1. The Raw Format in LightroomConverting to DNG (and why you'll love it)| 00:00 |
Before we start editing our raw files I
want to talk about some important things
| | 00:03 |
with the work flow.
And the first thing I want to talk about
| | 00:06 |
is when we're importing our photos whether
they're jpegs or raws we're just going to
| | 00:11 |
take this whole folder of images.
We want to make sure we copy them as DNG's.
| | 00:15 |
Now, we could just add them or we could
move them from an existing location.
| | 00:19 |
Or we can copy them.
But if they're DNG files, we're going to
| | 00:22 |
save some room on our hard drive.
There going to get about 15 to 20% smaller.
| | 00:26 |
The instructions that go along with the
raw file that normally sit outside of the
| | 00:31 |
raw file are going to be encapsulated in
the format.
| | 00:34 |
So, the instructions that describe what
the file looks like actually travel with
| | 00:38 |
the DNG.
The operating system will know what it
| | 00:41 |
looks like whether it's cropped or black
and white.
| | 00:44 |
And one of the other great things if if
you're giving a DNG file to someone who
| | 00:47 |
doesn't have the most current version of
Adobe Lightroom or Photoshop, that's okay.
| | 00:51 |
They'll be able to open those in their
version of the software.
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One of the ways to make them DNG is to
convert as DNG's on the way in.
| | 00:59 |
The other way to do that would be to
select any files that we want and then
| | 01:04 |
just come up here and convert our photos
to DNG.
| | 01:08 |
And again, this will make them smaller and
this will allow them to be archival.
| | 01:13 |
I'll be able to open them down the line.
I won't have to worry about hundreds of
| | 01:16 |
different archival formats.
We have a couple of choices here.
| | 01:19 |
We can choose our compatibility.
And if we want to have lossy compression,
| | 01:23 |
which is to say that we'll reduce the
quality a little bit.
| | 01:26 |
We can save even more space.
The other way to do this is with the DNG converter.
| | 01:30 |
And that's a free utility available off of
Adobe.com.
| | 01:34 |
You can just Google DNG converter.
Now, with the DNG converter, all we do is
| | 01:39 |
select our folder, whatever our images
might be, we select where we'd like to
| | 01:44 |
save them.
We can rename them, and we have those same
| | 01:48 |
preferences for Compatibility, Size,
Compression, and we can even choose to
| | 01:54 |
embed the original Raw File.
Now, I don't see any reason why you need
| | 01:57 |
to do that, although I will say that
having some mirrored files or some sort of
| | 02:02 |
back up of your files is always a good
idea.
| | 02:06 |
So, it's really quick and easy.
And what's great about this, sort of a
| | 02:09 |
hidden trick, if you're not on the most
current version of Adobe Lightroom or
| | 02:15 |
Photoshop, but you get a new camera and
you want to open those files in the
| | 02:19 |
version that you're on.
So, let's say you're on CS3 or something.
| | 02:22 |
Because the Adobe Digital Negative
Converter is updated when ever Lightroom
| | 02:26 |
or camera raw are updated.
You have support for all new cameras.
| | 02:30 |
Now, it's a free converter, which means
that you can go get the DNG converter.
| | 02:35 |
You can open files off of your new camera,
and you can pass them back to your old
| | 02:39 |
software or to anyone else who might have
older software.
| | 02:42 |
So, smaller files, encapsuled setting and
archival format and a lot of flexibility
| | 02:49 |
with how and where you open them.
DNG is a great addition to your raw
| | 02:53 |
workflow and it's something you should
definitely think about embracing.
| | 02:56 |
| | Collapse this transcript |
| Working with image presets| 00:00 |
Lets select one of our raw files here and
move into the Develop module and we could
| | 00:04 |
either click on Develop or I'm gona hit
Option+Cmd+2 or Alt+Cmd+2 on Windows.
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And we're going to pop into develop and
we've got all these controls over on the
| | 00:15 |
right hand side but I want to talk about
is the presets on the left.
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Not only are these a really quick way to
change our image but they can really
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accelerate your work flow once you
leverage these.
| | 00:27 |
So, let's just choose one we like here,
see you can get the nice preview on the left.
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And I can tweak that a little bit, I can
make changes.
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And once I have something I like, key is
saving the preset as your own.
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And you can save all or some of it.
Let's just call this one a test.
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And especially once you've spent some time
working on a file, it's really great to
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save your work as a preset.
Now, one of the great things about
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Lightroom is that we are watching your
history all the time.
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So, you can track back and capture a
moment in time.
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But one of the great things you get from
saving that preset, is you can re-purpose
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it elsewhere.
So, let's imagine that I'm pulling in
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files from the same shoot.
In the Import dialogue.
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If I come over here to Apply During
Import, I can take any of those presets
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and apply them on the way in.
I can save myself a ton of time and really
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move through and the whole idea here is
your work on one file, you save your work
| | 01:27 |
and then you share it with other files.
Big speed up in the workflow.
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So, just another way of looking at this is
I can select multiple files and I can sync them.
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I can apply a preset to one, I can
synchronize it with others and I can share
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my work.
And that's the whole beauty of a raw work
| | 01:44 |
flow is that we're just sharing the
instruction of the files with the other files.
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| | Collapse this transcript |
| Understanding the basics of the Develop module| 00:00 |
We're going to take this image of the car
here and we're going to work that through
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the basic module in develop.
And in order to get into develop I can
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either click on develop, or I can hit
Option + Cmd or Alt + 2.
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And that's going to pop me over here.
Now I like to get rid of my preset view
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over here and I've clicked on that little
triangle.
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Just so I'm only seeing my image, I
want to really focus on what I am working on.
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In any other triangle on the side of the
screen can dismiss the interface and I
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want to talk about a couple of the tools
that we have here.
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The first one is Crop if I toggle the O
key I'll see a variety of different overlays.
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Usually like something like rule of thirds
here.
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And I've got the ability to straighten
this to constrain myself to a particular
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aspect ratio.
I could select my own custom crop, I have
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a lot of control.
But the thing to note here, as with
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anything in Light Room.
Is that when I've committed a crop, that's
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not permanent.
I can always go back and return to my
| | 01:07 |
original image.
This is all non-destructive.
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Remember it's just a list of settings that
tell the file what it looks like.
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We're always working with the original,
but we always have a safety net.
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And we can get back.
Now the other tool I want to talk about is
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Spot Removal.
And while it works a little bit like the
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Healing brush, or even the Clone tool.
The way that spot removal is intended to
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be used in Lightroom is to remove spots
from the sensor or dust.
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We don't really have any of that here, but
we've got some little items on the
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pavement that we want to get rid of here.
So I'm going to click on the tool and I
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have two choices, I can either choose to
clone or heal.
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Let's do clone first just to show you how
this works.
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I'm saying I want to clone this area on
the right to this area on the left, so If
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I put that on the yellow line then we'll
move that over there.
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You're probably not going to want to do
this very often.
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I'd say 95% of the time you're going to
want to remove spots and heal.
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And you can change that after the fact.
And you just choose the area that you want
| | 02:04 |
to patch in there.
And you've got a couple of different controls.
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You've got a control For the size and the
opacity or strength.
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Now what's really neat about this is you
can resize those on canvas here.
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And you can have multiple spots.
More often than not, it gets it right
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where it's sourcing from.
In this particular case, it grabbed it
| | 02:23 |
from way down there.
What's neat, though, is I can say, no, I
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want you to source that information right
there.
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I can hit the delete key and remove
individual spots.
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I can add them back really quickly and
easily.
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It's interactive, it's fun, and it works
really really well.
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It's not Photoshop grade retouching, but
it's great for removing little spots.
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Ok, so now I'm going to click on the image
to come back to my 100 percent veiw And
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I'm going to really quickly take you
through the Basic panel.
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And this is where you're going to spend a
lot of time making your image look great.
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This one right here, I can tell you
already, it's overexposed.
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It needs some work.
But the first thing I want to do is work
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on the White balance.
And that's going to give me a different
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temperature and tint.
And one myth to dispell is that once
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you've clicked on the Eye Drop tool, you
don't want to choose a white area.
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You'd think white balance, you want to
choose white .
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You want a neutral area.
And that could be, this is a silver car,
| | 03:23 |
it could be the paint.
Click on that.
| | 03:25 |
I saw the result.
It's cold blue.
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I could choose it again.
