Transcripts

1. 6. Introduction To Part 2: Welcome to Instagram. Take beautiful photos that will leave your friends speechless. Part two. In this course, you'll acquire more photo editing skills is I teach you how to use more advanced tools and snap seed. Take your photography skills to the next level today. More flattering selfies, Amazing landscapes and food so vivid you can almost taste it. Enroll today and start upgrading your skills in my easy to follow course. This course is for anyone who wants to improve their photography. And while I focus on instagram the techniques applied to photography in general this course perfectly complements the first part. So if you haven't taken it, I recommend doing that now. Otherwise, go ahead and click the enroll button. I'll see you inside. 2. 7.1. Vignette / Lens Blur Filter: generally speaking in photography, a vignette is the effect of having your picture fade to black or white from the center to the borders. This is not a solid border or frame around your image, but a soft transition. Well, this could be useful to simulate a vintage photography look. It has another use that goes far beyond that. We can use it to emphasize the compositional focus on a particular subject and away from the background. When taking a picture focused on a particular person or object in the scene, the background is important. Taking a picture of a person against a busy, cluttered background is likely to create an unclear composition where the viewers eyes will dart around the image, not being confident of where to look. We can sometimes salvage a picture with an overly cluttered background or emphasize the focus of an already good composition through the use of living. Yet the vignette tool and snap seed has three properties in its properties lists. First outer brightness. This setting ranges from negative to positive 100 a setting of negative 100 mix of very dark border around the image, while positive 100 mics a very bright border and zero has no effect. Second, inner brightness. In some cases, you might want to brighten up the center of the vignette. While setting this too high can create a faded white area in the center of the image, it could be used artistically for some interesting effects, and it's further useful in simulating a vintage photography look. Third placement. The position and size of the vignette can be adjusted as you like. See the blue circle in the middle of your photo, slide it around to position the center of the vignette. Also, you can use a two finger pinch or stretch movement to increase or decrease the size of in Yet and the distance from the center of itself at which the gradual fade stops. Next, the lens blur filter. This filter is great for faking a depth of field effect. That is the effect where objects that are too close or too far from the camera appear blurred. It's also strongly related to the vignette tool in two ways. First, the blur created by this feel to confuse to emphasize the compositional focus of the image . Second, the lens blur also has a less flexible, built in vignette lens, Blur Filter has two modes. Elliptical and linear. The's modes define how the blur is applied to the photo elliptical mode shown by the Blue Circle icon in the toolbar. The circle on your photo defines the point where everything is sharp in and focus, while the smaller white circle shows where the blur begins. In the larger white circle shows where the blur is at maximum strength. In other words, thes two circles show the transition from sharp to blurry. You can use your finger to drag the blue circle and move the focus part of the image. Use a two finger pinch or stretch gesture to resize the ellipse in any direction. Tap the blue icon in the toolbar to toggle moans. In linear mode, the blue circles still defines the point where everything is in focus. However, this time there are two sets of white lines. The two lines closest to the Blue Circle shore. The blurred areas start while the furthest lines show where those areas are at their maximum blurriness again, these air showing the transition between sharp and blurred areas. He's a two finger pinch or stretch gesture to move the two transitions closer or further apart. You can also use two fingers to rotate the linear blur. Know that the vignette applied by the lens blur filter cannot be moved or resized like with the actual vignette tool. Let's go over the lens. Blur filters properties first, blur strength. This is quite self explanatory. This is a number from 0 to 100 with zero not causing any blur and 100 causing an extreme blur effect. Second transition. This defines the size of the transition between the sharpened, blurred areas. Set this to a large number for a more gradual blur or to a low value for a more abrupt blur . Third vignette strength. This is a number from 0 to 100 that defines how dark the vignette is. Zero mix of and yet invisible, while 100 makes it awfully dark. Unlike the actual vignette tool, it's not possible to create a white vignette with lens blur filter, especially when using a strong blur strength. You might see circles form over any bright points of light in the blurred areas of your photo. This is called the bow Okay effect When taking a picture this effect can happen naturally. The shape of the bow K is determined by the shape of the interior of the lens. This effect is often considered very desirable. Don't be afraid to experiment with it. You can change the shape of the bow K to tap the gray cards icon in the bottom bars. Open the book A Presets menu. From here, you can choose from a number of shapes, including various polygons and even a heart. 3. 