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Lightroom Mobile Complete Walkthrough | Edit Photos Professionally on Your Device — Transcript

by Zac Sopak · 18,249 words · 2,558 segments · language en · Watch on YouTube

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0:00Welcome to the ultimate Lightroom mobile
0:02course. If we haven't met before, my
0:04name is Zach Sopac and I have been
0:06making videos about Lightroom mobile for
0:09over 5 years now, which is kind of crazy
0:11to say. Over that course of time, I have
0:14amassed millions of views and I have
0:16helped thousands of creators just like
0:19you who have wanted to develop more of
0:21their skill set with editing in
0:24Lightroom mobile. And so this course is
0:26the one and done ultimate video for you
0:31to be able to grow in your confidence,
0:34your knowledge, and your ability to edit
0:37photos through Lightroom mobile. Before
0:39we hop into the course, I have a couple
0:40of things I want to mention that will
0:42help you get the most out of this whole
0:44course experience. First of all, if you
0:47go to the link down below in the video
0:48description, I have a free Lightroom
0:52quick start guide that is going to give
0:55you sort of a condensed version of all
0:57the information that we're going to be
0:59going over in this course. This is kind
1:01of like a cheat sheet that will be
1:03beneficial for you whenever you are
1:06going through your editing workflow and
1:08your process. Maybe you're wanting a
1:10little bit more information or a
1:11reminder of a certain tool and how it
1:14works. you'll want to refer back to that
1:18course guide. The other thing I want to
1:19mention is that this video is not
1:21sponsored by anybody. It's not sponsored
1:23by Adobe or Lightroom or anything like
1:25that. It is, however, sponsored by
1:29myself in my digital store. Obviously,
1:31you're going to be downloading that PDF
1:33guide. If you decide while you're there
1:35you maybe want to pick up something to
1:37help you in your editing like my
1:39Lightroom preset pack or maybe earn some
1:41more video editing type stuff, I have a
1:43L pack that's available there as well.
1:45Would really appreciate you checking it
1:47out and those sales helped me to make
1:50some more money so that way I can make
1:52some more content. As you saw by the
1:54length of this video, there is quite a
1:56bit of content to go through. So, make
1:59sure to just take your time, take some
2:01notes while you're going through, refer
2:04back to the Lightroom guide, and that's
2:07going to help you along the way. I've
2:09also got chapter markers to all the
2:12individual modules. So, if you want to
2:15just kind of skip around to the
2:16different panels or the workflow or
2:19anything like that, you can always refer
2:20back to the chapters as well. And if at
2:23any point if you have questions about
2:24Lightroom mobile or the app interface or
2:27you want to share something about your
2:29experience, please leave it in the
2:30comments down below. I always love these
2:33types of videos because not only am I
2:35active in the comments and trying to
2:37help you get the most value that you
2:40possibly can, but uh the community is
2:42also really great about helping answer
2:45questions with each other and sharing
2:47their own experiences that will
2:48ultimately help you out if you leave
2:51those comments down below. And before
2:52hopping in, if you could do me a favor
2:54and hit that like button and go ahead
2:56and subscribe to this channel for more
2:58content like this, it just helps this
3:01video have more long life, reach more
3:03people, and ultimately it helps me to
3:06make more of these videos. So, with all
3:08that out of the way, sit back, relax,
3:10maybe grab your phone and edit along
3:12with me. Go ahead, grab a nice cup of
3:14coffee or something to help you get
3:16through the course or do it at your own
3:18pace. Either way, I hope that you enjoy
3:21it.
3:27Hey, welcome to the course. Whether
3:28you're new to photo editing or if you're
3:30just starting with Lightroom mobile,
3:31this lesson is going to help you get
3:33comfortable with the app. By the end of
3:35this session, you'll know how to
3:36navigate the interface, import photos,
3:39and understand the basic workflow to
3:41start editing. Before we hop into the
3:43app, it's going to be very useful for
3:45you to know the differences between the
3:47free version of Lightroom mobile and the
3:49paid or the premium version of Lightroom
3:52mobile. The free version of Lightroom
3:54mobile is going to have a lot of your
3:55basic editing tools like exposure,
3:58contrast, and color sliders, which we
4:00will talk about in this course. It
4:02allows for importing photos for
4:04non-destructive editing, and it really
4:06is a good tool for learning the
4:08fundamentals or for more casual editing.
4:11The paid premium version of Lightroom
4:13mobile unlocks more advanced features in
4:15the app like generate, remove, lens
4:18blur, and masking. You also get the
4:20ability to edit raw photos on your
4:22mobile device, which is more flexible
4:24for higher quality images. The paid
4:27version also includes cloud syncing,
4:29which gives you the ability to upload
4:32and edit across multiple devices. So you
4:35can start editing something on your
4:37phone, then you can edit that same photo
4:40on your iPad and even on your computer.
4:43In this course, I'm using the paid
4:44version of Lightroom and I'm going to be
4:46going over all the tools that are
4:48included in the paid version. If you're
4:50on the free version of the app, that's
4:52fine. It's a good starting point, but I
4:54would really recommend that you upgrade
4:55to the paid version because you get
4:57access to all those prolevel tools like
4:59I had mentioned before. All right, so
5:01let's dive into the app and let's talk
5:03about navigating this interface. Once
5:06you open up your app, you will be
5:08greeted with this beautiful library view
5:12where you should see all the photos that
5:14you have already imported into Lightroom
5:16mobile. If this section is empty, that
5:19means you probably just downloaded the
5:20app. So, you will want to start looking
5:23at photos to import. If you go over to
5:25the bottom left, you will hit the device
5:28section. And this is where you can find
5:30photos that are currently on your mobile
5:33device that you can select and then
5:35import into Lightroom mobile. There are
5:38two different ways to import from here.
5:40You can either hold down select or you
5:43can select multiple images and click
5:46import. You'll notice now they have a
5:48little Lightroom logo on the top left.
5:50Or you could even just tap on a photo
5:53and just go ahead and start editing. And
5:56once you do and you back out, that photo
5:59has now been imported into Lightroom
6:01mobile. If you want to access certain
6:03photo albums in your library, you can go
6:06to the top left. Currently, mine says
6:08RAW. If you tap on that, you can go to
6:11all of the albums that you have on your
6:14mobile device. You can also access
6:16different types of media like videos,
6:18selfies, portrait mode, photos,
6:21screenshots, and raw images as well.
6:24This way of filing all of your photos is
6:26also applicable in the Lightroom tab.
6:28So, right now I've got all of my photos,
6:30but I can go in there and I can create
6:32my own specific albums. If I wanted to,
6:36you know, created by dates or events or
6:38location, then you can also go to photos
6:41that you have edited, photos that you
6:43have not edited, and then that way
6:45you're able to just filter through the
6:47library a lot easier. You could also
6:49sort everything by going to the three
6:52lines with the arrow pointing down. This
6:55is your sorting button. And here you can
6:57do things by capture date, import date,
6:59modify date, file name, star rating, or
7:02a reverse order. You could even take it
7:04a step further with the filter button
7:06where you can do it by type, camera,
7:09people, location. It really gets in
7:11depth. Basically, whichever way you want
7:13to find and access, sort your images,
7:16file them in their own albums, you can
7:18do that very easily in this app. It is
7:21also worth mentioning that there is an
7:22additional import button on the bottom
7:25right. It is in the blue pill that has
7:28the frame and the plus. If you hit that,
7:31you can import photos from your device,
7:34from files, or from a connected card or
7:37your camera. This means that if you're
7:39shooting with a big camera and you have
7:40a cable that can connect from your
7:42camera to your phone, then you can
7:44import photos directly to Lightroom
7:46mobile that way. Or one method that I
7:48like to use is this SD card reader uh
7:53that will connect to my iPhone over
7:55USBC. And this is cool from just taking
7:58the card out, putting it into my phone,
8:00and then I can just easily import photos
8:03directly into Lightroom mobile. There is
8:05also a little camera icon in that blue
8:07pill. If you hit that, it brings up
8:10Lightroom mobile's dedicated photo
8:13taking feature. This is great for giving
8:15you more tools at your disposal if
8:18you're just taking pictures on your
8:20phone. So, if you don't have a camera
8:22right now, but you want to do some more
8:24manual settings like exposure, shutter
8:27speed, ISO, you can do all of those
8:30things directly on the phone and you can
8:33make those adjustments. It's actually
8:35kind of cool if you're just looking for
8:37a way to get your feet wet with more
8:40manual settings without necessarily
8:43having to have a camera to do it. The
8:45other great thing is that any photo that
8:47you take will automatically now be
8:51imported into Lightroom mobile. The last
8:53tab on the bottom right is the community
8:56tab. This is where you can explore
9:00different tutorials, editing challenges,
9:03and you can interact with other users.
9:05You can see their photos. You can see
9:07how they edited their photos, and you
9:10can share your own work and get feedback
9:12and show off your skills. Now, let's
9:14quickly talk about a basic workflow
9:16overview. If I select a photo here, I'm
9:19going to be greeted with all of these
9:21fun little tools at the bottom of this
9:24image. The first one is actions. This is
9:27a premium feature. This is something
9:30that Lightroom likes to do in order to
9:32make things kind of as easy as possible
9:36for the user. So, you get fun things
9:38like auto adjustments to your light. You
9:41get subject detection, you get
9:44background detection, sky detection.
9:46Really helps for more in your masking
9:49section, which we will cover those
9:51things. Again, this is a premium
9:52feature, so you don't get it in the free
9:54version. Next to that, you have your
9:56presets, which we will hit next. Then
9:58cropping for straightening and adjusting
10:00your aspect ratio. You also have your
10:03edit button, which is full of loads of
10:07functional tools that we will get to.
10:09Next to that is the masking section and
10:12finally the remove section.
10:14Congratulations, you've taken your first
10:16step into mastering Lightroom mobile. In
10:19the next module, we will dive into
10:21presets, what they are, when to use
10:24them, and why you don't always need to
10:26rely on them. For now, practice
10:29importing a few of your favorite photos
10:31and explore the interface. Get familiar
10:33with it, and I'll see you in module two.
10:40Welcome to module two. Presets are a
10:43great starting point for editing,
10:46especially if you're new to Lightroom
10:48mobile. In this module, you will learn
10:50what presets are, how to use them
10:52effectively, and why they should
10:54complement and not replace your editing
10:57skills. And by the end of this lesson,
10:59you'll know when and how to use presets
11:02to enhance your workflow. So, what are
11:05presets? Presets are just pre-made
11:08editing adjustments saved as a one-click
11:11filter. They apply a set of changes to
11:13your photo instantly, like adjusting
11:16brightness, contrast, or color. Think of
11:18them as shortcuts to achieving a
11:20specific style or mood. There are two
11:23different types of presets. They're
11:25built-in presets provided by Lightroom
11:27mobile and custom presets created by you
11:30or downloaded from others. Let's go
11:32ahead and add a preset to a photo. So,
11:35I've got my photo here. I'm going to go
11:37down to presets on the bottom. It's the
11:39second option there with the two
11:41circles. And here you have three
11:43different categories of presets. You've
11:46got the yours tab, which has some
11:49pre-builtin
11:51Lightroom presets that Lightroom
11:53provides. This is also where if you
11:56import presets or if you create presets,
11:59you will have it saved here in the yours
12:02tab. For example, I've got my ZS presets
12:05folder. This contains all of my
12:08Lightroom presets that I sell on my
12:10website, as well as some of my free ones
12:13that I have there, too. So, I'm going to
12:14go ahead and I'm going to add one of
12:16these presets. I'm going to go with
12:18deluxe. And now, it has applied the
12:21preset to the photo. But, we can also
12:24adjust the amount of the preset if we're
12:26feeling like this is too much or if it's
12:28too little. There is a little line with
12:31a circle on it over the little thumbnail
12:34next to the name of the preset. If you
12:36tap on that, you now have an amount
12:39slider. So, if I thought this was a
12:41little too strong, I could just take
12:43that slider and move it down to zero,
12:46basically back at our starting point. Or
12:48if I wanted to increase it more
12:50stylistically, I could increase it to
12:53the right. You just want to make sure
12:54that you're doing things subtly and
12:57tastefully. Now, let's talk about the
12:59recommended and the premium presets. I
13:02believe that these are both in the paid
13:04version, but they are not necessarily
13:06going to be deal breakers if you don't
13:08have access to it right now. To briefly
13:10explain what they do, if you go to the
13:12recommended tab, this is going to use AI
13:16to analyze and generate a preset for
13:20your image. And as you scroll through,
13:22you will notice that some of these
13:24presets are okay and some of them are
13:28not so okay. I pretty much never have
13:32used the recommended presets. Um maybe
13:35it'll get better in a future update, but
13:38I wouldn't worry too much about it. Now,
13:40let's talk about the premium presets.
