IntroductionWelcome| 00:00 | Welcome. My name is Chris Orwig.
| | 00:02 | I'm a photographer and I'm a teacher.
| | 00:04 | I'm on the photography faculty of the Brookes
Institute of Photography in Santa Barbara,
| | 00:08 | California where we're standing right now, and
I absolutely love what I get to do for a living.
| | 00:13 | And you know it's a privilege to share that with you.
| | 00:16 | In this training title what we're
going to do is focus in on Lightroom.
| | 00:20 | And in this training title you're going
to learn everything that you need to know
| | 00:22 | in order to take advantage of this amazing tool.
| | 00:25 | Now because Lightroom is a tool that was designed
for photographers, I thought it would be kind of fun
| | 00:29 | to include a few photo tips in this training title as well.
| | 00:32 | Well finally, thanks for joining me on this one.
| | 00:35 | I look forward to working with you.
| | 00:36 | Bye for now.
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| Lightroom overview| 00:00 | Throughout this training, you're
going to learn some amazing details,
| | 00:03 | in regards to how to use Lightroom
in order to create compelling images.
| | 00:07 | Yet in this first movie, what I want to do
is to step back from the details for a moment
| | 00:11 | and showcase what Lightroom is and how it works.
| | 00:14 | I want to showcase a Lightroom workflow.
| | 00:16 | Now the intent with this movie is not to teach
you specifics of how to work in Lightroom,
| | 00:20 | but rather to conceptually show you what Lightroom is.
| | 00:24 | And so, what we're going to do is
walk through a typical workflow.
| | 00:27 | Therefore this isn't a movie that I'm expecting
that you're going to follow along with me.
| | 00:31 | But rather it's a movie that you're going to watch
in order to get an idea of some of the things
| | 00:35 | that you'll be learning throughout
the rest of this training.
| | 00:38 | Well, here you can see that I have Lightroom open.
| | 00:40 | I don't have any images in the Lightroom.
| | 00:41 | The first step in regards to using
Lightroom is importing photos into Lightroom.
| | 00:46 | So we're going to go ahead and do that. I'll navigate to my
File pull-down menu and choose Import Photos from Disk.
| | 00:50 | Now I'm going to import a few photos that
were captured earlier this year and I'm going
| | 00:54 | to import those straight from my CompactFlash card.
| | 00:56 | When I click Choose it will then open
up the Import Photos dialog window.
| | 01:00 | What I'm going to do is copy these photos to a new location.
| | 01:03 | Copy them from the CompactFlash drive to my
particular hard drive in a folder called pictures.
| | 01:08 | We'll be talking more about these details later, but
just stick with me in regards to the overall process.
| | 01:12 | Next, I'm going to add a few keywords.
| | 01:14 | In this case, keywords describe a particular person
that I have photographed and then I'll click Import.
| | 01:19 | Also keep in mind that I'm over simplifying
the process in order to show you an overview.
| | 01:24 | Well, now that these images are
imported, I'll select the first file.
| | 01:28 | Here you can see that I'm in what's call the Library module.
| | 01:31 | Lightroom is broken up or divided
up in a five distinct modules.
| | 01:35 | You can think of the Library module as the module
where all the organizational work takes place.
| | 01:40 | Now the Develop module, that's
where your process going to be.
| | 01:42 | That's where all the fun happens
and in the last three modules,
| | 01:45 | these are all output modules, Slideshow, Print and Web.
| | 01:48 | All right, here we've this first image.
| | 01:50 | I want to zoom in on the image, so I'll go ahead
and double click at the zoom in on the image.
| | 01:54 | When I zoom in on the image, I'm going to press my
right arrow key. You'll notice that my filmstrip
| | 01:58 | down below, it's updating what image I'm on here.
| | 02:01 | And I'm pressing the right and left arrow
key to get a feel for the files.
| | 02:04 | Next what I'm going to do is rate these images.
| | 02:06 | I'll go ahead and give this a one star rating.
| | 02:08 | I like the expression there.
| | 02:09 | This one I'm going to give a zero star rating.
| | 02:11 | Next image, I'm going to give this one a two.
| | 02:13 | And then this final image, I'm
going to give that one a three.
| | 02:16 | Now I want to take advantage of
the rating that I have just added.
| | 02:19 | So, I'll navigate back to what's called the Grid View
mode and on my Filter I'm going to click on Attribute.
| | 02:25 | In Attribute, I say I want to filter
the images based on the rating.
| | 02:28 | I'm going to click on two stars in order for Lightroom to
show me the images that have a two or greater star rating.
| | 02:35 | Well, now that I have this rating here I'm going
to double click the image to zoom in on it.
| | 02:39 | Now at this juncture what I want to do is
add some keywords to this particular file.
| | 02:42 | So I'm going to navigate to my Keywording panel.
| | 02:45 | Now here what I'm going to do is
I'm going to add a few keywords.
| | 02:47 | You know it's suggesting some for me. Santa Barbara.
| | 02:49 | Double click that one to add that keyword.
| | 02:52 | Beach, I'll double click that one over there
to add that keyword into the mix as well.
| | 02:56 | Now that I'm going to add one more
keyword, so I'll type one in.
| | 02:59 | This keyword I'm going to add is morning.
| | 03:01 | And I have added all these keywords
because they described the image.
| | 03:04 | All right, let's go ahead and close that panel.
| | 03:06 | And now what I wanted to do is, I want
to navigate to the Develop module.
| | 03:09 | So, I'm going to go ahead and do that.
| | 03:10 | Now the Develop module is where
all the fun actually happens.
| | 03:13 | This is where we can begin the process the image.
| | 03:15 | So, I'm going to navigate to the Basic panel.
| | 03:17 | Here in the Basic panel, what I'm looking to do is just
| | 03:19 | to modify the color temperature
and the overall tone of the image.
| | 03:23 | So I'm brightening up the tone a little bit and I'm adding
some Fill Light, add a little bit of contrast there as well.
| | 03:29 | Then I'll zoom in on the image so I can actually see it.
| | 03:32 | And I'm going to add some clarity, which gives
the image a little bit of that midtone punch.
| | 03:37 | Now, once I have done those things I decide, you know what,
| | 03:38 | I really wish I had a little bit
more light in the eyes here.
| | 03:42 | And I also think that the images
are little bit too saturated.
| | 03:44 | I'm going to de-saturate it.
| | 03:45 | Just a touch there.
| | 03:47 | OK. Great.
| | 03:47 | I want to bring some light into this area.
| | 03:49 | So, I'm going to select what is called the Adjustment
Brush and my Exposure cranked up here just a bit.
| | 03:54 | Low Flow amount and a pretty small brush.
| | 03:57 | What I'm going to do here is just
paint in this area of the eyes.