7.2. Glamour Glow Filter: glamour glow is useful for several types of shots. Use it to give people a healthy glow, make skin appear smoother, make food, look more appetising, or even give a shot. A dreamy effect. This filter has three easy to use settings. First glow. This setting ranges from 0 to 100. The closer you set it to 100 the more your photo will appear to have a soft focus with the glow around objects increasing. The blow setting also increases the vibrancy of colors in the photo notice. When you adjust glow toe 100 it appears as if you've also increased saturation. If this wasn't the look you were going for, don't worry. We can adjust it with the next setting saturation. This saturation setting is virtually identical to the saturation setting from the tune Image Tool, with the only significant difference being that the maximum setting of this one produces less saturated results. Saturation is listed under glamour glow, likely for convenience, as you will frequently want to adjust saturation when using glamour glow. And this saves the extra step of using the tune image tool again to the left of the check mark button. There's an icon of three great cards. Tapping This will reveal a menu that offers five presets for the glamour glow filter. If you're experimenting with different looks for your photos, try tapping each one when you tap a preset, the glow saturation and warrant settings will change according to the selected preset. I'd like to emphasize that the five preset simply change the numbers of the three properties of glamour, glow and nothing else. With all the settings of glamour glow it. Zero. Your photo will still look slightly brighter than the original. This is simply a side effect of using glamour glow and shouldn't be a problem. 4. 7.3. HDR Scape Filter: HDR Escape is great for making non HDR photos look like they were shot in HDR. However, it should be emphasized that HDR Escape is not a replacement for riel HDR photography. Real HDR photos are made from two or more photos of the same scene taken at different exposures. In its simplest sense, the brighter areas from the under exposed photo and the darker areas from the over exposed photo are combined to make a more evenly exposed photo in a landscape photo. This might reveal more details otherwise lost in shadows and create a more dramatic sky that would normally have been solid white from over exposure. Artificial HDR filters like HDR Escape, on the other hand, require only a single photo. While exactly how the artificial HDR effect is produced might very depending on the app. The general idea is that the darker areas of the photo are brightened and the bright areas are darkened in most APS. This is chief through a technique known as tone mapping. Unfortunately, artificial HDR is not a solid replacement for true HDR photography with artificial HDR filters. The software only has access to the information available in the one photo you choose to work on an overexposed cloud in a photo of the sky might look bright, white and featureless. And because there is no other photo with the cloud properly exposed, the loss of detail cannot be recovered. With real HDR photography, you would need at least two photos, one with the cloud properly exposed in the foreground under exposed and one with the cloud under exposed in the foreground. Properly exposed with these two images, a true HDR photo could be created by combining the properly exposed cloud from one image and he properly exposed foreground from another. Taking true HDR photos will generally produce better results than artificial hdr. However, it's likely there will be times when you forget to shoot in HD are when the photo you're taking could benefit from it. In these cases, the photo could be improved by using an artificial HDR filter like snap seeds. HDR escape isn't really a correct way to use real or artificial HDR effects, however. At strong settings, HDR can make photos look a bit like cartoons or paintings. Using it too strongly to frequently could be seen as a negative thing by those who follow your instagram or wherever you choose to publish your photos. If your intention is to portray something as realistically as possible, you'll want to use it more subtly. Using HDR with soft a moderate intensity can create results so that more resemble with the human eye sees you'll notice snap seeds. HDR Escape Filter has three adjustable settings. Let's go over them in order First filter strength. This setting is a number ranging from 0 to 100 controls how strong hdr fact ISS zero. There will be no perceivable HCR effect, and 100 will generally produce a very strong HDR effect. Second brightness. This is like the brightness setting from the tune Image tool. The setting is a number ranging from negative to positive 100. Anything below zero darkens the image while anything above zero brightens it. Sometimes artificial HDR can produce results that are darker or brighter than what you intended. Adjust the brightness setting to change how bright the images overall and get closer to a satisfactory artificial HDR result third saturation. This is also the same as the saturation setting in the tune Image tools, with the exception that this saturation setting works in combination with the filter strength setting, the higher the filter strength setting, the more dramatic of in effect the saturation setting will have. With the filter strength setting set to zero, the saturation setting will have no effect. This setting is a number ranging from negative to positive 100. Anything below zero decreases the saturation that is the intensity of the colors, while anything above zero will cause colors to appear more vivid. HDR escape, especially with strong filter strength settings. Conjour a magically affect the saturation of colors. Use the saturation property to fine tune it by tapping the great cards icon in the bottom bar between the property naming check mark button. You'll reveal a menu with options for four different methods, or presets for applying artificial HDR nature people fine and strong snap seeds. HDR Escape uses a technique known as tone mapping rather than changing the contrast for the entire photo at once. Like the contrast setting in the teen image tool, HDR Escape examines the photo in pieces, looking at an individual piece, then using an algorithm to adjust the pieces contrast while taking into account the pieces that surround it. HDR escapes presets are officially referred to as tone mapping styles. You should try experimenting with all four settings whenever you use HDR escape. As I found out, the presets intended for specific subjects work well on other subjects at times, such as using the people setting on a plate of food. 5. 