13:41And these are actually pretty cool
13:43because they are what are called
13:44adaptive presets. So, it's not only
13:47applying a preset, but it's applying a
13:49specific type of preset. Or maybe it's
13:51just part of your image is going to be
13:54effective, not the entire thing. So, I'm
13:56going to go ahead and hit adaptive sky.
13:59And here I've got all of these different
14:02presets, but it's only going to affect
14:04my sky. So, if I wanted this blue drama
14:08or if I wanted this neon tropics effect,
14:11it's only affecting the sky portion of
14:14my image. And then I can tap on that
14:17thumbnail and I can adjust accordingly
14:20to taste to get the photo looking a
14:23little more or a little less like that
14:25specifically in this area. Now I want to
14:27discuss why you don't need to rely on
14:30presets. Number one is the limitations.
14:33Presets are designed for general use but
14:36every photo is unique. lights, colors,
14:40and composition, camera settings will
14:42all affect how presets look. So, relying
14:45too heavily on presets can make your
14:47edits look inconsistent and unnatural.
14:51Presets are a helpful starting point,
14:53but remember, they are just one tool in
14:55your editing toolkit. For now,
14:58experiment with the built-in presets and
15:00practice fine-tuning them to suit your
15:02photos. [music] In the next lesson,
15:04we'll dive into the light panel where
15:06you'll learn how to adjust exposure,
15:08contrast, and other tools to create a
15:11more balanced and professional looking
15:13edit. I'll see you there.
15:21Welcome to module 3. Light is the
15:24foundation of every photo, and learning
15:26how to adjust it will take your edits to
15:28the next level. In this module, we'll
15:31explore the light panel and its powerful
15:32sliders, including exposure, contrast,
15:36highlights, shadows, whites, and blacks.
15:39By the end, you'll know how to create a
15:41balanced and professional looking edit.
15:44So, let's talk about the sliders. We
15:46first have our exposure slider, which
15:48brightens and darkens the entire photo.
15:52Contrast increases or decreases the
15:56difference between the light and the
15:58dark areas. Highlights adjust the
16:01brightest parts of your image. Shadows
16:04adjust the darkest parts of your image.
16:06And then your white and your black
16:08sliders fine-tune the purest white and
16:11black points in your image. So let's go
16:14ahead and start adjusting this photo.
16:16Starting with the exposure slider. Now,
16:19the exposure slider is your first stop.
16:22If your photo is looking a little too
16:25dark, then you can increase it. Vice
16:28versa, if it's looking too bright, then
16:30you can decrease your exposure by
16:33lowering it. You want to adjust your
16:34exposure until the overall brightness of
16:37your image looks nice and balanced. The
16:39pro tip here is to not solely rely on
16:41your eyes to judge whether or not a
16:43photo is properly exposed and balanced.
16:47My recommendation is to use the
16:49histogram tool inside of Lightroom to
16:51help check if your photo is either over
16:53or underexposed. There are a couple ways
16:56to access it. You can either go to the
16:58three dots on the top right and hit view
17:01options and then show info overlay or
17:04you could also take two fingers and tap
17:07your image at the same time to make it
17:10go away. You can also see your camera
17:13metadata. So you can see your camera
17:15settings, which camera was used to take
17:18the photo. And then if you hit again
17:21with two fingers, now you have the
17:23histogram. If you're unfamiliar with how
17:25a histogram works, when you're looking
17:27at it, on the left side is the dark part
17:30of your image and on the right side is
17:33the bright part of the image. So if our
17:35image was looking underexposed, then
17:37things would be towards the left. And if
17:39our image was looking overexposed, it
17:42would be towards the right. Next, let's
17:45enhance the photo's depth by adjusting
17:47contrast. So, let's move that slider
17:50towards the right. And as I move the
17:52slider towards the right, you will
17:53notice that this is the separation
17:55between the light parts and the dark
17:58parts of your image. Conversely, if I
18:01move this to the left, everything will
18:04get kind of gray and flat. And if you
18:06look on the histogram, everything is
18:07bunched up in the middle. So I want to
18:10add just a little bit of extra punch
18:13with the contrast. Too much contrast can
18:16make your image look a little harsh. So
18:18subtle adjustments are usually the best.
18:21The highlight slider is really great at
18:23recovering details from bright areas. So
18:26for example, let's say that your image
18:29was a little bright and you wanted to
18:31recover some of those details from the
18:33sky. All you would have to do is take
18:35your highlight slider and start to move
18:38it down and you then would recover all
18:41those details from the brighter parts of
18:43your image. The shadow slider works the
18:45same just in the opposite direction. So
18:48you can lift the shadows to bring the
18:50details out of those darker areas. So
18:54here, if I wanted to see a little bit
18:55more detail in these rocks or in that
18:58little jetty area where there's some
19:00shadow, I can lift up the shadows to see
19:02those details. The white and black
19:04sliders help define the true white and
19:07black points of your photo. So if you
19:09want, you can increase that in your
19:12image by just moving each one of them up
19:14or down. So in this scenario, if you go
19:17lower on your whites, it gives it a
19:18little bit more of a soft look. And then
19:21if you move those whites up, it
19:23definitely gets brighter. And you can
19:25start to see a little bit more increase
19:28in our highlights. If you increase the
19:30whites in your image, you can brighten
19:31up the highlights to make it look a
19:33little bit more crisp. And then you can
19:35darken the blacks to deepen those
19:38shadows a bit more to make it even look
19:40more contrasting. If you want to
19:42specifically see how your white and
19:44black slider are affecting your image as
19:46you move it, you can do this. Hold down
19:49a finger on your slider and then hold
19:52down a finger on your image. Then you
19:55notice that everything just went black
19:57and you're just kind of seeing little
19:59pops of this red color. As I'm
20:01decreasing my whites, you notice that my
20:03white point has kind of virtually
20:05disappeared. But as I increase it, I'm
20:08starting to see more of my image. And
20:11once I see the rainbow, I'm pretty sure
20:13it's going to be overexposed. So, let me
20:15go ahead and take that finger off. Yeah,
20:17very overexposed. So, we overdid it
20:20here. But if I tap back down while I'm
20:22holding on the slider, I'm going to just
20:24kind of Let's just see where it's at
20:26when everything's just looking nice and
20:28red, looking nice and crisp. Same thing
20:31for the black slider. So, I'm holding
20:33the black slider and I'm tapping down on
20:36my image and everything is happening in
20:38reverse. So, if I move it to the left
20:41and I'm seeing those like pure black
20:42areas, it still doesn't look like
20:45terrible, but it just may not represent
20:47well once it's export and we're done
20:49with it. So, I'm going to just hold it
20:51down again and I'm going to just find
20:55kind of like a little bit of a happy
20:57medium. Just make sure when you're using
20:59these sliders that you're being careful
21:01to avoid losing detail in the brightest
21:03and the darkest areas of your photo.
21:05Now, beyond your sliders is the tone
21:08curve. And the tone curve tool offers
21:11pinpoint control over your photos light
21:14and contrast. It allows you to adjust
21:16the tone ranges between your shadows,
21:19your midtones, and your highlights by
21:21moving points along a curve. The tone
21:23curve has two main functions. It's got
21:25its main curve represented in the white
21:27dot. This adjusts your contrast, your
21:30exposure, and then it also has RGB
21:33channels that you can use to manipulate
21:36for creative colors or for color
21:38correction. To use the tone curve, all
21:41you do is you just start adding points
21:44to this line and moving them around on
21:47your image. So, you can add multiple
21:50points. You can adjust different parts
21:52of your exposure. your bottom left being
21:54your shadow areas, your midtones are in
21:57the middle, and then your highlights are
21:58in the top right. And you can also do
22:00things like moving your black point up
22:03or down. Same thing for your white
22:06point. So you can go in there and you
22:09can do something like a subtle scurve
22:13where you can just lower your shadows a
22:15little bit, keep your midtones a little
22:18more in the middle, and then adjust your
22:20highlights slightly up. And then the
22:22individual RGB colors. These can be used
22:25for more of those stylistic moves in
22:27your colors across your image. Or you
22:29can use it for correcting some colors.
22:32For example, if I take my red channel
22:35and I move it up, everything's going to
22:37look more red. But I could also move it
22:39in the opposite direction to give it a
22:41bit more of a teal influence. If I don't
22:44want the teal in my midtones, then I can
22:46add a point to the midtones and bring
22:48that up. But if I want it more in my
22:51shadows, I can also bring it down there
22:54and have it in the highlights. Just keep
22:56in mind that small moves go a long way.
22:58Overdoing the tone curve can lead to
23:00more unnatural contrast or color shifts
23:03that you weren't intending. So, make
23:06sure that incremental changes are made.
23:08And to see the before and after on your
23:10image, all you have to do is just tap
23:12down on your image and hold. It'll show
23:15you the before and how things were when
23:17the image was taken. And then when you
23:19release, you can see the after to see
23:21just how far you've come in your edit.
23:24At the bottom of the light panel, you
23:25will notice that there is an HDR editing
23:28mode. HDR is a feature that merges
23:30multiple exposures for increased dynamic
23:34range. So, it would take something
23:35overexposed, something regularly
23:37exposed, and something underexposed, and
23:39it would merge them together. So, that
23:40way you could preserve all those
23:42details. And this is normally pretty
23:44useful for high contrast scenes like
23:47bright skies and dark landscapes, but
23:50we're not going to really dive into the
23:51HDR in this module. Just know that it's
23:54another way to capture more detail in
23:56both your highlights and your shadows
23:58when conditions are challenging, but you
24:01cannot edit in HDR with every photo that
24:05you take. So, this is pretty limiting in
24:08some ways and HDR can be a little niche
24:11because you have to have HDR displays in
24:14order to really get the full effect of
24:17how the image is going to be
24:19represented. When editing in the light
24:21panel, always start with small changes
24:23and then build up from there. It's
24:25easier to tweak small adjustments than
24:27it is to undo drastic changes. Remember
24:30that the light panel, the curves, they
24:32all work best when they're paired with
24:34the color and the effects tools, which
24:36we're going to cover in the following
24:38modules. Now, you've mastered the light
24:40panel, the curves tool, and you've
24:42learned how to adjust brightness,
24:44contrast, and details and highlights,
24:47midtones, and shadows. Take some time to
24:50practice these techniques with some of
24:51your own photos. And I'd encourage you
24:53to experiment with different types of
24:56lighting. [music] And in the next
24:57module, we'll dive into the color panel
24:59so that way we can enhance and perfect
25:02the tones in your images. I'll see you
25:04there.
25:10Welcome to module 4. In this session,
25:13we'll explore how to perfect color in
25:16Lightroom mobile. We'll cover the basic
25:18color panel to fix white balance and
25:20saturation. Then dive deeper into the
25:23color mixer for more precise color
25:24control. And finally, we will touch on
25:27the color grading tool, which will let
25:28you add creative twist to the shadows,
25:31mid tones, and highlights. So, let's
25:33talk about these sliders. The first one
25:35is the temperature control, which helps
25:37to either warm up or cool down your
25:40photo based on how it is being
25:42represented. If you find that your photo
25:44is looking a little too cool, then you
25:46can move it to the right to warm it up.
25:48And vice versa, if it's looking a little
25:50too warm, then you can move it to the
25:52left to cool it down. Under that is the
25:54tint control, which helps to shift your
25:56image more towards magenta or more
25:59towards green. If your image is looking
26:01to green, then move it towards the
26:03magenta side. And if it's looking to
26:05magenta, then move it over to the green.
26:08The vibrance slider helps to increase
26:10the intensity in the weaker colors of
26:13your photo without oversaturating the
26:16entire image. And the saturation slider
26:19boost colors across the board on your
26:21image. And you want to be careful to
26:25overdo it with saturation. There's no
26:27real right or wrong answer to this. It
26:31really is subjective. But if you do
26:34boost your saturation, your vibrance all
26:36the way up, then you're going to start
26:37looking a bit cartoonish in your
26:39editing. White balance corrects the
26:41color cast so your whites look truly
26:44white in your photos. So, how do you set
26:47your white balance properly? Well,
26:50Lightroom has a couple of tools to try
26:51to help you do that. If you notice next
26:54to the word white balance, it says as
26:56shot. So when I imported this photo,
27:00what you see here is this color
27:01temperature uh with 50 to 50K. That
27:05stands for Kelvin. That was the temp.