| | 04:00 | Now keep in mind that I'm over simplifying the process
in order to begin to illustrate how you can work
| | 04:05 | on your own images in Lightroom and also in order to
illustrate some of the things that we'll be doing later.
| | 04:11 | You'll be learning quite a bit about
these techniques that I'm doing here.
| | 04:14 | All right I'm just going to go ahead and
continue to bring in some light to this area.
| | 04:18 | And typically when you bring in light into areas
like this you want to build up the Light effect.
| | 04:23 | You want to build it up in a way that
you initially don't even notice it.
| | 04:26 | You should be able to step back afterwards
and say "Did I even do anything?"
| | 04:30 | Let's a take a look at before and
after in regards to the light.
| | 04:32 | Here is our before and here is our after. A simple,
subtle, yet significant improvement on the image.
| | 04:38 | Let's take a look at overall before and after.
| | 04:41 | Here is the original and here is
the progress that we've made.
| | 04:43 | OK, great, so far so good.
| | 04:45 | I'm going to go ahead and exit this tool.
| | 04:47 | What I'm going to do next is I'm going
to work on some of the detail here.
| | 04:50 | Notice that I'm zoomed in on the eye and go
ahead and increase the Sharpening amount,
| | 04:54 | take the Detail down because it's a picture of a person.
| | 04:57 | Radius nice and low, a little bit of masking.
| | 04:59 | I'm going to reduce some of the
color noise that I'm seeing there.
| | 05:02 | So I'm going to use these sliders in Unison.
| | 05:04 | Here is my before and after.
| | 05:05 | I can see that updated preview
there and that looks wonderful.
| | 05:09 | I'll go ahead and close that panel.
| | 05:11 | The next thing that I wanted to do
is work on what is called a vignette.
| | 05:13 | I'm going to zoom out on the image, so I can
see the entire image and then I'm just going
| | 05:17 | to add a little bit of Vignette,
which will darken the corners.
| | 05:20 | Again when you make these adjustments,
you may be thinking, OK,
| | 05:23 | I'm not seeing the magic, but here
is the magic, before and after.
| | 05:26 | Wonderful, great edit. The image is looking much better.
| | 05:30 | Now at this juncture what I want to do
is create another copy of this image.
| | 05:33 | So I'm going to create what is called a Virtual Copy.
| | 05:35 | I'm going to do that by way of shortcut.
| | 05:37 | You notice that down below I have the original image
and then here I have what's called a virtual copy.
| | 05:42 | Now the nice thing about creating virtual copies
is that they can help you be really flexible,
| | 05:46 | be creative without adding extra file size.
| | 05:49 | OK, now that I'm on the virtual
copy, I want to crop this image,
| | 05:53 | as I think this image might look better
if it's cropped in just a little bit.
| | 05:56 | So, access the Crop tool and I'm
going to go ahead and crop this image
| | 06:00 | in just a touch here. Probably right about
there I'm thinking. Double-click to apply that.
| | 06:05 | Now so far I can't really evaluate
the image because it's so small.
| | 06:08 | So I'm going to press the Tab key to hide
the panels on the left and the right.
| | 06:12 | Then I'm going to press the L key
twice to turn off the lights.
| | 06:15 | So here is the cropped virtual copy
and then there is the original file.
| | 06:18 | Now, which one is better?
| | 06:19 | In my opinion it's that second image.
| | 06:22 | That second image I like so much better.
| | 06:24 | I press the L key again to turn the lights back on.
| | 06:27 | Press the Tab key to bring back my
panels on the left and the right.
| | 06:31 | Well, so far what we've seen is we can use the
Library module to import our images and organize them,
| | 06:36 | add some ratings, some keywords and a number of other things.
| | 06:39 | Then we looked at the Develop module.
| | 06:40 | We looked at how we can use the Develop module in order
to improve and enhance the overall tone and color.
| | 06:46 | Well, the next thing that I want to do is I want to go to
one of the three output modules to finish off my workflow.
| | 06:52 | In this case, I'm going to go to the Print module.
| | 06:53 | So, go ahead and click on Print.
| | 06:55 | Now when I go to the Print module, I notice that
I have some different Lightroom templates here.
| | 06:59 | With this particular image what I would
really like to do is just print one image
| | 07:03 | on the page with this Fine Art Matte layout.
| | 07:05 | Love it, that's going to look really good.
| | 07:07 | The final step would be to click Print and
go ahead and send this image to the printer.
| | 07:12 | All right, well that wraps up our
brief overview of the Lightroom.
| | 07:15 | And I hope that this movie has got you excited about what
we're going to learn throughout the rest of this training.
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| Using the example files| 00:00 | If you're a premium member to the lynda.com
Online Training Library or if you're watching this
| | 00:05 | on DVD, you've access to the exercise files.
| | 00:08 | If you're monthly or annual member,
you don't have access to these files.
| | 00:12 | Yet you can follow along and use your own files.
| | 00:14 | And there are a couple of things that I want
to point out in regards to the exercise files.
| | 00:17 | I'm going to go ahead and open up the folder here.
| | 00:20 | Now one of the things you'll notice is I have
divided up these folders into different sections.
| | 00:24 | The first section is 01_Getting_Started, then we have the
Library module, then w have a folder for the Develop module.
| | 00:28 | And then finally, we have a folder
with photos for the Slideshow module.
| | 00:32 | Now one of the things you'll notice in
regards to these exercise files is that
| | 00:35 | there are times that I have included
the full res, full Raw file.
| | 00:39 | And now there are other times where
we didn't need a raw file,
| | 00:41 | where I have simply included JPEGs
in order to keep our file size down.
| | 00:45 | Now let's talk about how we can get
these exercise files in the Lightroom.
| | 00:49 | And we go ahead and open up Lightroom
here and I'm going to navigate
| | 00:51 | to the File pull-down menu and
choose Import Photos from Disk.
| | 00:55 | Next, I'm going to select the exercise
files folder and then click Choose.
| | 01:00 | This will then open up the Import Photos dialog window.
| | 01:03 | The one thing that you want do here is make sure
to add photos to your catalog without moving
| | 01:07 | and then Initial Previews, you're
going to want the 1:1 previews.
| | 01:12 | Finally, click Import.
| | 01:15 | This will then bring all of these photos
and that folder structure into Lightroom.
| | 01:19 | If you open up your Folders panel, you'll
see the exercise files folder and then all
| | 01:23 | of the subfolders inside of that folder as well.
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|
1. Getting StartedPhotographic workflow puzzle| 00:00 | In this movie, I want to briefly talk
about the photographic workflow puzzle.
| | 00:04 | And here we've a few icons, which represent that workflow.
