The post June Update for Lightroom Classic, Lightroom, and Camera Raw appeared first on Lightroom Killer Tips.
]]>When you create a new mask, you’ll find there is now a Grain section in the Effects panel that looks just like the Grain options we’re already familiar with in the main Effects panel. By default, Amount is set to 0, and dragging it to the right will add grain to the masked area. If you’ve applied Grain globally (in the main Effects panel), then you can use this tool to reduce the appearance of the grain in the masked area (or increase it further). Changing the values on the Size and Roughness sliders in the Masking panel will change those same settings in the main/global Effects panel. This connection between Grain in Masking and globally in the Effects panel allows you to fine tune the final effect.
There’s a new addition to the RGB point curve in the Tone Curve panel called, Refine Saturation. As soon as you start creating a new point curve you’ll see this slider appear under the tone curve. It starts at 100, which is the same result as we’ve have previously. What’s new is that we can drag it to the left to reduce the amount of saturation that occurs when making an adjustment with a curve. So, let’s say we want to use a curve to brighten up an image, but the colors are already pretty saturated, we can now apply that subtle curve to boost brightness, then use the Refine Saturation slider to throttle the saturation boost that would have normally occurred. First photo below set to 100 (default) and second photo with Refine Saturation set to 8 (set to 0 to retain original color saturation).
The Color section of the HSL/Color panel now has indicators that appear under each color that has been adjusted so we don’t have to drill down into each one just to see if there is an adjustment, which is small, but welcome.
Additionally, there’s a new shortcut that’s pretty cool. If you hold down the Option key (PC: Alt) while making an adjustment with the Color Mix sliders or the HSL TAT (target adjustment tool) you will see the hue you are adjusting in color with the rest of the photo in grayscale to alternatively visualize your adjustment.
You may not notice this, but there is a new process version in town called Version 6, and it is a small change to the previous PV to do a better job in reducing banding in some photos.
When making a book, we have new alignment buttons in the Cell panel (select a photo cell to enable this panel) for how the photo is aligned within the selected cell.
If you’ve ever wanted an easy way to share a short video of how you edited a photo in Lightroom, this new feature is for you. Currently this is only available in Lightroom on iOS and Android. First, go about your usual edit routine. When you’re satisfied that you’re done, tap the Share icon and you’ll see a new option called Create edit replay.
Tapping this will automatically create a short video that you can save to your device or share directly to social media. It shows a before and after view, then shows the stages after each major edit and ends with the final look of the photo. Give it a try and see what you think. If you share to social media and tag @Lightroom you may even get featured.
There was also a significant interface update to Lr for mobile that I think deserves a dedicated post, so stay tuned for that. Enjoy the update and let me know what you think of the new features.
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]]>The post Using Lightroom’s Eyedropper To Get Rid of That Nasty Purple/Green Fringe appeared first on Lightroom Killer Tips.
]]>Above: Here’s the original image, and if you look along the edges of the chrome frame of the car window, you can see a purple highlight, almost like we traced those areas with a thin purple magic marker. Let’s zoom in a bit tighter so you can really see it.
Above: Oh yeah, you can really see it clearly when you view it at 100% size, as seen above. There are a number of different ways to get rid of it, and we’ll start with the easiest method first.
Above: If you took the shot in Raw mode on your camera, start by going to the Lens Correction panel (in LR Classic) or the Optics panel (in LR ‘Cloud’) and turn on the ‘Remove Chromatic Aberration’ checkbox (as shown here). That alone will often do the trick right there. Boom. Done. Sadly, in this case, it barely did anything, but this often does a great job, but when it doesn’t work (like in this case), then we go to our other tools.
Above: if you’re using the ‘cloud’ version of Lightroom, you’d go to the Optics panel instead, and there you’ll find the ‘Remove Chromatic Aberration’ checkbox (as seen above).
Our next line of defense against this nasty color fringe is to click on the Manual Tab in the Lens Correction panel (in Classic) or click on the word “Defringe” in Lightroom ‘cloud’ to expand the options and that’s where you’ll find the ‘Fringe Selector’ eyedropper (seen above). You use this eyedropper to tell Lightroom exactly which color you want it to remove.