I could click on the concrete, that'll
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work a lot of the time, kind of the same
blue tone.
| | 03:34 |
I'm going to go with the tire because
that's also neutral, it's black, but
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that's much closer to what I want.
I've got a nice temperature and tint and
| | 03:42 |
if I want to warm that up just a little
bit, I can do that.
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And the next thing we will talk about is
exposure, now exposure is really a sledge hammer.
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This is a really heavy adjustment, I can
pull this down multiple stops and I can
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pushed up multiple stops.
Any slider in Lightroom I can double click
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on it to restore it to its default value
pretty much the only time I am using
| | 04:04 |
exposure If I have left exposure
compensation on.
| | 04:08 |
If I left this over- or underexposed, I
can adjust that.
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Now, in this particular image, it's pretty
hot, so I am going to pull it down just a
| | 04:16 |
little bit.
Now, one neat trick here is if I'm holding
| | 04:19 |
the Option key and I pull the slider, I
can tell when I'm starting to clip information.
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So everything is fine here, but as I am
ramping this up I am starting to lose some
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of the details on my highlights.
So that if I pull over here those are all
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areas that I am going to lose that
wouldn't be recoverable.
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So it can be a nice guide to take it right
to the point were you've just seen
| | 04:37 |
clipping and let go over there.
Contrast works just the way you'd expected
| | 04:41 |
to that introduces or decreases contrast
we are not going to worry about that right now.
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Into two things we lean on the most are
highlight recovery which if you take this
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to the left your highlights are going to
darken and we're going to get all the
| | 04:53 |
detail back in the paint there.
And shadow is going to brighten all the
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areas in the grill now on the pavement
there.
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Now what whites will do is it will darken
the white areas or brighten them.
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I don't use that a lot but I do use blacks
quite a bit.
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Same idea it's just going to introduce
contrast in the shadows.
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Now again, a really good tip here is to
use that Option key when dragging this
| | 05:16 |
because you'll start to see just where
it's clipped and you know just how far you
| | 05:21 |
can take it.
This particular case, I can live with
| | 05:24 |
that, negative nine looks good.
Clarity is probably the most fun slider
| | 05:28 |
here, if you move this to the right you're
introducing mid tone contrast.
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We used to call this punch and that's
exactly what you'd get the image just pops.
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The car looks shinier and it looks more
dramatic.
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Conversly if I were to come to the left
here it would look like I rubbed a
| | 05:42 |
vaseline on the lens and softended the
image.
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I'm going to go with a little bit of
additive clarity and I love the way that looks.
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Now the difference between Vibrance and
Saturation here, Saturation there is
| | 05:54 |
really not a lot of intelligence to it.
Its just going to push all of the colors
| | 05:58 |
and saturate them, if you have people in
this image their skin tones would look
| | 06:02 |
really weird.
Well a vibrance knows what colors to
| | 06:05 |
(UNKNOWN) and it will increase them with
the lot more sensitivity.
| | 06:09 |
So what I am going to really do is
increase the vibrance and slightly
| | 06:13 |
decrease the Saturation I've got things
looking the way I want them here.
| | 06:17 |
I've got a slight crop.
I've worked through my basic adjustments
| | 06:21 |
and that looks really good.
I want to make sure I can re purpose that
| | 06:23 |
down the line so I'm going to come over
here to my presets.
| | 06:27 |
I'm going to hit Plus and lets just call
that one Basic so that I can save my work
| | 06:33 |
and continue on later.
| | 06:35 |
| | Collapse this transcript |
| Balancing color and tonality| 00:00 |
Let's go ahead and take this image that we
worked on a little bit before.
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We took it through the Basic module.
If the image doesn't look like that, we go
| | 00:08 |
ahead and add our preset and bring it up
to date.
| | 00:12 |
But the next thing that we want to work on
is going a little further with the tonal
| | 00:15 |
controls with this image.
And so, I'm just going to hit this little
| | 00:18 |
triangle and collapse the Basic panel.
And let's talk about the tone curve.
| | 00:25 |
Now, curves are a little bit different in
Lightroom than they are in Photoshop.
| | 00:28 |
They're not as intimidating, and in some
ways they're not quite as powerful, but
| | 00:33 |
they can be really handy.
Think of this as our Tonal adjustments
| | 00:37 |
curved into quarters.
So, there's a few different ways that they work.
| | 00:41 |
The old way of doing it would be to go
ahead and grab the curve.
| | 00:44 |
And if you're a Photoshop user, you know
how to do that.
| | 00:48 |
You can grab the dark areas, make them
darker, and grab the light areas and make
| | 00:54 |
them lighter.
I'll be the first to admit that's not a
| | 00:56 |
very intuitive interface.
If I want to reset any of these, again, I
| | 00:59 |
can just double-click on the values.
What's nice about Lightroom is it's taken
| | 01:05 |
the curves and it's wired them to sliders.
So, if I want to adjust the highlights,
| | 01:09 |
like that bright area in the hood and make
it darker, I just pull that over to the left.
| | 01:14 |
If I want to take the shadows and brighten
those a little bit, I just pull that over
| | 01:17 |
to the right.
Now, a lot of people look at this and they
| | 01:21 |
think well, that's nice, but there's just
not a lot of control there.
| | 01:24 |
Let's double click those and I'll show you
a way to get more control out of those.
| | 01:28 |
So, again, here's my shadow area.
Here's my highlight area.
| | 01:32 |
These are these little quadrants that
correspond with the sliders.
| | 01:35 |
I can take these points and I can pull
them over.
| | 01:39 |
So, now what's going to happen is that
highlight area is only going to affect the
| | 01:45 |
extreme highlight, the 10% of the curve
there.
| | 01:50 |
And shadows are only going to affect the
very, very darkest area.
| | 01:54 |
So, that's the thing to learn there, is
you can actually control those quite a bit.
| | 02:00 |
Okay.
So, the next thing we'll talk about is
| | 02:03 |
down here with Hue Saturation and
Luminance.
| | 02:07 |
Now, Hue is a really powerful control, and
it's one that by large, I recommend you
| | 02:13 |
don't play around with.
It's kind of like tint.
| | 02:15 |
It's really easy to make your image look
strange, and you can see that just as soon
| | 02:20 |
as you start to monkeying around with it.
A little bit later, we'll talk about this
| | 02:24 |
Selective Adjustment tool and how you can
interact directly with the image.
| | 02:28 |
What I would do here is jump into
saturation.
| | 02:31 |
This is pretty straight forward.
If I have an area in the image that's a
| | 02:34 |
particular color like orange, the
reflector there, I can intensify that or
| | 02:39 |
pull it down.
Now, this is definitely one of these areas
| | 02:42 |
where you're using this little Target
Adjustment tool.
| | 02:45 |
So, I'm going to click on there.
This is the easiest way to do this.
| | 02:50 |
If I want to take just this reflector and
make it more saturated or less saturated,
| | 02:57 |
I click on it with my cursor and I move up
or down.
| | 03:02 |
And moving up or down will move the
sliders.
| | 03:04 |
Now, as you are seeing, the red slider and
the orange slider are both moving while in
| | 03:09 |
point up, and they are both moving as I'm
pulling down down.
| | 03:12 |
They actually move at different rates.
So, using that Targeted Adjustment tool
| | 03:17 |
will give you more power than you have,
just with the interface.
| | 03:20 |
And you don't have to think about, is that
aqua?
| | 03:22 |
Is it blue?
There isn't a lot of color in the image,
| | 03:25 |
so, I'm not going to worry too much about
any of those.
| | 03:28 |
I might like the red in the doors there,
and I can make that pop a little bit there.
| | 03:34 |
Now, by and large, everything that we're
doing in Lightroom is a global edit.
| | 03:39 |
There are few selective tools, but for the
most part, we're affecting the entire image.
| | 03:43 |
But you'll notice with hue saturation, and
certainly with Luminance, we can control
| | 03:48 |
individual color channels.
So, again, let's focus on say, this red
| | 03:53 |
area of the image in the doors.
If I wanted to make that darker, I could
| | 03:56 |
go ahead and do that.
I could just darken that area.
| | 03:59 |
And the other way to do it using that
Target Adjustment tool, click on it, pull
| | 04:04 |
it down or up.
So, it isn't truly a selective edit as we
| | 04:10 |
know in Photoshop, but you get the idea
that you could just take a particular area
| | 04:14 |
of the image and adjust it.