From capture, from input, from the camera on the left,
| | 00:10 | all the way to output on the far
right, the monitor and the printer.
| | 00:14 | Now throughout this entire workflow,
we use Lightroom, Bridge, and Photoshop.
| | 00:19 | And I like to think of these three
applications as three separate entities,
| | 00:23 | yet they work best in unison with other applications.
| | 00:26 | They are not standalone applications.
| | 00:28 | Rather they're intended to be used with other applications.
| | 00:31 | What you'll notice in this particular
graphic is that Bridge and Lightroom are
| | 00:34 | on the left because they occupy a similar space.
| | 00:37 | Yet what happens, if you're a photographer, is that you end
up spending more and more and more time inside of Lightroom
| | 00:43 | because Lightroom works so much better than Bridge.
| | 00:45 | Yet keep in mind there is still
is a time and a place for Bridge.
| | 00:48 | Bridge is a really strong application.
| | 00:50 | So you don't want to get rid of it altogether.
| | 00:51 | Yet, you do want to spend a lot of time in Lightroom.
| | 00:54 | Next, keep in mind that while Lightroom
is a strong application,
| | 00:57 | it's not a standalone application.
| | 00:59 | It's intended to be used with Photoshop.
| | 01:01 | So as we dig into Lightroom, ideally what you want to do
is get good at Lightroom, but also get good at Photoshop
| | 01:07 | because if you can learn both of these applications,
those skills can really help you create compelling images.
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| Why use Lightroom?| 00:00 | In this movie, I want to conceptually
answer the question, why use Lightroom?
| | 00:04 | I want to do that by way of sharing a few images with you.
| | 00:07 | This first photograph is a photograph of my friend Mike
out at the Channel Islands and I love this photograph.
| | 00:11 | It has some grit, it has some depth to it.
| | 00:13 | And you know, using Lightroom deepens
my appreciation of photography
| | 00:16 | because it simplifies the process
so that I get more out of photography.
| | 00:21 | Another thing that it does for me is it helps
me of a workflow that's interconnected rather
| | 00:26 | than having to jump between different applications.
| | 00:28 | I can stay in one place and I can
do everything that I need to do.
| | 00:31 | And having that workflow that's fluid or interconnected
is integral to an effective photographic workflow.
| | 00:37 | Another thing that's important to me in regards to Lightroom
is it brings a little bit of a smile back to the process.
| | 00:42 | It reminds me why I got into the photography.
| | 00:44 | It was for the passion of it, for the joy of it.
| | 00:47 | And because the Lightroom is so simple
and easy to use, I end up having more fun.
| | 00:51 | I also end up creating images that I enjoy that much more.
| | 00:54 | It brings more smile to my game.
| | 00:57 | Another thing that Lightroom does is it
helps me create a workflow that has pattern.
| | 01:01 | Whenever I can create patterns in my
workflow, I'm that much more affective.
| | 01:05 | So I can create templates or presets and use them again.
| | 01:07 | And I can use them either as finishing points or
as starting points to take images even further.
| | 01:13 | Another aspect of Lightroom that's really
important to me is it helps to expand my vision.
| | 01:17 | Simply by minimizing the interface and getting rid
of all the tools, I can step back for a moment.
| | 01:22 | And I can think about the image
from a different perspective.
| | 01:25 | And that's incredibly important because when I'm working
with tools I'm really focused on the task at hand.
| | 01:31 | Every once in a while, you just have to step back
from your work, step back from all the tools,
| | 01:34 | and looking your photography with fresh eyes.
| | 01:36 | And Lightroom really helps me to do that.
| | 01:38 | You know one of my favorite musicians is Jack Johnson.
| | 01:40 | Here is the photograph of Jack from just
a couple of months ago and if you don't
| | 01:44 | like his music just run with me with this one for a moment.
| | 01:47 | One of things I do like about his music
is that it's simple, yet profound.
| | 01:51 | Somehow, his music reduces things down to the essentials.
| | 01:55 | Another story, I was on a train in the
Swiss Alps now, sitting next to this guy
| | 01:59 | who looked like he was in the Swiss Army.
| | 02:00 | So I asked him, "Is it true, do you
really have a Swiss Army knife?"
| | 02:03 | And he pulled out the knife on the left.
| | 02:05 | Compare that with the knife on the right.
| | 02:07 | That's kind of like the amateurs do, all right?
| | 02:08 | All the bells and whistles, it weighs
five pounds, you can't even really use it.
| | 02:12 | Yet the pro uses a tool that is distilled down to
the essentials and uses that tool really well.
| | 02:19 | And I value that.
| | 02:20 | I especially value that with digital photography.
| | 02:22 | Because our files are so big and it
takes so much time to work on them,
| | 02:25 | anything that can help me whittle away the nonessentials
and get to the core things that I actually want to do
| | 02:31 | and ultimately create images that are compelling,
| | 02:33 | I love it. And for that reason, I really enjoy Lightroom.
| | 02:37 | Now, another reason that I enjoy Lightroom is
because it helps me get away from the computer.
| | 02:41 | Now I love the computer.
| | 02:42 | I love working on my files in Photoshop and in Lightroom.
| | 02:45 | Yet, I have other passions.
| | 02:47 | And by using Lightroom, I can work
on my images in more affective ways.
| | 02:51 | And then I can get to shooting or
I can get to my other passions.
| | 02:54 | And you know when I do things like
surfing like I'm doing here in this photo.
| | 02:57 | It helped me create better images.
| | 02:59 | Isn't that weird? When I get away from photography and
do something I love and then come back to photography,
| | 03:04 | My photography is that much better
and Lightroom helps me do just that.
| | 03:08 | Finally, one of the things that I have noticed is
that Lightroom has reminded me is that space matters.
| | 03:13 | The context within which I work really matters.
| | 03:16 | So I have a question for you.
| | 03:18 | In your own workspace, your own office, what you need
to do to transform that into a greenhouse of creativity.
| | 03:23 | Transform into a space that you really want
to go to, that you're excited to be in.
| | 03:27 | Now, I'm excited to work inside of Lightroom because
the interface is simple, it's clean, it's minimal.
| | 03:33 | And I can really get to the art and
craft of creating photographs quickly.
| | 03:38 | And for that reason and the others that I
have mentioned, I found that I use Lightroom
| | 03:42 | because it deepens my overall photographic workflow and
ultimately helps me to create more compelling images.
