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Review of Day 1 Process

so today I thought I'd start off with just a little bit of review of what we did yesterday. Main thing about revealing is that I can add some additional details so that if there's something that I didn't want to include on the first day, because it would have made the technique, I was talking about more complex than it needed to be. I can add it in here, and I could just give you an idea of how I think about a few images after we're done with that, we're going to get into talking about curves again. And yesterday we talked about curves for tonality, meaning all the adjustments that we did. We're making changes to the brightness of your picture today. We're gonna concentrate on using curves for adjusting color. And so, if you remembering curves, there was a little pop up menu near the top, and we had it set toe RGB the entire time. And if that's the case, you're changing the brightness of your picture. Today we're gonna be clicking on that menu and choosing the other choices that are fo...

und there and seeing what we could do with it, you know, seeing How can we color Correct the picture? How could we fix somebody's got sunburn? How could we make one side of a panorama match the other side? Let's say the sky is more science on one side, more blue on the other, and you would like to have it even talking to all sorts of things in. More importantly, how can you understand what's happening so that you're not just blindly following steps? Instead, you actually understand what's happening so you can do things that I haven't shown you. Instead, you can apply it to whatever you want. So once we're done with that, we'll get into some retouching. And after that, how I direct the viewer's eye into a picture and try to have some influence on where it is. They look first in a picture how long they spend their in where, what parts of the image they ignore. So that's a little bit of a snapshot of the day. Also, throughout the day, I'm going to start throwing in some small discussions about technical stuff that you don't really want to know. But you really should know, because if you don't, you can easily screw things up where your output won't look right or you'll send something to somebody and they'll call you back. Same hand. Can't use this because you didn't do something. And so that will be things like resolution, color spaces, file formats, that kind of stuff. And that's pretty much the plan for the day. So what I'd like to start with is getting into came around real quick and I'm gonna just two images and I adjusted these two images last night. I don't know if I'll end up with same results that I got last night, cause every time I adjusted picture, I'm just going with the flow and giving whatever the image kind of gives to me as I'm working it. And that depends on my mood and everything else you know, my going for an overly dramatic look, or do I decide to be more mellow about it? But if we take a look at my screen here, I'll show you the porn afters of what I did yesterday. So this is a shot that I took in Iceland. There's a great lagoon in the southwest of Iceland that it's full of icebergs floating there, and it's a really cool spot to be. If you ever go to Iceland, be sure to visit that area. And this is what I got out of camera and it's and I don't think it's all that exciting, especially the sky and all that. But here's what I end up doing to it with using Just came a wrong and I think it's little more dramatic and more interesting looking to me. And so there's before there's after. Here's another one. This one was taken in Dubai. This is actually I mean, uh, this is in Abu Dhabi at the Grand Mosque, and I took this with a fish eye lens. That's why it's kind of curved. And I ended up messing with that one and ending up with this result, and so wanted kind of walking through how it might go about doing that. But as I say, it might not end up with this exact same result because I won't remember how I did it or anything. I just, you know, do what what it feels the image needs. But that's what I ended up doing last night. So why don't we take a look? I'll just grab one of these Since it's a raw file, I can double click on it to get into camera raw. Remember, if you're going to adjust a J peg or a tiff file, you'll want to instead click on the file once go to the file menu, and that's where you'll find opening camera. Let's take a look. So first thing I noticed in this image is I'm not even looking at the picture. I'm looking at the history and remember on history, Graham Black is always represented on the left side. In White is represented on the right side and then all the shades of gray in between. And I just noticed that the history Graham has shoved all the way up against the right side and there's a big spike on the end. And if you happen to remember from yesterday I had a little cheat sheet that I wrote up on the board, and it said if there was a gap on one side and a spike on the other, the adjustment that I would start with would be exposure because the exposure takes this entirety of this, it moves it left or