Now, just to give you an example of what I mean.
| | 04:17 |
If I make that really dark, you might
notice that the fire extinguisher on the
| | 04:21 |
right is also getting really dark.
So, a little later we will talk about
| | 04:25 |
doing more selective edits, there couple
of ways of doing that in Lightroom.
| | 04:29 |
The other thing we can do here which is
really easy is black and white.
| | 04:33 |
And if you click on black and white here,
your image just immediately turns to black
| | 04:37 |
and white, and you'll notice that the
sliders have moved, and there is a little
| | 04:42 |
bit of contrast between each of them.
So, there are a couple things you could do here.
| | 04:46 |
You could adjust these, and you'll
probably find that that's a little
| | 04:50 |
confusing, because you need to remember
which colors were which.
| | 04:53 |
This is where it's especially valuable to
use that Targeted Adjustment tool, and
| | 04:58 |
whatever area you click on, you can just
pull that up or down.
| | 05:02 |
It's a great tool, but it's especially
great when you're in black and white,
| | 05:05 |
because it's really tricky to remember
which colors were which.
| | 05:09 |
The one thing that you need to do is to
remember to turn that off when you're done.
| | 05:12 |
If you leave it on, you can get some
really strange results.
| | 05:16 |
The next thing I want to talk about here,
corresponding with black and white, is
| | 05:19 |
split Toning.
And essentially what this is, is we're
| | 05:22 |
just going to give this a tint.
We can apply it to a color image but that
| | 05:25 |
would look a little strange.
What we want to do is apply it to our
| | 05:28 |
black and white image here.
Now, there's a couple ways to do it.
| | 05:31 |
One, I could just choose the tone that I
think I want, and then build up the
| | 05:37 |
saturation and sort of hope that it
worked.
| | 05:40 |
But the real way to do this is to hold the
Option or Alt key while you're pulling the
| | 05:45 |
Hue slider.
And what that's going to do is it's
| | 05:47 |
temporarily going to give me a 100%
preview.
| | 05:50 |
So, I can say, that's the tone I want, and
I release and build up my saturation.
| | 05:57 |
I'm going to do the same thing with the
shadow area.
| | 06:00 |
Maybe let's say I want to a cool tone for
that.
| | 06:03 |
Maybe a, a blue with the Alt or Option key
held down, I choose the tone I want.
| | 06:07 |
I release, and then I build up the
saturation.
| | 06:10 |
So, I've got the image looking how I want
it now.
| | 06:12 |
I didn't touch on it before, but you have
a color mode which is what you're used to
| | 06:16 |
in other applications.
Really straightforward.
| | 06:18 |
You can individually adjust the colors or
you can adjust all of them there as well.
| | 06:23 |
I would stick with saturation, Luminance,
and black and white for these.
| | 06:29 |
Now, as before, I'm going to come over
here.
| | 06:31 |
I like what I've got, things are looking
good in black and white, and I'm going to
| | 06:35 |
go ahead and create a new preset and let's
just call this one bw, I like the way that looks.
| | 06:43 |
I have a living history with my files.
I can always track back, but it's nice to
| | 06:47 |
have those presets, so, I can get where I
want really quickly.
| | 06:50 |
| | Collapse this transcript |
| Applying effects and finishing touches| 00:00 |
Let's grab our image of the car here and
we've done a bunch of work with the Basic
| | 00:05 |
panel and with some of the deeper tonal
controls.
| | 00:08 |
If your image doesn't look like this you
can go ahead and just add our black and
| | 00:11 |
white preset.
And let's collapse this.
| | 00:15 |
We'll collapse the one's we've already
used.
| | 00:18 |
And we want to talk about detail.
So let's start by talking about sharpening.
| | 00:23 |
Sharpening is one of those things where I
absolutely recommend you do not sharpen in-camera.
| | 00:27 |
It's a very destructive process, and the
sharpening technology in cameras isn't
| | 00:31 |
nearly equal to what can be done in
software.
| | 00:34 |
You can sharpen in Lightroom Camera Raw, I
am going to show you how to do a little
| | 00:37 |
bit of sharpening.
But if you are doing aggressive sharpening
| | 00:40 |
if you are trying to buy back focus using
smart sharpen.
| | 00:43 |
Or the detail brush in Photoshop is a much
better place to do that, but lets talk
| | 00:47 |
about how to do just some minimal
sharpening in Lightroom.
| | 00:50 |
We can see our whole image here and that's
great.
| | 00:53 |
What we're able to do is also see a 100%
preview.
| | 00:57 |
Because you want to be at 100% when
sharpening and the way to use this is grab
| | 01:01 |
this little square and place that on your
area of focus.
| | 01:05 |
You might have to hunt around for that a
little bit.
| | 01:08 |
Looking throughout your image.
Now remember focusing on the emblem of the
| | 01:11 |
car here.
So I'm going to click on that, I can see
| | 01:13 |
my whole image, and I can see just part of
it at 100%.
| | 01:16 |
Now I could grab any one of these sliders,
and pull them to the right, and pretty
| | 01:20 |
quickly see that I'm also introducing
artifacts.
| | 01:25 |
But the way to do this is to hold the
Option key while you're pulling any of
| | 01:29 |
these sliders.
And what it's going to do is if I hold the
| | 01:32 |
Option key and click on this, my image
will temporarily go to a completely black
| | 01:36 |
and white, or monochromatic, image.
So if it were color, it would now be
| | 01:40 |
temporarily black and white.
And the reason for that is I can focus
| | 01:43 |
just on my sharpening.
And I cautioned you here is less is more.
| | 01:47 |
Don't aggressively sharpen, just a little
bit is fine.
| | 01:51 |
If we come down to the radius you can see
the difference visually right on screen
| | 01:57 |
there between half a pixel and three
pixels.
| | 02:00 |
And again the reason we're seeing that
overlay is because we're holding our
| | 02:03 |
option or alt key while we're pulling the
slider.
| | 02:06 |
If there's one shortcut you remember here
in Lightroom remember the Option or Alt key.
| | 02:12 |
Less is more there, as well.
Same with detail, a little bit of detail,
| | 02:15 |
every single detail on the image, which,
of course, means more artifacts, and more
| | 02:20 |
jarring details in the image.
So just a little bit of that.
| | 02:23 |
Now I think the coolest thing, perhaps in
all of Lightroom, is the fact that I can
| | 02:27 |
do sharpening just applied to a particular
area.
| | 02:30 |
I can essentially create a mask for
sharpening.
| | 02:33 |
So if I hold that Option key, while
pulling the masking slider, the area
| | 02:37 |
that's white, is everything is sharpened.
So, as I slide that over, you see that
| | 02:40 |
we're only sharpening a selected area.
So I can get it so I'm just sharpening the
| | 02:44 |
edges and the details.
And a lot of the time, once you do that,
| | 02:48 |
you can come back and you can increase
your sharping just a little bit.
| | 02:53 |
Now remember there is going to be some
contrast between the areas that aren't
| | 02:56 |
sharpened and that are so don't over use
that one either.
| | 03:00 |
Noise reduction works a lot like sharpen
you want to make sure that (UNKNOWN).
| | 03:03 |
I don't see a whole lot of noise right
here, but I do know that there are some
| | 03:07 |
visible back here near the tyre.
Now if this were color noise or color
| | 03:14 |
image, we'd see that much more of it.
It's black and white so we see it sort of
| | 03:19 |
as grain.
But that doesn't mean it's not there.
| | 03:22 |
To exaggerate it, I'm just going to pull
this way over and you'll see that the
| | 03:25 |
image will soften.
Now there's a relationship between noise
| | 03:28 |
and sharpening.
So the caution here is the same as sharpening.
| | 03:31 |
Don't overuse this too much because you
will lose detail.
| | 03:35 |
A little bit is just fine.
If you're shooting at high ISO or in low
| | 03:39 |
light, you might have to worry about it a
bit more.
| | 03:41 |
The other thing I'll say is the color
noise slider is very important.
| | 03:46 |
If this were a color image, it would be
very obvious where that color noise is.
| | 03:50 |
But even in this image, if I were to drag
that way over, you're going to see the
| | 03:54 |
grain structure change underneath it.
The detail slider that accompanies both of
| | 03:59 |
those will allow you to bias how much or
how little detail there is.
| | 04:04 |
Just like sharpening though, all of these
controls less is more.
| | 04:07 |
And you have quite a bit of control
elsewhere, either selectively or, in the
| | 04:12 |
case of sharpening over in Photoshop.