27:08And then the tent is +4. That's how it
27:11was shot on the camera on that day in
27:14that lighting situation. So this is the
27:16asshot white balance. If I wanted to
27:19adjust the white balance, I could hit
27:21this drop-down menu and it will now show
27:23me all these predetermined color
27:25temperatures for things like daylight
27:28temperature, cloudy, shade, tungsten,
27:30fluorescent, flash, custom, and there is
27:33also an auto white balance feature. So,
27:36let's see what happens when we hit auto.
27:38And the only difference that I notice
27:41from the asshot white balance is that
27:44the tint has dropped down a bit. uh not
27:47as heavy on the magenta. So now it's
27:49only plus two and I think before it was
27:51plus4. So I would say that the auto
27:54feature has done a pretty good job with
27:56this image. But there have been plenty
27:58of times where I have been editing a
28:00photo and I've attempted to use auto
28:02white balance and it throws things way
28:04too warm or way too cool. So it is
28:07really nice in those times when it does
28:09work, but it does not always perform
28:11accurately in my experience. So, let's
28:14say you have a scenario like this where
28:16your white balance has just been
28:17improperly set and you're unsure whether
28:20or not white is really going to look
28:23white. What can you do? Well, there is a
28:26nice little eyropper tool up here above
28:29the temperature slider. If you tap on
28:31that, this now has a target that you can
28:34move around in your image and you can
28:37look for something that you know to be
28:40pure white from inside of the photo. and
28:43it will help to set the white balance
28:46properly. So, in this example, I'm going
28:48to move my little dropper around and
28:51you'll notice that it starts to pick up
28:53on these colors and it'll kind of give
28:54you a more accurate idea of which colors
28:57you are choosing. I luckily have this
29:00nice big white wall. So, I'm going to go
29:03over that and I'm going to just release
29:05my thumb. And now I have a white balance
29:08set there. I'm going to hit the check.
29:10And there it is properly set my white
29:13balance. I find this eyropper tool to be
29:15especially great to use when you're in
29:18an indoor environment and you're unsure
29:21dealing with maybe multiple sources of
29:23lighting, different color temperatures,
29:26different directions or sunlight. I like
29:28to use the eyropper tool and I'll find
29:30like a light switch or something that I
29:32know is white on a wall and I will put
29:35the dropper on that and it will
29:36automatically set the white balance
29:38properly. But one word of caution, when
29:40you are moving this thing around, you'll
29:42notice that you could accidentally grab
29:44a different color and your white balance
29:47will be completely thrown off. So just
29:49make sure that you do select the colors
29:53that look most neutral and most white
29:56and that will help you to make sure that
29:59you set it right every time. Now that
30:00our image is properly white balanced,
30:02let's go into the color mixer tool. The
30:04color mixer breaks down colors into
30:06individual tones like reds, orange,
30:09yellows, greens, blues, purples, and
30:12magenta. With these sliders, you can
30:14tweak each color individually. So, let's
30:17go ahead and manipulate some of the
30:18colors in our image. I'm going to start
30:20with red because we have this reddish
30:23parrot. And starting with our hue
30:26slider, you notice that you are able to
30:28shift the red to the colors that are
30:31neighboring it on a color wheel. So I
30:34can move this more towards the magenta
30:37side and it's looking a little bit more
30:39pink. Or I can shift it towards the
30:43orange side. And now those reds are
30:45looking more orange. Next, I want to
30:48take these yellowish letters towards the
30:51top and I want to increase their
30:53saturation so that way they can pop a
30:55bit more. So I'm going to move this
30:57slider to the right. And now the yellows
31:00are more saturated. those colors are
31:03really starting to show. Of course, I
31:05could take this in the opposite
31:06direction and I could decrease the
31:08saturation on colors as well in case
31:11they're looking a little too intense and
31:13maybe I want them to be a little more
31:14subdued. We also have the option to
31:17adjust the luminance value of colors as
31:20well. So, if I want my blues to appear
31:23brighter, I can move it to the right.
31:25And now my sky in these blue blocks
31:28around these white letters is now
31:30brighter. or if I want them to be a bit
31:33more intense, I can bring down the
31:36luminance and can really get those
31:38colors to stand out and darken. You also
31:41have a target adjustment tool that's
31:43built into the color mixer. It's this
31:45little bullseye. What this will do is
31:48whenever you put your finger on your
31:51image on any point, whatever color you
31:54grab, you'll notice that it has selected
31:57a range of colors instead of just one
32:00individual color to start manipulating.
32:02Sometimes when you're adjusting colors,
32:03you're just not exactly sure like is
32:05that orange, is that yellow, is that
32:07red. If you use the target adjustment,
32:09then you get the option to just put your
32:12finger down and it's telling me right
32:13now this, you know, painting of this can
32:16is actually orange and yellow. So, I've
32:20got my hue selected. And if I want to
32:22adjust the hue, I would just pull my
32:25finger down while I'm holding it. And
32:27now everything is shifting more towards
32:30the red hue. And if I bring it back up,
32:34then everything is shifting more towards
32:36a yellowish hue. This works for your
32:40hue. It works for your saturation and
32:42your luminance. So, it gives you just so
32:45much more play in being able to
32:47accurately adjust your colors,
32:50especially if you're unsure exactly
32:52which color is which. And it helps you
32:55to just isolate them, and it helps you
32:57to just save a bunch of time when you're
32:59editing your colors. While the color
33:01mixer targets individual colors, color
33:03grading adjusts the overall mood by
33:06separating shadows, midtones, and your
33:08highlights. To get to the color grading
33:10tool, you just hit the three dots where
33:13it says grading. And you have your
33:15shadows, your midtones, and your
33:18highlights adjustments, as well as a
33:20global adjustment. I like to add a bit
33:23of a bluish teal into my shadows to get
33:26a little bit more of a cooler vibe. And
33:29then I like to counter that coolness
33:31with a little bit of warmth in my
33:34midtones
33:35as well as extra warmth in my
33:39highlights. Down below your little color
33:42wheel, you've got more specific controls
33:44over the hues. If you want to shift it
33:46more towards one side or the other, you
33:49have more control of your saturation and
33:53as well as your luminance. You have a
33:56blending slider which will determine how
33:58stark contrast or how molded and like
34:01kind of, you know, blurred those colors
34:04are into each other. And then you have a
34:06balance slider which if you move it to
34:08the left is going to lean more heavy to
34:10the colors that you put in your shadows.
34:13If you move it to your right, it's going
34:14to be leaning heavier to the intensity
34:17of the colors that you've chosen in your
34:19highlights. Much like the previous
34:21sliders, a good tip is to start subtle.
34:25Overdoing color grading can make your
34:27photo look a little unnatural, and a
34:29little wash of color will often go a
34:31long way. You have just learned how to
34:34transform your photos by controlling
34:35both the overall color and specific
34:38hues. Experiment with these tools to
34:40develop your own personal style. [music]
34:42Fix the white balance first, then use
34:44the color mixer for more precision, and
34:46then add a creative color grade to help
34:49set the mood. And the next module will
34:51focus on the blur tool, exploring ways
34:53to add depth [music]
34:54or artistic softening to your images.
34:56It's a subtle effect that can make a big
34:59impact on your final [music] edit. So
35:01stay tuned for module 5.
35:08Welcome to module 5. Now that we've
35:10perfected color, it's time to explore
35:12the lens blur feature in Lightroom
35:14mobile. This is a powerful tool that
35:16allows you to give depth to your image
35:18that may or may not be there. Think of
35:21it as portrait mode in your phone, but
35:23you get to add it later on in editing.
35:26By the end of this lesson, you'll know
35:27how to enhance the depth of field,
35:29isolate your subject, and make your
35:31photos look more professional. The lens
35:33blur tool allows you to fine-tune how
35:36much of your image is in or out of
35:38focus. You can increase or decrease
35:41background blur, isolating your subject
35:43to give more of that professional camera
35:46look. This is great because you can take
35:48a photo that lacks some of that depth
35:51and create some visually pleasing
35:53separation between the subject and the
35:56background. This also gives you the
35:57freedom to adjust or correct the blur
35:59level long after the photo was shot. To
36:02access the lens blur tool, go to the
36:04edit panel and go over to the waterrop
36:09little icon that says blur. This photo
36:11already has some blur to it. And I'm
36:13going to add some extra blur now by
36:15moving that blur amount up. The more you
36:18move the slider to the right, the more
36:20blur you will get in your image. And
36:22obviously, if you want to decrease it,
36:24then you will go back towards the left.
36:28Now that we have added our blur, we have
36:30the option to be able to choose
36:31different shapes of the out of focus
36:35elements in our image. This is really
36:37cool because it kind of mimics what
36:39different types of outfocus elements
36:42would look like on different types of
36:44camera lenses. I'll cycle through these
36:46and you can see the differences in the
36:48background, especially in the greenery
36:50area. So this is the circle bubble
36:53starts to change the shape of those out
36:55of focus elements. five blade
36:59ring,
37:01oval,
37:03and cat eye. If you're unsure whether or
37:05not your photo is properly separating
37:08what the subject is and what the
37:10background is, you can go over to the
37:12little focus button here. You have a
37:14couple of options on the bottom. The
37:16first one, which is selected right now,
37:18is a subject detection option. This will
37:21just have Lightroom detect where it
37:23feels that the subject is and it will
37:26gauge the separation from there. You
37:28also have a little target tool that
37:31looks exactly like our white balance
37:33dropper. And what's kind of cool is you
37:35can move this, let's say, from my face
37:38to the background. And you can see that
37:41it has now added artificial depth to the
37:44photo. So now it's making me out of
37:46focus and it's trying to put the
37:48background into focus. So when I move it
37:51back to my face now the focus is back
37:54where it probably should be. You can
37:56also adjust your focus in the focus
37:59range area. So you can see on the left
38:01side it's near and far. If I move this
38:04sliding box, it's doing exactly what we
38:07did with our target tool and it's
38:10determining where the objects are in the
38:13images and it's putting the focus in
38:15those spots. And if you're still unsure
38:17if the proper things are in focus, you
38:19can hit this little box in the right
38:21corner and this will now illuminate the
38:25different areas. So, it's kind of
38:27showing you a depth map. Basically,
38:30everything that is white or in the
38:33lighter color is going to be nearer to
38:36where the photo was taken. And then
38:39everything that's more purple and darker
38:41colored is going to be what was further
38:44away in the photo. Here you can
38:45fine-tune that depth even more. You
38:47could expand your range or you could
38:50contract it so that way you're just kind
38:53of getting those edges that much more
38:55refined. You also get a couple of
38:57viewing options. When you hit the three
38:59dots, you can see it in focus range. You
39:01can show you the full depth of the photo
39:04and the out of focus range as well. So
39:07you can choose one of these to help you
39:09better determine where the focus is and
39:12where it is not in the image. And then
39:16you can apply your effect. If you want
39:17to see a before and after effect of the
39:20lens blur, you can move the slider back
39:23down to zero to see where your photo
39:25was. And then you could move it back up
39:28to taste until you find something that
39:30looks nice and relatively natural. The
39:33big tip here with this tool is to stay
39:36subtle. Too much blur can look unnatural
39:39or a little bit like you kind of just
39:42are faking it. So, I would aim for
39:44something that is more realistic and
39:46balanced so that your subject pops
39:49nicely from your background, but it
39:51still looks like it's a part of the
39:54scene. In my mind, the lens blur tool is
39:56not a replacement for a camera and a
39:59lens that has really good depth to it,
40:02but it is a good supplement to create
40:05some of that effect. Maybe you didn't
40:07shoot your image in portrait mode on
40:09your phone, or maybe you just weren't in
40:11a situation where you had a lot of
40:12depth. You can use this to try to get
40:14that effect to make it look more
40:17believable as if the depth was actually
40:20there. You've now learned how to use the
40:22lens blur feature to adjust or create
40:24depth in your photos. This is perfect
40:26for highlighting your subject and adding
40:28a professional touch. Whether your photo
40:31has genuine depth data or maybe you are
40:34just supplementing and simulating this
40:36blur, [music] this technique can
40:37transform your images. Next up in module
40:40six, we'll explore dehaze, vignette, and
40:43grain finishing touches that give your
40:45final edits that extra polish. I'll see
40:48you there.