right so I might bring the exposure down and see if I can get this to make it so it's not jammed up against the right side. So there we go. And now that I don't see huge issues here now, we might start looking at the picture. But I first glance up there to see if there's any major issue that might want to deal with before I even start looking at the image. Eso. Here's what the exposure has done so far. Now there I will not be able to get detail in this area right here. I can tell that by looking at the history Graham, and if you look in the far right edge of it, do you see a really tall spike? That means that the brightest whatever shade is in the brightest part of the image takes up a lot of space. The height of that means how prevalent is that shade? How common, or how much space does it take up? And that just tells me the brightest part of the picture takes up a lot of space, meaning one shade of brightness takes up a lot of space. It doesn't vary, and so I'm not gonna be able to get the detail in here, but that's all right. The like the sun in the middle of the noonday sky or something. I don't expect to get detail in the same thing. That's sometimes true for when the sun is popping through some clouds. And so I think we'll be OK there. Um, one thing that I didn't mention yesterday I didn't want to complicate things too much was that I find in most photographs they look the best to my eye if I have a small area of black in them and if they're lacking black that the image can feel kind of dull sometimes almost like it's foggy in the in the picture in. So when I look at the history Graham, I noticed that I don't have any black, do you see? It does not go all the way to the left edge. That's where Black is and I wanted to. So the black slider works on the darkest portion of the image. If I move it up, I brighten that. Move it down, I would darken it. And so I'm gonna bring that down, and there's a hidden feature built into it. If you hold on the option key Alton Windows, and you click on it. It will show you if anything's becoming black. And so what I'm gonna do is bring this down until I see some black appear and I might first start seeing color. I ignore color that's talking about the saturation of your image, and if there's any problem with saturation, we can deal with that separately. I'm gonna bring this down until I don't see just colors. I see black and I want at least a couple specks of black that put together now near the right side of my screen. There are about three areas where I see some little black blobs, and that might start being okay right there. What I don't want is a big black blob I don't want, like what's on the left side of my photograph, unless that's an area where you expect there to be absolutely no detail. For some reason it's a cave. There's no light in the cave or something. Instead, I want more of ah a a blob instead of, ah, small blob instead of a huge mass. So I'm gonna go to about there and I'm just gonna let go and let's see what that adjustment did. I wish I could prove you just that I can. Actually, if I double click on the black slider, it will reset it to the default setting. And then I'll just click right where I waas to bring it back to where my mouse is right now. And it just gives it some more depth compared to what it would usually have. And I find that that's something that could improve the vast majority of photos out there if there ever lacking blacks. And so I glance at the history ram, and if it's ever not going all the way to the left, I will adjust the black slider. Hold on that option key so I can see what area is becoming black. And think about doing that now. In here, I want this image. I can see a little bit of warmth over here. The left and I want to really bring that out the color in. So I'm going to start doing things like bringing up vibrance. But you might already notice and might remember from yesterday that if you over saturate something, you're going to get colored spikes on the ends of your instagram. Don't remember or not. If that spike appears on the left side, you can preview what part of your image might be losing detail by going to the black slider holding on the option King clicking. Okay, so it's the dark portions of the iceberg in the reflection underneath, so I could inspect those closely to see if it's an issue where you know it's visibly noticeable or not. And if I wanted to fix it, I could bring down saturation. If I bring down saturation far enough, do you see the spike in the history? Graham. Here's where saturation started, and if I start bringing it down, you see that spike going away. All right, so now if I go to the Blacks slider and preview it, you can see it's only a tiny area. It's not a huge mass that I could bring up vibrance instead, but I see that darn spike showing up. Well, no, that that history ram is not printed out with your picture. No one else is ever going to see it. So this is just like your speedometer in your car. You don't stare at it when you're driving and use. That is your thing. You look out the windshield just like I mean, looking out here. So for now, I'm gonna ignore that. And maybe near