Okay so the next thing I want to talk
| | 04:16 |
about is lens correction and there's all
sorts of great power here with up right.
| | 04:22 |
Which is going to allow you to do some
automated lens correction that's new to
| | 04:25 |
Lightroom 5.
But for this particular image we're just
| | 04:28 |
going to talk about the distortion that
you see in this image.
| | 04:31 |
I'm shooting with a 24 millimeter lens so
that's the thing I really want to account for.
| | 04:36 |
And Adobe's built all these wonderful
automated lens correction profiles that
| | 04:41 |
can remove distortion, vignetting and
color fringing or known as chromatic aberration.
| | 04:46 |
So I'm going to click on Profile here and
I'm just going to click Enable Profile Corrections.
| | 04:51 |
My image has pretty dramatically changed.
I've removed vignetting and more
| | 04:56 |
importantly, I've removed distortion.
It knows that I'm shooting with my 5D Mark
| | 05:01 |
2 and that I've got a 24 millimeter lens.
We've got hundreds of these profiles here.
| | 05:05 |
In the event that you don't see a profile
that you're looking for, there's a whole
| | 05:10 |
database of those online.
And there's even a generator, so that you
| | 05:14 |
can create your own.
Adobe Labs there's a lens profile generator.
| | 05:18 |
But you're going to find just about
everything you're looking for here.
| | 05:20 |
If by chance you don't find the lens
you're looking for, look through the list
| | 05:24 |
and find something that's close to it.
So a great example.
| | 05:27 |
If I'm shooting with my 70 to 200 lens,
and I put a telex extender on it and I
| | 05:32 |
turn it into a 400 millimeter lens.
The x of data that tells the camera which
| | 05:36 |
lens I used has been stripped away.
So if I were in this dialog with my 70 to
| | 05:41 |
200 with a 2x converter, it wouldn't know.
Which lens I used, but I could fool it by
| | 05:46 |
coming in here and choosing a 400mm lens.
So, when in doubt go with something that's
| | 05:53 |
close to it because you're going to see it
makes a pretty big difference.
| | 05:57 |
So, again you can play around with
upright.
| | 05:59 |
You can play around with the Chromatic
Aberration or Color Fringing.
| | 06:03 |
And you could even play around with the
Distortion of the image as well.
| | 06:07 |
you have a lot of control here.
And for the sake of the image, we're just
| | 06:10 |
going to remove the distortion.
Very last thing that we're going to do
| | 06:14 |
here is with the effects.
And we're in this warehouse, we've got
| | 06:19 |
this kind of gritty black and white and
the last thing that I want to do is draw
| | 06:24 |
attention to it.
So, I'm actually going to dial in some
| | 06:27 |
vignetting here.
I'm going to introduce contrast, and I'm
| | 06:31 |
going to darken the corners.
And it brings my attention to the image.
| | 06:35 |
The other thing I could do here is I could
play around with the mid-point.
| | 06:38 |
I'm exaggerating that on screen so you can
see the roundness of it.
| | 06:42 |
And even the feather really hard, really
soft and I can gain back some of the
| | 06:44 |
detail in the highlights after the sites
if l like.
| | 06:45 |
Make that pretty aggressive just so we can
see that quick note on grain.
| | 06:53 |
You could add grain, I'm going to zoom in
here, as you can see So that we sort of
| | 07:04 |
mimic a, film aesthetic.
And, that's fine, some people do like to
| | 07:07 |
do that.
But the real use of additive grain, is to
| | 07:10 |
give consistency, in mixed, ISO, imagery.
What that means is, I've got this image
| | 07:16 |
here, lets say this (UNKNOWN) , is shot at
400 ISO.
| | 07:19 |
Lets say it appears, next to another image
that was shot at 1,600 ISO.
| | 07:24 |
They have different grain structures.
They're going to look really different.
| | 07:27 |
If I composite them its going to be
extremely obvious, additive grain is a
| | 07:32 |
great way using just a touch of it to
establish consistency in the structure of images.
| | 07:37 |
So it does have its use its not so much
about adding a film aesthetic, its about
| | 07:43 |
normalizing images.
So I'm really happy with the image we came
| | 07:46 |
up with here.
I've got it looking the way I want it to.
| | 07:48 |
This would be a great place to come over
and save a file preset, but one last thing
| | 07:53 |
I do is I come back to where I started and
I'll scroll back up to my Basic panel.
| | 07:58 |
And at this point I'll just say is that
exposure where I want it?
| | 08:02 |
Do I want a little more punch in the
blacks?
| | 08:04 |
Do I want a little bit more clarity?
And you know maybe do I want to play
| | 08:08 |
around with the exposure a little bit.
Its a good place to just make sure you
| | 08:12 |
like the final image.
So you sort of round trip and you finish
| | 08:16 |
right back where you started but that
gives you an idea of top to bottom what
| | 08:20 |
the develop module work flow looks like.
| | 08:22 |
| | Collapse this transcript |
| Making selective edits| 00:00 |
I mentioned before the light room is
primarily for global edits.
| | 00:04 |
But in this next file what I want to show
you, is how to do selective edits in the
| | 00:09 |
Develop module.
So we're going to pop in here and just
| | 00:12 |
lets do a really quick adjustment on this
image so.
| | 00:17 |
We pull down the highlights, introduce a
bit of clarity, but because we have such a
| | 00:21 |
mixed dynamic range we've got bright up
here, dark in the foreground, we want to
| | 00:27 |
change some things.
And I'm going to use this file to show you
| | 00:30 |
three ways of doing selective adjustments
here in the Develop module.
| | 00:35 |
And the first probably the most used is
the graduate.
| | 00:38 |
And using a graduate adjustment I can just
pull line down here, I'm holding Shift to
| | 00:42 |
keep a straight line.
If I didn't do that it would start to
| | 00:46 |
wander a bit on me.
Holding the Shift key while you pull the
| | 00:48 |
graduated filter down will make a
difference.
| | 00:51 |
You get a subset of your adjustment
controls.
| | 00:54 |
Think of this as sort of basic plus.
And, in this case, what I'm going to do is
| | 00:59 |
pull my Exposure down, add some Clarity,
add a bit of Saturation.
| | 01:05 |
And one of my favorite tricks with the sky
is to just fake it and introduce a new color.
| | 01:10 |
So, just to make it really obvious, I'll
introduce a much darker blue there.
| | 01:15 |
I click on this again, I'm done with that.
If I ever want to come back and adjust it,
| | 01:20 |
just click on the tool I used and then
click on that dot.
| | 01:23 |
I can have multiple gradual areas there.
One of the other ones I have is a brush,
| | 01:30 |
so let's choose the brush over here.
And the way that I recommend that you set
| | 01:36 |
this up is set it to Auto Mask.
It doesn't always work but it often gives
| | 01:42 |
you great results.
Choose the size brush you want and the feathering.
| | 01:47 |
The defaults work pretty well here.
I'm just going to come in here and paint
| | 01:52 |
along the foreground and I'm going to take
a guess at, which area I think I'm getting.
| | 01:58 |
So, I'll come in here.
I'll just use a loose selection of this.
| | 02:01 |
And then I'm going to hit the Alt key to
see the area that I want in here.
| | 02:07 |
Now, had I gone over, let's say I went
over into the clouds there.
| | 02:10 |
And I didn't get what I wanted.
I'm going to hit the Option+Alt key to
| | 02:15 |
come in and paint that area out.
It works a lot like Quick Select in Photoshop.
| | 02:21 |
And that's the way you tune it up.
So, just brush the whole area and then
| | 02:24 |
come back and refine it.
That looks pretty good.
| | 02:26 |
You'll find that things are good enough by
quickly going over that.
| | 02:30 |
And you might come back in and add a few
areas.
| | 02:33 |
I'm going to turn off that overlay.
Because I don't want to see that when I'm
| | 02:37 |
adjusting it.
And in this case, I'm just going to
| | 02:40 |
brighten the Shadows, pull down the
Highlights, normalize the Exposure, I
| | 02:46 |
might want to warm that up a bit.
And just to do what I did with the sky, I
| | 02:51 |
could choose to have a really warm tone
there, just to exaggerate that for the foreground.
| | 02:57 |
New Lightroom 5 is a radial adjustment and
this is really great.
| | 03:02 |
There is one trick to this one.
Let's go ahead and select that.
| | 03:05 |
And I'm going to apply it to this area
over here.
| | 03:11 |
And once I've done that, I have a center
point.
| | 03:13 |
I can pull that.