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| Lightroom and Photoshop| 00:00 | A question that surfaces quite often is, "Chris, how
do you use Lightroom and Photoshop together? You know,
| | 00:05 | How do I begin to think about these two programs?"
| | 00:07 | I thought it would be fun to show with you a few photographs
that illustrate how I think about Lightroom and Photoshop.
| | 00:12 | Well for starters, Lightroom and
Photoshop are really good friends.
| | 00:16 | They work so well together.
| | 00:18 | You know sometimes you have a photograph
that's a pretty stunning photograph.
| | 00:20 | In this case of one of our family
friends, Bailey. I love this photograph.
| | 00:23 | And here is the original file.
| | 00:25 | All that I need to do inside of Lightroom
was remove the graphic on the sweater
| | 00:29 | and a couple small blemishes and work on the color and tone.
| | 00:32 | And voila!
| | 00:33 | The image is finished.
| | 00:34 | Now, there are other cases, like this photograph with Ivan
Basso, where I need to do quite a bit of Photoshop work.
| | 00:40 | Here is the original file.
| | 00:41 | And the original file is pretty good, and
in Lightroom I need to do some cropping
| | 00:44 | and some color balance and some clarity and sharpening.
| | 00:47 | Yet then I brought in to Photoshop and that's
where I really brought this image to light.
| | 00:52 | Now, another photograph for you,
this one of my daughter Sophia.
| | 00:54 | I added in Photoshop the edge and the film grain.
| | 00:58 | Here is the original photo and then the final photo.
| | 01:01 | It's a very different aesthetic.
| | 01:02 | It's a very different look.
| | 01:03 | Now, I couldn't have accomplished that inside of Lightroom.
| | 01:06 | Let's take a look at a couple more.
| | 01:08 | Here is one of Jack O'Neil.
| | 01:09 | This is the man who invented the wet suit.
| | 01:11 | Now for surfers that's really significant.
| | 01:13 | We owe a lot of credit to him.
| | 01:15 | One of things I love about his eye patch is
it's actually made out of wet suit material.
| | 01:19 | Now with this particular photograph, here is the original.
| | 01:22 | Now, what I did in Lightroom was I cropped and
flipped it and then I started to work on the tone.
| | 01:26 | But to really get that unique aesthetic, I needed to
bring that in the Photoshop in order to accomplish that.
| | 01:32 | So how do Lightroom and Photoshop work together?
| | 01:34 | Well, they work together really well.
| | 01:35 | Now here is a little secret for you.
| | 01:37 | As more and more people start to use Lightroom, they
will push their images really far inside of Lightroom
| | 01:41 | because you can create just some
amazing photographs from Lightroom.
| | 01:44 | Yet, if you want to distinguish yourself, if you want
| | 01:46 | to set yourself apart just a little bit
more, use Lightroom and Photoshop together.
| | 01:51 | And so, that's how I think about these two programs.
| | 01:53 | I think about them together.
| | 01:54 | And I'm always thinking about, OK, this image looks
good, but can I make it look any better in Photoshop?
| | 01:59 | Now, remember with that first photograph, the answer was no.
| | 02:01 | There is nothing else that could be done.
| | 02:03 | It looked perfect inside of Lightroom.
| | 02:05 | So it's not as if one program is better than the other.
| | 02:08 | Yet it's both of the programs together
| | 02:10 | that will ultimately help you create
the most compelling photograph.
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| Lightroom resource links| 00:00 | Well, there are a wide range of resource sites out there.
| | 00:02 | I thought it would be helpful to highlight just a couple.
| | 00:04 | The first one is photoshopinfocus.com.
| | 00:07 | This is a small resource site that I have
put together for Photoshop and Lightroom.
| | 00:11 | And if you go and click on the Lightroom
Resources link, it will take you to this page here,
| | 00:14 | where you can actually subscribe to a
newsletter that I put out every once in a while.
| | 00:18 | It's my way of communicating what I think is
important in regards to Photoshop and Lightroom.
| | 00:22 | Another site that you definitely want
to check out is lightroomkillertips.com.
| | 00:26 | This is a bit of a blog and tip site.
| | 00:28 | It's put together by Matt Kloskowski.
| | 00:30 | Matt is a great friend, really
good at Lightroom, really cool guy.
| | 00:33 | And there are number of valuable things you'll find here.
| | 00:35 | Again, it's a bit of a blog and a tip site.
| | 00:37 | So you're going to find some really interesting
links and also some Lightroom content there.
| | 00:41 | Another incredibly valuable site is Lightroom-News.com.
| | 00:45 | Again, really good tutorials, really good information.
| | 00:48 | The next site that I'm going to show you is a little
bit different, but nonetheless really valuable.
| | 00:52 | It's mulita.com/blog.
| | 00:55 | This is George Jardine's blog.
| | 00:57 | And here you're going to find a
number of different podcasts.
| | 00:59 | And I'll scroll down a little bit as well as tutorials.
| | 01:01 | So again it's a mix of podcasts and
tutorials, all relating to the Lightroom.
| | 01:05 | Fascinating, definitely got to check that one out.
| | 01:07 | Finally, I want to give you a couple
of other links just for fun.
| | 01:10 | You can check out some of my work at
chrisorwig.com and I'm updating this site.
| | 01:14 | So hopefully it will be updated by the time you visit it.
| | 01:16 | And then, one final link is chrisorwig.com/today.
| | 01:20 | And I used to post a photo a day here.
| | 01:21 | I have been taking some time off on
that to work on my own portfolio.
| | 01:25 | You can go ahead and click on that and then if
you click on the thumbnails link at the bottom,
| | 01:29 | you can browse different photographs and then you
can click on an individual photo to view that image,
| | 01:34 | in case you want to see some of my photography.
| | 01:36 | All right, there are a couple of more
resources that I'm going to share with you.
| | 01:39 | Now that we've a new browser window
and I have navigated to Google.
| | 01:41 | I'm going to go ahead and do a Google
search for chris orwig peachpit.
| | 01:45 | Now, if you go ahead and click on the Google
search button, the top link will take you to some
| | 01:50 | of the content that I have created for Peachpit.
| | 01:52 | And when you click on that link, it will take
you to my author page on the Peachpit website.
| | 01:56 | And here you'll find a couple of books that I have authored.
| | 01:58 | One on Lightroom, a couple on Photoshop.
| | 02:00 | You also find a few articles and podcasts.
| | 02:03 | If you want to find this site, just go to Google
and Google my name plus the word Peachpit.
| | 02:07 | All right, well that wraps up our
conversation about resources.
| | 02:10 | I hope that some of those resources will be helpful for you.
