Welcome to this new Lightroom editing session. This is the action photo. So if you want to follow along, make sure you've downloaded that photo import it and here's this photo that I shot down at a just stage race that happens in the local downtown here in san dimas and it was one of my favorite shots from the day using this technique to capture moving objects but with a very blurry background and a sharp subject. So anyways, let's dive into it. We're gonna be doing some cool techniques to make sure that our subject stands out as much as possible. Awesome. So starting with this photo, the first thing we're going to do is crop it and I'm just going to leave the original aspect ratio, we're gonna bring it in quite a bit, try to align our subject on that intersection of the rule of thirds whenever you have an action shot, it feels much more balanced to have the negative space in front of the motion rather than behind. And this goes for shooting photos as well. So when you're shooting them...
, uh, not just cropping them in post, you want to make sure that the action or whoever is moving or whatever is moving, it's going towards the negative space side of your photo so hopefully that makes sense. So I'm going to crop in right about there. I wish I had tilted down just a little bit so there was a little bit more room beneath the bike tires in this shot so I could get some room down there. But since I don't, I'm trying to crop in as much as possible with, without feeling too crunched. If I crop something like this, I, to me, I feel like this feels a little bit too crunched in there and not enough headspace. Headroom. So I'm going to leave it something like that with overall exposure. It's actually exposed pretty well I think, but I am going to increase the contrast just with the blacks bringing those down. I'm going to bring up the shadows, just a little bit highlight. Some guy trying to bring up white's just bring down just a little bit clarity. I'm gonna boost just a little bit. This is one situation where boosting clarity for a person looks pretty good. At least I think with vibrance and saturation, I'm not playing around with overall, I'm going to go down to our H. S. L. Panel, use the saturation selector and click on this green right here and really just boost this green, It has a little bit of aqua in there as well. I'm going to go down to this red boost that as well. This blue boost that really just trying to make those colors pop on our cyclists and since he's wearing the green jersey, which is the leader in the sprints category, if you're a cyclist, you'll get that. Uh, if not basically, this guy is really fast and so that's why he's wearing that green jersey and so I really want to make sure that looks good, here's another example of where using a hue adjustment could be cool. We could make this guy not the green jersey wear, but the yellow jersey wear and that means he's actually the best writer in the race and he is going for gold and there's not really a aqua jersey, that just means he's riding for a normal team and he's not winning any prizes. We're going to leave it as was with the green jersey, which looks pretty good. Next I'm going to use a brush adjustment, just subtle brush adjustment for his face. His face is the part that is really most in focus, but because there's so much motion, I don't even know what the settings were for this photo. Let's go back to the library. I haven't done this for most of these photos but We were shooting at 1/100 of a second, so still not too slow, but because they were moving so fast, you get that nice motion blur. F 10 which is still pretty deep um as well. So um it looks actually pretty good for for those settings. Um and there's it's amazing that there's still some motion blur right there on his face with that fast shutter speed, but again, they're moving so fast. Alright, so with this brush we are just going to move and paint over his face. So let's click our brush, make sure our mask overlay is on, that's o on your keyboard if you don't know that by now, that means you haven't been paying attention to the videos, shame on you. And so we're just gonna paint over this now. I noticed I clicked on his cheek and that's what's selected. And so when I started painting over his glasses, lightroom was like, wait a second. That's not what you want me to select. So it didn't select it. So I'm going to click again on the glasses now and because the glasses are multiple colors, I might have to do this a couple of times. The good thing is that it does a pretty decent job at selecting the edges and not selecting like the sky in the background or even his arm right there, which I don't necessarily want. That's pretty good. So let's turn off our mask overlay o on the keyboard. We're going to increase the sharpness here quite a bit, notice if I increase it crazy amount, you get a lot of noise and grain right there, digital grain right there. So we're not gonna go that crazy. We're also going to boost the clarity just a little bit Now I'm zoomed in. If I zoom out and I turn this on and off, you can see it's super subtle, I can make it a little bit more intense. The blacks down, shadows, down highlights. Maybe actually the shadows should come up just a little bit and I definitely don't want to add warmth or coolness to his face. So turning that on and off, you can see what's happening. It just makes his face a little bit more detailed and that's what we're going for, Making sure he is the center of attention. Now this photo is pretty close. The last thing I'm going to do is show you how to create sort of a custom white or highlight vignette using the radial filter. So if I take this radial filter, click in the middle of the cyclist and just initially have a circle. You can move it around in a second and then press O to see the edge or what's being selected to make sure you're not selecting everything. And this is a case where I'm going to turn the feathering down just a little bit because I can tell that it's actually selecting parts of the cyclist right there. We can also brush in or out, but I'm gonna leave it like that. Actually I will go take our brush now with this radial filter, press a race, make it a little big, turn off auto mask and just erase the part where the cyclist is down here. Cool. Alright, so let's turn off the selected mask overlay. I'm going to do two things. One, I'm going to drop clarity just a little bit, which increases the blur in the background. I'm also going to decrease the sharpness, which also increases the blur again, focusing our attention on the cyclist. Turning this on and off, you can see, just does a little bit. And the last thing I'm going to do is actually increase the overall exposure. Now you can go as much as you want if you want to go a little bit more extreme and abstract, something like that could be pretty cool. I'm just going to go a little bit, but now if we see the before and after, you can really tell that your attention isn't drawn to these darker areas up here, we can even boost the shadows, but then that starts to look a little bit. So I'm not going to do that actually. So leaving the shadows as is, but the overall exposure boost I actually like in this style. So this is the after, so let's reset it. So here's the before and the after way better. In my opinion, attention is on the cyclist colors pop really well and we've got this nice highlight sort of vignette that looks pretty good, awesome. If you have any questions, let me know. Otherwise we'll see you in another tutorial by