edit CLOUDY DAY photos in lightroom (OVERCAST + light and airy photography)


– Wait, I know what you’re thinking. Jordan, did you dye your
hair like a gray-ish color? No, no I did not. You can accomplish this as well if you just keep spraying
that dry shampoo, eventually your hair will change colors. Little hair tip for ya. Hey, Jordan here, and welcome
back to another video. I am pumped that you’re
here because today, today we are editing those photos that we took last week of my sister Jenna. Where I compared the 85 millimeter lens to the 50 millimeter lens. So if you want to see that video, I’ll just put it up here at the top. I’m pumped to see what
these are going to look like and excited to share my editing process for editing those dreary,
overcast photos inside light room because they don’t have to be so dreary. Gonna make that happen. It’s snowing, it’s snowing! First snow here in Missouri, don’t laugh at me it’s exciting. It’s a good day, a good good day. (cheerful music) There are five different
scenes, we’ll call it, that we’ll be editing today. The photos of Jenna in the leaves, the ones in front of the greenhouse, the ones we took in front
of that fall bush thing, Jenna walking toward us, and photos that we shot through the tree. First thing you wanna do is go over to detail
under the develop module, and we’re gonna work on the sharpening. So if you drag it all the way up, you’ll see that the image is super sharp and it doesn’t really look good at all. We’re gonna bring that back down, and to make sure that
only the in-focus parts of the image are in focus, you just hold down option on your keyboard and then drag the masking up, option lets you see what’s
happening inside the slider and we will drag it up so that just the subject is in focus. Once you’ve done that, there is a box you wanna
check under lens corrections. Actually check them both, remove chromatic apparition
and enable profile corrections. But you always, always wanna check enable profile corrections. For an image like this, I’m just gonna edit this one from scratch. So you can see what I would
do with a photo like this. So I bring up the exposure
just a little bit, and then drop those highlights white, bring up the shadows
probably just a little bit, bring down the blacks, maybe just a bump of contrast, I’ll drop the clarity to negative two, and bring the vibrance up a little bit. Under the tone curve I can brighten it up just a little bit more. If I feel like the
shadow area is too much, than I can always grab that point and bring it up a little bit here in the tone curve as well. So this is before and this is after of that image. Quick little edit. Since there are red leaves in the trees and on the ground, it could throw those reds
back up onto her skin tones, so you just want to check
this slider right here. Let’s bring it over here to the left. So that’s too green, that’s too pink. How do you fine tune this and
make sure it’s just right? Well you look up here at your histogram, and once you see those
reds and pinks start out beyond this little gray curve, then you know it’s overly pink. Same thing on the left side, if you see those greens start out, and you don’t have a ton
of greens in the image, then you know that your
tint is a little bit off. So for an image like this, I’m gonna probably drop it down to zero. Play around make it a ten, that’s a little too green to me, so let’s make it a negative three. And there maybe bring up the
exposure just a little bit more and we’re all good. And since this is a profession shoot, I wanna make sure these look spot on. So I’m gonna use the
pre-sets that I’ve made. Inside there are one-click pre-sets and then there are mix and match pre-sets. Today we’ll probably just
look at Brittley Fuji and Brittley Portra. In which Brittley Portra
is obviously based on Portra film and then
Brittley Fuji is based on Fuji film as well. Just because her eye is
shaded from her head, I’m gonna go with Brittley Fuji and then I can just bring up
those shadows just a smidge and bring up the exposure. I’ll adjust my tint and
that image is good to go. So I will just sync that with the rest of these leaves photos. To do that make sure you’re all checked and remove spot removal and crop. From there you just go
in and make little tweaks to make sure that
everything blends together. One common misconception
with, like, marrying photography is that you can
have any shadows in your image. And if you nicks all the
shadows in your image, it just makes it a
little less interesting. So I like to keep my shadows in tact, so don’t bump your shadows up too much, just enough so there’s still this step. I would normally bring
my shadows up to 76, but because that first image
had so many shadows here, that’s why I’m doing that. I can see that her skin
is still a little bright, so I’m gonna go highlights and bring down the whites as well. From there I can bring up the exposure, and the image is good to go. Crop this image in, sync it up. I like to sync the next images in a set if I make a tweak just to save me time. So here’s before and here’s after. Bring down the temperature on this one, and sync it up. And since these greens
look a little too yellow, I’m gonna go down here and
select muted saturation. Just to drop it just a little bit more. An insider trick, you can
always layer these pre-sets on top of the Brittley Fuji
and Brittley Portra pre-sets. I want a little bit more
“umphf” to this image so I’m gonna select Brittley Portra. I know that I’ll need
to drag up my shadows just a little bit. I’ll bring down that contrast, and bring down those highlights just to protect her skin tones here. Warm it up, a few more pinks, and I’ll just sync those images. Double-click on the blacks
to bring it down to zero. Just for something that’s
still a little bit more soft, and sync them up. Another edit from scratch for you. So I use the Free Preset, you can get that at FreePreset.com. If you are adjusting this temp slider, and something’s off and you
don’t really know what to do, try adjusting the Tint slider with it, and just see if that does the trick. Anytime you bring this
temperature slider down, generally speaking, if something’s off, try lowering the tint on the image. To avoid a dull image on an overcast day, bring down your blacks before
