to reset this and double

click saturation and there we we go

moving along we have the tone curve and

the tone curve can be intimidating to

folks but don't worry there's an easier

way to use the curve rather than just

clicking and dragging on it but since

we're here I'm going to show you a quick

way to add contrast to a photo so left

side is black the right side of the line

is white and if I click and create a

point I can start to bring down the

darker tones and if I click over here I

can start to lighten the lighter tones

which adds contrast and if I think my

darks are getting too dark I can just

click up here and startch a drag up if

the whites are too light I can click and

search a drag down I can always turn a

panel on and off by clicking this eye

icon to see the before and after and

there's not much happening so let me

just intensify this a little bit and now

you'll see the before and after when I

click on that I if you'd like to

permanently leave this panel off hold

the option on a Mac or alt on a PC and

you get these toggle switches and I

toggle that and that will automatically

stay off and you can see that this is

great out now if I want to turn it back

on I'll hold option or alt and click the

toggle and it's back on now I want to

reset that the easiest way to do this is

come down to point curve and choose

linear and that's going to reset my line

so I know that might seem confusing and

very complicated to some folks but don't

worry cuz we have an easier way to

adjust this curve right now this panel

is set to the point curve but if I come

over to the left I have this option and

this still gives me access to the point

curve but through slide ERS and watch

when I hover over a slider that's

telling me what tones within the image

I'm going to adjust so here's my

highlights my lights the darks and the

Shadows so again if I want to add

contrast I come over to lights move this

to the right come down to darks move

that to the left and if I think my

darkest of darks are getting too dark I

can take the shadows and actually bring

them up a little bit give them a little

bit of a boost and the great thing about

the tone curve is I can fine-tune what

these sliders are adjusting so if I come

up here I got these three triangles if I

want to tell Lightroom to only affect

these Shadows the darkest of the Shadows

I can move this to the left and you can

see the image just got darker if I want

to include more of the Shadows I can

move this to the right and you can see

my Shadows are getting lighter

throughout the

scene and so you can really sort of

fine-tune your edits and I don't

recommend using just the tone curve or

just the basic tones I recommend using

these two together that way you can

really refine your image and the more

you use these two panels together the

more you'll understand which tones are

going to be affected so we got some

highlights that are getting blown out

here so I'm going to come to my

highlights and bring these down a little

bit and maybe those whites a

little something like that moving along

we have the color mixer now as I

mentioned earlier I don't like to use

the Hue and saturation sliders and the

reason being is because I like to do my

Hue and saturation adjustments right

here within the color mixer now if this

is your first time opening this it's

probably going to look a little more

like this but I find it's easier to go

from hsl to color and then choose this

rainbow wheel at the end and that's

going to give us access to all of the

colors the Hue saturation and luminance

so if I wanted to desaturate the blue a

little bit I could do that or I can make

it really

saturated and then the other color

that's pretty prominent in this photo is

going to be purples and

magentas and if you're not sure if that

color is in the photo just crank the

saturation slider really hard and you'll

see what's

happening in this case maybe I'll bring

the blue saturation up a little bit and

then maybe adjust the Hue towards the

purple and you'll notice that the Hue

sliders have two colors on the slider in

this case we have blue selected so the

right represents purple and the left

represents Aqua if I were go to Yellow

the right would be green the left would

be orange and the last slider is

luminance that will adjust the

brightness or the darkness of a

particular Hue you got to be really

careful with this one it will create

artifacts pretty quickly you can see I

got some Halos here and colors will

often get quite blotchy so I'm going to

double click that to reset now you can

see my panel is getting pretty big here

with all these different tabs open so

I'd like to set this to solo mode so I'm

going to control click on any Tab and

choose solo mode that will allow only

one tab to be open at a

time but before we move on I'm going to

head back to color mixer and right next

to mixer I have the option for Point

color if I click here I get a Color

Picker so I'm going to click here and

I'm just going to select this orange

color up towards the top of the

waterfall and you'll notice my swatch

has loaded and I can adjust the Hue

saturation and luminance of this orange

so if I drag the saturation slider to

the right you can see it's starting to

get pretty

intense and it's looking a little yellow