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| New features in Lightroom 2| 00:00 | If you're new to Lightroom, you'll find
this movie a little bit irrelevant.
| | 00:03 | So feel free to skip ahead.
| | 00:04 | Yet, if you've used Lightroom previously, I think
you'll find these new features quite fascinating.
| | 00:08 | Now, the feature that I'm most
excited about is the Improved Speed.
| | 00:12 | Lightroom runs so much more quickly.
| | 00:14 | Now, I'm excited about speed, not for speed
sake, not because I just want to work quickly.
| | 00:19 | But, if I work quickly, I can come
up with more creative results.
| | 00:23 | Another fascinating new feature is the Adjustment Brush.
| | 00:26 | The Adjustment Brush actually allows you
to paint in adjustments to specific areas.
| | 00:30 | Now, you may be thinking, "OK Chris, what's the big deal?
| | 00:32 | We've been doing that in Photoshop for ever".
| | 00:34 | Well here is the big deal.
| | 00:35 | In Lightroom, it's nondestructive.
| | 00:37 | In addition, it does not take up a ton of extra file size.
| | 00:40 | One of things, I think, you'll find is
that the Adjustment Brush is something
| | 00:43 | that you'll be using on almost every image.
| | 00:45 | Another new feature that's fascinating
is the Post-Crop Vignette.
| | 00:49 | Now with the Post-Crop Vignette tool, as
you imagine, you can obviously add Vignette
| | 00:53 | after you cropped your image, and that's wonderful.
| | 00:55 | Yet in addition, you can control the shape of the
crop, the feather, the edges, really fascinating tool.
| | 01:01 | Now another new feature that's really exciting is
Lightroom is now more tightly integrated with Photoshop.
| | 01:06 | Now, there are a number of different examples
that I can give you, but here is one.
| | 01:09 | You could photograph an image with two exposure settings.
| | 01:12 | You could work on those images in Lightroom.
| | 01:14 | You could then open up two files from
Lightroom in Photoshop as one document.
| | 01:19 | And you could have those two files
as two separate layers in Photoshop.
| | 01:23 | What that means is, you could take advantage of
both exposures in Photoshop, you could create a mask
| | 01:28 | and then mask in, the best of both world.
| | 01:30 | The long and short of it's, Lightroom and
Photoshop are now much more tightly integrated.
| | 01:35 | When I was working with Lightroom 1, how
often that I actually print from Lightroom?
| | 01:39 | Just from Lightroom?
| | 01:40 | Well, not that often.
| | 01:42 | Well, here is the good news.
| | 01:42 | If you're in Lightroom 2, it's so much better.
| | 01:45 | Not only do you've more controls in regards to
layout and output, the final print is much better.
| | 01:50 | Now, one of the main reasons, I use Lightroom is
because, it helps me organizing access my image archive.
| | 01:56 | Well, finding, filtering, and sorting in Lightroom 2 is
now much stronger, much more unified, and much better.
| | 02:03 | Another interesting new feature in
Lightroom is called Collections.
| | 02:06 | You can create a Collection in the Library
module, Slideshow module, Web, or Print module.
| | 02:11 | In that way, you can create a Collection that was
created for a particular output or for a particular use.
| | 02:16 | You can then take advantage of those
collections in the other modules as well.
| | 02:20 | Keywording is something that we all know that we should do.
| | 02:23 | Yet, it's something that we all don't do because
Keywording can be a little bit of tedious.
| | 02:27 | Well, here is the good news.
| | 02:28 | In Lightroom 2, Keywording is much more fluid and simple.
| | 02:31 | Now, the final new feature that I want
to highlight is Multiple Monitor support.
| | 02:35 | If you're fortunate enough to have two monitors,
you can now take advantage of that second monitor
| | 02:39 | and run different aspects of Lightroom
on that second monitor.
| | 02:43 | Otherwise you can tell there are some fascinating
new features inside of Lightroom and will be getting
| | 02:47 | into the specifics of all of these in
more, throughout the rest of this training.
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|
|
2. Setting the StageThe Lightroom modules| 00:00 | Now, before we get to Lightroom, I thought it
would be helpful to step back a little bit,
| | 00:03 | and talk about how the Lightroom was put together.
| | 00:05 | Or from my perspective, at its core,
Lightroom is a Pro-photographers tool kit.
| | 00:10 | It's an image processor.
| | 00:11 | It's a database tool and has export functionality.
| | 00:14 | Now, what that means is we can
process or develop our photos.
| | 00:17 | And there is this database, where we can
use to organize and access our images.
| | 00:21 | And finally we can export or get our photos
outside of Lightroom, in number of different ways.
| | 00:26 | Now, it's a professional tool.
| | 00:27 | It's good for amateurs as well.
| | 00:29 | It's just a really good tool.
| | 00:31 | It's a pro tool in the sense that it's one of
the best imaging processing tools out there.
| | 00:36 | So, in that sense it's a wonderful
tool no matter what your background.
| | 00:40 | No matter what you do.
| | 00:41 | If you want to create images that are
compelling, you want to use Lightroom.
| | 00:44 | Lightroom was built with five different modules.
| | 00:47 | Now, I think of these modules as really
separate entities that are interconnected.
| | 00:51 | So, in the top left over there, we've the Library module.
| | 00:54 | Now, that's where all the organizational
work tends to take place.
| | 00:56 | Then we've the Develop module.
| | 00:57 | That's the fun module.
| | 00:59 | That's where image comes to life.
| | 01:00 | You'll notice that this training spends a lot
of time on the library and the Develop modules
| | 01:04 | because the majority of your time will be spent there.
| | 01:07 | Then there are three other modules
slideshow, Print, and web.
| | 01:10 | Those are the export modules, where
you can use these different tools.
| | 01:12 | It will help you get your images out of
Lightroom and in those different spaces.
| | 01:17 | All right, what my hope is that by stepping back from
Lightroom in the sense and looking at it in this way.
| | 01:21 | We can begin to think, OK, it's a module.
| | 01:23 | What I'm going to do is I'm going
to enter into the space for library.
| | 01:26 | I'm going to entering the space for develop, for
slideshow, or for whatever module we're going
| | 01:30 | into and yes they are all interconnected.
| | 01:33 | Yet, at the same time they are very distinct.
| | 01:35 | Well, all right, let's take a look at the Lightroom
interface and let's do that in the next movie.
