Lightroom® CC- Mobile: Basic Editing
I love this photo, and I've already done a little work on it. We did some work on it yesterday, and I'll show you what we've done to it. So I click on here. So I'm up here. I'm looking at, here's the basic settings, and you can see right there that little slider looking logo. That logo tells you that those are your basic adjustments, and they're global adjustments. So they're adjustments that are happening across the entire photo, and we worked on those over here. So if you go, look at this. Pay attention to this, and you can see what all of these look like, all of the logos, how it's laid out, and the UI. And then if you come over to my computer, so click to the computer now. Do you see how these look very similar? So I've got the same area here, and when I click on it I've got the same information here. So the two UIs are meant to look pretty similar to each other back and forth. Okay, so let's go back to the iPad, and I'm clicking on, and I'm gonna show you what I've done. So I brou...
ght the exposure up, the contrast up a little bit. (slight cough) Excuse me. The highlights I brought down, and the reason I brought the highlights down was because there's this bright spot right here in the sky. See that bright spot? That bright spot is apparently the sun. So that's where the sun is kind of, trying to push through that fog. So it's a little bit of a bright spot, and I don't want it to be that bright. I want it to feel a lot darker than it is. And by the way, this image is shot for It's a 30 second exposure. So it's a pretty long, actually it's longer than that. I think I did it on bulb. So anyway, it's a very long exposure. I couldn't even see these things right here. When I was taking the picture, it was so dark that I couldn't see any of the stuff out there. I knew it was out there because I had kind of researched, and I knew where I needed to shoot, and I knew where to walk to, and where those things were gonna be. But I had no idea, I couldn't see them. So I just composed based on what I thought was out there. And then, it was only by over exposing, exposing it for a very, very long time that I was able to actually see those. And then of course, the other thing that's helping us see them is here in the effects. The dehaze, 'cause when the dehaze is like that, that's what we see when it's normal. So if I double click that, it's zero. So you're barely seeing those now, and then I'm starting to see them better as I bring up the dehaze to cut through some of that fog. I don't want to cut through all of the fog, because I still want it to feel that, interesting feel. I want that mysterious look, but I do want to cut through it enough to see those shapes a little bit better. So I've added a little bit of the dehaze to it. I also went into the color, and I brought the temperature down because I want it to feel cold. If I bring the temperature up, I can make it feel a lot more natural. That's probably what it actually looked like, minus that it was darker. But I bring the temperature down because I want it to feel cold. I don't want it to feel warm. I want it to feel cold. And this is the advantage, again, of working with a raw file instead of a jpg. You can control that and not lose quality in your file. Okay, but if I wanted to go black and white on this, if I click on black and white here. You can see that I go black and white, and I can still play with the temperature just like we did yesterday in our computer. Can still play with the temperature, and it would change the basic structure of it, but I don't want to go black and white with it. But just so you know, you can go black and white. We're gonna stay in color. Now remember, the inside color. You also have that color wheel, and you can come in and change the way that the colors work in relationship to each other. Now this one's mostly blue. So if I were to go to blue, and I were to take the luminance of blue down, you see that almost everything in that photo still goes down. Because all of it's blue. It's better to work on this kind of a color mix situation in some other photo that has multiple colors in it. So we'll come back to that. Okay, so I'm not gonna do any color adjustments to this. All I wanted to do was temperature, and notice that I brought the saturation down to -21. The reason I brought the saturation down is simply, I don't want it to be overly blue. I just want it to be a little blue. So I brought the saturation down, and the temperature down, and that gives me that, kind of, cold blue feel. Alright, so the other things that I can add here are sharpening which I don't need to do. So I could come in here and do some noise reduction if I needed to, but this was shot at 100 ISO. So it doesn't need any noise reduction to it. It's a pretty clean file. So I'm not gonna worry about that. And, I could add or subtract some vignette from it. So if I take this, so if I go this way, I am adding vignette to it. If I go this way, I'm removing the natural vignette, but I'm gonna keep that at zero because I pretty much like the way the lens and the camera worked together. Alright. Oh, and by the way, you also have lets see.. There we go, so in the effects panel, you also have split toning. So the split toning option, if I click on split toning, I get two options, for highlights and shadows, and then balance. And those of you who are in Lightroom Classic, you know about split toning. The split toning is here. So if I did want to turn this into, let's say I wanted to turn this into a black and white. So if I went up to color and turned it to black and white, and then I came down, and I, oops, go into the split toning and the effects panel. Then I could say, "okay, I want all of the shadows to be blue." So find the right blue, and then I can change how blue I want them to be. So I'm just moving around within it, until I find exactly the right blue. And then I can come in and say, the highlights also need to be blue, but let's make them a different blue. Maybe they're a little bit more purple, or maybe they're a little bit more green, or even you could say I'm gonna make the highlights, kind of, an orange. That actually is kind of cool. So we're gonna go with that. Now notice, that we've got this blue that's going on in the shadows, but it looks like the sun is actually really trying to get through. And that's what's warming up, and then I can take the balance, and say I want it to be more blue with less of that yellow and orange peaking through, or I want it to be more orange with just a little hint of the blue right over here in the shadows. So I prefer it to feel more cold. So I'm gonna go through it like that, and now it looks like up here in the cloud area, the sun is coming through. And notice that the highlights on the water, which is what looks like reflection from the sun, is coming through as a little bit warm as well. So that split toning can be very useful. I like that. So let's just keep that.