7.4. Drama Filter: drama is a particulate. Early, unusual filter. Most other filters changed any photo they're applied to in the same way, such as how glamour glow can make nearly any photo look dreamlike. However, the kind of change the drama filter makes will very greatly based on the actual content of the photo. Use it on. Depending on the photo used in the drama filter settings, results will range anywhere from a small enhancement of contrast in texture to a very strong, HDR like effect. This is one filter where the easiest way to learn to use it by far is to experiment with it . Don't be discouraged from using that around the filter. If the 1st 3 photos he tried on produce on pleasing results, I myself only began using the drama filter recently as it was initially put off by that some less desirable results and thought I'd be better off not using it. As it turns up. While it's one of the most difficult fielders to master, is great for putting the finishing touch on photos and achieving looks that air, difficulty or otherwise impossible to achieve with other filters and tools, let's go over the settings available to us through the drama filter. First filter strength. This setting is a number from 0 to 100 that defines as the name implies, how strong the drama filter will be when applied to your photo. If the drama filter produces an overly strong, HDR like effect that you find undesirable, try turning the filter strength down. Second saturation. The drama filter often effects not just the contrast of the image but the colors as well. Saturation being listed here is convenient, as it's likely you'll want to adjust this clearly, often while using the drama filter. Third presets topping the great cards icon in the bottom bar will open the style menu. Choosing a style from this menu will not change the filter strength or saturation settings , but instead changes the size of objects affected by the drama filter. While official documentation doesn't explain this in detail is Vestas Aiken tell any style ending in the number one effects the details of the image on a finer scale, such as making find textures on an object stand out more while any style ending in two effects features of the image on a larger scale, such as making entire objects stand out more notice also that we have a choice between drama bright and dark styles. These affect the overall tone of the photo. Drama is neutral. Bright makes the results that are closer to white and dark makes results closer to black. Make sure to play with the drama filter. A lot is. While it is easy to use, using it well is something that requires practice. If the 1st 5 10 or 25 photos he tried on don't look desirable, don't give up. You might be surprised at the kind of results you can eventually to you with it. 6. 7.5. Grunge Filter: this filter is not only extremely useful, often producing fantastic results, but it's just plain fun to use. Even with weak settings, this filter generally produces results dramatically different from the original photo. While it would seem the primary use for this filter would be to make photos look grungy or dirty, it's actually capable of a lot more. Let's start by going over its settings first style. This is a number ranging from 0 to 1500. We can essentially think of every number as a preset. The colors and tones of your photo will vary depending on what number you choose. The style for any particular number is always the same, meaning. If you like how setting number 4 39 looks, you can use the same number on any other photo and get the same effect. You're generally best off, starting with the style setting like zero and swiping through the numbers until you find something you like. The next three settings are brightness contrast in saturation. These are all the same as the settings with the same names from the tune Image Tool. Having this available through the grunge filter is extremely handy. While producing heavily stylized results with the grunge filter is easy. I sometimes find that for photos of certain subjects, a lot of detail will be lost, making it difficult to tell what the photo is actually of. Additionally, you might find a style setting where you like part of it, such as this colors but dislikes something else. For example, in might be overexposed. To fix this, you'll need to adjust brightness, contrast and saturation heavily. One of the most frequent adjustments you want to make is to the contrast setting. If the photo seems to mostly consist of very bright and very dark colleges with little in between. This is probably what needs to be adjusted. Sometimes you still won't be able to achieve enough clarity in the resulting image. This isn't necessarily a problem if you found a style that you like but to washed out, just adjust the brightness contrast in saturation settings to achieve his sharp oven image as possible. When you finished in, applied the ground filter to your photo used the details tool to sharpen your photo. If you've already sharpen your photo before applying the ground filter, that's fine. Just make sure to zoom into your photo. Also happening in again to avoid artifacts from over sharpening fifth texture strength for a truly grungy style. The grand filter applies a sort of warren and whether texture to your phone. Oh, you can adjust its intensity with this setting. Using a strong texture can be difficult as the textures pattern could become very visible. Ineffective photos, composition cracks and rough patches can appear in a previously blank spot, drawing the viewers eyes to that area. Make sure to be aware of this when you're editing your photo. If you're not happy with the texture applied to your photo, you can change it. Press the texture. Button the icon with the diagonal lines in the bottom bar. By doing this, you will reveal the texture menu. From here, you can choose between five styles. After choosing a style from this menu, you can tap the chosen style again to cycle between a number of different sub styles. If you sometimes think their photo could benefit from the grunge filter, but you're not sure exactly what you're looking for, I recommend using the random button the icon with two overlapping arrows in the bottom bar . Presidents will choose a random style, brightness, contrast, saturation and texture strength. His button will also randomize the selected sub style of whatever texture style is chosen. However, it will not change which texture style is selected, for example, if