Okay, so now we've got a fully edited photo to our liking in theme that we're going to be wanting to use on our Instagram account. We've got our second photo here, which has this photo. Now what we're going to want to do is the first thing that we can do is we're going to put it side by side. So we're going to click on a button, and we're gonna click and drag edited photo into the side by side view. Now what we could do is we could start editing from the settings panel over here on the right, that the beauty of Lightroom is being able to copy and paste the settings. So that's exactly what we're going to do.

We're going to go over to this photo, or we can go up to here settings and copy settings. And now a little pop up box is going to come up and by default, it's going to click all of the things that you made edits to. So as it looks right now we use all of these settings or a few that we didn't use but that zero so it doesn't matter. So we can hit copy. We can come back To the data that we're working on, we can go back up to settings, we can hit paste settings. And now that's going to automatically copy over all of the settings that we made my first photo onto one new second photo.

Now we can see that this photo is a lot darker, but that's kind of the field that we're going for. So already just by copying over our settings, we have a really nice starting point. But what we can do because we do want to make these look a little bit more cohesive and the first one is a lot brighter and the second one is a lot darker. Now they are taken at different times of the day for sure. But what we are going to do is we are just going to push the exposure pop and drop the blacks say that retailer stays in nice silhouette. Just lift the highlights ever so slightly.

The shadows shot by exposure. And now you can see just by doing those basic tweaks, our skies match a lot. So you can see over here in the water The water has been matched perfectly almost as if they were taken in the exact same place just a slightly different time of day. Now these are in the same place they're taken on Catalina Island but they are two very different parts of the island or two different days and at different times of the different days. This one with just slightly unnecessary stuff like the hair rights hate to ever say slightly dodgy now we have two very nice photos that we could happily post on Instagram that feeling a very nice cohesive feel similar colors, similar tones, not exactly the same, but have that really nice cohesive feel to them. So what we're going to do, we're going to get to one more photo, we need to get to this final photo, which is a very different, most different of them.

It's Michaela she's in a cafe. So what we're going to do is reread all those settings copied from the previous photos, we're going to go back up to settings, and we can just hit paste settings. So you can see that by copying over the settings for this photo, we haven't had the same result as the first one. So you can see that, although copying settings a bit between photos is really great. In this case, it hasn't done such a good job. So what we're going to do is we're going to hit reset to bring our photo back down to this default setting.

And we're going to bring up our reference photo, which is our first one that we're going to try and match the photos. So that was a really good example of what would happen if we just applied the filter to this photo, we'd get a result that was totally different from the style and the cohesive feel that we're trying to achieve on our Instagram accounts. So we're going to go up to our basic settings at the top, and we're just going to call this down Just to neutralize the photo, bring back some of the white car, we're gonna give it a tiny bit of extra pixels and tint. Exposure now is obviously very dark. So they're going to bump up by 180 5.9. Contrast, we're going to pull it down, drop that to fatties.

Highlights now we're going to pull those all the way down because it is very, very bright. And so you can see the dramatic change and the detail that returns you can detail back in the clouds, just by bringing those highlights in the way down. Shadows are going left all the way up. So the opposite effects will bring back the detail in the dark areas of the photo. So you can see how much detail has come back from this photo already through the Fuji before and after all the detail in McHale's codes come back whereas in the original world photo, almost nothing is almost totally tastefully washed out. And just by making these basic settings we brought back all of that detail in her Kate White was going to give a tiny little boost to make it pop.

Okay, well that's we're going to leave a night party we are going to push clarity up a little bit into the 30s same as the previous five times five prints, we're going to push up this time to bring back some of the color as it is looking already very D saturated so we're gonna. So next we're gonna now we've got our basic settings right and we've got a good exposure and nice flat image to start working on. We're going to go down to camera calibration, which is all the way to the bottom, and that's going to set up colors before we jump back into the HSL and start tweaking the colors from there. So we'll start off with our red and we'll bring that one up to that 45 and that's gonna take some deals and then to counteract The red hues being pushed up to the orange, we're gonna drop the blue he's down ever so slightly too and then we can see we just look at the walls there they are being pushed slightly more towards the blue.

So we are trying to force some of that orange and teal feel into the fight I say that is without the camera calibration settings off and you just left it the white balls. And then here it is with them turn back on, you can see the embassy slightly different. So now that's done. We're gonna go up to the Joker. And we're not going to do as dramatic an S curve because you don't want too much contrast in this photo because it's already quite dark. It's going to three point cap and we're just going to lift that we're just going to lift the blacks up ever so slightly just to give a little bit of a fade to match other ones.

And ever since. So now we can move on to h SL given what's appreciated is the orange section. Oranges addresses and then I'm going to pull down our yellows pretty significantly. 65 is good. Well, we're gonna push off slightly towards blue in the braking counter, which has a much more severe effect when we drop the blues towards the more tail as it far more significant effect than the Aqua is being pushed up into the blue. So you we still balanced it out but we are still getting much more of that tail being forced into this photo which is nice.

It's working really well and it's starting to match already. Leave the purple and magenta alone and we'll move our way on to saturation. So breaking it Give the Reds a boost up into the fatties 14. Same for oranges, but a fatties. Same thing for yellows, just try and get some of those more times to start popping. Green we can even learn as well to run faster to get better very blue, but we'll be fixing that later on.

So now down on the luminance, which again is the individual brightness of our individual color channels. So we're going to get orange yesterday, boost and we're going to do the same yellows but significant boost and that was just affecting the orange outside of the cafe. save lives. release, we're going to pull right in those all apps, that's going to take away some of that deepest of the color, whereas if we dropped it, you can see it as a whole lot of saturation because it's darkening that color. Whereas if we push it mostly extreme, we're up into the 70s. It's lightening matte color system, meaning that hint of that blue tint, but a much brighter more overexposed blue, which is the kind of the look that we are going for.

Now we'll make our way down to split training. And we're going to add a bit of orange which is just it has such as maybe 510. To the shadows, we're going to add a bit of emphasis not just you can see that different styles if we toggle on and off very clearly. And now. The split testing is just kind of counteract that. And balance out episodes slightly.

Now what we're going to do is we're going to scroll up and we're going to crop it. And we're just going to see what we're working with with our finished products that we can place the end. cap on the cannabis hands. Please bring us good screen the back, we'll take a look at the before and after. You can see it we've made a pretty dramatic difference, this photo and we've got the similar orange, the orange tones over here, very similar to the water tones and similar properties and they're starting to really match in the photo. So I would say that's pretty much done.

The only thing that I would want to maybe do is I'd come down and I think I might have stopped here with the share status. Okay, let's face and I think that's a really nice sticking. Alright, so I think the match really well and I think they have a really nice consistent feel to them.