Above: Here, I’m taking the eyedropper and hovering it right on the purple edge fringe. You can see in the pop-up loupe grid that’s attached to the tool just how much purple there is along the edge of this chrome area (that’s obviously not supposed to be there). Click on this color area, which becomes the color Lightroom will neutralize for you.
Above: Here’s what it looks like once I click that Fringe Selector eyedropper – the chromatic aberration is gone! You might have to try clicking in a few different areas of purple (or green – just depends on the image) until it gets all the color, but it should only take just a few clicks (so just a few seconds).
The last technique is to do the process manually using the Defringe sliders, and I have a short video (below) that goes over that technique, so give it a quick look (it’s short).
Well, there ya have it. Three ways to get rid of that annoying edge fringe. Hope you found that helpful.
Here’s wishing you a kick-butt Monday!
-Scott
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]]>The post Way Underrated Lightroom Masking Feature appeared first on Lightroom Killer Tips.
]]>Pretty handy, right? You change that one little thing, and it becomes so useful.
Have a great weekend, ya’ll. Hope to catch you here next week.
-Scott
P.S. I know a lot of you use On1 Software’s plug-ins to extend what Lightroom Classic can do. If that’s you, check out the full two-day, two-track conference coming up next month on getting the most of your plug-ins and your Lightroom/On1 workflow. Here’s the link with details.
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]]>The post Mastering ON1 Photo RAW 2023: A Comprehensive Guide for All Skill Levels appeared first on Lightroom Killer Tips.
]]>Whether you’re a beginner, have never heard of ON1 Photo RAW, or want to enhance your editing skills, this ultimate guide is perfect for you. Learn how to navigate and utilize the powerful features of ON1 Photo RAW 2023, the leading raw photo editor, to create stunning images.
Are you ready to unlock the full potential of your photos using ON1 Photo RAW 2023? Check out this video from the ON1 VP of Product, Dan Harlacher. Whether you’re a beginner in photo editing or an experienced photographer seeking to elevate your photo editing software skills, this video guide will meet your needs. This video will give you an excellent resource to explore the features and editing techniques in ON1 Photo RAW 2023, a powerful raw photo editor that can transform your images.
For anyone new to ON1 Photo RAW or unfamiliar with raw photo editing, fear not. We’ll begin by introducing the basics, guiding you through the process of importing and organizing your photos within the software. You’ll quickly learn how to efficiently manage your image library and easily locate your files for editing. ON1 Photo RAW uses a browser-based approach making it super simple to get up and running quickly.
Once your photos are organized, it’s time to dive into the editing world. You’ll discover the tools and adjustment options available in ON1 Photo RAW 2023. From basic adjustments like exposure and color correction to more advanced techniques such as selective editing and retouching, this guide equips you with the knowledge to enhance your images with precision and creativity.
For those looking to take their photo editing skills to the next level, Dan explores some of the more advanced features of ON1 Photo RAW 2023, such as layer-based editing, creating complex composites, and quickly adding stunning effects. You will get an excellent review of the versatile masking tools that allow you to apply adjustments and seamlessly blend multiple photos selectively.
Once you’ve perfected your edits, it’s time to share your work with the world. Discover the various export options within ON1 Photo RAW 2023, including formats, sizes, and metadata settings. Learn how to showcase your images in the best possible way, whether it’s for web sharing, printing, or professional use.
ON1 Photo RAW 2023 is an incredible raw photo editor that can transform your photography. Whether you’re just starting, have never heard of ON1 Photo RAW, or are an experienced photographer seeking to enhance your skills, this comprehensive guide has something for everyone. We hope you take advantage of the software’s powerful features and learn editing techniques that will elevate your images to new heights. Unlock your creativity and master the art of raw photo editing with ON1 Photo RAW 2023.
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]]>The post Lightroom Mobile Auto Add Heads Up appeared first on Lightroom Killer Tips.
]]>The first option is where you choose if you want to be able to sync over Wi-Fi or your mobile data plan, or if you want to limit it to Wi-Fi only. This is important if you have limited data, and in which case I urge you to choose Wi-Fi only. If you are using Lr to import photos from your device as a way to transfer them to Lightroom Classic (LrC) as I do, then you can end up using a lot of data. If you have unlimited data (or just a lot) and you don’t mind letting Lr use it, then go ahead and choose the first option.