you choose texture style. Three. The random button will change which subsoil is selected from style. Three. But it won't choose another style, such as 1 to 4 or five from the list. Finally, we have the placement option of the grunge filter. The grunge filter, by default, fades the photo out from the center in a circle like the vignette tool. However, the grunge filter also decreases the sharpness of the photo individuated areas. You can adjust the center and radius of the grand filters blur and been. Yet in the same way, you could adjust the vignette tool. Tap the great circle in this interview photo to select it, turning it blue. If the circle is already blue, you can skip this step. It's already selected. Now. Simply move the blue circle around with your finger. Place it where you want the primary focus of a composition. To be the area you place. It will have its brightness and sharpness decreased the least. You can also adjust the radius of the grunge filters placement. Use the two finger pinch or stretch gesture to decrease or increase the radius, respectively. By setting the radius to a very small size, the photo will quickly become darker and more blurry, only a short distance from the blue circle setting a large radius when they could, so that the photo does not begin to darken our blur until a much larger distance from the blue circle. In conclusion, the grunge filter is extremely powerful and can be used to achieve an extremely wide variety of looks. Don't underestimate it and play with it often to become more familiar with how to achieve the kind of results that suit your tastes. 7. 7.6. Grainy Film Filter: use the grainy film filter to mimic color film photography. Regardless of whether you're trying to make her photo appear to have been captured on film , it's worth often experimenting with this filter, as the different film presets can lead to interesting shifts in color and exposure that would otherwise be very difficult to achieve. This filter has two settings. First grain. This is a number from 0 to 100 that effects how much film grain is added to your photo. You can adjust it to see your tastes. You'll likely end up using setting from 0 to 50 most of the time. Second style strength James is setting to adjust how strong of an effect that currently selected film preset has on your photo. Now to access the actual film presets, press the gray cards icon in the bottom bar. The film Presets menu will appear where you can tap on any preset thumbnail to apply to your photo. Using the grainy film filter is pretty straightforward, but it helps to experiment with it so you can get a feel for what it's capable of. I'd suggest experimenting with this filter whenever you're not sure what look you want to go for with your photo and you need a little inspiration 8. 7.7. Vintage Filter: While a vintage filters somewhat overlaps with the function of the grainy film feature, it takes it in a different direction. Vintage is designed to replicate the qualities of photos taken on color film throughout the 19 fifties sixties and seventies for a thoroughly retro look. Let's look through its settings. The 1st 2 brightness and contrast Our standard settings. Also available in the tune Image Tool. Next style strength. Adjust this to change the intensity of the preset currently selected on a scale from 0 to 100 with 100 being strong. Setting fourth vignette strength vignette ing. Generally speaking is the effect of having your picture of fade to black or white toward the sedges. This is not a solid border or frame around your image, but a soft transition. This effect is applied with the vintage filter is vignette. Ing was somewhat common on old film cameras, particularly cameras with cheap lenses. When setting this features, make sure to keep in mind what we discussed back in the first video section 6.1, creating focus with vignette in lens blur by pressing the dots icon in the bottom bar, you can also toggle a blur in combination with the vignette. Many old cheap cameras were subsector ble to blur as well. Tap the great cards icon to toggle of film style presets. Menu. From here, you can select between the number of retro styles. For the retro photography connoisseur Retro, Lux gives you the ability to produce authentic looking vintage style photos. 9. 7.8. Retrolux Filter: while the last filter we talked about vintage had the same purpose. Retro. Lux has seven significant differences. Retro. Lex provides you with alternative in textiles and the ability to add scratches and light leaks to photos. The 1st 3 settings available through retro Lexar standard settings that are also available in the tune Image Tool, namely brightness, Contrast in saturation. The fourth setting is style strength. This setting changes how strongly the selected film preset changes the overall look of your photo. This setting has no effect on any other aspect of the photo, including scratches in light leaks. The next setting scratches is used to adjust the strength or opacity of the scratches on your photo. Zero makes the scratches invisible, while 100 makes them fully visible. The six setting light leaks adjust the intensity of light leaks on your image. I'd like to note that depending on what light leak is being applied to your photo, even a setting a 100 may only produce a subtle light leak. Press the great cards icon in the bottom bar to reveal the style preset menu. From here, you can choose a film style light leak and scratches texture. You might notice that while I said we can change all three of those things, there's only one role options. This is because each film style is bundled with a set of light leaks in scratch textures. Tap any film preset to apply it with a random lightly can scratch texture from its group of options. Tap the same preset again to randomize the light leak and scratch texture. President Render button that is. The button with two overlapping arrows in the bottom bar will have snap seed twos, random brightness, contrast, saturation style, strength, scratches, strength, light leak, strength, film style, scratches, texture and light leak. Just like with grunge, I recommend using the random button when you're not sure exactly what. Look, you want to go for it with your photo. 10. 