I can scale it if I like and I can rotate it.
| | 03:20 |
But you'll notice that, let's say I want
that to be a lot brighter and I want the
| | 03:24 |
shadows to be darker.
It's affecting the whole image.
| | 03:27 |
I find that a little, a little bit
confusing myself.
| | 03:30 |
I think it should apply to the inside of
the circle.
| | 03:32 |
And all you need to do to get that to
happen, the inside of the oval, is to
| | 03:35 |
click Invert Mask.
You've got a nice feather control there.
| | 03:39 |
And now you can see what's happening there
is I'm just brightening the area within there.
| | 03:44 |
So, that's a really quick overview of some
of the selective edits in Lightroom's
| | 03:48 |
Develop module.
I will say that the more selective edits
| | 03:52 |
you have, you might experience a little
degradation in performance.
| | 03:56 |
Much like making any adjustment in, in
Develop.
| | 03:59 |
It's a system of settings that are telling
the sliders how to move.
| | 04:02 |
Any time you have a brush or any sort of
co-ordinates on the image that's a lot
| | 04:07 |
more text for it to read through.
So, if these images that have selective
| | 04:10 |
adjustments take an extra moment to load.
That's why the more selective adjustments
| | 04:15 |
you have, the longer its going to take.
Selective adjustments are really
| | 04:18 |
Photoshop's forte has created that.
But its great about doing them here in
| | 04:22 |
Lightroom is that they are non destructive
the settings can be undone and they can be
| | 04:26 |
shared with other files really quickly and
easily
| | 04:29 |
| | Collapse this transcript |
| Working with noise reduction and lens correction| 00:00 |
Let's crop this image of the neon sign to
show you a couple hidden tips and tricks
| | 00:04 |
in the develop module.
We've covered all the basics in tonal
| | 00:07 |
adjustments, I want to show you just a few
other neat things.
| | 00:10 |
One, is that if I mouse over the
histogram, you'll see that I could
| | 00:15 |
actually interact with particular areas.
So, here's the blacks on the left, the
| | 00:20 |
shadows, the exposure, highlights, and
whites.
| | 00:24 |
I could grab any of those areas of the
Histogram, and I'm moving the
| | 00:27 |
corresponding slider.
So, if I come over here to the middle, it
| | 00:31 |
says that exposure is the right slider to
use there.
| | 00:34 |
So, it's kind of a fun way to interact
with the image, one other trick I could
| | 00:38 |
do, is I could hold option, and hover over
the arrows, and it will show me
| | 00:42 |
automatically the areas that are clipped
in these shadows or in the highlights.
| | 00:46 |
So, just a really intelligent histogram
that shows a lot of information there.
| | 00:49 |
You can try auto, sometimes you'll get
great results down here in the basic panel.
| | 00:54 |
If I click it here, I'm going to see that
it, it has done a really great job of
| | 00:58 |
balancing the exposure and moving all
sorts of different sliders.
| | 01:02 |
You can see I've generated a ton of noise.
In this particular case, if I come in
| | 01:06 |
there's a lot of color noise and there's a
lot of grain.
| | 01:09 |
So I'll use this to highlight the noise
reduction and show you how that works.
| | 01:13 |
The way I'd work it, in this case, is,
take out some of the luminance noise,
| | 01:18 |
that's the really grainy noise that you
see, and then you can use detail, to add,
| | 01:24 |
or remove detail.
And with the color slider, it's going to
| | 01:29 |
get rid of the color noise, and again
detail is going to act as sort of a
| | 01:33 |
strength slider on that, and that's a
really powerful way to play around with that.
| | 01:38 |
Now if I reset this image, I can also use
a combination of negative clarity and
| | 01:46 |
really excessive noise reduction without
detail.
| | 01:51 |
To sort of simulate a painting that you
get an almost cartoon-like effect with this.
| | 01:56 |
And that can be really fun.
To play around with, so, sometimes when
| | 01:59 |
you want to smooth skin or just get a
really different look, negative clarity
| | 02:03 |
and really aggressive noise reduction with
no detail will give you a nice effect.
| | 02:08 |
Another thing I talked about earlier, was
the new Opearate functionality in
| | 02:12 |
Lightroom 5 here.
And the way that, that works is it looks
| | 02:14 |
for vertical lines and it looks for
perspective and it automatically corrects them.
| | 02:19 |
So if I click on Auto here.
It's going to stand that image up and crop
| | 02:22 |
it as it should.
Try that on different images, especially
| | 02:26 |
architectural images like this where
things are a little askew.
| | 02:29 |
Last thing I want to show you, if you ever
come into Light Room and you see a little
| | 02:32 |
exclamation point in the lower right hand
corner that's telling you that there's a
| | 02:36 |
new process version.
So maybe you worked on an image, you know
| | 02:39 |
back in 2007 and you load that image in
the light room and you find that it says
| | 02:44 |
hay there's new controls available.
There's new things you can do to that on file.
| | 02:48 |
So you can click on that and it would
update the interface look as we see it.
| | 02:52 |
But what a lot of people don't realize is
you can go the other way too.
| | 02:55 |
So for instance sometimes people say, hey
highlight some shawdows didn't that used
| | 03:00 |
to look a little different.
Well, if we come down here to the camera
| | 03:03 |
calibration tab, set that to 2010.
Now it's using the best technology we had
| | 03:09 |
as of 2010 and you'll notice that we have
recovery and fill light.
| | 03:14 |
The main reason you'd want to step back is
for consistency with a particular file.
| | 03:18 |
But some people really liked those
controls.
| | 03:20 |
I'll tell you, the process version that we
put in for 2012 is the very best we've had.
| | 03:25 |
But I just wanted to show you there is a
way to go back to those old versions.
| | 03:29 |
So if the interface doesn't look as it
should, this is a great place to check.
| | 03:33 |
So those are some deeper little tips and
tricks, there's a lot to Lightroom's
| | 03:37 |
develop module and I really encourage you
to experiment with it and play around.
| | 03:41 |
| | Collapse this transcript |
| Exporting and archiving| 00:00 |
In addition to being a great place to
develop your images, Lightroom is also an
| | 00:04 |
asset manager.
It's where your files live.
| | 00:07 |
So, I want to show you a couple of ways to
get them out of Lightroom.
| | 00:10 |
The first and probably the most common
would be passing a file to Photoshop.
| | 00:15 |
And so, what we'd do is we just select the
file or files that we want, right-click,
| | 00:19 |
and choose Edit in Photoshop.
We could also hit Cmd+E, or navigate
| | 00:25 |
through the menu.
And what will happen is Photoshop will
| | 00:27 |
launch and the image will open in
Photoshop.
| | 00:30 |
Now, Photoshop is interpreting the RAW
file, so, it will become a completely
| | 00:34 |
different type of document.
Now, anything I want to do in here, let's
| | 00:37 |
just say I, I want to mark this up, the
line.
| | 00:41 |
I'm going to hit Cmd+W and save that.
And what's going to happen when I save is
| | 00:46 |
that image will get duplicated, and it
will write it back to my Lightroom library.
| | 00:52 |
So, you'll see the originals here and the
file that we changed in Photoshop is here.
| | 00:57 |
If we were to look at them and just roll
over, we would see that the one created in
| | 01:02 |
Photoshop is a TIFF file.
It's no longer a RAW file, it's a
| | 01:06 |
duplicate of the RAW file with Photoshop's
instructions applied over it.
| | 01:10 |
So, that's what we do if we want to go to
Photoshop.
| | 01:13 |
If we want to leave Lightroom and maybe
email some files or put them somewhere
| | 01:17 |
else, again, we would select the image or
images that we want, and then we'd come up
| | 01:22 |
here to File > Export, and we've got this
pretty busy dialog.
| | 01:28 |
Let me show you the way this works.
We choose where we want to export to.
| | 01:31 |
By default, it will be your hard drive.
As with everything in Lightroom, you've
| | 01:35 |
got a variety of different presets.
So, if you're just wanting to email or do
| | 01:39 |
full-size JPEGs or DNG, those are presets
there, you can of course create your own.
| | 01:45 |
But for the sake of understanding how
these work, let me just point out a couple
| | 01:48 |
of things.
You want to choose where you're going to
| | 01:50 |
put it, if your going to have a sub-folder
or not.
| | 01:53 |
If you want to rename it ,you've a variety
of different renaming conventions that are
| | 01:57 |
really easy.