It is the second option that I wanted you all to pay closer attention to though.
You see, as a Photography Plan subscriber you only have 20GB of Adobe cloud storage. If you leave that option checked, then Lr will start automatically importing all of the photos on your device’s camera roll, which will then start uploading to the cloud until you run out of storage. I’ve seen this happen to a lot of people when they first try using Lr on their mobile devices. It is a real pain to undo, so best to avoid it.
If you clicked on Continue without reading what was checked, and you want to disable Auto Add go into the App Settings (tap the three-dot menu), then tap Import to access all the Import settings. Tap the toggles under Auto Add from Camera Roll to disable that function.
While you are there, enable Add Copyright and enter your name in the field. You may also want to consider setting a custom Raw Default.
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]]>The post Lightroom’s Auto Mask Feature: 90% of the time, it’s awesome! appeared first on Lightroom Killer Tips.
]]>Here’s an example:
In the image above, I want to brighten just the column in the back on the left side (it’s kind of buried a bit in the shadows), and the Masking Brush would be perfect for this, so you would click on the Masking icon, then choose ‘Brush’ from the list of masking tools that appears.
I increased the Exposure amount to +2.45 and painted over the column in the back, and you can see the result – the brightness I applied spilled over onto the wall behind it and the column in front of it. I could undo, try again with a smaller brush and paint very carefully and slowly, but this is where Auto Mask works so wonderfully well.
You turn it on by clicking the Auto Mask checkbox near the bottom of the Brush options section (as seen above). To turn it off, you can either uncheck the Auto Mask checkbox , or just press the letter “a” on your keyboard.
Now let’s undo our last brush stroke, and try again but this time with Auto Mask turned on.
Here, I’m painting over the column in the back and brightening it at +2.45 it without brightening the other column or the wall behind (this makes me want to fix the column on the right side now). This is what I meant earlier when I talked about how Auto Mask helps you “paint inside the lines.” As long as the center of your brush cursor (the + crosshair in the center of the brush) doesn’t pass over onto the background or other column, you’ll only paint over that one column (and as you can see above, the outside edges of your brush can extend right over the background and the other column, but as long as that crosshair stays in that column, it won’t affect those other areas, and that’s what makes it so helpful).
If you make a mistake (or Auto Mask makes a mistake – hey, it happens), or you let that center crosshair stray over onto an area you didn’t mean to, you can “paint away” those areas you didn’t mean to mask. Just hold the Option key (on Mac) or the Alt key (on a Windows PC) and it temporarily changes your brush into an Erase Mask brush. Now, shrink the size of your brush (using the left and right bracket keys on your keyboard), and paint over those areas you didn’t want effected, and as you paint it removes the spillover.
This sounds pretty great – why not always leave Auto Mask turned on? Well, it works great when you’re near the edges of stuff (like we were here), but if you’re using the Brush to paint over large areas, having Auto Mask on will not only show your brush’s performance because now it’s searching for edges as you paint, so it tends to “lag” a little (or a lot), but also since it’s trying to sense edges, it can also leave small gaps and not paint as smoothly over areas. So, my simple rule is this: leave it off until you get near an edge. Then press the letter “a” to toggle Auto Mask on when you need it, and when you’re done painting near the edges of things, and you’re back to large open areas, hit “a” again to turn Auto Mask back off. Easy peasy.
Hope you find that helpful. Have a great Monday everybody!
-Scott
P.S. I know a lot of you use On1 Software’s plug-ins to extend what Lightroom Classic can do. If that’s you, check out full two-day, two-track conference coming up next month on getting the most of your plug-ins and your Lightroom/On1 workflow. Here’s the link with details.
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]]>The post 10 Mistakes New Lightroom Classic Users Make appeared first on Lightroom Killer Tips.
]]>Thank you, Terry! Always great stuff.
Have a great weekend, everybody!
-Scott
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]]>The post The June 2023 Issue of Photoshop User Is Now Available! appeared first on Lightroom Killer Tips.
