Okay so what we have today is that I am going to show you a neat little trick which has saved my life many a time and this is to do with photography. This is a photograph which was shot on a not very ideal situations, and if I show this to you, this is shot right here, you have a, it’s 18-55 mm lens, 3.556,which is the kit lens and this was a very old lens. So, it’s not really sharp. This is how it turned out to be.It ‘s got all kinds of hues and colour and the picture is not really sharp, it’s not what you ‘d sent to a client. Also the background and the place where he’s standing leaves much to be desired.So , what do we do is, you have here, you have this colour temperature setting. You can of course turn it around, you can warm it up, and all of that. But what I prefer to do, especially if there is a white or a black object in the frame, I just click on this dropper here and I click on the white object which is this curtain, and oops , it goes and it’s colour corrected now. So we started by colour correcting the image . I take the adjustment brush. Now the thing is how to make this look like a professionally shot image.And usually it’s set at zero, this is what the default reading is. So, I apply this here and I start painting. You won’t see anything because all the settings right now at zero. But the moment I go back here, and I push up the exposure of this brush the magic starts happening.And I’ll take it all the way to 2.49. Basically what I am doing is I am blowing out the information on the curtain, the schema as we call it, and I’m painting very broad strokes around the things including the ground which is now turning slightly white.I ‘m taking care not to overlap brush, to see that the brush does not overlap the human image because that will be a problem. How would we go about that? I will tell you later. So, here we are. We’ve done this and now we go for the edges. We basically keep the brush the same but we turn on auto mask here, right here. And then start working the edges, make the brush smaller so that is doesn’t spill. Automask does exactly what is says. It automasks the edges so that the white, the brightening that you’re doing is most likely not to spill inside the image, see how cleanly it’s doing it. See how neatly it’s done, this part right here. This because this was black.I just took the brush in once and it’s managed to get everything spot on,and I’ll zoom in a bit here to get the inside of the hand. You can see a lot of spots there,but yeah largely they can go. So I will zoom out again.and seems to be working, so I switch off automask and I just get the remaining portions to blend in nicely with what you’ve done.Get the edges worked out, creases worked out nicely. This is largely done but we saw that there were some bits of the brush that ‘s split over to the hair and to the jeans here so what we are going to do is we are going to erase it.and use the same technique, keep automask on, and erase it. So for the other pieces, we do the same thing. Go to the brush, add another brush, add overexposure, and change the size,clean out the line, clean out the creases, and we are all set. So this is the image. Now let’s make it a bit crisp. So, what I am going to do is I’m going to make it even more, expose it by half a stock more, right here, so that the skin tones and everything is nice and bright, and that ‘s the way I prefer it. And put in some more contrast to make the image more punchy. Deepen the blacks of it.Use the clarity little bit, use the vibrance a little bit.Use the saturation very little, and finally, we go to the sharpening tool and we set the sharpening to about, yeah that looks good.This is way too much. 50 is good, and there we have it.the final image ready to be sent to the client, and just for comparison here is the original, and here is the is the worked upon image.