If you want to change the format, let's
| | 02:02 |
say I manually want to make a JPEG to
emai,l I would choose JPEG here.
| | 02:08 |
If I wanted to just export a bunch of
things in the best quality, I would do
| | 02:12 |
Original or DNG.
Got a quality slider for your JPEG, what I
| | 02:17 |
would also do with that is I would shrink
that down, and resize that fit.
| | 02:22 |
You've got some specific sharpening
options there, unless you are sending
| | 02:26 |
those to a particular destination, you
probably don't need to (UNKNOWN) with
| | 02:29 |
them, but they are very powerful.
And then the last thing to know is that
| | 02:34 |
after its done, you can choose to launch
Photoshop, open the file on Photoshop or
| | 02:40 |
even get into doing some automation from
there.
| | 02:44 |
But you have a lot of different ways to
push things out, and as with everywhere
| | 02:47 |
else, taking the time to establish a
preset when you are done will save you a
| | 02:53 |
lot of time in the long runs.
so get things the way you want and then
| | 02:57 |
capture a preset and reduce that whenever
you come in
| | 03:00 |
| | Collapse this transcript |
| Where Photoshop comes in| 00:00 |
So, we've taken a good look at just how
far you can go with one image, or many
| | 00:04 |
images using Lightroom's Develop module,
but, there's certain things you want to do
| | 00:08 |
in Photoshop.
I think the most obvious thing would be
| | 00:10 |
any sort of selective edits, or really
precise controls, retouching, restoration,
| | 00:16 |
things like that.
Photoshop does that really well.
| | 00:19 |
But there are a couple of other features
that are integrated really nicely with Lightroom.
| | 00:24 |
One of those is panoramas, I have these
images up here which do not need to be in
| | 00:28 |
sequence, but they happen to be since it
was done by date and time, and I'm just
| | 00:32 |
going to Shift-click those to select them.
I'm going to Right-click and get my Edit
| | 00:38 |
In option, and I've got a few different
options for Photoshop here and one of them
| | 00:42 |
is Merge to Panorama, click on that and
Photoshop is going to launch and I'm
| | 00:46 |
going to get this dialog.
And almost all the time you are fine with
| | 00:50 |
Auto, I'd encourage you to just leave Auto
on, let it Blend Images Together and you
| | 00:55 |
really don't have to hit anything else
here.
| | 00:58 |
This dialog and this control have come
such a long ways, they work really well.
| | 01:02 |
So I'm just going to click OK and trust
that Photoshop's going to do a great job here.
| | 01:07 |
And the way that it works is it's going to
load each files as a layer.
| | 01:11 |
It's going to align all of those layers,
it's going to know the difference between
| | 01:16 |
a stack of images that are similar, and in
this case a panorama, and it's going to go
| | 01:20 |
ahead and stitch them all together and
blend them and leave me with a really
| | 01:25 |
great result.
So, there we see our panorama and we could
| | 01:34 |
see that we have a variety of editable
masks that go along side that.
| | 01:39 |
And we have a couple of choices here.
We can go ahead and just flatten this,
| | 01:44 |
which we'll want to do if we're going to
pass that back to Lightroom.
| | 01:47 |
And in this case, we've got this white
area that's around the image.
| | 01:51 |
And if you want to take the time to come
in here, another great thing you can do in
| | 01:56 |
Photoshop is just select these areas.
We're just going to select a little bit,
| | 02:00 |
show you how this works.
Make sure you overlap a little bit and
| | 02:05 |
then hit Delete and by default you'll get
Content-Aware.
| | 02:09 |
If you don't have that just choose it from
the drop down and click OK.
| | 02:12 |
And you can fill in those missing pixels,
and you can go around and fill in all of
| | 02:17 |
those missing areas.
The other thing that you could do, is you
| | 02:20 |
could just take your Crop tool and crop
this down if you're not missing any content.
| | 02:25 |
That's the quickest way to go.
But the content of our fill trick works
| | 02:29 |
really well for getting your complete
image.
| | 02:32 |
So, once you have things looking the way
you want them to, let's use that trick on
| | 02:37 |
the corners here.
(NOISE) Then we're just going to hit
| | 02:47 |
Cmd+W, and we're going to save that.
If we pop back over to Lightroom, we'll
| | 02:51 |
see, that our panorama's sitting right
there in our library.
| | 02:55 |
Another thing that we can do from
Lightroom over to Photoshop is HDR, or
| | 03:00 |
high dynamic range imaging.
And what we have here is a series of
| | 03:04 |
images that are dramatically underexposed,
underexposed, shot even, and overexposed.
| | 03:11 |
And what we want to do, is pass them to
Photoshop so that we can play around with
| | 03:16 |
merged HDR pro.
Again I'm going to multiselect those,
| | 03:20 |
Right-click, come to Edit In and choose
Merge to HDR Pro In Photoshop.
| | 03:26 |
What's going to happen, is Photoshop is
going to launch, each full size raw image
| | 03:31 |
is going to come in.
The content is going to be aligned and
| | 03:35 |
they will be loaded into the Merge to HDR
Pro dialog.
| | 03:39 |
Within Merge to HDR Pro, a lot of
different options, I want to show you two
| | 03:44 |
different workflows.
One is 16 Bit, where the image is tone mapped.
| | 03:50 |
We're taking those four images, which
again we can see are two stops under
| | 03:54 |
exposed, one stop under exposed, one even
and one overexposed.
| | 03:59 |
We could play around with these individual
sliders or we could choose one of the
| | 04:04 |
presets that ships with this.
And you can go from wildly unrealistic, as
| | 04:11 |
you see here, to photo-realistic, and you
can play around quite a bit.
| | 04:15 |
The Remove ghosts checkbox will remove any
errand objects between your multiple files.
| | 04:21 |
Now, one of the most powerful and really
easy ways to work with an HDR image is to
| | 04:27 |
use this in 32 Bit.
So, if you switch things to 32 Bit, you
| | 04:33 |
are going to have a lot less control
although you'll see the full dynamic range
| | 04:38 |
of all of those images is right here.
And the only thing you need to do here is
| | 04:42 |
click Remove ghosts.
You'll see that what it's done, this image
| | 04:46 |
that's highlighted in green in the lower
left hand corner, it's mapped to the
| | 04:49 |
content of that image.
So, if you clicked Remove ghosts and you
| | 04:52 |
didn't like the result, try clicking on
one of these thumbnails down here.
| | 04:56 |
And it will override that.
Don't worry about what the image looks
| | 04:59 |
like here, because what we're going to be
able to do is edit that back in Lightroom.
| | 05:04 |
Now as you can see here, as a Photoshop
cc, I have the option to complete my
| | 05:09 |
toning in Adobe Camera Raw.
We'll talk about that a little later, for
| | 05:13 |
right now let's talk about doing that in
camera raw.
| | 05:15 |
So it's 32 Bit, I've removed the ghost.
I'm going to click OK and Photoshop is
| | 05:22 |
going to create a 32 Bit file.
At this point all I need to do is hit
| | 05:28 |
Cmd+W to close this file.
I want to make sure that I save it.
| | 05:32 |
And that file will get saved back to
Lightroom's library.
| | 05:36 |
It's a 32 bit TIF which Lightroom can now
understand.
| | 05:40 |
So, here we are with our 32 Bit file in
the Develop module, and as we learned in
| | 05:44 |
our previous videos, we can apply any of
the changes we've made to this file.
| | 05:49 |
So, if I want to darken the highlights,
brighten shadows, introduce some contrast
| | 05:55 |
in the black areas, add some clarity, you
can see that I have access to a much
| | 06:01 |
deeper file.
There's a lot more information in there.
| | 06:04 |
This is really friendly and easy place to
use this.
| | 06:07 |
But I can take advantage of all of the
information in those four files that I
| | 06:11 |
merged in Photoshop.
So, there's a couple of ideas of how
| | 06:14 |
Photoshop is deeply integrated with
Lightroom and what those workflows look like.
| | 06:19 |
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|
|
2. Adobe Camera Raw and PhotoshopOpening files in Adobe Camera Raw| 00:00 |
In the videos before, we talked about
developing RAW files using Lightroom and
| | 00:04 |
how far we can take them, and even how
Lightroom integrates with Photoshop.
| | 00:08 |
Now, I'd like to talk about opening RAW
files in Photoshop and some of the unique
| | 00:12 |
things to know about that workflow.