40:53Welcome to module six. Now that you've
40:56mastered light, color, and even how to
40:58create depth in the blur tool, it's time
41:01to explore powerful finishing touches
41:03available in the effects panel. In this
41:06lesson, we'll look at texture, clarity,
41:08dehaze, vignette, and grain tools that
41:11can refine details, set the mood, and
41:14give your photos unique aesthetic. By
41:16the end, you'll know how to use each of
41:18these effects to create professionallook
41:20images with a personal touch. Let's
41:23start by going to our effects panel here
41:25in the editing category and it's under
41:28effects, which looks like a frame with a
41:31circle cutout. The first slider is
41:33texture. Texture adjusts the appearance
41:36of fine details without affecting the
41:38overall contrast as strongly as other
41:41tools do. Increasing texture makes
41:44details like skin pores, fabric, fibers,
41:47or tree bark more prominent. And
41:49decreasing texture can often soften
41:52areas without overly blurring them. Here
41:54I've got this picture of a sign behind
41:56this chain link fence. I'm going to use
41:58the texture slider to increase a bit
42:01more of that grittiness that we are
42:03seeing in the image. So I'm going to go
42:06ahead and increase that texture. You can
42:09even see if I zoom in a bit with it at
42:13zero starts here. And as I raise that
42:16up, it starts to get more of those
42:19details. You can see it in the chain
42:21link. You can see it in the rust on the
42:23sign. And you can even see it a little
42:25bit in the background there. And vice
42:27versa. If I wanted to reduce the texture
42:30in this image, let's say I didn't want
42:32as much of it showing, then I could
42:35reduce that in the opposite direction.
42:37If you go too far, things will obviously
42:39get blurry, but you can tone down some
42:42of those textures if you don't want to
42:45see it quite as much. This is also
42:47noticeable on faces. So, if I increase
42:50the texture here, you see all my pores,
42:53blemishes, uh, wrinkles, and freckles,
42:56and things of that nature. So, not
42:58necessarily the best look there. Uh, if
43:01we want something more flattering
43:03though, you could reduce that texture.
43:05Now, if you go too far, it looks like a
43:08bad Snapchat filter or something like
43:10that. But if you use it with some
43:12subtlety, then you can get a nice
43:15softening effect on the subject. If you
43:18want to isolate this effect so it's not
43:20going over the entirety of your image,
43:22you could use something like the brush
43:24radial or linear mask tool to isolate it
43:27to a certain portion or maybe just a
43:29part of your subject. but we are going
43:31to hit that in module 10 when we talk
43:34about masking. Next is the clarity
43:37slider which increases or decreases
43:40midtone contrast giving your image more
43:43punch. It's especially noticeable around
43:45edges and textures. You can see in this
43:48image as I move the clarity slider up
43:50you get way more contrast and detail in
43:54those rocks and even a bit in the water.
43:57as looks really nice, but you want to be
43:59cautious again not to use it too heavily
44:02because then it gets way too crushed and
44:04it starts to look a bit unnatural. Now,
44:07I also like to use the clarity slider in
44:10the reductive sense when it comes to
44:12things like portraits or if I'm trying
44:14to just get a more soft and glowing kind
44:18of vibe. So, got a portrait here. I'm
44:21going to go ahead and take my clarity
44:23slider, not forward, which looks a
44:26little rough, but in the reverse. And so
44:30now we get more of this sort of natural
44:34sort of filmish type glow going on in
44:37our image. Again, you can overdo this,
44:40but when it is used with some subtlety,
44:43you can see our before and our after.
44:46So, it just sort of softens up those
44:49lines. It kind of blooms the light a
44:53little bit. It just makes it look a
44:55little bit more Yeah, just soft and more
44:58dreamy looking. Next is the dehaze
45:00slider, which reduces or increases
45:03atmospheric haze in your photo. Move the
45:05slider to the right to clear up foggy
45:07backgrounds or dull skies, and you can
45:09move it to the left for a soft misty
45:11effect. We're back to our photo by the
45:14rocks in the water. And it does have a
45:16bit of a flatter sort of misty look,
45:20especially in those mountains in the
45:22background. So, I'm going to move the
45:24dehaz slider to the right, and you'll
45:27start to see those mountains really kind
45:29of jump out, and you're also seeing a
45:32bit more contrast and saturation being
45:36added to the image. But if I instead
45:38wanted to add haze to my image, I could
45:41move that dehaz slider to the left and
45:43everything is starting to get brighter,
45:45almost kind of like misty, as if the fog
45:48was starting to roll in in this image.
45:51Personally, I like to use the dehaz
45:52slider a lot in my photo editing because
45:56it just does something really nice to
45:58the contrast and the saturation to just
46:00give it a little bit more ump and a
46:02little bit more punch. I mean, you can
46:04even see it in this image. Literally the
46:06only change that I have made is the
46:08dehaz slider being increased. And this
46:11is the before image, which looks pretty
46:14meh, just kind of grayish. I don't know,
46:17a little flat. And then with the dehaze,
46:20just adds in all that nice life and
46:23saturation and contrast. Now that we've
46:25gone through all the effects, let's move
46:26over to vignette. A vignette darkens or
46:30brightens the edges of your photo. It's
46:32a classic way to draw attention towards
46:34the center of your image or wherever
46:37your subject is located. So, I've got my
46:39photo here with the center of the frame
46:41being this channel marker on the rocks.
46:44I'm going to go ahead and add a vignette
46:46by moving that slider to the left. And
46:48as I do that, you'll start to notice
46:50that the corners of the image are
46:52getting darker. Go ahead and release.
46:55And now you also have loads of different
46:57options to start to manipulate the
47:01effect of the vignette. One thing that I
47:03will often do is I will feather the
47:05vignette out so it's nice and soft and
47:09gradual. But to show you how these other
47:12tools work, I'm going to actually
47:13decrease it pretty drastically all the
47:15way. And so now this is what no
47:17feathering looks like. It's a hard line.
47:19It is not soft really in all, but this
47:22helps me to show you better things like
47:24the midpoint. So you can use your
47:27midpoint tool to basically decrease or
47:30increase the affected darkening areas.
47:34So you can really increase the size of
47:37the vignette. And then you can also mess
47:39with the roundness of the vignette. So
47:41you could do it more like a perfect
47:43circle or you could even square it out a
47:47bit. For me, I like more of a
47:49traditional roundness. And I'm going to
47:52leave my midpoint somewhere around
47:55there. Now, I will go ahead and feather
47:58out this vignette. So, that way it's a
48:01more subtle effect. After that, I will
48:04just find my little happy point on where
48:08I feel like it's doing a good job of
48:11drawing your attention into the center
48:13of the frame without overdoing it. For
48:16reference, this is the image without the
48:18vignette. Totally fine. But with the
48:22vignette, your eye is definitely drawn
48:24more in towards the center of the frame.
48:26There is one last slider in the vignette
48:28section, and that is highlights. The
48:31highlights slider allows for brighter
48:33images or images with more direct
48:36lighting to be in your image without
48:39being as affected by the vignette. This
48:43means that you can add a vignette to
48:45images that are brighter and have more
48:47dramatic lighting effects without having
48:50that lighting get crushed by the
48:52vignette. Now, let's talk about grain.
48:54Grain simulates the texture of film
48:56photography by adding some nostalgic and
48:59artistic looking elements to your image.
49:01So, here I've got my photo and I'm going
49:03to start subtly adding in the grain. You
49:06can see that more and more grittiness is
49:10starting to show up, especially in those
49:13blues. I can even take this up to 100
49:15just to show you the full effect of
49:17everything. Once you add in grain, you
49:19get two different controls. One being
49:22the size of the grain. So, you can make
49:24it very small or you can make it much
49:26larger and more pronounced. And then you
49:29have the roughness slider, which will
49:31allow you to reduce or increase the
49:35texture of the grain in the photo. I
49:38love adding grain to my images,
49:39especially when I'm going for more of a
49:41film style edit. It adds a bit more of
49:44that texture and that nostalgia. And
49:46it's also really effective, too, with
49:48black and white photo editing as well.
49:50All these tools are really great for
49:52adding your own finishing touches to
49:54your image. But just remember, much like
49:56everything else we've talked about in
49:58this course, is to just exercise some
50:01subtlety. For example, you might remove
50:03the haze in a landscape or add a touch
50:05of clarity to add some definition, apply
50:07a subtle vignette to guide the viewer's
50:09eye, and then add some grain for some
50:11more texture or for more of that filmic
50:14kind of look. All these tools are great,
50:15but they can quickly become
50:17overpowering. So aim for a cohesive look
50:20unless you're intentionally looking to
50:22go for more of that high stylized
50:24effect. You've now explored texture,
50:27clarity, dehaze, vignette, and grain.
50:30The core tools at the effects panel can
50:32add depth, drama, [music] and an
50:34artistic flare to your images. In module
50:377, we'll dive into the details panel,
50:39focusing on sharpening, noise reduction,
50:42and color noise control. Essential steps
50:44for a truly polished final edit. Until
50:47then, experiment with these effects and
50:49discover how they can transform your
50:51photos.
50:57Welcome to module 7. You've already
50:59explored powerful tools like texture,
51:01clarity, and dehaze in the effects
51:03panel. Now, let's refine the finer
51:05details of your image in the details
51:07panel, where we'll cover sharpening,
51:10noise reduction, and color noise
51:12reduction. By the end of this lesson,
51:14you'll be able to make your photos look
51:16crisp without introducing artifacts and
51:19reduce unwanted noise for a cleaner,
51:22more professional look. So, what is
51:24sharpening? Sharpening enhances the
51:26edges of your photos to make the details
51:28appear clearer and more defined.
51:30However, oversharpening can produce halo
51:33effects and emphasize imperfections. To
51:36access the sharpening tool, go to the
51:38editing panel. Go over to the triangle
51:40that says details and tap on that. Here
51:43you have a few different sliders. First
51:44is the sharpening slider, which controls
51:47the strength of the sharpening effect.
51:49Then you have your radius, which
51:50determines how wide the edge of the
51:52detailing is. A smaller radius suits
51:56more detailed shots like close-ups with
51:59fine textures, whereas a larger radius
52:01is just going to have broader edges.
52:03Detail specifies how much of the fine
52:06texture like small scale details is
52:09sharpened. Higher detail settings can
52:11raise the risk of noise or artifacts.
52:14Last one is masking. When it's
52:16increased, it protects the smooth areas
52:18of your images from being sharpened,
52:21targeting only edges or textures in your
52:25photo. So, let's see how all these
52:27sliders work together. Right here, I'm
52:29going to just start adding some
52:32sharpening to my photo. The radius
52:34slider adjusts the edge of the effect,
52:37but it's kind of tough to see just
52:39strictly with your eye moving the slider
52:41unless you're really up close and
52:43personal, which we can do. But there's
52:46another way that you can see this effect
52:48and just exactly how it's working in
52:49your image. So, if you have one finger
52:53on your radius slider and then you hold
52:55down with your other finger, then you
52:59can start to see this like grayed out
53:01version of your photo. And what you're
53:05seeing are the lines in the image itself
53:09where it's finding the edges. And here
53:12you're able to determine a bit more how
53:15defined you want that radius to be. You
53:17can also do this with the detail slider.
53:19If you hold down your finger on the
53:21slider and then press down with your
53:24other finger, then you can find the
53:27exact way that you want to have the
53:29detail in your image. So, at this point,
53:32we've added a lot of sharpening to this
53:34image. And you will notice some things
53:37starting to look a little off. If you go
53:39to these out of focus elements, you are
53:41starting to see all of these artifacts
53:44that have been added in from us adding
53:46all the sharpening and defining the
53:48radius and the detail in the image.
53:51Because without the sharpening, it's
53:53nice and smooth and out of focus. And
53:55with the sharpening, you get all that
53:58stuff added in. So, what we're going to
54:00do to save the out of focus elements
54:02from being sharpened is to add in that
54:04masking slider. And you probably guessed
54:07by now, but you can put your finger on
54:10the masking slider and then put another
54:12finger on your image. And now you get
54:15this pretty wild looking effect. And
54:19this is showing you all of the edges in
54:22the photo. Basically, where all the
54:24sharpening is taking effect. So
54:26everything that is in black is not being
54:28affected and everything that is white is
54:30being affected. So as we move that mask
54:34higher, we are seeing less things being
54:37illuminated in white and we are seeing
54:40more things that are being black. So the
54:41higher we go, we are defining those
54:43edges even greater in our image and we
54:46are excluding the spots that probably
54:50should be excluded because they don't
54:52really have that hard of an edge. And
54:54here I'm going to take my masking just
54:57about all of the way up. Now, if we go
54:59to those out of focus elements, you will
55:01notice that they are no longer gritty,
55:03but they are smooth as they should be,
55:07but we haven't removed our sharpening
55:09from our main subject being this car,
55:14and we have plenty of sharp and defined
55:18edges. Let's move on to noise reduction.