the end, I might reevaluate it to see if there's anything I can do. But for now, what I'm gonna do is come in here, maybe make the much look a little warmer to try to bring out some of that warm color in the sky. And actually, as I make it warmer, I actually noticed that Spike getting smaller. Then I'm gonna make it more colorful with vibrance. Just try toe amp up those colors to really bring out the warmth that's in the sky. And it might bring up clarity a bit to get us a little more contrast. Now, I'd like to see a little more detail in the iceberg in the iceberg. If you look in general, it's in the dark portion of the image is not. And so to get to the dark portion of the image, we had a slaughter called shadows, and so I might bring up shadows to see if I can bring a little more detail a little easier to see the detail I should say in the iceberg. There's a whole bunch of this stuff I could do to this. I'm just playing around with it in general. Eso other things that I might consider doing is grabbing the adjustment brush. And if I want the iceberg to stand out more, I could dial in an adjustment here. What I could do is possibly bring up clarity, which will exaggerate the textures and that iceberg so I can see more of its contours. And I might also decide to either bring up shadows or exposure to make a little brighter. I'll try shadows in just moving these sliders when you're in the adjustment brush isn't gonna change your image. You have to paint on your picture. I want to make sure I don't get over spray beyond the edge of the iceberg, so I'm gonna make sure check boxes turn on called Auto Mask. Then I'll come over here and I'll make sure the cross hair that appears in the middle of my brush Onley touches the iceberg and never touches anything else, because that's what auto Mask is looking at to figure out what to get its paint on. So I could come in here now and pain across my expert being very careful where that cross hair goes. So it never touches the sky after I've done that. Then I confined to my sliders. So see how much clarity with that iceberg be able to use, and how much do I want to brighten it? And might it be exposure that would do better, That kind of thing, All right, They were going to keep going as much as you want here. Here. I could do a new adjustment, and that means I'm done with that one, and I'll double click on some of these sliders to reset them. Other things I could do. Let's say I want the sky to look more interesting. Like it look even more yellow. Fine. Push your white balance towards yellow and bring up your saturation a little bit to make it more colorful and then come up here and work on your sky. Did he? And if it's a little too much when you're done back off on the sliders, a little there, all right, The last thing I might do is he's a crop tool. I don't if we use the crop tool yesterday. But if I grab the crop tool like this click and drag to make it cropping rectangle, and right now it looks like it's constrained in that it's not allowing me to go all the way out. Well, the crop tool is actually not only a tool, but it's a menu. If you click and hold down on it, I can see that whoever taught a class here last cropped to a 3 to 4 ratio. If you said it to normal, it won't constrain what you're doing. And so I would be able to pull it out this way. And so what I'm gonna dio is just get rid of a lot of the sky because this part of this guy's kind of doesn't have much of any detail if I bring it down to maybe about there and then just switched to a different tool to get out of the crop and finish it, so let's see what I did. Here's what I did using just the basic controls. This will be before the basic controls. This will be after, and then if I go to the adjustment brush and I turn preview off here is without the adjustment brush. Here's after and everybody has a different idea of what an image should look like. For some, this image will be too dramatic. But for others it won't be. It's up to you. You know, just things for your particular style. But that might give you a sense for what you can do with an image with this image. It was shot with a fish islands in a fish eye lens. Any straight lines end up getting bent. They been more and more as they get closer to the edge of your frame. Well, if I go to the lens correction tab, which is near the top of our sliders, we have all these tabs in the one that looks like this one. It's supposed to look like the glass elements that make up your lens. If you click on that, we have some things that could help us out here. First off, there's a tab called Profile and a little check box underneath it. If I turn that on, Photo Shop is gonna look in the metadata for this file. Metadata is worth stores things like your shutter speed, your aperture setting, and if it can find out what camera used in what lens used. And if it's a common Cameron lens that they've tested, then it's going to try to correct for any problems that lens introduced. And so let's turn on and see what it does to this image. It just straightened out the fisheye effect. Look at that from the curve. Straighten it right out. And so that's great. Um, exactly