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| Essential interface shortcuts| 00:00 | In this movie, we'll be learning a
little bit about the Lightroom interface,
| | 00:03 | as well as some essential Lightroom interface shortcuts.
| | 00:07 | Now, keep in mind that as we learn these shortcuts, I'll
be repeating these shortcuts throughout this training.
| | 00:12 | I just want to introduce some here.
| | 00:14 | Oh! for starters, let's talk a
little bit about the interface.
| | 00:16 | Up top, we've what's called the identity plate.
| | 00:19 | You can customize the identity plate and we'll
talk about how to do that in the subsequent movie.
| | 00:23 | And over here on the right, we've
what are called the module pickers.
| | 00:26 | Lightroom is divided up into these
five different module pickers.
| | 00:29 | In order to pick any module, you simply click
on the title for that particular module.
| | 00:33 | Then, down below we've the left and the right panels.
| | 00:37 | The left panels are typically where we're going to do
some organizational work and access some different things.
| | 00:41 | And the right panel is, a little bit more functional.
| | 00:44 | There are some more functions located
inside of those panels.
| | 00:47 | Now, down below the image area,
we've what is called the toolbar.
| | 00:50 | The toolbar contains different
things in each different module.
| | 00:54 | In the Library module, you can see
there is some view mode options.
| | 00:57 | You can add some star ratings.
| | 00:59 | You can rotate images and a number of different things.
| | 01:02 | So, look for the changes in the toolbar as
you navigate through the different module.
| | 01:07 | Now, beneath the toolbar we've what's called the Filmstrip.
| | 01:10 | Down here in the Filmstrip, you can see that we've
this little thumbnail preview of the image, above.
| | 01:14 | All right, we'll now on to defining
these areas a little bit more clearly.
| | 01:17 | As I mentioned, up top, we've what's called the identity
plate, module picker over here, right panel, left panel,
| | 01:24 | then the toolbar and the filmstrip down below.
| | 01:26 | Now, here I'm introducing our first shortcut.
| | 01:28 | It's the T key.
| | 01:30 | You press the T key.
| | 01:31 | It will show and hide the toolbar.
| | 01:33 | Now, that's helpful because there are times when you want
to get rid of the toolbar in order to open up more space
| | 01:38 | for the image or just you can focus on the task
at hand, which may be evaluating the image.
| | 01:42 | All right, we'll just take a look
at a couple of more shortcuts here.
| | 01:45 | In order to do with the interface,
you notice that, we've the top part,
| | 01:48 | the left and right-hand panel, then the bottom part.
| | 01:50 | So, what we can do is actually use these F keys to
show or hide different aspects of the interface.
| | 01:54 | So, if I press the F5 key, it will show or
hide the identity plate in the module picker.
| | 01:59 | If I press the F6 key, it will show or hide the filmstrip.
| | 02:02 | And then the F7 key and the F8 key, those keys
show or hide the left panels or the right panels.
| | 02:06 | Really helpful, another way to get
rid of panels is with the Tab key.
| | 02:10 | If you press the Tab key once, it will
hide both the left and right-hand panels.
| | 02:14 | You press the Tab key again, it will bring those back.
| | 02:17 | Let's say that you want to minimize the entire interface.
| | 02:20 | You want to minimize the identity plate, and the module
picker, and the panels, and the filmstrip down below.
| | 02:25 | What you need to do is press good old Shift + Tab.
| | 02:28 | By pressing Shift + Tab what it we'll do is it will hide
practically everything, but the image and the toolbar.
| | 02:34 | This is really helpful, because
again you can minimize the interface.
| | 02:36 | So, you can focus in on the image.
| | 02:39 | All right, a couple of more shortcuts for you, and one of
my favorite shortcuts has to do with the lights out mode.
| | 02:44 | If you press the L key once, what it
will do is, actually dim the lights.
| | 02:49 | Press it one more time and will
turn the lights all the way on.
| | 02:52 | All right, for this next shortcut, I
need to move Lightroom over a little bit.
| | 02:55 | So we can deconstruct how this works.
| | 02:57 | As you deal with the different full screen view modes,
Lightroom has a couple of different full screen view modes.
| | 03:02 | And if you press the F key, you can
toggle through the different view modes.
| | 03:05 | If you press at once, it will get rid of the
title bar, which shows you the catalog, what not.
| | 03:08 | If you press it one more time, we'll
get rid of those pull down menus.
| | 03:11 | In this way, you can really minimize the interface
and even more open up more space for the image.
| | 03:17 | All right, what now I want to do is to
see how the shortcuts work in real life.
| | 03:21 | First shortcut, that I'm going to do is press
the F key once, and then, press it again.
| | 03:25 | You can see I have gone to this full screen view mode.
| | 03:27 | I press it again.
| | 03:28 | It takes it back to the regular view.
| | 03:30 | A few other shortcuts that we talked about
were pressing the F keys, F5, 6, 7, 8.
| | 03:34 | F5 once gets rid of the identity
plate, and the module picker on top.
| | 03:38 | F6 gets rid of the filmstrip down below.
| | 03:40 | Press it again and bring it back.
| | 03:43 | F7 is left panels.
| | 03:43 | Again press again to bring it back.
| | 03:45 | And then F8 the right panel and then
press it again to bring it back.
| | 03:50 | I also talked about a way that
you can minimize both the left
| | 03:52 | and right-hand panels and that's with the good old Tab key.
| | 03:56 | Press it again brings those back.
| | 03:58 | If I press shift + Tab, it's going to get rid of
everything at the top and everything at the bottom except
| | 04:03 | for the toolbar and how do I get rid of the toolbar.
| | 04:05 | Let's by pressing the good old T
key and I get rid of the toolbar.
| | 04:09 | And press it again to bring it back and press shift +
Tab again, which brings back the rest of the interface.
| | 04:14 | Now, what I'm going to do is go to the lights out view mode.
| | 04:17 | I press L once, it dims the light.
| | 04:19 | And then press L again to turn the lights out.
| | 04:22 | Now I can really focus on the image.
| | 04:23 | It helps me evaluate the image in a really new way.
| | 04:26 | Finally, I'll press the L key again.
| | 04:28 | It will turn the lights back on.
| | 04:30 | All right, well, that wraps up our first look at the
Lightroom interface and a few essential Lightroom shortcuts.
| | 04:34 | In the next few movies we'll learn some more techniques
that will help us customize interface even further.
| | Collapse this transcript |
| Customizing the Identity Plate and Module Picker| 00:00 | In the previous movie, I mentioned that the Identity Plate
| | 00:02 | and the module picker buttons are
located at the top of the interface.
| | 00:06 | In this movie, we're going to look at
how we can customize both of those items.
| | 00:10 | Quick side story, here are a couple of photographs
of my daughter Annika this last weekend.
| | 00:14 | Isn't she a cutey?
| | 00:15 | All right, I already customized the
identity plate and the module picker buttons.
| | 00:18 | We're going to navigate to the Lightroom
dropdown menu and choose Identity Plate Setup.
| | 00:21 | On the PC you're going to go to the Edit
dropdown menu and choose Identity Plate Setup.
| | 00:26 | Either way, this will open up the Identity Plate editor.
| | 00:29 | Now, in order to customize the Identity Plate, we need to
first click on this option Enable Identity Plate Custom.
| | 00:35 | So, here you can see that we've some custom typography.
| | 00:37 | It doesn't look very good.
| | 00:38 | Let's customize it even further.
| | 00:40 | What we need to do is, highlight
the copy and then choose a new font.
| | 00:43 | So, I'll choose a new font that I think will
look good and then I can change the font size.