and I kind of want to push this a little

bit towards the red so I'm going to go

to my Hue shift slider and drag this

towards the left and that's pushing it a

little bit toward the red and now this

is pretty intense so I'm going to go

ahead and back this off a little bit by

bringing the saturation back

down maybe somewhere around there and

now I'm going to grab theor picker once

more and I'm going to select this purple

color down in the bottom now this time

instead of using the sliders I'm going

to click within the interface itself and

I'm going to drag the circle towards the

magenta maybe somewhere around here I

could also go towards the turquoise if I

wanted to but in this case I'm going to

push it towards

magenta and I'll do one more I'll select

these turquoise tones right here and

again bring up the saturation now the

great thing about the point color is it

allows you to adjust a range so I have

my turquoise color selected if I push

this to the right it's going to affect

more and if I push it to the left it's

going to affect less of that turquoise

now it's hard to see what's happening in

this image right now so what I'm going

to do is turn on visualize range and now

when I adjust this range slider you're

going to see that the turquoise starts

to expand as I drag it to the right and

as I drag it to the left it selects Less

in this case I'm going to push it

towards the right and if I come to my

magenta slider you can see here's my

range if I push it to the right I select

more if I push it to the left I select

less and lastly are orange and yellows

there they are and to turn off the

visualizer all I have to do is come back

and uncheck this box and there we go now

let's say I want to desaturate some of

these trees so I'm going to go ahead and

select this picker once more and I'm

going to select the Green in the trees

and then I'm going to bring the SAT

atation down and I'm going to increase

the range as well now these rocks are

looking a little funky up here probably

because of the orange adjustments I did

here so I'm going to select my eye

dropper once more and click right here

and I'm going push this a little bit

towards the yellow and desaturate it

just a little bit and that's looking

pretty good now I can turn this on and

off by clicking the

eye and I'm going to come back to my

orange and just saturate that just a

little bit more and maybe those purples

too they're getting a little

intense now you might be saying well why

not just use the sliders in the mixer

anyway well there's two reasons one this

is a little more Visual and then two

these tones are not targeted when I go

to Aqua you can see what's happening

right here in this band but if you

remember I selected down here so if I'm

going come back to my point color choose

that Aqua you can see I'm affecting a

different set of colors than I was with

the mixer so that's the reason why you

might want to use the point color over

the mixer in certain

situations so our next one is color

grading color grading can be a little

intimidating to folks and seem a little

confusing and it's not a panel that

you're going to use on every photo it

can be nice for photos that are taken

around sunset or Sunrise if you want to

add a bit of a color cast so we have our

sh shadows midtones and highlights and

if I wanted to tint the highlights I

could come to the Highlight Circle and

start to drag and you'll notice as I

move this I'm tinting the photo and but

only the highlights so if I wanted to

bring warmth to the highlights I come

here and maybe like a a warm purple

would be nice if I want to turn it on

and off I can click this

eye and if I want to tint the Shadows I

can come down here

maybe towards the

blues and that creates a nice sort of

warm cool color scheme and if I'd like

to see this on and off I can click the

eye icon and if I think that the

purple's getting too much I can come

back to the highlights and drag this

circle back towards the

center and that's a little more

subtle we can also adjust the lightness

of the highlights midtones and shadows

if I want to darken the Shadows I would

grab the slider and go to the left if I

want to bring up the midtones I can go

to the slider bring it to the right and

here's my highlights right here I think

I'm going to leave these alone lastly at

the bottom we have two sliders we have

our blending the blending is how intense

the effect is on the image so if I come

down to the left it's less intense if I

come to the right it's more intense and

the balance is the balance between

shadows and highlights so if I go to the

right it's going to be balanced more

towards the highlights if I go to the

left it's going to be balanced more

towards the shadows and I think I kind

of liked it towards the Highlight so

maybe somewhere around here if your

color grading window doesn't look like

this you can also adjust midtones

shadows and highlights individually like

this or you can open the global

adjustment and tint the entire

image and I'm going to undo this by

hitting command z a couple of

times and I'll go back to our default

view next we have our detail Tab and by

default Lightroom is going to apply a

little bit of sharpening for us and

whenever you're looking at sharpening