what I want right there. Then I'm gonna go over the color town and I'm gonna turn on this check box. Remember that you can have little halos, kind of our little lines around the edges of things that are various colors could be an issue. And I find I often get it more with a fish eye. So I'm gonna turn that on, even though I don't see them here. I know if I zoom up on the image on, most likely see it with that. Just so you know, if you're using an older version of photo shop like photo shop CS five, this check box, it's called enable lens profile. Corrections won't be there if you have the version of CS five that originally shipped they came out with an update afterwards that added this feature two Footer shop, CS five. So you'd have to go up to the help menu at the top of your screen and choose check for updates and it should. I hope they update still available. Goto Adobes website Find the update for camera raw in part of that update would add this feature with CSX. It'll be there by by default. Just got a turn on. So then I tilted my camera up when I shop this, and that made it so. The top of this image is much smaller than the bottom, and we corrected for that the other day by going to the manual tab that's here and there's a slider for vertical. If I move it one direction, it'll make this worse and move in the opposite direction. It will start to compensate for it, and there's only so far I can move it. You can always save The file is a tiff file when you're done and bring it back through camera and moving even further. But I think it's OK that it tilts somewhat. I just don't want it to be excessive, so let's bring that in a bit. Then you notice the top of the image is being cut off. That's because it's trying to somewhat crop the image to keep its shape. There is a scale setting here, and if I bring down the scale it allow me to see the rest of the picture. That's the kind of distortion it is putting into the image because it's doing not only correcting for a fish eye lens, which is really curved, but then also correcting for tilting the lens up. So I'm gonna just bring that up so I can see what I want in this image of you to about there and I'll go to the crop tool and with the crop tool, I will. Ah, it's constraining again. Constraint. Oh, it's constrained, image constrained. The image will not. If the setting is turned on when you've done any kind of lens correction, it will not allow me to crop the image in such a way that it would contain empty stuff. You know how if I get rid of the crop tool here, clear my crop. This area down here isn't part of the actual photograph. It's empty stuff. So if this setting here is called constrained to image. It means Don't let me include that gray stuff I want to be able to include It s, oh that Later on, it might choose to use something in Photoshopped. Fill that area in, so I'll turn that off and now it should let me crop the image, see how I could get into that area. And so I just bring this in. Maybe I'll decide. Get rid of the great. Bring this in tight. Something like that. Let's go back to my tool Now it's time to optimize it. I look at the history am I don't see huge issues. There's no big spikes. There's nothing like that. I could move it to the right a little bit to get more centered, but that's no problem in general. The first thing I noticed and that's how I usually deal with this is I correct. The biggest problem. First, the biggest problem is usually something with the hissed a gram. If it's that blatant that it shows up in the Instagram, so that's where I look first. But then I just look at the picture and say, What's the biggest problem into my eye? The biggest problem is this thing really is lacking color. And so I'm gonna bring up vibrance until I get some of the color showing up in the image in a fibrous can't If vibrant can't go high enough in that I still wanted more colorful I'll go for saturation. I know if I could get away with saturation by glancing at the hissed a gram in scene If I colored spikes on the ends that would be and I'm already too far on losing detail. But I'm not at that point yet, so I can continue to boost this up to get this even more colorful. Then the next thing I noticed that want to get to this point is that the image has a yellow feeling and from Ron it what I remember of where I shot this. What it's made out of is really much more white. So I'm gonna do white balance. I'm just gonna grab the white balance eyedropper, and I'm gonna click right over here to have it to the white balance for that. And so then I don't mind it as much. I might try a few different areas. You're gonna find you get quite different results, depending where you click. And I'm just gonna click around until I find the most pleasing color I find it's little too colorful now because I can see more of the colors in here so I might bring down my settings now that we've done that, not too bad there. And then I can adjust the image of do things like clarity. Maybe it wants more highlight detail down here, so bring down highlights. Maybe I want more shadow detail. If so, bring up shadows. It depends on exactly what you want in