Edit Cool Instagram Photos with Lightroom! Video Lecture | Adobe Lightroom CC: Photo Editing Masterclass - Design

[Music]
hey everybody its Nathaniel Dodson from
Tuck vidcom welcome into this Adobe
Lightroom tutorial for the third
installment of from raw to glorious JPEG
where we take a raw photo apply some
kind of cool treatment and process it
all the way through and all that's left
is for you to export it as a JPEG to
share with your good friends we're gonna
be doing this kind of nighttime urban
effect that I think you're really going
to enjoy I think it looks pretty cool
you see it and well I guess if you enjoy
this tutorial make sure you subscribe to
my youtube channel so you never miss any
photography or Photoshop or Lightroom
related tutorials past present or future
and without further ado let's jump into
Lightroom and check this thing out I've
got this shot here from Pittsburgh that
I took a couple months ago for a project
I was working on out there and it's kind
of the perfect example of this kind of
nighttime effect that we're looking to
create here in a Lightroom so it all
begins here in the basic tab and by the
way it's a 30 second exposure
technically speaking I shot it at f-16
and the reason I did was so I would get
that sort of f-16 Sun starburst effect
with all the street lights a little
trick for you if you if you weren't
aware of that but I also use the Canon
135 f/2 L lens which is just an amazing
lens but 30 second exposure is what it
took so we've got some great long
streaky lines and it's gonna be a really
cool photo let's go here to our
temperature and adjust that right off
the bat we're gonna go 3,000 and you can
see it really just cools down all that
kind of kind of gunky green yellow
orangey Ness of the photo but it's
bringing out a ton of blue that's very
distracting in the background so we need
to address that in a little bit let's
push the blue further by bumping the
tint toward the purple about 15 so plus
15 in that department I'm actually I
think gonna reduce the exposure a little
bit let's go like negative zero point to
zero
I'll increase the exposure let's go like
plus fifteen highlights I think are good
one might maybe boost the highlights a
little bit but I want to be careful
because I really don't want to blow out
all of the headlights coming toward me
shadows I actually want to make them
darker because we're gonna fade the
shadows so I'm gonna make them kind of
more inky black so there's more of that
inky blackness that'll be faded I think
it'll be kind of cool for our effect I'm
not gonna mess with the whites the
blacks I think I'm gonna begin bringing
these up so I'm gonna go like plus like
plus 25 will make it nice and easy there
and then for clarity let's bump the
clarity up
about plus 20 I think that'll be cool
and then we're really gonna push the
vibrance up so let's go like plus 50 in
the vibrance department so we're getting
some cool color we're already beginning
to get some neat tones here let's
collapse basic let's go into the tone
curve and I by the way I'm working not
in this sort of linear curve I want to
go I want to go for the point curve
right to point curve linear I believe is
what it now linear is just the straight
line I want to go for the point curve
that's what I want not the sliders one
take a quick break what we're doing and
just let you guys know if you're into
photography which you probably are
considering the contents of the tutorial
I have a Photoshop course all about how
to retouch images there's a link right
up there in the top corner right up
there if you pick up a copy of it well
it helps support what we do here with
Tut vidcom the YouTube channel and all
that good stuff and personally I'd be
super appreciative of you if you pick up
a copy of it and who knows it'll lead to
some awesome stuff in the future let's
get back into this video so let's get
out of basic we're gonna come over here
to the tone curve and I'm working with
not though not all the slider II stuff I
want this sort of traditional tone curve
here and what I'm gonna do is I'm gonna
select the white point and pull down on
it a little bit this is just gonna dull
some of those lights the really really
bright stuff and just kind of bring it
back into control a little bit told to
chill out and then we're gonna boost the
black point a little bit so this is also
going to contribute to sort of the
fading or the the milkiness of those
shadows I think I'm just gonna kind of
keep it straight like that I like that
the last thing I'm gonna do here in
curve just go to the blue Channel not
gonna mess with red or green and I'm
gonna pull up on the very darkest parts
of the image that's gonna introduce a
little bit of blueness into the shadows
but I want to immediately pull this back
