How to edit photos. Lightroom Tutorial.
hello welcome to today's quick edit in for today's photo I am working on a
still life of a piece of rock candy um if you're not familiar with rock candy
it's like crystallized sugar on a stick like a lollipop but I mean I thought it
would be fun to take this photo so I've got this set up on my studio table with
black seamless paper on top of the table and on top of the black seamless paper I
have a piece of 8-inch thick acrylic from the hardware store like you put on
a picture frame and that's what is reflecting in I have it lit with one
aperture f7 light off to camera Mohannad camera left and I have an aperture m9
light off on camera right they're both set at a white light setting and I think
I have the f7 around 30% power and I just moved it in and out until I got the
reflection the way I want it and then the m9 is used being used on the side at
its lowest setting with a diffuser on it white diffuser just to bring a little
bit of an outline along the edge right along here so let's go ahead and get to
work on this I have it zeroed out let's bring it in an Adobe color let's see we
automatically get a richer color using not compared to Adobe standard high
temperature is good exposure okay let me make sure that my so I got my clipping
warnings on I actually want this all to be solid black so I'm gonna turn those
and turn the black one off because it's just gonna overwhelm everything we're
going to be doing here I actually want it darker than it is right now but so
this is terrific exposure down just a little bit and increase the contrast
I want this to be a very bold red contrasting look so I'm gonna turn the
highlights here down just a little bit sim now I'm gonna play with the shadow
the shadow affects the reflection more than anything else can see would turn it
down it gets dull turn it up so I'm gonna turn the shadow up until I'm happy
with the way the reflection is seem to blow the lights out pretty easily
actually believe the whites right at zero and bring the blacks down see I'm
gonna check the clipping here because I want most of that clip that looks yes
see that's an insane amount but because I want to solid black background that
looks good and that also as we bring the black down you'd see that there was some
dust and stuff on the table but when we made those blacks it took care of
cleaning up almost well looks like all really all the dust for me I see one
little speck gonna do that right now one little speck right here but really
bringing the blacks down cleared up those two that form so now I'm gonna go
to clarity and definitely one up the clarity here not all the way that's
that's just gross there and the D haze a little bit there's not a lot to face up
so I course I always tell you what I shot with but this is a little different
I didn't tell you about the camera and lens yet minutes knees please excuse me
my allergies are crazy today excuse me okay so I shot this with my a
7r3 but I went through and did I went through like the four lenses I went
through all my a7r three lenses before but all my full-frame lenses and I was
frustrated because I the 90 millimeter is my only macro and it was just too
close so even if I pulled back I wasn't getting what I want it and the 50
millimeter eye isn't a macro lens and I wasn't able to getting close enough the
same for for my 2870 so none of my full-frame lenses we're working for me
and I just I was like hi like a 30 millimeter macro for this and
I don't know why it took me so long for the bell to go off but I have a 30
millimeter macro for my it's just a crop sensor lens so I just stuck the one it's
an email so I used the 30 millimeter Sony 30 millimeter 2.8 macro crop sensor
lens on the a7r 3 and of course that crops it but since the a7 r3 is a 42.4
whatever megapixel camera when it crops it's still larger than 20 megapixel
image for the crop sensor one so I mean it's almost as big as May 6000 or any of
the crop or even the other full-frame
Sony cameras that they are 24 megapixels I mean really the crop sensor when you
crop out an image on the a7 r3 it just you're making it bound to the same as
the other cameras so I used the sony 30 millimeter here I set the camera up to
crop it automatically for me because sometimes when I use the crop sensor
ones if you don't set it up you get a lot of vignette around the edge you have
to crop out yourself because that's the full-frame not getting the full light
but I went ahead and just had the camera do the cropping this time so that it is
what I used on here and that gave me exactly what I was looking for so I shot
this at ISO 130 millimetres of course since it's the prime lens and f-22 and a
15 second exposure I had planned in doing these pixel shift but I was pretty
happy with the way the single shots were coming out and at 15 second exposures I
wasn't being patient enough to do it all so this is just a single exposure not a
combined pixel shift so that's what I used so let's go back to editing it
I already up the clarity and D haze I'm going to bring the vibrance up as much
as I can without losing detail or having to start it looked garish and I'm also
going to bring the saturation up a little bit there we go now I can play
with the tones a little bit and see if we can get especially
look at the shadows so that definitely we don't want to bring it up too bright
in the main piece of candy but bringing up the shadows here really brings up the
reflection quite a bit again I can bring my darks down even more we see I'm
touching my screen there's a couple of dots there and I wasn't sure if they
were dust on my screen or dust on me in the image I think they're in the image
so let's go ahead and try and remove those
all right so check this one could be on my screen nope so one more right there
oops I'm already on it there we go yep there
we go all right and I don't want to affect
because this is crystalline I don't want it to I don't want to lose the glow from
the inside and if you look carefully you can even see the stick on the inside so
I'm gonna leave the highlights and the lights as they are because I don't want
to blow them out but I don't want them to lose that glove so let's turn the red
saturation up a little bit because again that's I'm really pushing the saturation
the orange the yellow my thumb too rigid luminance and give the orange and the
yellow a little bit more luminous because that brings out that glow again
from the inside I don't want to do it to the red because I don't want to reduce
the saturation of the red at all all right so let's go to the sharpening
doesn't really need much but I'm gonna go ahead and give it a little bit there
so that I can access the masking I'm on it's taking a second to catch up with me
all right it looks
it's good there's no shot this at ISO 100 there's no noise to speak out it use
the built-in lens profile I'm gonna remove the chromatic aberration just
kind of how to have it and I'm gonna come down here to the calibration for
how it brings it in and I'm going to give it even more I'm not all the way of
course but increase the saturation on the red even more
don't let that catch up to what I just did there we go and that is it I am done
with this photo and I will see you again for another quick edit tomorrow thank
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