that image. In each person would want something different. So I'm just moving her down until I think it looks OK. But let's see what we've done with those basic adjustments will turn preview off before what kind of doll after looks a little more interesting to my eye. And let's see what the version looked like when I adjusted it back in my hotel room. So this is what we just did. This is what I did before, so it looks like I got my white balance a little better with that. But they're not dramatically different. It's mainly the white balance. Once more yellow, once more neutral. One thing I didn't get a chance to mention When it comes to raw is sure you can come in with your crop tool in crop. Your image here is one that I shot in Africa, which I was amazed at. If you've never been, um, you can be out in the middle of the, um the body, Colin, just the bush or whatever in suddenly there are What is this? 123456 Lions. They're walking right at you in your in a vehicle, and they could just leap right into your vehicle if they really felt like it. But they're so used to humans being around in a game preserve that it's crazy they'll walk right around your vehicle. It's kind of mind blowing if you've never experienced it. But anyway, if I crop an image and say I want to crop this real tight to make it more dramatic, get out of that. The one problem I see with the image is the fries in line is really crooked. And so if you need to correct for that, go to your tools. Top your screen and this tool right here is a straighten tool. When you go to the straighten tool, it'll show you any cropping you've applied to your image. And what you need to do with that straighten tool is just click on your horizon line wherever it may be. In drag across that horizon line, you're just going to create a line that aligns with it. And when you let go, it's gonna make sure that that area is perfectly horizontal. That could be the top of a building that you go across. It could be anything that would usually be horizontal within your image. So now, after I've done that, you can see that my horizon is nice and straight or if I choose undo. It used to be a little bit off, so after that, I would just optimize this image may make it more colorful, maybe give it a little bit more, uh, contrast in May. Pull out some shadow detail and I could do further adjustments if I felt like it. One other thing I cannot stress more is if you ever adjust a JPEG where tiff file using camera. If you happen to remember the submission yesterday, those edits are just contained in some text that's attached to your picture. They haven't actually changed. Look your picture. And so if you email this picture to somebody else or uploaded on the Internet or do whatever those edits will not show up. The only time those edits will show up is if you open that image using photo shop, because Photoshopped can read the text that was added to the picture, and it could move the camera sliders to where they were for that particular image and present you with the end result. Teoh actually fully finish an image because this one see if I can. If you remember, if I loaded in a Web browser, this is what comes out. Um, all the edits disappeared. So in order to make it permanent, remember that with a J. Peg or a tiff file. Once you're done adjusting the sliders and Kamerad doing, which want there's a button in the lower left called Save Image, click it. This looks complicated, but it's not. It's just saying where to save it, and it'll default where your the file already is that says what to name it. It'll default the current file name down here It just says, What file format do you want in what quality? Just hit the save button? I'm not changing a single setting, and now I've made that a permanent change so that I could give that file to anybody else uploaded in a Web browser. And here it ISS bring that same file into a browser, and it looks the way it's supposed to. But if you miss that one detail, boy can't mess you up. Then there were some questions before about bit depth about the bottom of camera raw. You have the choice of eight bit or 16 bit for most images. It's not gonna make a big difference, but if you make radical changes to your picture, it will make a difference. So if you saw the under exposed images that I used, the ones that were darn near black to begin with those kinds of images where you're going to see it and unfortunately, this file that I have as an example, if I try to open it, it's corrupt. I just realized that this morning, but I can still preview it within bridge, so unfortunately, I can't zoom up on it as much as I could in photo shop, where you could see the really fine detail I consumed. Put my screen. Though the middle image represents the original picture, the image on the left was adjusted in eight bit. The image on the right was adjusted in 16 bit, and if I zoom up on just the screen and you look in this area, it looks relatively smooth in the main variation I see is detail in the rock that's here. If I go to the eight bit version, can you see? It just looks a lot. It looks kind of posterized, which is where, instead of having a smooth