55:20First, what is noise? Noise appears as
55:23random specks or graininess in your
55:26photos, often visible in low light or
55:28high ISO photos, and it can make your
55:30images look rough and pixelated. So,
55:33here I've got a noisy photo. You can see
55:36everything happening, especially in the
55:38darker areas with the sky. And I'm going
55:42to want to smooth that out as much as I
55:44can. So, I'm going to increase my noise
55:47reduction. And you can see as I zoom in,
55:50as you increase that noise reduction, a
55:54lot of the graininess goes away without
55:56our noise reduction. And with it, it's a
56:00lot smoother. We also have a detail
56:01slider, which is very similar to the one
56:03that was in the sharpening tool that
56:05helps to adjust the radius of the
56:07reduction. And then we have the contrast
56:09slider which helps to sort of combat the
56:12plasticky look that having a ton of
56:15noise reduction can give in your image.
56:18So we have greatly reduced the noise. If
56:20you go back to zero you can see all
56:22those artifacts there. And if we
56:25increase it then a lot of that goes
56:27away. You will however notice that there
56:29is this like splotchy sort of color mess
56:31that's going on in the sky now. And that
56:34is where our color noise reduction comes
56:36in. Color noise shows up as tiny colored
56:39specks. Often in darker areas and
56:41shadows, it can appear as like a random
56:44red, green, or purple dots. Here, we
56:46don't really have random pixels.
56:47Everything's looking a bit splotchy. Not
56:50sure what happened there, but as we
56:52increase the color noise reduction, it
56:55will blend those stray colors into the
56:58surrounding tones in the image. We can
57:01again affect detail. we can affect our
57:04smoothness and just the way that those
57:07color noised pixels are being reduced.
57:10Both sharpening and noise reduction are
57:13effective tools on their own, but you
57:15can also use these together. When you
57:17remove noise, you might often soften
57:19details, so you can find a balance by
57:22reducing noise first, then applying just
57:25enough sharpening to regain crisp edges.
57:28One thing I always suggest when editing
57:30with these tools is to zoom and compare.
57:32Always check your edits at different
57:34zoom levels. What might look fine in
57:36full screen may be too strong or too
57:39weak when you view it at 100% zoom. The
57:42order of these effects is also important
57:44to your workflow. Many people prefer to
57:47finalize their edits with sharpening and
57:50noise reduction last after they've
57:52already adjusted their exposure, color,
57:55and their effects. Well done. You've
57:57learned how to refine your images using
57:59sharpening, noise reduction, and color
58:02noise reduction. By striking the right
58:04balance, you can highlight important
58:05details without amplifying unwanted
58:08artifacts. In module 8, we'll shift our
58:11focus to cropping and composition,
58:13ensuring that your photos have the
58:15perfect frame to complement [music]
58:17all your beautiful edits.
58:24Welcome back. In module eight, we are
58:26tackling cropping and composition. Even
58:28the most beautiful edited photos can
58:30fall flat if it isn't framed right. By
58:33the end of this lesson, you'll know how
58:35to use Lightroom mobile's crop tools,
58:37understand aspect ratios, and apply
58:39simple composition techniques to
58:41transform busy shots into clean and
58:44compelling images. Composition is
58:46important because it guides your
58:48viewer's eye, helping them focus on the
58:50most important parts of your photo. And
58:52cropping refineses your frame by
58:54removing distractions, strengthening
58:56your subject. If you plan to share a
58:58series of images on social media,
59:01consistent aspect ratios, and
59:03composition styles make your feed look
59:05more cohesive and professional. So, I've
59:08got my photo here, and I want to work on
59:11my cropping, straightening, and my
59:13composition. I'm going to go to the crop
59:16section, which is the frame with two
59:18arrows next to the editing. And here we
59:21have our cropping and geometry. Here we
59:24have our tools like aspect ratio, lock,
59:27straighten, rotate, flip horizontal,
59:30flip vertical, and our geometry. Let's
59:33first set our aspect ratio. If you go to
59:36the 3x4 in this instance with the three
59:39squares, you are now seeing all the
59:42different aspect ratio presets that
59:44Lightroom has to offer. You've got your
59:46basic options here like 1x one which is
59:49a square aspect ratio. Uh you also have
59:534x5 which in a vertical format is ideal
59:56for posting onto file forms like
59:59Instagram. You got 5x7 which is like a
1:00:01standard postcard size, 8 1/2 x 11 which
1:00:04is more of a standard paper size and 9x6
1:00:09which is ideal for vertical content like
1:00:12stories or for reals. You also have a
1:00:15custom option that when you click it
1:00:17allows you to just arrange your aspect
1:00:21ratio however you decide. I'm going to
1:00:24choose 4x5. Now that I have set my
1:00:26aspect ratio, you'll notice that there
1:00:28are parts of the image that are now
1:00:30darkened. Those are no longer going to
1:00:31be included in my final image. So when I
1:00:36move this around, I can grab the top
1:00:38corner here and I will move my box and
1:00:42that 4x5, you know, aspect ratio is
1:00:45going to stick there. It will not
1:00:47change. So I can bring it down. I can
1:00:51move my photo a bit so that way I can
1:00:55focus a bit more on the dumpster that's
1:00:58right here. Once you've decided that you
1:01:00are happy with this, you go ahead and
1:01:03hit the check mark. Now, let's talk
1:01:05about straightening. Underneath the
1:01:08aspect ratio box, you have this dotted
1:01:10line with the zero degrees labeled
1:01:13there. If you put your finger on that
1:01:15line, you can start to move your image
1:01:20side by side in order to shift it
1:01:23properly to get things properly
1:01:25straight. One sure sign of amateur
1:01:28photography or photo editing is not
1:01:31having your angles straight in your
1:01:34image. So being able to adjust that is a
1:01:37really nice feature to have. And if
1:01:39you're a little unsure or if you're
1:01:41being a little bit lazy, which is okay,
1:01:44there is a straighten button that looks
1:01:47like a little level. If I go ahead and
1:01:50hit that, it is going to basically
1:01:53analyze all the edges in my photos and
1:01:55it's going to do its best estimation to
1:01:57get my image looking nice and straight.
1:02:00But like a lot of these auto features
1:02:02built into the app, you can trust it
1:02:04sometimes, but maybe not all of the
1:02:06times. So, I wouldn't just blindly trust
1:02:08it. I would definitely verify that it is
1:02:11straightening the angles in a way that
1:02:14actually is correct. Next to that, we
1:02:16have our rotate button, which will
1:02:19rotate our photo all the way 360°.
1:02:25Now, this is great if you happen to be
1:02:28taking a photo and maybe you're on your
1:02:30phone and it gets stuck in horizontal,
1:02:32but you're trying to get a vertical or
1:02:34vice versa, or maybe just your camera
1:02:37didn't get things rotated the way that
1:02:39you want. You can correct that here. You
1:02:42also have the option to flip the photo
1:02:44horizontally. So if you want to kind of
1:02:46get a mirrored image with that, you can
1:02:49also flip this vertically as well to
1:02:52just ensure that everything is going to
1:02:54be properly aligned and going in the
1:02:57proper direction that you intended to.
1:02:59Another thing that I have not yet
1:03:01mentioned about the rotation and aspect
1:03:04ratio is that in the top left, you'll
1:03:07notice this rectangle with an arrow. If
1:03:10I tap on that, I can now flip my aspect
1:03:14ratio, which is pretty cool to have in
1:03:17case you want to take a landscape photo
1:03:20and make it portrait or vice versa. I
1:03:23want to take a portrait and I want to
1:03:25make it look landscape. Now, if we
1:03:27really want to get granular with this
1:03:29and make sure that all of those lines
1:03:31are truly straight, we can take this
1:03:34further with geometry. If you hit the
1:03:37pencil icon, here is where you have all
1:03:40of the different options to fix the
1:03:42geometry in your photo. Full disclosure,
1:03:45I don't typically do a lot of the
1:03:48geometry stuff. I just try to make sure
1:03:50my perspective is good in camera before
1:03:54I take the picture. But this is great if
1:03:57you're trying to correct some of your
1:03:58lines. We'll first do the manual way and
1:04:01then I will show you some of the auto
1:04:02features. So, we're going to go over to
1:04:05our sliders here. And what I'm going to
1:04:08do is just start messing with, let's
1:04:10say, our distortion. And you can see
1:04:13what the geometry is doing is that it is
1:04:16really trying to make sure that you can
1:04:19fix any sort of skewing that happens,
1:04:21whether with your camera lens or just
1:04:24some sort of abnormality in your photos.
1:04:26You can correct that here. You also
1:04:28could just use this for more stylistic
1:04:31creativity and kind of taking your edits
1:04:35a bit further than maybe what is even
1:04:37natural. Now, one thing that is a
1:04:39problem with this, besides the fact that
1:04:41I'm kind of curving it, but it's for
1:04:43demonstration purposes, is that I'm
1:04:46seeing now these white artificial edges
1:04:49in the image. So, what I'm going to do
1:04:51is I'm going to hit constrain crop. And
1:04:52that's going to make sure that whatever
1:04:55changes I make. It's not ever going to
1:04:57show the outside edges of the photo. So,
1:05:00let me hit constrain crop. And now, this
1:05:04is really what our photo looks like. And
1:05:06if I correct that, it's just
1:05:08automatically cropping the image. So,
1:05:10I'm not seeing those outside lines. So,
1:05:13what I'm going to do now is just try to
1:05:15get all these lines looking nice and
1:05:17straight. I got like the brick wall.
1:05:19I've got these other lines running up.
1:05:21So, let me go ahead and I'm going to
1:05:23adjust my vertical. And you can see
1:05:26you're moving up and down. Try to get
1:05:28that looking a little bit straighter.
1:05:30You have horizontal, which will shift
1:05:33your perspective one way or another. You
1:05:36can rotate your image. Yet again, you
1:05:39can mess with the aspect, kind of
1:05:41squeeze your image. I guess if you
1:05:43wanted to try to do something a little
1:05:44anamorphic, there is a scale option
1:05:47there. And then there is a X and Y
1:05:51offset. Now, let's talk real quick about
1:05:53these auto options. If I turn that on,
1:05:56auto will just do auto things. It'll
1:05:58just adjust it how it seems fit. You
1:06:00could do an auto leveling, a auto
1:06:03vertical setting, auto full, which kind
1:06:07of just messes everything up. You also
1:06:09have this guided option which is kind of
1:06:11cool where you can actually just tap on
1:06:15your image and you can just push down
1:06:19and drag on anything that has a straight
1:06:22edge. Like I said, I don't really use
1:06:24the geometry feature too much, but I
1:06:26certainly could see this being
1:06:28beneficial if you're doing like
1:06:30architectural type photography or if
1:06:33you're indoors and you're doing
1:06:35something maybe more like real estate
1:06:37and you just have to make sure all your
1:06:38lines are straight, this could
1:06:40definitely come in handy. Now, when it
1:06:42comes to composition, you can use this
1:06:45grid as you move your aspect around to
1:06:49use the rule of thirds to find a spot or
1:06:51a point of interest in your photo. You
1:06:54can also keep in mind leading lines like
1:06:56roads or pathways or right now I've got
1:06:59these dumpsters and I've got these pipes
1:07:02and stuff coming off of the wall.
1:07:03Composition guidelines are a really
1:07:05great starting point. It's a fantastic
1:07:07technique to have if you're trying to
1:07:10just compose your photos in a really
1:07:12creative manner that draws in your
1:07:14viewers's attention, but sometimes you
1:07:17can break these rules and you can just
1:07:19yield to a more creative eye-catching
1:07:21shot. So, don't be afraid to try
1:07:23something different. Now, you've learned
1:07:24how to use the cropping tools to refine
1:07:26your frame and how to apply composition
1:07:28techniques to guide your viewer's eye.
1:07:31As you practice these methods, notice
1:07:33how simple adjustments can drastically
1:07:35improve your photos impact. In our next
1:07:38lesson, module 9, we'll explore removing
1:07:40distractions with Lightroom's generative
1:07:42remove, heal, and clone [music] tools,
1:07:45helping you keep all the focus on your
1:07:47subject. Until then, keep experimenting,
1:07:50and I'll see you in the next one.
1:07:56Welcome to module 9. Even the most
1:07:59stunning images can have little
1:08:01distractions. A street sign, a blemish,
1:08:04an unwanted object in the background. In
1:08:07this lesson, you'll learn how to keep
1:08:09your photos distraction-free using
1:08:12Lightroom mobile's removal tool with
1:08:14Generative AI, the heel tool, and the
1:08:17clone stamp. And by the end, you'll know
1:08:20how to tackle everything from tiny
1:08:21imperfections to large objects for a
1:08:24cleaner, more professional look. So,
1:08:26what is the remove tool? The remove tool
1:08:29is Lightroom's AI powered feature that
1:08:32analyzes and fills in the area you paint
1:08:34over, taking in the surrounding pixels
1:08:37into account. This makes quick work of
1:08:40removing larger or more complex
1:08:42distractions. So, this is how it works.