7.9. Noir Filter: Anwar is more than a simple black and white filter. It transforms photos into a variety of black and white styles, letting you achieve dramatically moody of results. Even though I say black and white, this is a bit of a misnomer, since many of Anwar's presets actually have color tints. In any case, let's go over north settings. First off is the brightness setting, which is essentially the same as the standard brightness setting from the tune Image Tool Second Wash. The wash setting is somewhat similar to a contrast setting snaps. He'd consume you late, the kind of effect caused by over processing a print in a dark room, causing dramatic shadows and highlights. Use this setting carefully, as I found that particularly high settings can obscure the content of your photo third grain. This setting adjust the intensity of grain added to the image. While green is often considered extremely undesirable, at least in the consumer photography space, it does have its place, particularly with black and white photos. Noise can make the image look more like an authentic vintage black and white photo and can add a definite moody and gritty feeling. You want to zoom into your photo on adjusting the grain is green will usually appear softer than it actually is. If resumed out fourth filter strength. This suggests the strength of the film style you've selected. Anything put through the wire filter is automatically made black and white. Whatever the film presets adjust tones in color tints. Changing the setting will adjust how strongly the film preset changes of the tones and Cullerton's of the otherwise black and white image finally to choose. A film preset, officially called out noir style tapped the great cards icon in the bottom bar. From here, you can simply tap a thumbnail from the menu to apply that preset. 11. 7.10. Black & White Filter: If you're looking for a more traditional black and white filter, unlike the more complex and wire filter, then this is probably closer to what you want. Let's go through its settings. The 1st 2 brightness and contrast are the same as their standard versions available through the tune Image Tool, the third setting grain. This is essentially the same as the grain setting from the Nor filter changing the setting will affect how much green is added to your photo, particularly in the consumer photography space. Grain is generally seen as a bad thing, but it does have its place, especially with black and white filters. Noise can make a photo look moody, gritty and like an authentically vintage black and white photo like having the circle icon in the bottom bar, you can toggle the color filter menu. This simulates the effect of using a colored glass lens on a camera with black and white film. Since we're simulating shooting on black and white film, this won't tink your photo to the color you selected. Instead, it effects what wavelengths of light reached the film or, in other words, how bright those colors appear on the black and white film. If we have a real colored glass filter for this example, a red one, anything we see through it appears to be read because of the glass. Onley allows red wavelengths of light to pass through it. If we take a picture of a solid blue object with a red filter on lee, the red wavelengths of light will come through far less than the blue wavelengths of light coming from the object, so the object appears darker in the photo. As a result, there isn't really a rule about what color filter to use and when to use any color filter in the first place. Changing the color filter could dramatically affect looking mood of your photo. Still want to try a few every time you use the black and white filter? If you use the black and white filter and the subject of your photo appears to bright or too dark, try adjusting the brightness first. If you can't seem to get satisfactory results, try using different color filters. If the subject is too dark, try changing to the color filter closest to the color of the subject. If the subject is too bright, try changing to a color filter that is least like the color of the subject 12. 7.11. Frames Filter: composition is important. Not only is composition about what is there, it's also about what isn't there, that is blink or negative space. To see this in action. In any graphics editor, draw black rectangle and right white text over it enough to fill a rectangle as much as possible. While the results will very based on what flight you chose, chances are that if the rectangle is filled, the text will appear cramped. Now try this again, but draw much large direct angle so that the text has a fair amount of space around it. Much better, right? We can do the same thing with not just text but photos. Sometimes you might need to crop a photo to remove an unwanted element, but the results are a little too cramped. Adding a border could help remedy this. However, a photo doesn't necessarily need to be cramped to benefit from having a border. A border can create impact as it isolates her photo from everything else and can even add visual interest to a photo that would otherwise not be so. I, catching the frame filter only has two settings. First frame with this affects the thickness of the border around your photo. It ranges from negative 100 meaning that most of the frame exists outside the photo and positive 100 meaning that the frame is is thick as possible. You might wonder why you'd want frame thickness that causes the frame to disappear outside of the photo. The reason is that some frame styles are non uniform in nature, with warren areas and almost grunge like effects around their edges. By using a negative number for the frame with, we can have some of these effects appear on our photo while discarding the rest of the frame for a more subtle effect, tapping the picture frame icon in the bottom bar will toggle a frame style menu from this menu can tap on any of 23 frame styles available. The 1st 11 are whitened color, while the rest are black. If you tap a frame style with a non uniform edge, you'll notice an icon of two overlapping arrows appear on the selected frame styles Thumbnail. If you tap the thumbnail again, the non uniform frame will be flipped vertically end or horizontally. If a blemish appears somewhere you don't want to be when using a non uniform frame. Try tapping the thumbnail again to get a more satisfactory result. Whether you want to use white or black frame depends largely on the content of your photo. If you're photo is very dark, using a black frame like caused the edges of the photo to blend with it. The same can happen for a very bright photo and adding a white frame. This isn't necessarily a bad thing. It should be set according to your taste, as with the frame with property, especially after you've experimented and have a feel for good composition with frames. Some frames can strongly affect the overall look and feel of your photo for making the photo look almost painted with frame number eight to adding a vintage effect with the film Negative Border Effect of Frame Number 17. If you've ever added a photo and no matter what you change, something seems missing. Try experimenting with frames 13. 