One thing to know is about opening non-RAW files.
| | 00:18 |
And to do that, you just want to come over
to your Preferences and come to Camera Raw.
| | 00:23 |
And down here at the bottom, we can tell
it what we'd like to do with JPG and TIFF files.
| | 00:28 |
So, you can open your non-RAW JPG and TIFF
files into the Adobe Camera Raw plugin.
| | 00:34 |
But for now let's just think about RAW
files, and we'll come to our open dialog.
| | 00:38 |
You could also do this through Bridge, and
even if we have multiple files.
| | 00:42 |
Let's just take these ones here.
If we click open, we'll launch Camera Raw.
| | 00:50 |
We'll see all of our files here, and it
looks different, but all of the
| | 00:55 |
functionality is the same as it was in
Lightroom.
| | 00:58 |
In just a moment, we'll talk about a few
of the differences as far as workflow and
| | 01:03 |
where to find things that aren't where
they were when you saw them in Lightroom.
| | 01:07 |
But this is sort of what the plugin looks
like coming into Photoshop, whether you
| | 01:11 |
have RAW files or JPEGs or TIFs.
| | 01:15 |
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| Comparing the Lightroom and Adobe Camera Raw workflow| 00:00 |
Lightroom's develop module and Photoshops
camera raw plugin, have feature parody and
| | 00:05 |
they can both do all of the same things,
but they go about it a little bit differently.
| | 00:09 |
In this video I'd like to show you some of
what's the same and a little bit of what's different.
| | 00:15 |
So, let's multi select just a few files
here.
| | 00:19 |
Now if we set it up to open JPEGs and
TIFFs it wouldn't matter whether they were
| | 00:23 |
RAW, DNGs, TIFFs or what have you.
We're going to click Open and it will
| | 00:29 |
launch this Camera RAW dialog.
Now things look very different but all of
| | 00:33 |
the functionality is here.
Let's quickly walk through this file, and
| | 00:38 |
I'll show you how it works.
So, this is a familiar image from before,
| | 00:42 |
we're going to darken it a little, recover
some of the highlights, get back some of
| | 00:47 |
the shadows, introduce some clarity, pull
in some vibrance.
| | 00:54 |
And maybe we wana do a gradual filter on
the top.
| | 00:57 |
Works just the same way.
All the same controls.
| | 01:01 |
I could even do that trick we did earlier,
with the sky.
| | 01:05 |
Make that a little bluer and that looks
great.
| | 01:08 |
Now for the other controls we just have
tabs.
| | 01:11 |
So if I want to come in here to curve.
I can play around, with that quickly and easily.
| | 01:21 |
One big difference here is, before we
could grab the curve in Lightroom.
| | 01:26 |
To do that in Photoshop, we need to come
into the Point dialog.
| | 01:30 |
This is a plug in, so there are a lot of
rules about how it works.
| | 01:34 |
It's much older architecture than light
room has, so there are some things that
| | 01:37 |
just work differently.
The same shortcuts will work with
| | 01:40 |
sharpening which is to say, if I hold the
option key and click, it will temporarily
| | 01:45 |
make the image monochromatic.
All the same functionality with noise reduction.
| | 01:49 |
I can change things to black and white or
split-tone.
| | 01:51 |
The lens correction works just the same
here.
| | 01:55 |
We'll know that was my 24 to 105.
And let's go ahead and add some vignetting.
| | 02:03 |
So I like my image.
It looks good.
| | 02:04 |
Another one of the differences here is
with presets, which are just as important.
| | 02:09 |
And what we're going to do here is just
create a preset.
| | 02:13 |
I have that same list I had before.
And I can apply that when I come back in.
| | 02:19 |
Now if I want to work with multiple files.
You see I've opened multiple files here.
| | 02:24 |
And again, the idea here is to save some
time.
| | 02:27 |
I'm just going to say, select all, and
then I'm going to saym synchronize.
| | 02:32 |
And it'll ask me if I want to synchronize
everything that's here.
| | 02:35 |
I'm going to click OK, and you're going to
see them update one by one.
| | 02:40 |
Now I have two important choices here.
One, I can open the images, and they will
| | 02:44 |
be rendered into Photoshop.
They'll be pushed into pixels.
| | 02:47 |
They will no longer be raw files.
In light room, you're always working with
| | 02:52 |
the original, you're always working with
that raw file and just have a little
| | 02:56 |
system of settings that tell the sliders
how they work.
| | 02:59 |
Soon as I click images it's no longer a
raw file.
| | 03:02 |
I'm popping into Photo Shop, if I were to
click Done, it would be still a raw file.
| | 03:07 |
Those settings would be part of the file,
these are DNG so the settings would be in
| | 03:11 |
all caps related to the DNG, and if I were
to open these files again whether it's in
| | 03:16 |
camera raw or Lightroom I would see things
just as they are now.
| | 03:19 |
So Open Images goes into Photoshop, Done
just says you're done editing and it will
| | 03:25 |
be like that the next time you touch it.
So those are some of the key differences
| | 03:29 |
with camera raw and Lightroom's Develop
Module.
| | 03:31 |
They're updated at the same time So you
get all of the same support with cameras
| | 03:36 |
and functionality no matter where you are.
| | 03:38 |
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| Optimizing your workflow| 00:00 |
I mentioned before that you have the same
features and functionality in the Camera
| | 00:04 |
Raw plug-in that you do in Lightroom's
Develop module.
| | 00:06 |
But I want to show you some work flow
differences and how to maximize them in
| | 00:11 |
the Camera Raw plug-in.
There are some things that are hard to
| | 00:14 |
find, but really powerful.
So let's open a raw file, and let's start
| | 00:19 |
with Preferences.
If you were to look around for Preferences
| | 00:21 |
here, you wouldn't be able to find them.
You'd look through your different menu and
| | 00:25 |
you'd have a really tough time figuring
out where Camera Raw's preferences are.
| | 00:28 |
They're not anywhere up here.
They're actually this button right here.
| | 00:33 |
And this is where you'll find the file
handling for non raw files that we
| | 00:37 |
mentioned before.
Some DNG options, Performance options and
| | 00:41 |
also to different adjustments around Auto,
this can be very powerful but a little bit
| | 00:46 |
vexing to find.
Another thing that's really useful in
| | 00:50 |
Lightroom with exporting images but it's
tough to find is with Save Image here in
| | 00:55 |
Camera Raw.
This is where I can choose the destination
| | 00:59 |
of my files, the folder.
I can rename and use various renaming conventions.
| | 01:06 |
I can change my formats, my compatibility,
and I have complete control over the file
| | 01:12 |
size and handling here as well.
Another thing is over on the right hand side.
| | 01:18 |
This is where I can choose to have a
Previous Conversion, it's where I can
| | 01:22 |
Apply Preset, Load Settings.
One of the most popular things to do here
| | 01:28 |
is just restore things back to their
default.
| | 01:30 |
Not reset them to where they were, but
strip away all the settings.
| | 01:34 |
The last one, I think is the most
powerful, and probably the hardest to
| | 01:37 |
find, and it's down here at the bottom.
If I click on this, I'll get some Workflow Options.
| | 01:42 |
A couple things to know, probably don't
need to mess around with the color space,
| | 01:45 |
but the bit depth is really important.
These are your raw files, they're very
| | 01:49 |
important, they're very high fidelity.
You should take advantage all of the
| | 01:53 |
information that's there.
So, if this isn't on 16 Bit, this is a
| | 01:56 |
great place to change it back.
The files will be larger but there'll be
| | 02:00 |
much more information.
While you can interpolate the files and
| | 02:03 |
make them smaller or larger here,
Photoshop has even more power there.
| | 02:08 |
The same with resolution.
For the most part, unless you're doing
| | 02:11 |
things across the board to hundreds of
images I would do that in Photoshop.
| | 02:15 |
You can apply your different sharpening
presets just like you could over in
| | 02:18 |
Lightroom and this one is really
important, that's the ability to open
| | 02:22 |
these as smart objects.
So, if I enable that you'll notice that it
| | 02:27 |
no longer says Open Image, it says Open
Object, so let's make a change to this.
| | 02:32 |
Let's make this image really warm.
And then open it into Photoshop.
| | 02:36 |
Once we're in Photoshop, I've got this
slightly different thumbnail that tells me
| | 02:40 |
that's an editable object.