into line I want to just pull a point
right there so that point is bringing it
back to like that original point and
just to make sure that we're not sort of
adding yellow to the rest of the image
I'll pull a point here and just try to
you know sort of pull a little bit
closer to back being in line and I'll
pull it a little bit like that that
maybe it's a little bit better something
like so I'll collapse a collapsed tone
curve right there because next we're
moving along to HSL and here under HSL
I'm working in the all sector you could
work in hue saturation luminance one by
one I'm gonna go with although because
what I'm looking at number one is we're
gonna begin with the hue and we will
slide through kind of chronologically
here but what I want to do is begin
shifting the Reds in this photo to be a
little bit more pink and you can see
primarily
what this is going to affect is the
taillights crossing this bridge here
right but it gives us a really like rich
pink orange look I really kind of dig it
in fact I'm gonna take the orange and
push it a little bit more toward red
just a little bit maybe like negative 10
I think that really just sets that off a
bit let's grab the yellows and push them
a little bit more toward orange will go
like negative 25 ish it's gonna just add
a little more orange yellow to the
roadways I also have in the back of my
mind Pittsburgh like all their sports
team colors it's yellow in black so I
really like here on the green slider I'm
really gonna push that back toward
yellow because I want to make sure that
there's not like a heavy green cast on
any of the roads I would much rather
like see the bottom of the overpass I
think it's cool that it looks so yellow
it's very Pittsburgh II but I want to be
careful and make sure like the green and
the tree here doesn't look you know
completely yellow or red or anything you
know off-putting that kind of aqua green
still I think looks kind of cool and
then in terms of aqua blue purple
magenta I don't think I'm gonna mess
with any of them because down here in
saturation I'm gonna immediately
desaturate all the blue purple and
magenta in the photo you can see how
that instantly neutralizes all that
stuff going on back there it gives us a
much like more epic looking almost sit
like borderline cinematic less
distracting image because all that
distracting color is gone and what I'll
do is I'll bump the red saturation a
little bit let's go like plus 15 plus 16
I'll bump the orange saturation a little
bit about plus I don't know plus 30 ish
almost 35 something like that just again
gonna draw more attention to these
roadways and let's bump the yellow as
well so I'm gonna push that up maybe
like plus 40 something like that I think
will be cool agree on aqua I don't think
I'm gonna mess around with if I push
green I problem with pushing green too
much is I'm just afraid of that whole
green instead of yellow vibe but I am
interested in what it would do to the
trees not too much so I'm gonna leave
green at like plus nine that's fine and
aqua I'm not gonna touch all right so
here for luminance let's the the roadway
here could stand to be a little brighter
all these taillights so let's see let's
go ahead and brighten up the Reds a
little bit I mean we'll go like +44 them
I think that'll be cool and the oranges
need to be brightened up as well so go
about plus 40 plus snapplus 40-ish yeah
something around there works and we'll
do the same I think with yellow because
again it's gonna bump up the brightness
of our roadways I'll go about plus 40
for that as well
nothing needs to be super crazy exact
here and I think to bring out some of
the buildings in the background now the
blue is gone in a less
distracting weight in the blue would be
to boost the the brightness of the blues
you can see all that stuff that used to
be blue will still be brightened up so
let's go like plus I don't know 45 plus
50 something like that I think that
works so at this point we have the base
of our image set I can come back to the
tone curve and go back to RGB and say
you know what maybe I'll pull up make
the highlights a little bit brighter and
I'll pull down here this will introduce
a little bit more contrast through like
the mid-tones of the image I think
that's kind of cool we could also come
down here to lens Corrections over in
the manual tab typically with a long
exposure night time type photo where you
have a lot of like the high contrast
edges where you have a very bright light
going to very dark areas you could get
some D fringing or not D friends you
could send some fringing and you could
attack that now this is a super high
quality lens again the 135 f/2 from
Canon super high quality lens so we're
not really getting a crazy amount of
differentiating but I'll still just bump