8.1. Tonal Contrast: we can get more specific changing the contrast of our photo using the tonal contrast filter rather than using the standard contrast setting that applies equally across the entire image. Tonal contrast. Adjust the contrast of highlights, mid tones and shadows individually. If we have a photo of flour taken from above, we will likely want the focus of the image to be on the flower itself and not the soil beneath it. If we use the standard contrast setting to increase, the contrast of the flower will also end up increasing the contrast in the soil on the background. If we use the tonal contrast filter, we can adjust the contrast of the relatively bright flower while leaving the relatively dark colored soil un effective. Another example is that if we have a photo of a car in bright lighting, we might want to make it really sparkle if we use the standard contrast setting while we might bring out the highlights on the car will also add contrast to dark areas where you might not want it. So instead, we can use total contrast to increase the highlight contrast ever photo and avoid that problem. Total contrast settings are pretty self explanatory. Adjust the high mid and low tones with their settings, named, respectively, high tones for mid tones and low tones. A setting of zero means no effect and 100 means full intensity. The results of using total contrast are often more subtle than any other filter. If you're not sure exactly what the filter is done to your photo, make sure to use the photo comparison. Button the box with the vertical line through it in the top right corner of the screen to switch between the original photo and the edited version. When you press and hold this button, the photo from before this filter was activated is shown simply let go of the button to return to the preview of the currently selected filter. In addition, I strongly recommend starting by setting the high, mid and low tone settings to zero and adjusting them in order using the compare picture button. After every change, there is no proper way to use this filter. Adjusted to suit your tastes, you might end up on Lee setting one option to more than zero, or you might end up setting all three tone settings to large numbers, only the results here matter. The tonal contrast filter has two more settings. Protect highlights and protect shadows. Is, he might have noticed, was not only the tonal contrast feature, but also the standard contrast setting in the tune Image tool is that too strong of a setting can cause bright areas to become overexposed and dark areas to become under exposed , resulting in a loss of detail. If you notice that any areas in your image become over or under exposed from using tonal contrast, you can either use weaker contrast settings or ease the protect highlights and protect shadows settings to prevent those areas from becoming over or under exposed the higher of a number you set these settings to, the more intensely it will try to push the brightest or darkest areas back into a range where they are properly exposed. While total contrast isn't advertised as a sharpening tool, it can produce what appears to be a sharper photo overall, if you use the details tool to sharpen your image, but it's still not quite enough. Try experimenting with total contrast to enhance textures and details in your photo 14. 8.2. Isolated Editing: there were likely be many times when you wish to adjust the exposure or saturation of only a specific area, or remove a blemish or unwanted feature of your photo. We can do all this using the isolated editing tools available in snap seed. The first and arguably easiest Hughes is called selective. After choosing the selective tool tap anywhere on your photo, too out of control point, The control point behaves in a similar manner to the paint bucket tool in a graphics editor program. The area it effects is based on pixels of similar color and brightness that surrounded. Use a two finger pinch, just er, to adjust the size of the area of the control point effects. Doing this will also show a red overlay, which clearly visualize is what part of the image will be affected by the control point. Swiping, left or right will adjust the intensity of the selected effect on the currently selected control point. Just like any other filter. Swiping up or down will allow you to switch between the brightness, contrast and saturation effects. You can add more control points to simply tap the plus sign in the bottom bar and tap on your photo to about a control point to that spot. Top any control point to selective, which is shown by the control point turning blue. The settings for each control point are adjusted individually when you select a control point, its particular brightness, contrast and saturation settings are displayed in the settings menu. And adjusting the settings of one control point does not affect the settings of any other. To move an already placed control point, simply press and slide it away from its current position. This could actually be a little tricky at first. If you hold your finger on the control point for too long before sliding it, it won't follow your finger to successfully move a control point, Place your finger on it and begin moving it as soon as possible to view your photo with the selective changes made, but without having to apply them. Press and hold the I icon in the bottom bar. When doing