transition between things, you have flat areas of color where you could take like a ballpoint pen and trace around where one color ends and the next one begins. So if you compare that to this, this is 16 bit the other ones eight. But this is an extreme example of an adjustment. How often do you take a picture that's this bad? I mean, really sure. If it was like a news event, you picked up your camera and clicked without looking at the settings, but otherwise, if I was in the field, and I saw that come up on the back of my camera. I would adjust the Cameron, take another picture, right? So it's not gonna be This is extreme oven example, but I do notice that if he ever stitch panoramas, the skies can look smoother. If you have it set to 16 bit compared to having set to eight, that's the main time I notice it. It's that sometimes I see weird banning in the skies of panoramas. If I don't have it set to that, So the place where you set that is when you're in camera, the bottom of your screen, there's some text that's underlined, and if you click on that text, this comes up and you choose it right here. So if you stitch a lot of panorama is that have blue skies? I set up to 16 bit. If you work on a lot of terrible looking images that look darn near black to begin with that set up to 16 bit. If you don't work on those kinds of images, you're probably not going to really notice the difference all that much. All I would say is, if you ever noticed post or ization in your image where it doesn't look smooth. It looks stair stepped where it should look smooth. Then try clicking that over to 16 bit and doing whatever you were doing again and see if it looks smoother. Anyway, hopefully give you some about, um, What we did yesterday and added some more detail. Awesome. We have a question. Western. Yeah, go for fantastic. So, um, a lot of folks are asking again, this is kind of we talked about it yesterday, but some rise again. Uh uh. True enough. See you, too. From Chattanooga. Is it possible to do many of these things and push up itself? What is the advantages to making the adjustments in camera raw versus Photoshopped or doesn't not matter again? Hoodie. How do you decide how much to do in camera raw versus then taking it to photo shop In general, I do as much as I possibly can in camera. Camera is the only time when Futter shop can look all the way back to what the original data that your camera captured and get us much out of it is Is it can It's any time you make a huge change in brightness or a huge changing color. Um, it's going to look better if you do it in camera. And so, for me in general, ideally, I'd like to finish all my images in camera if it's possible. And the only time I go into photo shop is if there's something that is not I'm not capable of doing in camera or the way you do it in camera is too cumbersome. So I push camera as much as I can. So as far as why the first thing is, it has all the data of your camera, which means it has at least 4000 brightness levels. That data has not been manipulated at all yet, so you can get the purest form of it once you open it. In Photoshop, a lot has been done to it. Things known as gamma corrections, things known as D mosaic ing. A whole bunch of things have happened to that image, and it makes it such that it can't get all the way back to the original data. So, in essence, I do as much of that can in there. I mean, it's if I bypass it like this is the image of the iceberg kind of thing. I would be able get nothing like that. If I had tried, it would look terrible and just Teoh say and get get it straight for folks who maybe didn't want yesterday night room versus a C. Sure, before we get into that, let me mention one other thing about came. A raw camera allows you to, at least with raw file, get highlight and shadow detail that you wouldn't be able to get out of Futter shop if you're highlights. Ever look white and your shadows look black. If you wait until you get into Photoshopped to do anything about it, you won't be able to get any detail in those areas when it comes to doing it. And raw with raw file, there's a lot of extra detail in the highlights and in the shadows that you only get when you're in camera. Then, if you weren't here yesterday, anything that you see me do in bridge, which is the program when you see a little thumb announce or in the camera raw dialog box are things that you could instead do an adobe light room. And if you own light room, I would suggest that you do them. Their light room presents you with a more elegant interface for those kinds of adjustments, and it allows you to do How would I say it do things that you can't do in in camera as well, Like it keeps a full history of what you've done. You can open a picture five years after you've adjusted it and tell you exactly what you did to get to that point, and you can go back at any stage with camera the second you hit the done button, it just remembers the end result in the original, not the path you took to get to that. And there's a whole bunch of other things that makes it so. Adobe light room is a very good thing to use, and if you happen to own it, then replace