1:08:45You go over to the bottom right where
1:08:47the eraser icon is. Tap on that and you
1:08:50are now greeted with the remove tool. In
1:08:52the remove tool, you have a couple of
1:08:54options. You have a size slider which
1:08:57will determine the size of the brush
1:08:59that you're going to be using whenever
1:09:00you are painting over things to remove
1:09:02them. You have a detect objects option
1:09:05which when you turn this on, it'll take
1:09:07whatever you paint over in the image and
1:09:10it will do its best to grab the specific
1:09:13item or object that you are trying to
1:09:15remove. Then underneath that is
1:09:17generative AI and this is really where
1:09:20the remove tool goes to the next level.
1:09:22So now let me show you how this works. I
1:09:24had the idea with this road image to see
1:09:28if I could remove all of the cars from
1:09:30the right side of the road and leave the
1:09:32cars on the left side of the road. So,
1:09:34what I'm going to do is I'm going to
1:09:36take two fingers to zoom in on my image
1:09:39and I'm going to have detect objects on
1:09:42and generative AI on. And I'm going to
1:09:45just start painting over these cars. I'm
1:09:48going to do these two since they're
1:09:50right next to each other. The object
1:09:51detection has found the exact areas
1:09:54where it's at. And just like that, those
1:09:57cars are completely gone. This is the
1:10:00power of the generative AI. It's
1:10:03extremely useful to not only remove the
1:10:07objects that you are painting over, but
1:10:09to then replace it with surrounding
1:10:13imagery that fits well into your photo.
1:10:16Now, let's start taking out some more of
1:10:18these cars. I'm going to go with this
1:10:21guy here. Just like that, the car is
1:10:24gone. Now, let's move to these cars
1:10:25underneath the bridge area. And we'll
1:10:28see if we can grab this guy, too. And
1:10:31this is just absolute magic. If you are
1:10:33not fully satisfied with what new
1:10:36imagery has been added in by Lightroom's
1:10:39generative AI, you can always hit that
1:10:41refine button with the pencil there.
1:10:43Here you can see the selection and you
1:10:46have the option to still keep it as
1:10:48generative AI. You can turn off the AI,
1:10:51which in my experience is not nearly as
1:10:54effective, but you also get this
1:10:56variations toggle. So every time you do
1:10:59one of these generative AI moves, you
1:11:02get three different variations of what
1:11:04the new part of the image is going to
1:11:05look like. So, this is the first of the
1:11:08three, which I think probably might be
1:11:11the one that I want to go with, but I
1:11:13can move over to the second one. It
1:11:15gives me a different option. And the
1:11:17third one gives me yet another option.
1:11:21It's just a nice way to be able to get
1:11:23some variety in the new part of the
1:11:26image to help make sure that it's a
1:11:29better cohesive piece to the overall
1:11:32photo. I still like the first variation,
1:11:34so I'm going to go ahead and hit done.
1:11:35And then I will move over and just
1:11:38continue to remove the other cars. And
1:11:41just like that, all of the cars on that
1:11:44side of the road are completely gone.
1:11:47Kind of like magic. If I go ahead and
1:11:49hit that check mark, I can also go back
1:11:53to the remove icon, which is the eraser.
1:11:57And if I hold that down, I'm able to get
1:12:00a remove hidden option. basically a
1:12:02before of the effect that we have now
1:12:06made. And if I release it, it will show
1:12:08me the after. I'm a sucker for doing
1:12:11before and afters, and so this is
1:12:12actually pretty cool to be able to see
1:12:14it, but it's also nice to see how much
1:12:18might have been now manipulated beyond
1:12:21the originality of the photo. So, just a
1:12:23cool little feature to have. Now, I'm
1:12:25not sure that removing a bunch of cars
1:12:28from a road was the intended purpose of
1:12:30the generative AI remove, but it works
1:12:34really well for more extreme options
1:12:36like this, or it's perfect for more like
1:12:38mid to large size objects or areas where
1:12:41like the background can be contextually
1:12:44reconstructed. So, like I said, like
1:12:46street signs or in front of a brick wall
1:12:48or any sort of unwanted object or even
1:12:51sometimes people in your images can
1:12:53easily be removed with generative AI.
1:12:55Next is the heel tool. The heel tool
1:12:58automatically blends corrections by
1:13:00sampling pixels near the area that you
1:13:03paint over. It's best for smaller
1:13:05distractions like blemishes, dust spots,
1:13:08or tiny marks where the surrounding
1:13:10texture is relatively uniform. I like to
1:13:13use this tool for fixing blemishes on
1:13:16people's skin. So, I've got this
1:13:19portrait here of yours truly, and I want
1:13:21to remove this little mark in between my
1:13:24eyes that I have. So, I'm going to
1:13:27reduce the size of this brush, and I'm
1:13:30going to paint over that little blemish,
1:13:33and it has now disappeared. I could also
1:13:36try to do something similar with, let's
1:13:38say, one of these freckles on my nose.
1:13:41And now they might as well just not even
1:13:43be on my face. What is cool is that you
1:13:46can refine all of your multiple
1:13:49selections. And you can see the area
1:13:51where it is sampling the correction
1:13:54from. You may find that sometimes you
1:13:56have a little bit of a misfire if you're
1:13:58using this for something like a portrait
1:14:00where I've got the target in between my
1:14:03eyebrows, but the sample area is
1:14:06somewhere over like my actual eyebrows.
1:14:09And now I have a unibrow, which is
1:14:12obviously not the goal there. You can
1:14:14also adjust the feathering of the
1:14:16effect. So you can really make it look a
1:14:19lot softer and a bit more natural as
1:14:23well as the opacity of the effect. So
1:14:26you can tone it, shape it to fit
1:14:29whatever your needs are. The last of our
1:14:31tools is clone. Now, unlike healing or
1:14:34the AI powered remove tool, cloning
1:14:36directly copies pixels from a source
1:14:39area and places them over your target.
1:14:42It doesn't blend or guess the match is
1:14:45exact. So, I've got this photo where
1:14:47I've got a bunch of green grass. I want
1:14:49to fix one of these patches that is
1:14:51looking kind of brown. So, I'm going to
1:14:54take this and paint over that brown
1:14:57area. And what it does is it just grabs
1:15:01any of these textures and it starts to
1:15:03just blend them in just [clears throat]
1:15:06like that. You can see how this could
1:15:08easily get a little weird if you're
1:15:11moving the texture around. So, I would
1:15:14really let the Lightroom mobile app just
1:15:18kind of dictate what's going to be the
1:15:20best practices there. But you do need to
1:15:23be cautious that you're not getting like
1:15:24repeating, you know, little pieces of
1:15:27your image in your photo. Then it's
1:15:30going to start to look like you're
1:15:32manipulating it and it's not looking all
1:15:36that great. The clone tool works fine,
1:15:38but it's probably the one that I almost
1:15:41never use because I feel that healing
1:15:43and the general remove tool with the AI
1:15:46works far better. One of the big tips
1:15:48for using these tools is to zoom in for
1:15:51precision. Detailed work often requires
1:15:54like a 100% zoom, like really getting in
1:15:58there to make sure that you can more
1:15:59accurately paint over target areas
1:16:02without affecting important details.
1:16:05Also, you can switch tools as needed.
1:16:07Sometimes you'll start with the AI
1:16:09remove for big object. Then you can
1:16:11refine edges or small blemishes with
1:16:14heel or the clone tool. Don't hesitate
1:16:17to mix and match these. And for
1:16:19complicated textures, try several
1:16:22smaller strokes rather than just one big
1:16:24patch. This often yields a more seamless
1:16:28looking result. Good work. Now you
1:16:30understand how to remove distractions
1:16:32using Lightroom mobile's AI powered
1:16:35remove tool for quick fixes, the heel
1:16:37tool for subtle blending, and the clone
1:16:40stamp for precise pattern [music]
1:16:42replication. In module 10, we'll dive
1:16:45into mastering masking with selective
1:16:48edits and precise adjustments, giving
1:16:50you even more creative control over your
1:16:53images. Keep practicing and watch as
1:16:55your photos become cleaner and more
1:16:58polished. [music]
1:16:59I'll see you in the next one.
1:17:06Welcome to module 10. Now that you've
1:17:08learned how to remove distractions in
1:17:10your photos, it's time to get even more
1:17:11precise with your edits. [music] In this
1:17:14lesson, we'll dive into the masking
1:17:15tools, including brush, radial, and
1:17:18linear gradients, plus any AI based
1:17:21options like select subject or select
1:17:24sky. By the end, you'll be able to
1:17:26refine specific areas in your photos
1:17:28without affecting the entire image. Why
1:17:31does masking matter? Sometimes you'll
1:17:34only need to brighten a face or darken
1:17:36the sky or fine-tune a background.
1:17:39Masking tools will let you apply edits
1:17:41exactly where you want them. Targeted
1:17:43adjustments can give your photos that
1:17:45prolevel finish by drawing your viewer's
1:17:47eye to key subjects or balancing out
1:17:50tricky lighting. To get to our masking
1:17:52tools, go to the dotted circle, which is
1:17:55second to last. First thing that we need
1:17:56to do is add a mask. So, we're going to
1:17:59hit that blue circle with the plus sign.
1:18:02And here we have all of the different
1:18:04types of options for our masking. So we
1:18:07have our AI based ones on the top that
1:18:10select subject where it obviously will
1:18:13use AI to select the subject, a sky
1:18:15selection option, a selected background
1:18:18option. Then we also have our regular
1:18:21ones like brush where you can
1:18:22specifically just paint and decide where
1:18:25you want those edits to happen. A linear
1:18:27gradient which will go in a certain
1:18:29direction. radial gradient, which is
1:18:31like a big circle. Then you can even do
1:18:34things like color range, where you could
1:18:36select specific colors to affect, and
1:18:38luminous range, determining certain
1:18:41bright or dark parts of your image to
1:18:43make those refined adjustments. We got a
1:18:45lot to cover, so let's get right in. I'm
1:18:47going to start with the select subject.
1:18:49You'll notice once the subject is
1:18:51selected that you get pretty much all of
1:18:53your normal tools for editing. You get
1:18:56your light tab, color tab, effects,
1:18:59detail, and then you can do even some
1:19:01optic work. I'm going to start with one
1:19:03of my favorite things I like to do with
1:19:04the subject masking, and that is to up
1:19:07the exposure just a little bit. So, here
1:19:10at zero, everything's looking fine, but
1:19:12I'm going to just brighten the exposure
1:19:15of the subject being myself standing
1:19:18there. And now I'm kind of popping out a
1:19:21little bit more in the image. Now I'm
1:19:23going to go ahead and add another mask.
1:19:26We're going to do select sky. And it has
1:19:29obviously selected the sky which is
1:19:32super cool. And here I'm going to again
1:19:34start with our light tab and see if I
1:19:36can pull down maybe just a little bit of
1:19:38the exposure and reduce some of our
1:19:42highlights. Get back some of those
1:19:44details. And then with our color, I'm
1:19:47going to go ahead and try to cool it
1:19:49down just a little bit more. You can
1:19:52also adjust the hue and saturation. So,
1:19:54if you wanted to take it pretty much
1:19:56anywhere across the rainbow, you can do
1:19:59that. There's a fine adjustment tool
1:20:01that will do like smaller changes in the
1:20:03hue section. Or there is a color option
1:20:07which will just give you another way to
1:20:10make more selective choices towards a
1:20:12specific color with your selection. This
1:20:16next mask, select background, I think is
1:20:18a new feature. That's why it's got the
1:20:19blue dot. Uh Lightroom mobile is
1:20:22constantly releasing new features. So
1:20:24make sure you go back into the settings
1:20:26in your app to make sure that you are
1:20:27getting early access to the new features
1:20:30that they are releasing. So I'm going to
1:20:32just try it out. Tells me right there.
1:20:34Automatically selects the background in
1:20:36the photo. So let's go ahead and try it.
1:20:39And yeah, it has totally selected pretty
1:20:41much everything that is not the subject,
1:20:44which is pretty cool. So here I could
1:20:47just I could like darken everything. I
1:20:49could change the temperature of
1:20:52everything that's not, you know, myself
1:20:56there as a subject. Uh, which is pretty
1:20:58cool. Moving on, we got our standard
1:21:00brush selection, which will allow you to
1:21:03just brush over certain areas. And then
1:21:06you can go over to the left panel. Now,
1:21:10you can remove those selections. You go
1:21:13over to the size. You can increase or
1:21:15decrease the size of the brush. You can
1:21:17go to feather. So you can determine how
1:21:19hard or soft you want the brush to be.