| | 00:48 | Also note that in this case, I have text
that's white and also text that's blue.
| | 00:52 | I can highlight a specific word or letter for
that matter and I can change it to another color.
| | 00:57 | In this case I have changed it to orange.
| | 00:58 | Maybe a little brighter orange will look good there?
| | 01:00 | And then that looks pretty good.
| | 01:02 | Next, I'm going to customize the
typography for the module picker buttons.
| | 01:06 | And I'm going to choose a font.
| | 01:07 | I'll choose a similar font so there
is some cohesiveness here.
| | 01:09 | And then I'm going to change the font size.
| | 01:11 | I'm going to make this even a little bit smaller.
| | 01:13 | Now, all of this customization of course, is going
to be contingent upon your own likes and dislikes.
| | 01:18 | All right, so far we've looked at how we
can customize this by way of typography,
| | 01:23 | but you'll notice there is another option.
| | 01:24 | We can also us a Graphical Identity Plate.
| | 01:27 | In order to do that we need to click on this option here.
| | 01:30 | And here, you can see a graphic
that I have created in Photoshop.
| | 01:33 | Now, all that I need to do is create a
graphic in Photoshop that is a specific size.
| | 01:37 | So, I'm going to jump over to Photoshop quickly.
| | 01:40 | Here is that particular graphic and I'm going
to open up the image sized dialog window.
| | 01:44 | You'll notice that it's 57 pixels tall and
then the width can be as long as you want.
| | 01:49 | In this case what we're seeing is that the width goes on
and on and on Although there are no graphics over there.
| | 01:54 | Let's say, we've to add some graphics
that extend beyond where that logo is.
| | 01:58 | I'm going to go ahead and add this typography
here, which says CHRIS ORWIG PHOTOGRAPHY.
| | 02:03 | I'll move that around.
| | 02:04 | You can see it extends way beyond the logo.
| | 02:06 | And I'll save that file.
| | 02:07 | Command S on the Mac, Control S on a PC.
| | 02:10 | I'll go back to Lightroom.
| | 02:11 | I'm going to clear this particular image
and then I'm going to locate a new file.
| | 02:15 | So, I going to locate file, I'm going to go to the
first section of images, which is in Getting Started.
| | 02:20 | And from there I'll go to the sample Identity Plate Folder.
| | 02:22 | And I'm going to choose this Identity Plate Long.
| | 02:24 | I have created a couple of sample Identity Plates
for you, so you can experiment with those files
| | 02:29 | and then customize them so they are relevant to you.
| | 02:30 | All right, I'm going to then choose that
particular Identity Plate and here we can see
| | 02:34 | that copy now extends way beyond this particular area.
| | 02:37 | Of course, you need to be careful when you're
creating Identity Plate that's really long because,
| | 02:41 | that will overlap with the copy
and the module picker buttons.
| | 02:44 | Now in this case, I don't think that looks very good.
| | 02:46 | So, click clear image and go back to locate file,
| | 02:50 | I'm going to choose a much more simple
Identity Plate the first one Identity Plate.psd
| | 02:55 | and click Choose and there you've it.
| | 02:57 | Finally, when you click on the clear image button,
| | 02:59 | you'll notice that in exercise you can
paste or drag an image into the space.
| | 03:02 | Images should be no more than 57 pixels
in height Although they can be as long
| | 03:06 | as you want and can contain transparency.
| | 03:10 | All right, let's go back to the Stylized Text and
Identity Plate here and that wraps up our look
| | 03:14 | at customizing the identity plate, as
well as some module picker buttons.
| | 03:18 | In the next few movies we'll look at how we
can customize a Lightroom interface even more.
| | Collapse this transcript |
| Changing the panel end marks| 00:00 | In the next few movies, you'll
be learning some more techniques
| | 00:02 | that will help you customize the interface even further.
| | 00:05 | In this first movie, we're going to look
at how we can customize the Panel End Mark.
| | 00:09 | Now, a Panel End Mark is this little graphic
that shows up at the end of the Panel List.
| | 00:14 | Now, what you can do to customize this?
| | 00:15 | The quickest way to do this is to Control-click
or if you have a 3-button mouse, right-click,
| | 00:20 | go down to the Panel End Mark menu
and then choose a New End Mark.
| | 00:23 | Here I'll choose a New End Mark.
| | 00:24 | Voila! There it's.
| | 00:26 | right-click or Control-click again.
| | 00:28 | Go back to that menu.
| | 00:29 | And of course, you can go back to the default setting
or none for that matter, which is my preference,
| | 00:34 | because I like the interface to be really clean and simple.
| | 00:37 | Another thing you can do here, if you're feeling a
little bit creative, is to go ahead and right-click
| | 00:40 | on that Panel End Mark and go to the Panel End Marks folder.
| | 00:44 | Now when you do that it will open
up that Panel End Marks folder.
| | 00:46 | Now all that you'll need to do is
to copy a graphic into that folder.
| | 00:50 | It will then show up in that list and you can choose
it and customize the End Marks in that way as well.
| | 00:55 | All right, I'm going to go ahead and close that window.
| | 00:57 | Go back to my Panel End Marks, right-click or
Control-click and go back to the default setting.
| | 01:02 | Now, one of the things that you're going to notice, as
you begin the work in Lightroom is that Lightroom likes it
| | 01:07 | when you Control-click or you right-click.
| | 01:09 | In fact, we're going to look at another technique
| | 01:11 | that involves Control-clicking and
we'll do that in the next movie.
| | Collapse this transcript |
| Changing the image background| 00:00 | In this movie, we'll learn a couple of more things that
will help you customize the interface, even further.
| | 00:05 | Currently, I'm in the library view mode.
| | 00:07 | I pressed the G Key.
| | 00:08 | It will take me to the Grid View mode.
| | 00:10 | I press the E key.
| | 00:11 | It will take me to this Loupe View mode.
| | 00:14 | We don't know a lot about the Loupe View mode yet.
| | 00:16 | Yet, what we do know is, we can see the image
really nice and big and it surrounded by gray.
| | 00:21 | How do I change that background color?
| | 00:24 | Well, you got it, Control-click or right-click and then
from that contextual menu choose a new background color.
| | 00:29 | In this case, I'll choose black.
| | 00:31 | Now whatever color I choose here, will also
show up in the background in the Develop module.
| | 00:36 | So I'm going over to the Develop
module and I can see that's now black.
| | 00:38 | I'll change this to white.
| | 00:40 | Go back to the Library module.
| | 00:41 | We can see that there is consistency with
that background color and that's really nice.
| | 00:45 | All right, well, typically what I find
is that medium gray works really well.
| | 00:49 | So, I'm going to choose medium gray.
| | 00:50 | Although a lot of times it depends on how bright your
office is, but for the most part medium gray works well.