bridge, an adobe camera raw completely with light room. And then whenever you see me get into the main part of photo shop, where I have all the pallets available in the main menu at the top of my screen, those air things where I would leave light room and go into Photoshopped to accomplish them like using curves, right pain and masks and all that. Okay, Do you take another question? Sure. This is more of a clarification question. We did talk about this a little bit yesterday. Sam Cox from Loveland, Colorado, with camera. All the edits, including crops, are nondestructive. Right? But what happens when you press open image to edit in Photoshop? Are the camera at its then burned into the image? Can we discover that one more time? Sure. Uh, first off, the word nondestructive is often misused in my brain, at least when people bring it up. If you force your mission of solid black, did you not just destroy the detail? You know, kind of thing, you it's just a want Want to make sure that you know that it's many adjustments can destroy data in your image, meaning that when you print it out, there used to be data in that area. And due to your adjustment, it's gone. What you have with camera and with lighting room is everything is infinitely, infinitely undoable, meaning nothing is permanently applied. And that, I think, is what a lot of people mean when they say nondestructive. But I just want to make sure people know that it's for faras. Nondestructive goes. It's not that you can't destroy the look of your picture, that data and your pictures that you can always undo what you've done Once you get into photo shop. It is true that things are not always undoable, but that is why I apply my adjustments. Three adjustment layers. Therefore, the original picture will be at the bottom of my layers panel. In above that will be a bunch of adjustment layers. Those adjustment layers. I can always turn on and off to get back to the original image, and I can always make edits to them at any time. Eso that in some ways some people would use the word nondestructive. For that, I wouldn't I just say it's Ah, you can undo stuff by turning off the eyeballs to get back to your original. So you've got to be careful if he ever adjust the image directly by going to the image menu and choosing adjustments instead of applying an adjustment layer. Once you save and close the image, those changes are permanent. If you use an adjustment layer, though, you could always throw away the adjustment layer. Get back to your original picture. Question is for the adjustment brush in adobe camera raw. Is there a reset? All sliders button in light room. There is in light room. They'll be a word near the upper left of where the sliders are. I can't think of what the word is. It's either going to say something like effects or treatment or something like that in double clicking. That word would reset all the sliders in camera. Wrong. Let me see if there is. I use light room day today. Isn't there Revert to Original? Yeah, that's a little different in compared to resetting these. So let me see if it was light room, there'd be a word that call into right up here that you can double click on in here. I don't see one right there. Clear on. And the lower right there's a button. Click that and it should zero out all these. But I think actually, what clear all is doing. It's not actually during all those out. What is doing it is erasing all of your changes. You've made to that picture using that. So I was thinking that would do but it won't. If there is a feature in here that does that, I'm not aware of it. There could easily be if somebody out there knows on the inner blocks. Then why don't you tweet about so we can know about it and I can let everybody else now. I used light room on a daily basis, and there there would be a word in the upper right just above the sliders that I double click on to reset it. I have a question. We don't really talk about the manufacturers photo editors very often. But a Johannes from Charlotte, North Carolina, asked. Is it better to use my cameras? Manufacturers per prior photo editor before camera are light room on? No, it's a matter of either used that software or use camera or light room eso. It's like you could use their software and then come into Photoshopped, although what would happen is if you use their software first and then you go into a camera or light room. You would be working on the cool into a tiff file, and you wouldn't have the same advantages of being able to get back highlight detail, shattered detail or make radical changes to the color. Um, those are things he'd have to in your camera manufacturer software instead, because that's when it can look back to the original data. Then camera just becomes a convenient area to have a bunch of adjustments together, but it doesn't have all the normal advantages. So if you find a feature that you find overly useful in your camera manufacturer software like it has automatic dust, spot removal or something like that, then you might decide that it's worth using. Their software instead of camera are light room, but otherwise I would substitute Cameron Light Room.