1:21:22And then you can also mess with the
1:21:24flow, which will basically be like the
1:21:26intensity of that brush. You also have
1:21:30the option with this like little half
1:21:32yin and yang image to basically invert
1:21:36your selection so you could see what is
1:21:38actually being selected and not
1:21:40selected. And then you can also trash
1:21:43that brush. The brush mask would be good
1:21:45for more like free form stuff or just
1:21:46like certain fine little details. We've
1:21:49also got our linear gradient. So, I'm
1:21:53going to show you how this works by just
1:21:55applying it. So, once I hit linear
1:21:58gradient, I'm going to just uh click on
1:22:00the bottom here and I'm going to just
1:22:03start dragging up. So, this is what a
1:22:06linear gradient looks like. It just has
1:22:08a gradual move from bottom to the top.
1:22:12If you want to change the direction of
1:22:14the gradient, go to that top little
1:22:17white circle and you can rotate this
1:22:20whatever way you want. You can also pull
1:22:23it down on the bottom or bring it up to
1:22:27basically feather it out. So if you want
1:22:30it to be a little bit more of a harsh
1:22:31line, you could do that. Or if you want
1:22:34to soften it up, you can really extend
1:22:37those lines. And then you can even two
1:22:40pinch zoom out and you can move it
1:22:42around all the more. So let's just say I
1:22:46wanted to take this little path area and
1:22:50I wanted to adjust the exposure there. I
1:22:53could brighten it up or I could even
1:22:56darken it down. I like to do the linear
1:22:59gradient to kind of like reduce darkness
1:23:01a lot and then it kind of helps to draw
1:23:04the eye closer towards the center of the
1:23:06frame. Next we have our radial gradient
1:23:09which is basically a nice big circle or
1:23:13you can make it a small circle. You can
1:23:14make it you know more like oblong an
1:23:18oval. Whatever way you want to make it
1:23:20you can do it with the gradient tool. So
1:23:23I'm going to do something a little more
1:23:26uh on the creative side and sort of
1:23:29accentuate the light that's coming from
1:23:31the left side of the frame. So, so what
1:23:33I like to do is take the radial mask,
1:23:38make it really big, zoom out, and kind
1:23:40of find my point of light here, just
1:23:42make it really large. From here, I'm
1:23:45going to go to my left control, and I'm
1:23:47going to feather that 100%. Put it up
1:23:50there in the top. And then here, I will
1:23:52go ahead and mess with some highlights,
1:23:55a little bit of exposure, maybe bring up
1:23:59a little bit of that shadowy area. I
1:24:01will go to my color and I will warm it
1:24:05up a little bit if I wanted to add in a
1:24:07little bit more warmness. Basically, I'm
1:24:10just kind of faking the light here. And
1:24:12then I can go over to my effects. I can
1:24:15reduce texture, reduce the dehaze to
1:24:18really kind of give it this sort of
1:24:20blooming effect as if like the light is,
1:24:23you know, kind of piercing through in
1:24:25that corner. And then just kind of like
1:24:27do it to taste. kind of just find
1:24:29something that's, you know, fun and
1:24:31exciting to do here. Now, let's say that
1:24:33this radial effect that I've done is
1:24:37overtaking more of the image than what I
1:24:40really want to do. You can do a really
1:24:42cool thing where you can actually
1:24:43subtract from a mask that is currently
1:24:46affecting the photo. So, let's say I
1:24:49don't want it to fully hit, you know, me
1:24:52standing there as a subject. If I go to
1:24:53the little plus and minus just below the
1:24:56radial, I can either add to the mask or
1:24:58I can subtract from the mask. So, let me
1:25:00go ahead and hit subtract. And now you
1:25:03are met with all of your options yet
1:25:06again. So, any of these are going to
1:25:08work not in the normal way, but it's
1:25:11going to use those selections to remove
1:25:14from that current mask. So, let's say I
1:25:16don't want it touching me. I'm going to
1:25:18go ahead and hit select subject with the
1:25:20minus sign. And when I do that, it has
1:25:24now cut me out of that radial mask. You
1:25:27can kind of see it in the tiny little
1:25:28thumbnail at the top of the masking
1:25:30there. So no matter what, this radial
1:25:32mask will no longer be affecting the
1:25:34subject in the photo. We also have color
1:25:37range. This is a really cool one for
1:25:40just selecting certain colors in the
1:25:42image and manipulating them, refining
1:25:45them. Uh, what I want to try to do is
1:25:47take my very yellow jacket and just
1:25:51isolate that color. So, what I'm going
1:25:52to do is move this little target to my
1:25:56jacket. And then I'm going to use the
1:25:57refine slider to try to isolate more of
1:26:01just the jacket. I'm going to go ahead
1:26:03and hit apply for now, but I'm going to
1:26:05do our exact same thing that I did
1:26:08previously with the radial mask. I'm
1:26:11going to go and subtract from this mask
1:26:14and I'm going to select subject. So I'm
1:26:17going to go over and I'm going to select
1:26:21the background because I don't want
1:26:23anything in the background being
1:26:24affected, just the subject. So now I am
1:26:27selected and different parts of me are
1:26:30selected. I'm going to still try to
1:26:31isolate that jacket better. So I'm going
1:26:34to hit that little icon that's on me and
1:26:37I'm going to go over to the refine
1:26:40slider. And now you can notice I'm
1:26:42refining just the different parts of the
1:26:46image. I can even retarget the things on
1:26:48the photo here. So that way I can try to
1:26:51just better isolate that jacket. And
1:26:52then I'll go over to the color tab and I
1:26:55can start rotating the hue around. So if
1:26:58I want it to be a little bit more, I
1:27:00don't know, whatever kind of color I
1:27:01want. Or if I wanted to reduce the
1:27:04color, I could do that as well. I'm just
1:27:06going to go ahead and rotate it
1:27:09slightly. and subdue some of that. Then
1:27:11we have our luminance range. So this is
1:27:15a tool that you can use to isolate, you
1:27:18know, brighter parts of your image or
1:27:21darker parts, midtones or highlights,
1:27:23whatever you uh decide. And what you can
1:27:26do is select that. Then you can refine
1:27:30on this slider just how gradual those
1:27:33selections are. You can also choose the
1:27:35range, widen it or, you know, reduce it
1:27:39if you so choose. And once you made your
1:27:42selection, you just hit apply. So let's
1:27:44say I want to take my brighter areas,
1:27:47that higher luminance value that I've
1:27:49selected, and I'm going to reduce the
1:27:52clarity in those bright spots and add a
1:27:55bit more haze in those highlights. Now,
1:27:58this interface is starting to get a
1:28:00little out of hand because I've added
1:28:02like a ton of mask. If you want to get
1:28:04more information on things, you can
1:28:07actually grab at the bottom of your
1:28:11column there, let's say, with all these
1:28:13mask. And I can drag that out to the
1:28:16left. And this gives me a more layer
1:28:18styled view of everything that I have
1:28:22done so far in this image with my
1:28:24masking. This also works for the other
1:28:26side. With each mask, you can adjust the
1:28:29different ranges and you can invert
1:28:32things. You can do loads of different
1:28:34stuff to, you know, refine in those
1:28:37masks. Once you're all said and done
1:28:39with your masking, you can back out. And
1:28:42if you wanted to just see what the image
1:28:45looked like prior to adding
1:28:47[clears throat] your mask, if you just
1:28:48go over the masking icon and hold it
1:28:51down, you will see the hidden masks. So,
1:28:55this is what the image was looking like
1:28:57before I added in all of those mask. And
1:29:00as I release it now, you see the effect
1:29:03of all of those layers of masks that I
1:29:07added to this photo. One tip for using
1:29:09mask is to stack multiple mask on top of
1:29:12each other. You can add multiple mask
1:29:15layers, one for a subject, one for the
1:29:17background, one for the sky. You can
1:29:19just kind of add on from there. This is
1:29:21really how pros create multi-dimensional
1:29:24edits. If anything gets too crazy, you
1:29:27can use the eraser or you could use a
1:29:30subtractive method with your masking to
1:29:33make sure that the effect is not
1:29:35overlapping or going anywhere that it
1:29:38really should not be. So
1:29:39congratulations, you've unlocked one of
1:29:42the most powerful features in Lightroom
1:29:44mobile and that is masking. With tools
1:29:46like brush, radial, gradient, linear
1:29:49gradient, and AI based options [music]
1:29:51like select subject or sky, you can
1:29:53direct your viewers's attention. You can
1:29:55fix specific problems, and you can make
1:29:58your photos shine. In the next module,
1:30:00we'll explore creating your very own
1:30:03Lightroom presets to save you time and
1:30:06to maintain a consistent style. [music]
1:30:08I'll see you there.
1:30:14Welcome to module 11. By now, you've
1:30:17learned how to use Lightroom mobile
1:30:18sliders and tools to achieve the look
1:30:21that you want. In this lesson, I'll show
1:30:24you how to save those tweaks and
1:30:26adjustments as custom presets. This way,
1:30:28you can easily apply your favorite edits
1:30:31to future photos with a single tap. It's
1:30:33perfect for building a cohesive
1:30:35aesthetic, and it's great for saving
1:30:37time. Now, why would you create a custom
1:30:38preset? I know that I mentioned at the
1:30:40beginning of this course that presets
1:30:42are something that you don't necessarily
1:30:44need to rely on, but they are extremely
1:30:46beneficial once you understand how all
1:30:49of the other tools inside of Lightroom
1:30:51mobile work. One reason that presets are
1:30:54great is because it brings consistency
1:30:56across edits. If you love a certain
1:30:59look, maybe you prefer a certain warmer
1:31:02tone or high clarity or moody shadows,
1:31:05you can recreate it instantly on a new
1:31:07photo with a preset. It's also very
1:31:09time-saving. Editing each photo from
1:31:12scratch can be a bit timeconuming, so
1:31:14presets allow you to batch edit in
1:31:17seconds and then you can fine-tune if
1:31:19needed. And finally, you get to have
1:31:21your own personal style. Unlike
1:31:24downloaded presets, your custom versions
1:31:27reflect your exact taste and approach to
1:31:30photo editing. Now, when you go to
1:31:32create a custom preset, you want to make
1:31:34sure that you pick a photo that
1:31:35showcases the style that you're aiming
1:31:37for. So, if you're looking for a bright
1:31:40portrait or a moody landscape, make sure
1:31:43that you are finding a photo and an edit
1:31:47that can work really well to make sure
1:31:49that you get it exactly how you want.
1:31:50Once you've selected your photo, go
1:31:52ahead and just start editing. Go through
1:31:54your process starting with the light
1:31:56exposure, going over to your color,
1:31:58messing with the color mixer, maybe the
1:32:01color grading tool, all the way down to
1:32:03your effects, your details. You want to
1:32:05include everything that you would
1:32:06typically adjust to achieve your
1:32:08signature look. Now, be mindful of
1:32:10extremes. Remember that not every photo
1:32:12has the same lighting or color
1:32:14conditions, so try to keep your base
1:32:17style somewhat versatile. Once you're
1:32:19satisfied with your edit, go over to the
1:32:23top of our menu with the three dots. Tap
1:32:25on that and you're going to go down and
1:32:28hit create preset. From here, you can
1:32:31name it. For this one, I'm going to call
1:32:33this sunset. And I'll add orange and
1:32:37blue because those were my main colors
1:32:39that I was trying to emphasize in this
1:32:42edit. Then choose your preset group,
1:32:45whether you have user presets or if you
1:32:47want to make a new one. I'm just going
1:32:48to call this new. From there, you're
1:32:51going to select all of the different
1:32:53areas that you want to copy from your
1:32:57edit. You also have an option with this
1:33:00select menu to select everything. That
1:33:03would be including your geometry, your
1:33:05lens blur, things of that nature,
1:33:07optics, masking, or you can go to just
1:33:11the ones that you modified and it will
1:33:13only select those few items. You also
1:33:16have the ability to go into each
1:33:19individual category and select each
1:33:22individual tool. Once you've made all of
1:33:24your selections, go ahead and hit the
1:33:25check mark. And now your preset has been
1:33:28saved. Now you can open up any new photo
1:33:31and apply your preset. So I've got my
1:33:34photo here with similar lighting from
1:33:36the one where I created it. That's very
1:33:39important. I'm going to go down to my
1:33:41presets to my new folder and I'm going
1:33:44to do my sunset orange and blue preset.
1:33:48Now, this is a little bit strong, but
1:33:50this is a good starting point to at
1:33:52least get me in the ballpark of where I
1:33:55want to be. And with just a couple of
1:33:56fine-tune adjustments, I've now got my
1:33:58image looking more like my original and
1:34:01my more desired effect. Remember that
1:34:03presets often need small tweaks to fit
1:34:06each photo's unique lighting and colors.