this, you can see her photo with the adjustments made. But without the distracting control point icons. Simply release the button to show the control point icons again. Next is the brush tool. From here, you can select whether you'd like to apply dodge and burn or changes to exposure, temperature or saturation. You can also switch between these modes at any time to adjust them individually. Use the up and down arrow buttons to adjust the strength of the selective tool. Positive numbers. Increase intensity or Brighton, depending on the tool and negative numbers. Decrease intensity or darken. To apply the selected tool to a specific area, simply use your finger to paint on the screen. You can adjust the size of the brush by zooming in and out of your photo. Using a two finger pinch gesture. A dashed outline of the brush size will be shown on the screen. One. Zooming Let's go over the four tools in order first dodge and burn. This replicates a technique originally from film photography, in which additional light is used during development to change the exposure in desired areas. Dodging refers to making the photo lighter. While burning refers to making the photo darker. Use this to make subtle changes to exposure. Second exposure Since dodge and burn is used for adjusting exposure, why do we have an exposure tool? Making large dramatic changes with dodge and burn is time consuming. Used the exposure tool to make faster, harsher changes to exposure. Third temperature. Use this to adjust the temperature white balance of your photo. Negative number settings make the area you brush colder or more blue, while positive number settings make the brushed area warmer or more orange. Fourth saturation. This one is especially straightforward. Painting with negative numbers decreases saturation, making colors less intense, while positive numbers make colors more intense in the brushed area. By pressing the I icon in the bottom bar, snap seed will display an overly that illustrates what areas have been painted and how strongly they have been painted. The brighter the shade of red in an area, the more intensely the brush effect has been applied there. This can be especially helpful if you don't recall where you painted or you're painting with a subtle strength setting, making it somewhere difficult to see where you've already painted. Finally, we have the hell tool. While the hell tool is simple to use, it's surprisingly powerful. Use it to remove all kinds of unwanted elements from your photos. For example, if you took a picture and didn't realize until later that your lens was dirty, leaving a variety of specks on the photo. Don't worry. Often the hell two will be enough to remove it. Everything that appears in your photos affect the composition. Use the heel tool to remove elements that negatively impact your photos. Composition I use is often when photographing food. His plates of food tend to look better when the edge of the plate surrounding the food is completely clean and doesn't have any residue of the food or sauces. I'll simply paint out the spots on the plate to make it appear queen again. Using the hell tool is like using any other brush tool. Use a two finger pinch gesture to zoom and simultaneously adjust the size of the brush. Then use your finger to brush over the unwanted elements in the photo. Well, you can brush the unwanted elements in your photo to remove them. I would recommend just tapping a spot with the brush over the unwanted element whenever possible. I find this usually produces better results than actually brushing. Generally speaking, the smaller oven area you brush, the better. The results will be in the bottom bar. You can press the left pointing arrow to undo the last brushstroke you mate or press the right pointing arrow to redo any brushstrokes. Even done, especially when removing large areas are objects surrounded with a lot of detail. You might end up with artifacts in the healed region, usually in the form of a blocked or a repeating pattern. If this happens, simply press the undo button in try brushing area again. Try using different brush sizes as well. Unfortunately, the Hell tool won't always produce satisfactory results. Sometimes these situations could be helped by using a more complex series of edits or other more advanced photo editing software such as Photoshopped. Neither of which we will be going to into the selector is it's more suitable for an even more advanced future course. 15. 8.3. History Editing: in Section 5.1 of my first video of the snap seed interface, I mentioned Snap Seeds History feature. While this is extremely useful, isn't undo and redo feature, it's actually an extremely powerful editing tool. The number in the top corner of the screen shows how many tools and filters have been applied to your photo tapping. It will reveal a list. This list is essentially a timeline of changes made to your photo, with the oldest at the bottom and the newest at the top. The photos current state and the list is highlighted in blue. You can tap any step in the timeline, revert to what your image looked like at that point and select that step when you revert to a previous step. The effects of changes that were made after that step aren't lost, but I just made invisible. You can tap a future step at any time to reapply those tools and filters. If you were to a past steppin, apply a new Tuller filter. The future steps are still not lost. Because of this, you can insert the tool or filter and apply it to a previous state of your photo before replying the future steps. This can come in handy sometimes. For example, if I reply a retro locks filter to my photo and then use the details tool to sharpen it, I'll end up sharpening not just the contents of the original photo but the scratches and light leak supplied by the retro Lex filter as well. Instead, I can go to a state of my photo from before I applied the recollects filter. Use the details tool to sharpen the original image and then tap the recollects filter step in the history timeline. To apply it again, this whale end up sharpening the original photo without sharpening the artefacts, like light leaks and scratches from the retro locks filter. If you Tappan already selected step, you'll reveal a menu. This menu will have up