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I really like this image so the first thing I want to do in this case is I want to run a crop and I also want to take a look at doing a lens correction because I know I always run a lens correction. I'm going to go ahead enable profile corrections remove my chromatic averations as you see here. It reads what lens it is. And that just makes sure that I don't have any distortion. The next thing I want to do is I want to actually crop my image and determine if I'm going to have any of these lights in the shot once I have it cropped to the way I like it.
And again, we're dealing with the rule of thirds. The nice thing about this shot is between his head and the ball and his body, I can get a little bit of balance just in the rule of thirds by putting things where they belong. Once I have this done, I'm simply going to hit the Return key, and now I can work with really punching up this image, giving it kind of a look or stylizing it just inside of Lightroom. The first thing I'm going to want to do, is again, make sure that I have nothing that's blowing out in my highlights and none of my blacks are crushed.
So, I'll step into my whites and my blacks holding down the Option or the Alt key on Windows and I'll make sure I have the full range available to me. And as you see we lit that pretty well. I'm not really needing to modify that much at all from a pure white and black standpoint, but I may want to control some of the nuances. As we see here, if we zoom in, there's a little bit of detail in the ball that I may want to bring back. And I can do that by selecting my highlights, and bringing that down to the left.
And as you see, we start bringing in some of the details for the ball, and it doesn't seem as blown out. The down side, as I did this, is I did lose some of the highlights on the back of his head. And that's where we may want to be a little more selective on how we work with our image. So I'm going to actually keep the highlights where I want them for the back of his head. And if I want to work just on the ball, I can go up here, and select the adjustment brush. And simply select the ball.
Now, I'm working exclusively on the ball. Think of this as kind of like a paintbrush. You'll see there's a little dot there. If I hover my cursor over that I can see the area that I painted. I actually over painted that area. So I'm going to come down here and when you're using the brush you have a choice to one, do automatic masking and I highly recommend you turn that on and if you overshoot you can always erase. So I'm going to click on erase. And just make sure that I have the area that I want around the ball erased.
Now when I hover over here, I can see pretty much what's there, what's not. I'm going to go ahead make my brush a little bit bigger. I can be a little bit sloppy on the outside, because I really want to focus on the ball. Its close enough for what we need to do and now once I have that area selected now I can use these sliders and its only going to effect that mask area. So if I wanted to I can bring down the highlights on the ball but you notice it does not effect the highlight on the back of his head. I can also work with a little bit of clarity if I wanted to sharpen that up and if I wanted to brighten the ball up I can even control the exposure.
The beauty of using the adjustment brush is I can work on a specific area of the image and really find And if I don't like what I've done I can simply grab a slider and modify it and you can use multiple adjustment brushes to tweet different parts of your image. I kind of like where we're going with this. I might brighten up the image a little bit on his face, so let me go ahead and close my adjustment brush. Now, I'm working with the entire image. I'm going to open up the exposure just a hair, bring up his shadows.
And then, because it's a sports idea, I'm going to knock up the clarity. And I'm pretty happy with this shot. Maybe just pull down those highlights a little bit now that I've opened up the exposure. And I think I'm ready to export it and show it to the client.
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