]]>The June 2023 issue of Photoshop User is now live on the KelbyOne site and the KelbyOne app for iOS and Android.
In this issue, learn the fundamentals of masking to using them creatively to add depth and dimension to your images, plus a closer look at the mind-blowing Remove tool in the latest Photoshop update, exploring the latest updates in Lightroom Classic that have improved the Lightroom-to-Photoshop workflow, creating a day-to-night image gradient, correcting white balance for skin tones in Lightroom, and so much more!
This issue’s cover image by KelbyOne member Steve Whiston
Current KelbyOne members can log into their account to access the new issue, or you can visit https://kelbyone.com/magazine to sign up and start reading today.
KelbyOne Pro members have access to more than 100 back issues of Photoshop User magazine all the way back to January 2012, plus all 64 issues of Lightroom Magazine. Not a Pro member yet? Click here for more information.
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]]>The post A DAY TO HONOR OUR NATION’S FALLEN SOLDIERS appeared first on Lightroom Killer Tips.
]]>Today is Memorial Day in the United States, and our offices are closed as we honor and remember those who gave their lives in service to our country.
This post is dedicated each year to the memory of David Leimbach (shown above; the brother of our dear friend and colleague Jeff Leimbach), who died 15 years ago in combat in Afghanistan.
Just a humble word of thanks to the dedicated men and women of our armed services and to all those who came before them who laid down their lives to protect the freedoms we enjoy each day.
Here’s wishing you all a safe, happy, and healthy Memorial Day.
-Scott
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]]>The post Q&A On Photoshop’s New “AI-Powered Generative Fill” Feature and the End of the World As We Know It. appeared first on Lightroom Killer Tips.
]]>Programming note: I posted Behind The Scenes photos and the stories behind my New York City travel photography workshop, and instead of sharing my photos, I shared some of my participant’s images they made during the workshop (and they crushed it). If you ever wanted to see what these workshops are really like (and how hard we work), give it a quick look. Here’s the link. Now, onto the soul-crushing news of this new stuff:
Adobe turned the imaging world upside down with its release earlier this week of an incredible new AI-powered feature called “Generative Fill,” which lets you simply type what you want it to add to your photo (or create from scratch), and it not only does it, it does a pretty fantastic job. So now, if you can type a few words, you can create Photoshop magic.
When you add something to your image, it matches the lighting, applies the proper perspective, adds the appropriate shadows, and scales it appropriately. In most cases, even on the first try, the results are amazing. If you don’t like one of the three initial results, you can just hit “Generate,” and it gives you three more to choose from. It’s crazy! I knew something like this would be here one day, but I never thought it would be here this soon. I thought this was five to 10 years away, but it’s here now, and it’s fairly terrifying for many of us (like me).
People have lots and lots of questions about this new feature, so today, I thought I’d address at least a few of them. Here goes:
Q. How do I get this new feature? I download the new Photoshop update, and it’s not there.
A. It’s not in the latest version of Photoshop – you have to download a special Beta version of Photoshop (called Photoshop Beta) from the Creative Cloud App. Once you launch the app, click the “Home” button up top, and then in the list on the left side of the window, click on “Beta Apps,” and you’ll find the Photoshop Beta App. You can download it and run it without it interfering or messing with your existing copy of Photoshop (so yes, you will have two versions of Photoshop on your computer).
Q. I can’t get the “Generative Fill” button and type box to appear in that new floating Contextural Task Bar.
A. If you downloaded a Beta version earlier (to get the new Remove Tool before its official release), you’ll need to go to the Creative Cloud app and get the latest Beta version, which was just recently updated.
Q. Can I use these images in my commercial work?
A. Not yet. The program is still in Beta (it’s not a fully finished product, and Adobe is stressing it’s not to be used yet for commercial work). It’s available for you to test and give Adobe feedback on how the AI is working, but again – it’s Beta and not “ready for primetime” quite yet.
Q. How do we give Adobe feedback on how it’s working? How do I let them know if an image it created isn’t usable?
A. There’s a Thumbs Up/Thumbs Down a set of buttons in that floating contextural taskbar. If it did a great job, hit the thumbs up. If the result is trash, let ’em know by hitting the down button.