to three icons, depending on what Tuller filter was eased in that step. First, tapping the trash icon will delete that step from your photos history. This not only deletes entry from the history, but also removes any effect the associative Tuller filter had on your photo as if it were never applied. Second, the paintbrush icon. This is an extremely powerful tool that will learn to use in just a minute. Third, the icon with three horizontal lines. By tapping this, we can change the settings for any Tuller filter we've used and reapply it. Perhaps you applied starting to your photo and later realize that you didn't sharpen it enough. Rather than using the details tool again, select the step where you applied the details tool. Originally tap it to reveal its menu and tap this icon to change. The setting is used when you applied it. It's that simple. Now back to the second icon, the paintbrush. We can use this feature to apply nearly any Tuller filter to any specific region of our photo. For example, if you want to apply HDR, escape, lens blur or even grunge to only specific area of your photo, you can do it with the paint brush tool to begin tapped the paintbrush icon. From here, this feature works very much like the selective brush tool. You'll be shown a version of your photo without the selected tool or filter applied. From here, you can use your fingers the brush to paint in the version of the photo that does have the Tuller filter applied to it. Just like with selective brush, you can adjust the size of the brush by using a two finger pinch gesture to zoom into your photo and a dash outline of the brushes Size will be shown. Tapping the circle and triangle icon in the bottom bar will invert the painted area, meaning painted areas will become unpainted and unpainted. Areas will become painted. This could be useful in the area you want to paint is larger than the area you don't want to paint. For example, if I wanted to increase the exposure of the entire photo except for one object in the photo , it might be easier to paint that object and then press the invert button. 16. 8.4. Better Depth-Of-Field: we can do amazing things with the history paint brush tool that would otherwise be impossible to do in snap seed without it. In the beginning of this class in Section 6.1, creating focused with vignette in lens blur, we discussed the lens blur filter. The lens blur filter is capable of creating very realistic looking depth of field effects. However, there's one particularly significant problem. Real depth of field is three D. The lens focuses on a point in space. As things move from that point, either towards or away from the lens, they become blurred. When we take a picture, the result is to the meaning lens blur Filter has no idea what is closer or farther in the image. Sometimes when we apply a lens blur filter, we can avoid this problem by carefully placing the blur to appear somewhat accurate in depth. For example, if we take a picture of a cup of coffee on the table, we can probably use a linear blur to blur everything in front with cup that is underneath the cup in a two D image and blur everything behind the cup that is above the cup in the two D image, However, there will be times when it's difficulty are nearly impossible to apply a lens blur without breaking the normal rules of depth of field. If we're trying to create a realistic depth of field effect, this simply won't dio. We can fix all of this using the history Paint brush tool. First, we start by applying and lens blur to our photo, trying to place the blur so that it appears where we think it should. In the coffee cup example, we might place a linear blur and have the furthest part of the blur begin at the bottom of the coffee cup and continue upwards. We do this because you want the table. Let's further away to start to become blurred. Of course, the coffee cup will also become blurred, but we can fix this with the history brush. After applying the lens blur, tap that number in the top right of the screen. Taxes your photos. History taught the lens blur filter entry just applied and then tap the paintbrush icon. From here, it's simple. While there's more than one way of doing this, I would recommend first tapping the circle in square invert button to show the entire lens blur as usual next. If it's not enabled. Tappy Icon To show the painting overlay the paintbrushes. Strength should be set to zero, if not, change it manually by tapping the down arrow icon. Finally zoom into your image and paint, or, in this case, were technically erasing the objects that we do not want lens blur to apply to. In my example, I would paint out the coffee cup. That's it. You've achieved a far more realistic depth of field effect. This is very useful, since depth of field can use not only as a creative, artistic effect, but also is something that can use to draw focus towards the subject in a photo and away from unwanted background elements. 17. 8.5. Colour Isolation: chances are you've seen the kind of photos that are mostly in black and white but have the subject of the photo in vivid color. This is very simple to do with snap seeds history. Paintbrush begin by using the black and white or noir filter to convert your entire photo to black and white. Next, open the history menu and select the paintbrush option for the filter you just applied, like applying the depth of field effect in the last lecture. There's more than one way to paint this effect, however. I would recommend pressing the invert button, turning on the overlay and painting out or erasing the area that you want to appear in vivid color. All you need is a little patients to paint the correct area. Other than that, it really is that easy. 18. Congratulations: Congratulations. You've completed the second part of my class. Now do the project assignment, take a photo and apply the skills you've learned submitted in the class Project section to get feedback from myself and other classmates. It's a great way to learn in Part three. Rather than teaching you how to use individual tools, I'll be walking you through capturing and editing several different kinds of photos from start to finish, including how to take great portrait's and landscapes. Be sure to enroll and keep upgrading your photography skills.