I can go back to where it originally started.
| | 02:45 |
I can also apply all sorts of different
filters.
| | 02:47 |
So, let's just do a radio filter, so it's
really obvious where a smart object gets
| | 02:54 |
really powerful is that I can double-click
the thumbnail and bounce right back into
| | 03:00 |
Camera Raw.
So, if I cool this down, add a bunch of
| | 03:04 |
clarity, pull the highlights down, and
click OK, the changes will be applied.
| | 03:12 |
And the filter will still remain.
So, I have this editable raw file, I
| | 03:17 |
really have the best of both worlds.
It's a really powerful workflow option,
| | 03:22 |
but it's one that's really easy to miss.
You can also leverage smart objects from
| | 03:27 |
within Lightroom.
They work throughout Photoshop and they
| | 03:31 |
allow you to have editable filters.
In fact think of all these filters as
| | 03:35 |
filter layers because they can all be
turned off and on right here in the Layer panel.
| | 03:43 |
| | Collapse this transcript |
| Using Adobe Camera Raw as a filter| 00:00 |
In this video I'd like to show you a
really exciting change to Adobe Photoshop
| | 00:05 |
CC, that allows you to treat raw files and
non raw files in an entirely new way.
| | 00:10 |
So, lets open a raw file as we've been
doing, and we'll open that as an object.
| | 00:16 |
And as we know, once the raw file is in
Photoshop as a smart object, we can pop
| | 00:21 |
back into Camera Raw.
But what if this were flattened and it
| | 00:26 |
wasn't a smart object?
In fact, what if this weren't a raw file
| | 00:30 |
or a supported non-raw file?
What if this were some esoteric format
| | 00:34 |
that only Photoshop understood?
Well, new to Photoshop CC is the ability
| | 00:39 |
to open any file in the Camera rRw from
directly within the application.
| | 00:44 |
But just to make things a little bit more
interesting, let's do something that you
| | 00:48 |
wouldn't normally do in Photoshop.
Let's make a selective edit.
| | 00:52 |
So, in this case I'm going to come up to
color range, and by default it does a
| | 00:55 |
great job of grabbing just this cactus
here.
| | 00:58 |
In fact what it's doing is it's grabbing
the sky.
| | 01:02 |
So, I'm going to invert that, and then
what I'll do is, Cmd+C to copy it, Cmd+V
| | 01:10 |
to paste it, so that we have our own
layer.
| | 01:15 |
And we're just going to take that layer,
again, this could be any layer of any
| | 01:18 |
document in Photoshop.
And we're going to come up here to our
| | 01:21 |
Filter menu and we see that we have Camera
Raw Filter as a new choice here.
| | 01:26 |
And that's going to take me into my
familiar dialog, but unlike anything I've
| | 01:28 |
ever seen before, I now have a selected
edit.
| | 01:32 |
I've got this really beautiful selection
that I've made in Photoshop and I can do
| | 01:36 |
all of the cool things that we've been
working on.
| | 01:39 |
Adjust my Exposure, introduce some
Contrast, bunch of Clarity, Vibrants.
| | 01:45 |
I click OK and it will only be applied to
that selected region.
| | 01:49 |
Now, this being Photoshop, I can even do
really interesting things like play around
| | 01:54 |
with my blend modes.
So, layers, masks, selections, all of the
| | 02:01 |
power of Photoshop can now be used with
Camera Raw.
| | 02:05 |
So, you could think of this as everything
we've learned in Lightroom and Camera Raw
| | 02:09 |
plugin applied to all the powerful
functionality within Photoshop.
| | 02:13 |
What I've shown you is just a glimpse into
what you could do with this.
| | 02:17 |
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| Using Adobe Camera Raw with video| 00:00 |
In the last video, we learned that
Photoshop CC can take existing Photoshop
| | 00:04 |
documents and open them into a new Camera
Raw filter.
| | 00:07 |
You can use selections and masks, and all
the power of Photoshop, you can combine it
| | 00:12 |
with the ease of use and unique features
in Camera Raw.
| | 00:15 |
Now, I want to show you something really
interesting, and that applies to video.
| | 00:22 |
Because Photoshop can open, play and
filter video, all that we have to do in
| | 00:28 |
order to make this work with Camera Raw is
convert this for smart filters.
| | 00:32 |
Now, I can navigate the Camera Raw filter,
and we can use all the functionality we've
| | 00:42 |
been learning about.
Add some contrast, darken the highlights,
| | 00:47 |
brighten the shadows, darken the black
areas, add a bunch of punch or clarity,
| | 00:54 |
vibrance around the saturation.
And if we toggle our preview, you can see
| | 01:00 |
we've dramatically changed our image.
We could apply presets and use all of the
| | 01:04 |
different functionality, and various tabs.
I click OK, and that's been applied to my video.
| | 01:11 |
If I press play, I'll see that the changes
I've made in Camera Raw have been applied
| | 01:20 |
to my video footage back in Photoshop.
So, this is really cool, all of the power
| | 01:27 |
of the Camera Raw filter applied to video
with in Photoshop.
| | 01:30 |
And from there, all I need to do is come
in here and render my video out.
| | 01:37 |
So, we can see that all of our presets for
various different video types and formats
| | 01:42 |
are all supported.
We've got the ease of use of Camera Raw
| | 01:45 |
and all of the power of Photoshop, and
even video coming together here.
| | 01:49 |
I knew when we wired Camera Raw as a
filter to Photoshop, a lot of new things
| | 01:54 |
would be possible, but I didn't even know
that you could do this with video, and
| | 01:58 |
I've been really passionate about video in
Photoshop for a while.
| | 02:01 |
I'm really excited about this.
I'm sure if you hunt around, you'll find
| | 02:04 |
all sorts of unique things you can do with
Camera Raw as well.
| | 02:08 |
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| Round-tripping back to Lightroom| 00:00 |
We've talked a lot about how to use
Lightroom for developing your raw files,
| | 00:03 |
and using it as an asset manager, and all
of the really cool things you can do in Photoshop.
| | 00:07 |
But because Lightroom is an asset manager,
I want to talk about getting some of those
| | 00:11 |
files back to Lightroom, and a couple of
best practices for doing so.
| | 00:15 |
So, let's say we're opening multiple raw
files into Photoshop.
| | 00:22 |
And there are a variety of different
reasons that we might be doing that in
| | 00:24 |
Photoshop rather than Light Room.
Maybe we don't have Light Room.
| | 00:26 |
Maybe the client doesn't have Light Room,
or maybe we're working with it here before
| | 00:30 |
doing something else interesting in Light
Room.
| | 00:32 |
I want to remind you, that we can save our
images out of here and if we save them as
| | 00:38 |
digital negatives, then, all of those
settings will be honored on the way into LightRoom.
| | 00:44 |
Now, we'd be able to open them as JPEGs,
TIFFs, or Photoshop documents, but we'll
| | 00:47 |
get the full fidelity of the file, and the
non-destructive nature, by retaining it as
| | 00:52 |
a DNG.
The other way to do this, would be to just
| | 00:56 |
click Done, and all of those changes would
be added to the DNG raw files where they
| | 01:01 |
were sitting.
Now, if I've opened these objects within
| | 01:04 |
Photoshop or more importantly, if they
aren't raw files, so we'll go ahead and
| | 01:10 |
just let these open, and then we'll
imagine that a couple of them are not raw files.
| | 01:15 |
May be there are some unusual type of file
format, may be there're flat files, PNG's
| | 01:20 |
or some format that's not supported by
Light Room.
| | 01:24 |
Then what we want to do, is just make sure
that we save out in a format that
| | 01:31 |
Lightroom understands.
What we want to do is put them in a
| | 01:33 |
folder, somewhere easy to find, like the
desktop, and save them as either a
| | 01:38 |
Photoshop document, a JPEG, or a TIF file.
And then once we're back in the light
| | 01:46 |
room, all we would need to do is target
the folder from the import dialogue.
| | 01:53 |
Just like we did back when we started.
We could target the folder and pull those
| | 01:58 |
images in the Lightroom.
And it's okay to say copy as DNG, because
| | 02:01 |
even if they aren't RAW files, it will go
ahead and just pull them in there and move
| | 02:05 |
them into Lightroom's library.
And you'll be able to enjoy all of the
| | 02:09 |
asset management and organization of
Lightroom.
| | 02:12 |
There you have a quick idea of how to take
your images from Photoshop back into Lightroom.
| | 02:18 |
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