you just up your contrast. See how upping my contrast just makes the image look sharp, super saturated. So instead of doing that, try lowering the blacks and
see if that does the trick. So there’s before and after
on an edit from scratch with the free pre-set. I’d really love for these
greens to stand out, so I’m gonna click Brittley Portra, and then I can adjust my
temperature from there. Bring down my exposure just a little bit, then I’m gonna double-click
on these blacks just because this area
down here is so dark. So there’s before and there’s after. Before and after. I’ll sync these with the rest
of the photos in the set. These blacks are out of control. Just kidding but I am gonna
bump them up just a little bit, let’s go with 20. I like even numbers. And then we’ll just sync those up. For this image I’ll just
bring up those shadows and bring down that exposure
just one little click. Bring the exposure back up on this image. I love this, I love this whole scene. This fall bush, still love it guys. Drop the exposure just a little bit and bring down those pinks. This image is still a little contrast-y which is what Portra would
do if you were shooting it, but I think that what I’ll do is hit reset and then select Brittley Fuji. That’s a really soft and muted edit and so we’ll just sync it
up with the next photo. Bring down the exposure on this one. One other tip for editing overcast photos, normally I would edit on a
medium or light gray screen, but when you’re editing overcast photos, I’ve found that it’s best to just go ahead and switch to a white background color or your brain, your eyes, whatever it is ends up playing tricks on you and you try to match this as your white and it just ends up looking kind of dull. So make sure you switch the
background color to white. You can do that by
control or right-clicking here in this area and
then selecting white. I think we’ll just keep our
Fuji rolling for right now. Yup and I love that. We’ll just drop that exposure
a smidge and sync it up. We’ll sync it up through this whole scene. That one’s good to go, it doesn’t need any adjusting. (upbeat music) For this last scene, I’m gonna use the Free Preset and show you which sliders
I would adjust over here. When you drag these sliders around, you’ll see down here, her boots are changing. So if I wanted her boots to have a little bit
more of an orange color, I can easily change it there. Just keep in mind, a lot of these sliders, they’re messing with more
than just the obvious color in the frame because they’ll
also mess with skin tones. And you can see that right here. If I was gonna do that, maybe I would add plus five, same thing here with orange. We’ll leave it alone. Yellows we’ll leave alone. I love, and you can see
this in one of my blog posts where I talk about HSL, but I love bringing up the
greens just a little bit. And for this one, since her blue jeans are a little blue, I’m gonna just drag it over
here into a darker blue. I’ll actually decrease
blueness on the jeans as well. While I’m here we’ll
bump up her skin tones and to give a little pop to the red, we’re gonna decrease the reds here. Under saturation, I always take out oranges,
yellows, and greens. And then if her blue jeans
were really overpowering, or if you wanted to add a
little bit more of a pop, you can mess with that slider here. So there’s before and after with the Free Preset in
a few HSL adjustments. I really want a pop of color here, so I’m gonna go with Brittley Portra. Double-click on the blacks and maybe even bring
them up just a little bit to soften up her jeans. That’s where I’m looking, right here. And then we’ll need to warm it up as well. Highlights and we’ll bring those down. Next image I might cool
it off just a smidge, but I really love the way this is looking. And I might add a little
more pinks in here. We’ll crop this one in. On this one, I’m gonna drop that contrast and then I can just bring it back up to the point where I want, cause it just seemed a
little contrast-y to me. I’ll sync that with the
last photo in the gallery. Once I’m finished I just do
a final glance at the gallery just to make sure everything looks good. You can do that by going
over to the library module and clicking command
minus on your keyboard. This is gonna show you all of image in a smaller grid view. Go through, squint your eyes, and see if anything looks too contrast-y or too dark or if the coloring looks off. So once everything is good there, I’m gonna click command
plus on my keyboard, and scroll through each photo really quick just to make sure all of
the coloring, lighting, shadows, contrast,
everything looks really good. So see this image, I love a bright image, but this image is a little too bright. So I’m gonna bring that
exposure back down. And yes this image is
brighter than the rest, but nothing is blown out or anything so I’m gonna keep it. I love that image. From there, I export them,
upload them to the client, blog them, market them, really do the whole
launch thing with them. But as far as editing goes, I’m good. I’ll be brewing another cup of Rogaray, also staying hydrated because
that’s really important. We have to stay hydrated, us creatives. If you like this video
hit that thumbs up button, subscribe if you haven’t already, and comment down below what
is your favorite way to edit. Are you a laptop user or do you prefer the good
old-fashioned desktop? What’s your favorite, your
absolute favorite way to edit? If you wanna see the full
blog post and the final photos that made it to the blog post, like the exact photos, the exact way I lay it out for clients, then you can get that link
down below in the description. Or you can go to Jordanbrittley.com/blog and just search how to
edit overcast photos. Don’t forget that you
can always pin this video and re-watch it next time you open up and you’ve got an overcast
editing sesh ahead of you. If you need me, I’ll be
sipping on some Earl Gray celebrating another editing sesh win. Even though it only took a few minutes. Hey, you gotta celebrate, you gotta celebrate. Cheers to you.

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