you want to view the image at 100% on

most images the default sharpening is

going to be pretty good you always want

a little sharpening to a raw file

because when they come in they come in

very soft and so that's why Lightroom is

automatically applying a little bit for

us so these default settings are pretty

good in most cases if you have an

extremely soft photo um where you miss

the focus or it's just a little bit of

motion blur you could try and increase

the sharpening a little bit and another

great feature of Lightroom is it allows

us to mask this sharpening so if I hold

option on a Mac alt on a PC and come

down to the masking slider you can see

the image turns white and as I drag the

slider to the right what's white is

being sharpened and what's black is not

being sharpened so if I just want to

sharpen my subject and not the sky this

is a really good way to do it moving

down we have noise reduction and the D

noise is an AI generated D noise option

it will create another version of this

photo it does take a little bit of time

to do and unless you have an extreme

denoise problem I don't know if it's

worth it I haven't seen a big enough

difference between the aid noise and the

traditional manual noise reduction to

make it worth my time and storage space

on the hard drive so in most cases I'll

use manual noise reduction and I'm only

going to use this if I really need it on

a photo like this I don't need to do

noise reduction if it were a nighttime

photo or a high ISO Wildlife photo then

I would probably want to add a little

bit of luminance noise reduction the

amount of detail and contrast would vary

depending on the image that I'm working

on a lot of times these default settings

are good enough but it doesn't hurt to

kind of move them around one thing you

got to be careful with noise reduction

is if you go too far it's going to over

smooth everything in the photo it's

going to look like a cartoon and I I'll

take it to the extreme I'll take it to

100 you can see there's absolutely zero

texture it got rid of the noise but it

also got rid of all of the texture in

the photograph and so in this case we're

going to leave luminance to zero I'm

also going to leave color at the default

25 again if you have a high ISO shot

this color noise reduction can help get

rid of blotches a lot of times you see

blotches of magenta sometimes green or

yellow within photos especially in

nighttime photos but in this case I'm

going to let this be at the default and

I'm going to close the detail Tab and

we'll come down to lens Corrections and

you can see this photo already has some

lens Corrections applied so I'll go

ahead and turn those off and I'll check

remove chromatic abration and I'm going

to zoom in really close here to 400% and

I'm going to come to the edge and I'm

going to uncheck chromatic aberration so

you can see hopefully you can see in the

video there's a little bit of a green

band here sometimes it's magenta

teal turquoise and that's called

chromatic aberration it's an artifact

that's caused from the lens and by

checking remove chromatic aberration the

artifacts will be removed from 99% of

the photos if this does not work we can

come over to manual and then we can

manually adjust based on the color

Fringe that we're seeing so if we have a

a magenta Hue we can bring the amount up

and adjust that in this case we don't so

I'm going to bring it down if it were

green I could come here

bring in the amount and that will get

rid of it heading back over to profile

we have enable profile Corrections if I

check that I'm actually going to zoom

out here and hit this you'll see that

the image sort of transforms when I hit

this so what's happening is Lightroom is

adjusting for the distortions within the

lens and if I look below Lightroom

already knows that I shot this on a

Canon ef1

201635 and the profile is set to Adobe

ef-1

1635 if this is wrong for some reason or

your lens just doesn't show up you can

go to where it says make choose the

maker of your lens then go to model

let's say this was shot with a

2470 and then you can go to profile and

sometimes there'll be different versions

of the lens available to choose from

right here in this case there isn't so

I'm just going to let that be and since

this was shot with a 1635 I'm going to

head back to 1635 underneath lens

profile we have the amount and that will

adjust the amount of distortion that the

profile is fixing

I'm going to double click that to reset

it and then we have vignetting and so by

default this is the way our photo came

into Lightroom and then Lightroom got

rid of the natural vignette of the lens

a lot of times I like that natural

vignette and so I'll actually come to

the vignette slider and bring it back

sometimes halfway sometimes all the way

because you can see that this is

bringing us into the rocks that are in

the center of the photo our eye is

naturally attracted to light areas and

so by darkening the edges we bring our

viewer into the frame to demonstrate the

transform tab I've changed images here

because the last image did not have a

lot of vertical lines and so I've opened

up the transform Tab and we have a

couple of options I'm going to show you

the two most common ones that you're