1:34:08So, don't hesitate to adjust exposure,
1:34:11color, or your effects afterward. One
1:34:13tip for creating presets is that you may
1:34:15want to create different versions of
1:34:18your preset. You might want multiple
1:34:20presets for different types of
1:34:21scenarios, whether it's outdoor
1:34:23portraits, indoor lighting, black and
1:34:25white, you know, things of that nature.
1:34:27You could also refine your presets over
1:34:29time. If you notice that your preset is
1:34:31consistently too bright or too warm, you
1:34:34can just update it. So, go back to the
1:34:36original preset photo and adjust your
1:34:38settings, then resave the preset or
1:34:41create a brand new version. It's also
1:34:43key to stay organized. So find a way
1:34:45that works for you. Whether you're using
1:34:47a certain type of naming or filing
1:34:50system with folders or maybe even just
1:34:53like in this example, you want to use
1:34:55some emojis to help you better identify
1:34:58the differences between your presets.
1:35:00You are now equipped to save time and
1:35:02maintain consistency by creating your
1:35:04very own Lightroom presets. This is a
1:35:07huge step towards developing a
1:35:09recognizable style, one that is truly
1:35:12yours. In our final lesson, we'll
1:35:14explore workflow mastery, [music] tying
1:35:16together everything you've learned so
1:35:18far to create a smooth, efficient
1:35:21editing process from import to export.
1:35:24Keep practicing and get ready to
1:35:26streamline your editing even further.
1:35:31[music]
1:35:34Welcome to module 12. We've covered
1:35:36everything from light and color
1:35:38adjustments to removing distractions and
1:35:41creating custom presets. Now, we'll tie
1:35:44it all together into a consistent
1:35:46workflow. We'll also cover how to export
1:35:48your images for social media, online
1:35:51sharing, or for printing. By the end,
1:35:53you'll know how to streamline your
1:35:55editing process from the moment you
1:35:57import a photo to the moment you share
1:35:59it with the world. First, select your
1:36:01best shots and import them into
1:36:03Lightroom mobile. Use albums or folders
1:36:05to keep everything tidy, especially if
1:36:08you're editing multiple images from a
1:36:10shoot. Start with the light panel,
1:36:12exposure first, then highlights and
1:36:14shadows to correct the overall
1:36:15brightness and contrast. Then fix white
1:36:18balance and tweak overall color temp and
1:36:20tint before diving into more targeted
1:36:23edits. Next, get precise with selective
1:36:25edits with masking or with the color
1:36:28mixer. If a sky needs extra drama, use a
1:36:31linear gradient or the sky mask. If a
1:36:34face needs brightening, paint it in with
1:36:36the brush tool. If a certain color needs
1:36:38adjusting, head back to the color mixer.
1:36:41Then add your texture and effects.
1:36:43Enhance detail using clarity texture and
1:36:46if needed, dehaze. Add finishing touches
1:36:48like a slight vignette or a bit of grain
1:36:51for artistic flare. Then remove
1:36:53distractions using the remove tool with
1:36:55AI, the healing tool, or the clone tool.
1:36:58Check edges of the frame for anything
1:37:00that you might have missed and make
1:37:02final composition tweaks with the crop
1:37:04tool if needed. And then if you've
1:37:06already put in the work to create your
1:37:08own custom presets that you know you
1:37:10love the look of, go ahead and apply
1:37:12that. But remember to fine-tune each
1:37:15photo because no two photos are the
1:37:17same. When you're developing your own
1:37:19personal style, ask yourself these
1:37:21questions. Do you gravitate towards
1:37:23bright, airy photos or moody, dramatic
1:37:26images? Do you like the vibrant colors
1:37:28or do you like muted tones? Let your
1:37:30instincts guide you. Remember to
1:37:32experiment and evolve. Try new
1:37:34techniques and tools that you haven't
1:37:35used before. Over time, you'll naturally
1:37:37refine a style that feels authentic to
1:37:40you and stay inspired. Look at other
1:37:42photographers work for inspiration. But
1:37:44don't forget to innovate your own.
1:37:46Challenge yourself with different types
1:37:48of photos. Now, once you've put it all
1:37:50together to create your edit, it's time
1:37:52to export. To export your photo, go to
1:37:55the top icon that has the box with the
1:37:57arrow facing up. And from there, you can
1:37:59either save a copy to device, or you
1:38:01could use the share option. You'll
1:38:03notice the icons all the way over to the
1:38:05right. If you tap on that, this gives
1:38:07you the different file types,
1:38:08dimensions, and image quality for your
1:38:11export. For social media exporting, JPEG
1:38:13is typically sufficient. If you're
1:38:15printing, you'd want to consider using a
1:38:17higher quality file like a TIFF. And for
1:38:20Instagram, a simple JPEG around 24,48
1:38:25pixels on the long side is a good
1:38:27standard to go with. Lightroom mobile
1:38:29also allows you to add a watermark in
1:38:31case you want to protect your work or
1:38:33showcase a brand. You just go and
1:38:35include watermark and customize. You can
1:38:38do custom text. You can do a graphic.
1:38:41You can add it [music] at a certain
1:38:42point in the photo. If you're deciding
1:38:45to do that, once you're done, you just
1:38:46go ahead and export [music] it. And you
1:38:48can batch export for multiple images.
1:38:51You just select them and then you go
1:38:53down to the share icon and you can
1:38:55[music] export them in one go. It's a
1:38:57big time saver instead of doing it one
1:38:59by one.
1:39:04I wanted to share with you a few tips
1:39:06that I think will really continue to
1:39:08enhance your quality of life as you're
1:39:11using Lightroom mobile. The first one is
1:39:13batch editing with presets. So, let's go
1:39:17back to this photo that I have here. If
1:39:20I go and copy my settings, select all
1:39:23those things, and I go back to my
1:39:26Lightroom library view, I can select
1:39:29multiple images, and I have the option
1:39:32at the bottom to paste my settings. So,
1:39:36once I hit paste, it's going to ask, are
1:39:38you sure you want to paste this? It
1:39:40cannot be undone. Going to hit apply.
1:39:42and then it will go through and apply
1:39:44the preset to each one of those photos.
1:39:48Now, I can already tell these are
1:39:49probably a little overdone on some and
1:39:51probably just about good enough on the
1:39:54others, but this is a really helpful
1:39:56tool to be able to do quicker editing
1:39:59over multiple photos from a single
1:40:01shoot. Next is to get curious with your
1:40:04fingers when using this app. That sounds
1:40:06really weird, but it should make sense.
1:40:09Basically, if you take your fingers and
1:40:11pinch or if you're doubletapping
1:40:13anywhere in the app interface, you'll
1:40:15probably find something new. Uh, for
1:40:18example, if we are at the library view,
1:40:20I can take two fingers and I can pinch
1:40:24it will grab a thumbnail and it will
1:40:26automatically make those photos larger.
1:40:29On the flip side, you can pinch your
1:40:31fingers together and you can make those
1:40:33thumbnails very small. If I go back out,
1:40:36you can use two fingers. Tap at the same
1:40:39time, it'll show if there's any
1:40:40contributors. Tap again, it'll show you
1:40:43the actual file type of the photo. And
1:40:46then it'll show flags and ratings. And
1:40:49you can even see the photo info and the
1:40:52metadata, as well as even your settings.
1:40:55Now, at this point, you might know that
1:40:56I like to see my before and afters. I
1:40:59just love being able to tap on an edited
1:41:02photo and then see the before and see
1:41:05the after. If you wanted to do the same
1:41:07before and after effect on, let's say,
1:41:09your light panel, you actually can do
1:41:12that. And we talked about this in our
1:41:14masking section, but it holds true to
1:41:17all of these different tools. So, you
1:41:20would go to the light panel, you would
1:41:22just hold it down, and it's showing you
1:41:24the hidden light tool effect, and it's
1:41:27showing everything else. And then when I
1:41:29let it go, it's showing what the light
1:41:32is doing. This works the same way for
1:41:33color. If I hold down color, now it is
1:41:36showing my unedited color. And when I
1:41:40release it, it is showing exactly what
1:41:42the color is doing. I could do it again
1:41:43for my masking, which makes a big
1:41:46difference. And I let it go. And there
1:41:49is the effect. I also realized that I
1:41:51didn't go over the optics and the
1:41:53profiles tools in the course because
1:41:57they're kind of minimal, but I'm going
1:41:58to cover them right now. In the optics
1:42:02panel, this has to do with basically
1:42:05correcting things with your camera's
1:42:08lens. Whether that's on your phone or
1:42:10whether it's with an actual camera,
1:42:13Lightroom knows the different metadata
1:42:16or which lens is basically used to take
1:42:19the photo. And so it can help to make
1:42:21some corrections in your image if you
1:42:24want it. So in this image, I just two
1:42:26tapped to see that I was shooting with a
1:42:29Sigma zoom lens. So I want to see what
1:42:32kind of a correction is going to be made
1:42:34there. So when I hit enable lens
1:42:35corrections, it looks like it kind of
1:42:37punched in the image and it got rid of
1:42:40the vignette that was naturally
1:42:43occurring with that lens. Personally, I
1:42:45kind of like it. So, I think I'm going
1:42:47to just leave that turned off. You could
1:42:50also turn on remove chromatic
1:42:52aberration. Chromatic aberration is a
1:42:54thing that happens in pretty much most
1:42:57lenses. Some lenses are better at this
1:43:00than others, or worse at it than others,
1:43:02I should say. Basically on the edges of
1:43:05some of your parts of your image, you'll
1:43:08probably see like a little purple or
1:43:11bluish greenish fringing that doesn't
1:43:14really sit well on the edge. And remove
1:43:17chromatic aberration will help to negate
1:43:21those little colored fringes. Now,
1:43:23Lightroom mobile doesn't give you a lot
1:43:25of control over that. If you're using
1:43:27like the Lightroom desktop version, you
1:43:30get more control over the specific
1:43:33amount of chromatic aberration that's
1:43:35being removed as well as the color range
1:43:38that is being affected. And then the
1:43:40profile section is just another way to
1:43:44give yourself a good starting point with
1:43:47your colors. You can do the standard
1:43:50Adobe colors like what I have here on
1:43:53this preset. You have camera matching
1:43:57options where you can tap on these
1:43:59things and you can just kind of see the
1:44:01differences in the colors. You can also
1:44:03go through the more artistic black and
1:44:06white, modern, vintage. These are going
1:44:08to be ones that Adobe has put in there
1:44:11for your own creative use, but they made
1:44:14it. So, just take it with a grain of
1:44:16salt because some of their preseted
1:44:18things are okay and some of them are
1:44:20maybe not so okay. Congratulations. You
1:44:23made it all the way through the course.
1:44:25It was quite a bit of content, but you
1:44:27powered through, so good on you.
1:44:29Hopefully, you got a lot of value out of
1:44:32this video. I put a lot of work into
1:44:34this course, and I tried to be as
1:44:35detailed as possible without trying to
1:44:38complicate things uh throughout the
1:44:40entirety of it cuz sometimes these
1:44:42things can be complicated. But I hope
1:44:44that you really enjoyed it and got some
1:44:46value out of it. Again, if you have not
1:44:48yet liked this video, please add some
1:44:50value back to it by hitting that like
1:44:52button and consider subscribing to this
1:44:54channel for more content just like this.
1:44:57I even have an entire playlist dedicated
1:45:01to Lightroom mobile. It's chalk full of
1:45:03other videos just like this that are
1:45:06going to go in depth on these tools to
1:45:08help you get every bit of information
1:45:11that you need so that way you can
1:45:13confidently edit. If you want to support
1:45:15this channel again, you can check out
1:45:17the link down below to my digital store.
1:45:19Check out my Lightroom preset pack, my L
1:45:21pack. Also, you can check out links to
1:45:24all of the gear that I use to make these
1:45:26videos and [music] links to some other
1:45:29fun things like music plugins, things of
1:45:32that nature that I use to make my
1:45:34YouTube content. I want to thank you
1:45:35again for your time and for watching
1:45:37this entire course. I really enjoyed
1:45:38making it. I really enjoy making videos
1:45:41just like this because I love to teach
1:45:43and I love to help people get better at
1:45:46their craft. So, thank you again for
1:45:48watching. Again, if you want to watch
1:45:50any more Lightroom videos, I've got a
1:45:52playlist right here that you should
1:45:54definitely check out. Subscribe, hit the
1:45:57links, hit the like button, hit all that
1:45:59fun stuff. And until the next time, my
1:46:02name is Zach Sopac and I will see you in
1:46:04the next [music] video.
1:46:06Peace.

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