Q. What are the words I type in called? Is there an “Official Adobe Name” for those?
A. Yes, they are called “Prompts.”
Q. What if I want to type in something naughty or what some might call (ahem) “inappropriate?”
A. I knew you were going to go there. What’s wrong with you?
Q. I’m naughty and inappropriate.
A. That’s what I thought. Anyway, Adobe keeps you from doing that by using strict filters that block you from doing that kind of stuff. It will pop up a warning on the screen telling you it’s blocking that prompt, and it also uses your computer’s camera to take a photo of you, and it emails it to everyone in your Contacts app along with what you typed.
Q. Really?
A. No, but if it did, imagine what a deterrent that would be, right? The first part, the pop-up warning part, is for real, though. It’s very sensitive, so sometimes you’ll get that warning even when you feel like you weren’t doing anything that should be blocked like that.
Q. What do you recommend if I get that warning but wasn’t doing anything inappropriate?
A. Make a slightly different selection and try again. That will often do the trick.
Q. If you have it add an image to your image. Does it match the resolution of your image?
A. All of the edits it makes are a maximum of 1024×1024 at this point (remember, it’s Beta), so as long as you don’t select a large area, it works fine. If you do select a large area, it scales that 1024×1024 up to fill that area, so if you need to fill a large area, you’re better off doing it in small pieces rather than trying to fill a large area all at once, but I recommend trying it once, see how it looks, and if you don’t like, just trash that layer.
Q. So, if I have it create an object, let’s say a flock of birds in the sky, and they appear on their own layer, the background behind those birds is not transparent?
A. That is correct – it is not. It renders a square background behind those birds that perfectly match the environment you’re adding it to. At this point, there is no way to make that background behind the first transparent other than using Select Subject (or selecting them some other way) and putting them on their own separate transparent area.
Q. What if I generate something, like a single cloud in the sky, but I want to move it once it appears? It’s on its own layer – can I just drag it to a different location?
A. You can, but you won’t like the results. It renders a square area around the object you’re adding, and it blends into that particular area. If you move it, chances are it’s no longer going to be a clean match (probably not even close), so if you want your cloud (or whatever) to be in a different location, trash that layer, draw a new selection where you want that cloud, and Generate a new cloud.
Q. Is there a way to keep that old cloud? I really liked it.
A. At this point, unfortunately, no. Each cloud is rendered unique and pulled from an archive of about a bazillion clouds, so that exact cloud, which was rendered just for you, just for this image, will probably never happen again.
Q. Do I need a model release if I use a photo of a person it generated in my image?
A. I’m not a copyright attorney, and this is not legal advice, but it is my understanding that the person in your image does not exist. It is a composite of several different people, so you don’t need a model release for someone who doesn’t exist.
Q. Can I type a prompt for something specific, like “Blue Ford F-150 Truck on the highway?” Will that render a Ford F-150?
A. It doesn’t do brands, so while it will give you a truck, it won’t be a Ford F-150. It will build some sort of a composite made from several trucks, and they may not even be pickup trucks. So you’d have to say something like “Pickup Truck.”
Q. What if it makes a truck, but I wanted it to be larger in the scene? Do I type “Big pickup truck?”
A. It doesn’t do things like “big.” You’d just need to make a larger selection, and it will make a larger truck in that selected area.
Q. Do you know when this will be finished and released into regular Photoshop?
A. I do not. I’m not sure Adobe knows. They’ve put it out there in Beta to get your feedback and help the AI learn and grow. When it’s fully baked, I imagine that’s when it’ll be released in regular Photoshop, but the way AIs generally work, they get better and better over time – it keeps learning as it gets feedback from users, so even after it is finally released, it will continue to learn and get better.
Q. Which topics or objects are likely to look messed up when it generates them?
A. People’s faces are the most troublesome for it at this point. Sometimes they look really messed up, as they are a combination of multiple people’s faces, but then sometimes, they look amazingly real, but in my experience, it’s hit or miss with faces. Also, it has trouble with hands. Sometimes the fingers are in weird positions, or it adds more fingers and stuff like that. Also, sometimes animals (from dogs and cats to wild animals) can look weird from time to time.
Q What’s it do best?