going to try here the first one is Auto

and the software is just going to rotate

the photo and potentially correct

converging lines so I'm going to turn

this back off and the next option we

have is guided and this can be useful um

if you're doing architecture or if

you're shooting up towards trees it can

help get rid of those converging lines

so we're going to go to guided and I'm

going to click there and then I get this

little sort of tool and I'm going to

basically trace the edge of this tree

and then I'm going to find another tree

that should be parallel to that tree and

you can see these ones are kind of going

off to the left a little bit this one's

going off to the right and so I'm going

to click here drag down to the

bottom and what Lightroom going to do is

straighten those lines if I had

horizontal lines in the image I could

straighten those as well when I'm done

with the tool I'll go back and put it in

a home which is right there moving down

we have level which will level the image

basically make sure it's leveled to the

Horizon next we have vertical which

essentially does what I did with the the

guided tool it it looks for converging

lines and tries to straighten them out

as best as possible and lastly we have

full which is essentially a combination

of the vertical and level and depending

on the image you may or may not notice a

huge difference I typically don't use

full very often most of the time I'm

just going to use Auto and guided so in

this case I'll head back to

Auto and at the bottom we have some

manual transform options which you're

probably rarely going to use unless

you're doing architecture work the

vertical option will transform the photo

on a vertical

axis horizontal will transform it on a

horizontal axis and of course we can

rotate we can adjust the aspect we can

either condense it or expand it we can

adjust the scale essentially zooming in

or zooming out or you can adjust the

offset which you'll probably never do

and lastly at the bottom we have the

constrain crop option so if I click this

you'll notice that my photo

automatically gets cropped when I make

adjustments saving us one extra step in

postprocessing now obviously this is

looking pretty bad so I'm going to turn

everything off by double clicking

transform and then I'm going to open up

the crop tool and bring my crop back to

the

original in late 2023 Adobe added the

lens blur option and you can see mine

says Early Access so not all software

license will have this option but I

think if you're in the US you will most

likely have it and to apply this we're

going to click the apply and it's going

to analyze the photo and basically what

this does is it analyzes what's in focus

and what's soft and it allows you to

create a bokeh effect in this case you

can see it didn't do a great job along

some of the edges of the trees and it's

a even a little extreme it looks a

little fake so where it says blur amount

we can take this down and we can also

adjust the amount of the image that's in

Focus so this left side is close to the

camera the right side is far away so if

I want to bring in a little bit of that

background I can move this to the

right

and we can turn this on and

off and that's starting to look a lot

better it seems like the software is

still struggling a little bit it's not

perfect and isn't going to work on every

image but some images it will be

Flawless so it doesn't hurt to try this

if you need to add a little bit of extra

blur to your photos moving along we're

back in New Zealand and I'm going to

open up the effects tab there's two

options in the effects tab there's postc

crop vignetting

and then there's gain so the postc crop

vignette will darken the edges if I go

to the left or lighten the edges if I go

to the right in most cases I'm going to

take this to the left again our eyes

attracted to light areas and so I want

to draw a viewer in and typically I'm

going to push this pretty hard so I can

actually see what the vignette looks

like and then I'm going to come down to

the sliders below and adjust those a lot

of times I'm going to bring this

midpoint inward the roundness depending

on the image I might go up so it's up a

little more round or I might come out so

it's a little more Square in this case I

think maybe something like here is good

and then I'm going to feather this so

it's very subtle and then lastly we have

highlights so if there's highlights in

the sky this slider will help preserve

those a little bit if you look in the

upper leftand corner you'll see what the

Highlight slider is

doing and then once we get our settings

set it's time to bring the vignette back

down and in this case I probably don't

want to add much

I might even take it down just a little

bit more just a pinch there we go next

we have grain I don't ever use this but

if you want to add some grain to your

photo that's how you would do it you can

change the size of it the roughness all

that good stuff but um I think it looks

pretty bad so I don't use it and last

but not least we have calibration the

calibration slider you probably won't

use this often but if you need to adjust

the color of an image if the C if

there's a slight cast and you want to

fix it and you weren't able to fix it

with any of the options above you can