up maybe like a 7 amount on the D
fringing but I do want to be careful
that I don't detrimental II affect the
color any other part of my image but you
can do that you can also by the way go
into profile enable your profile
Corrections in this case the 135 barely
has any kind of distortion so it's not
gonna change too much I'll collapse that
hey I want to jump in here real quick if
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fit thanks so much
let's get back into the tutorial we
could also come up here to detail of
course with any image you're gonna want
to sharpen it so I'm gonna select let's
target this roadway right here hold down
your alter option key when you're using
any of these sliders and you know we can
get rid of all the color take away the
distraction that actually looks really
cool as a black and white doesn't it I'm
gonna crank up the sharpness here maybe
to about 80 or so hold down alt or
option with the radius and we can really
see the edges that Lightroom is going to
target with the sharpening same thing
here with detail we can increase or
decrease the detail increase it a little
bit and then important here is the
masking because we really don't need to
sharpen anything down in the shadows and
we are getting a little bit of like bad
noise down there not bad noise I say bad
noise in terms of like a noise that
shouldn't be there it's not like a
finishing grain that we're applying so
hold down alt or option and just
constrain the sharpening to all the
brighter areas of the photo where we see
the detail on the roadways and things
like that and that's just a nice little
such that we can apply something else we
can do is here and effects maybe we'll
throw a little grain on here we're going
to be really super careful with the
grain I'm gonna zoom in to 100% if we
start adding too much grain very quickly
it's gonna look really really bad right
you see how it just looks like now we
have a bad photo so with something like
this we probably only want to do like
four or five in terms of the grain
that's gonna allow us to have a nice
finishing grain but still not be like
hey why is my image all noisy and the
last but not least you can come in here
to camera calibration and tweak things a
little bit so we can take the shadows
and say you don't make this all a little
bit more purple and you see then we get
this kind of crazy effect or you go the
opposite way toward the green and then
we started getting sort of get this
urban grungy look again if anything I'll
tip this towards the purple just a
little bit you do the same thing about
the Reds maybe yeah go ahead and really
increase the saturation of the Reds make
the Reds a little bit more pink or maybe
make the Reds a little bit more orange
depending on what you're looking to do
in this case I really just want to be
careful I don't want to go too extreme
and then you can do the same thing here
for the green increase or decrease the
green I think actually like if we bump
the green up a little bit but I'm sure
we shifted the hue of the green which
way do I like it more I kind of like it
a couple ticks in the positive direction
and then same thing here with blue so
either increase or decrease the the
saturation of blue and then you can
actually shift the blue hue as well so I
think in this case I'll go negative blue
hue a little bit we can hit the little
toggle switch before camera calibration
and after camera calibration I think it
just added a little pop of color a
little pop of contrast
speaking of contrast maybe we'll come in
here add a little D haze right it's all
about just having a little bit of fun
with it see what works see what doesn't
and we can see there's B 4 D haze
there's after it was a super duper
subtle effect and you can see you get a
pretty cool photo I'm just gonna bump up
the bottom thumbnail here let's
right-click and create a virtual copy
and here on the virtual copy we'll
right-click go develop settings and just
reset it so we can see just a very very
easy before-and-after so there's the
before image there's the after image
with everything we've taken this through
and you know you posted this image the
focal point very clearly is this big
roadway Umbridge cutting through the
heart of pittsburgh so beautifully so
wonderfully ah you just gotta love it so
for working in adobe lightroom creating
and tweaking and customizing applying
this treatment to this photo and yet
another addition of this raw to glorious
jpg by the way to convert this to actual
jpg just right click here on the image
thumbnail export it save $1 a jpg easy
peasy
big deal for all of that and more that's
it get it got it good
Nathaniel Dodson Tuck vidcom I'll catch
you in the next one and before you go
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