A. It really nails landscape stuff, so if you ask for mountains or trees, a lake or a desert, or a sky, it shines on those and things you might realistically find in those environments.
Q. Will Adobe charge for using the final version of Generative Fill?
A. There’s no charge for using an unlimited amount of generations in the Beta version, but when the final thing is realized, I don’t know. As far as I know, Adobe hasn’t said anything about charging separately, but there are so many ways they could go with this, from being absolutely free as part of your existing subscription to a fee per use or a fee after a specific limit each month or a fee just for commercial use. Since it’s part of Photoshop, if I had to guess, I would think it will be part of your subscription, or maybe they’ll make a special subscription that includes this – I just don’t know.
Q. When I try it, it says that the server is busy right now and to try again later. What should I do?
A. You should try again later. I imagine right now, as the whole world is wrapping their heads around this, everybody is using this thing non-stop, just seeing what they will do and having fun watching their own jaws drop. So, I imagine as the days go by, things will calm down, and you’ll see fewer of those warnings.
Q. As a photographer, as you at all freaked out about this?
A. Yes, I am. I’m kind of freaked. I can see this is going to change my world as a photographer and the entire playing field, but I’m just sitting back at this point and see how this all shakes out.
Q. Is there a particular group of photographers that is more freaked out than others?
A. Yes, photographers who submit images to any stock photography outlets. They are freaking out. Those folks have a lot of questions for Adobe about how they are going to be compensated for the fact that Adobe is pulling these AI creations from the millions and millions of images submitted to Adobe Stock on the idea that they would be paid if somebody used them. I don’t know what Adobe’s compensation plan is for those users, and I don’t know if they have articulated what that is yet (I haven’t seen it, but it may already be out there), but I’m sure that info will be forthcoming. Whether those contributors embrace or reject their proposal remains to be seen, but that group is letting me know they are pretty freaked out (and that’s being kind).
Q. Is photography as we know it over? Should I sell my camera?
A. I’ve seen your photos. Yes, you should sell your camera.
Q. #Ouch! Really, I should sell my gear? That’s mean.
A. I know. It’s why I love doing these Q&As. But, actually, you should not sell your camera. I doubt you bought your camera to make a buck. I bet you bought it because you love photography. You love making images and documenting your life, travels, family, and your world – and this doesn’t change any of that.
Q. But how will we know if an image is real, or did AI add that rowboat, fisherman, seagull, or sun beaming through the clouds?
A. You don’t, but you didn’t before this. You could do all this stuff last month in Photoshop. You could add a rowboat to a scene, a fisherman, a seagull, or sun beaming through the clouds. We could always add these things to our images, and for the past 30+ years, people have been doing just that – creating composites and things and places that don’t really exist. They entered photo competitions and won with images where they “cheated” and composited things into their images that weren’t there. They sometimes have also been caught in the act and exposed. We’ve always been able to add stuff to our images that weren’t there or create aspects that didn’t exist – this just makes the process much faster and/or easier, but we’ve always been able to do this stuff if you had the skill, time and patience to make it happen.
Q. What about photography competitions? Where does this leave them?
A. Many, many photo competitions already allow composites; they just require you to disclose that your image is a composite (and most folks do, but some don’t or claim they didn’t know they were supposed to disclose that it was a composite). Competitions may require you to submit the original Raw image alongside your finished image, or if you shot in JPEG, you may have to submit to having your image sent through an authenticity verification site that. There are already Websites that can show if an image has been altered from its original state and exactly what was done to it. The game is changing, and the rules will be amended to keep up with them. You’ll probably even see entire photo competition categories just for generated images that don’t exist in real life and were created by your typing and AI rendering.
Q. So, is what you’re saying that I shouldn’t freak out about all this stuff?
A. No, you should totally freak out. I know I am.
I hope you found that helpful. If you have more questions, I’ll try to add them to this list, and if I need to update any of these Q&As based on new info, I’ll do it right away. Or I’ll just go to ChatGPT and have it update it.
Have a great, totally freaked-out weekend, everybody!
-Scott
The post Q&A On Photoshop’s New “AI-Powered Generative Fill” Feature and the End of the World As We Know It. appeared first on Lightroom Killer Tips.
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