use the calibration slider to do so this

can also be a nice way to add sort of

special effects like just color tones to

an image so the top we have our tint

slider that will add some green or some

magenta cast to the image then we have

our red green and blue channels now I

wouldn't pay too much attention to what

the sliders actually say just more of

feel around within them to see what they

actually do and the more you play with

these the more intuitive they will

become and so here's our green Hue go to

the left it's making more purple to the

right it's kind of neutralizing it and

then a blue if we go to left it's making

more turquoise we go to the right it's

making it more purple I'm going to

double click that reset it we can also

adjust the Hue and saturation of each

Channel as well and I can turn this on

and off I think the purple's getting a

little intense so I'll bring that back

down on the red Channel

and that's looking pretty good and I'll

go ahead and close that out Okay so

we've come a long ways if I hit the

backslash key you can see this is where

we started and this is where we are now

it's a completely different photo this

one looks washed out and boring and this

one looks dramatic and it kind of gives

you the sense of being there and that's

what we're aiming for in our edits now

you can see I've got these other photos

that were taken around the same time

more or less the exact same composition

so what if I wanted to take the settings

from this photo and sync them across

them well there's two ways to do that

one is I could click on a photo and then

choose previous and what this will do is

it'll apply all the edits from my

previous image that I worked on to this

one if I go up to basic panel you'll see

here's all my sliders now this image was

a little bit brighter so if I want to

darken it I can go to exposure and take

that down a little bit and I can

continue to adjust it the other way to

sync your edit is to click on the image

that's edited and I will shift click on

the last image that I want to edit and

if I want to take away one of these

edits I would command click on a Mac

control click on a PC and that would

take away the edit and then I'm just

going to hit sync and then we get this

dialogue box and it's asking me what do

I want to sync from this photo across

the rest of them in this case I'm going

to check all I want to sync everything

and I'll hit

synchronize and you can see my edits

have been synced across all of the

photos except for the one that I

excluded now there's one other way we

could copy our settings so if I click in

the frame of this photo it'll unselect

the rest of them and I'm going to choose

copy and again I get this dialog box I

can choose if I want to copy none or I

could check all or maybe I click none

and maybe I don't want to sync the crop

or the color grading but in this case I

want to sync it all so hit check all and

then I'll hit copy and then I'll come

over to this photo and then hit paste

and you can see our settings have been

synced and what if I wanted to see the

before and after side by side I could

come over to our tool bar and choose the

YY icon and that's going to show me a

side by-side comparison of the two if I

want the photos to be a little bit

bigger I can hit the Tab Key and that's

going to get rid of my side panels so I

can see a little bit and I can hit the L

key for lights and that'll turn off all

the distractions of the screen and I can

really look at these photos side by side

to turn the lights back on I'll hit the

L key once more and we can cycle through

a couple different views simply by

clicking this icon so we can do a split

screen or top and bottom or split screen

horizontally or side by side to get out

of this view I'm simply going to click

on this icon right here I can also

compare this photo with any other photo

within my library so I'll go ahead and

select this photo and then click the ra

icon which is the reference View and now

I need to drag a photo from my film

strip to reference so let's just take

this one and so we can kind of compare

those side by side and again I can cycle

through the different reference views

simply by

toggling to get back click on this icon

right here now I'm not going to cover

all the options in the toolbar because I

already covered most of them in the

Lightroom Library tutorial which is

linked at the beginning of this video

there is one new option in the develop

module though and that is soft proofing

and I'm not going to cover that in this

video because the subject is fairly in-

depth and it requires a video of its own

and that's the develop module in a

nutshell I know we covered a lot here so

feel free to go back and watch this over

as much as you need the next step here

would be to export the photo I already

have a tutorial that walks you through

that process and I'll leave a link to

that video in the description of this

one if you enjoyed this tutorial and

would like to see more don't forget to

like And subscribe and turn on

notifications by hitting the little bell

icon below this video and lastly don't

forget to head over to nature mike.com

for some great articles infield

workshops and private post processing

lessons I'll see you in the next video