| | 00:56 | The other little tip that I want to share
with you is in regards the Filmstrip.
| | 00:59 | Now you noticed down here that
my thumbnails are pretty small.
| | 01:02 | Well to make those larger, all that I need to do is, hover
over this line that separates the Filmstrip with the toolbar
| | 01:08 | above and then click and drag up to
increase the thumbnail size or click
| | 01:13 | and drag down to make those thumbnails really small.
| | 01:15 | So you can take advantage of that, and open up as much space
as possible as much space as you need for the main image.
| | 01:22 | Typically, I find that I want my thumbnails to be pretty
small, not super small, but small enough, so I can see them.
| | 01:28 | Yet I don't want them to take up
a lot of screen real estate.
| | 01:31 | So I make them a size that make sense, so I can
identify the image yet they are not overpowering
| | 01:35 | and so I can focus in on the image above.
| | Collapse this transcript |
| Modifying other interface preferences| 00:00 | One of the many advantages of using Lightroom is
that, you've the ability to minimize the interface.
| | 00:05 | And one of the best shortcut keys to do that is the L key.
| | 00:08 | Press the L key once to dim the lights.
| | 00:10 | Press it again and you turn the Lights Out.
| | 00:12 | Press it one more time and you bring the lights back up.
| | 00:15 | Well, how can you customize that
Dim Level, also the Lights Out.
| | 00:19 | Well, what you need to do is navigate your preferences.
| | 00:21 | There are two ways to do that.
| | 00:22 | On a Mac press Cmd+Comma, on a PC that's Ctrl+Comma
or select Lightroom and good old Preferences.
| | 00:29 | Next, click on the Interface tab.
| | 00:32 | Now, there are a couple of sets that we're going
to look at, Panels, Lights Out, and Background.
| | 00:36 | Let's first look at Panels and Background,
Well, Panel End Mark, we know about that, right.
| | 00:39 | We can choose a new Panel End Mark.
| | 00:41 | We've done that before or we can
go back to the default setting.
| | 00:44 | Panel Font Size currently is Small.
| | 00:46 | Now, if we want to change it to Large.
| | 00:48 | We can do that, Although we're going to
have to restart Lightroom as it says here.
| | 00:51 | So we're going to go ahead and
take that back to the Small size.
| | 00:54 | Typically, the Small font size works best, Although
if we need it, try the Large option as well.
| | 00:58 | All right, down to the Background.
| | 01:00 | Now, we can change that Background Fill Color and we've
done this before right by a way of another shortcut.
| | 01:05 | We'll take that back to Medium Gray and the
Overlay Texture is just as Pinstripes texture,
| | 01:09 | which in my opinion doesn't work
very well, doesn't look very good.
| | 01:12 | So I'm going to take that to the default of None.
| | 01:15 | OK, now on to our new Preference, the Dim Level.
| | 01:18 | Well, currently it's set to 80% and it goes to Black.
| | 01:21 | What if I take this to 50%?
| | 01:24 | I'll go ahead and close my Preferences, press the L key.
| | 01:27 | You know that it's not quite as dimmed out.
| | 01:30 | All right, well let's open up our Preferences again.
| | 01:32 | Here we're back in Preferences.
| | 01:33 | Rather than 50%, let's try 90% and close that and
then we'll press the L key to go to our Dim Levels.
| | 01:41 | We notice when we do that it's almost
as if the Interface is completely gone.
| | 01:45 | Press it again.
| | 01:46 | It's completely gone.
| | 01:47 | All right well that's interesting.
| | 01:49 | Yet there is more.
| | 01:50 | Navigate back to Lightroom, choose Preferences.
| | 01:52 | What we can do is actually turn the lights on.
| | 01:55 | I'm going to give it a White, take my Dim Level to the
80% default and close the Preferences dialog window.
| | 02:01 | Press the L key.
| | 02:03 | Wow! Now, 80% White is over the Background.
| | 02:06 | Press it one more time; it goes completely White.
| | 02:09 | Very different experience, and
very different look on the image.
| | 02:12 | And sometimes that's helpful depending
on the final destination of the image.
| | 02:16 | Now, it's just a personal preference.
| | 02:18 | So you want to experiment with that a
little bit and see which works best for you.
| | 02:22 | In my case, I'm going to go ahead and go
back to my Preferences and take this back
| | 02:25 | to the normal Black because I really like that.
| | 02:28 | And then lastly close this Interface.
| | 02:30 | Press the L key and show you one more thing.
| | 02:33 | The last thing I want to show you is when you're in
Lights Out mode, you can still access all of your menus.
| | 02:38 | You'll notice I'm changing exposure here
even though that menu is grayed out.
| | 02:42 | So one of the nice things about this is you can
minimize the Interface, focus it on the image,
| | 02:46 | and continue work in Lightroom as needed.
| | 02:49 | And then press the L key in order to toggle
through the different Lights Out view modes.
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| Dual monitor support| 00:00 | New to Lightroom is the ability
to support multiple monitors.
| | 00:04 | Let's deconstruct how this works.
| | 00:06 | If you're fortunate enough to have multiple
monitors, you're really going to like this feature.
| | 00:09 | Now, what we're going to do is click and
hold down our button on this 2 icon here.
| | 00:13 | We see a number of different options.
| | 00:15 | We can show in Full Screen or just Show.
| | 00:17 | And it will open up in a smaller window and we've
different view modes, Grid, Loupe, Compare, Survey.
| | 00:22 | Let's open up with the Loupe View mode.
| | 00:24 | Now, when I opened it up in the Loupe View mode,
I see the same image and it looks really nice.
| | 00:28 | And if I go ahead and click on
a new image in my Filmstrip, Oh!
| | 00:30 | I see that image updated here.
| | 00:32 | What is difference between Loupe and Live?
| | 00:35 | I'll go ahead and click on Live and now
when I hover over the different thumbnails,
| | 00:38 | you can see that those images are
been updated in that window.
| | 00:42 | It's a nice way to see a really large
version of that particular thumbnail.
| | 00:46 | Now, how does Locked work?
| | 00:47 | When we go ahead and click on Locked and I'm going
to zoom in on the image by clicking on it once,
| | 00:51 | so I can see this particular image and then I go
back to my Filmstrip and click on a different image,
| | 00:56 | a different treatment of this file,
zoom in a little bit and reposition it.
| | 00:59 | Now, I can compare these two and it's a unique way to be
able to have one image up and then go through other images
| | 01:05 | and be able to compare and contrast
different types of images.
| | 01:08 | Now, there are obviously different
view modes that we can do here.
| | 01:10 | There is the Grid View mode, the Compare, and the Survey.
| | 01:13 | We're going to be learning about those
view modes in the subsequent chapters.
| | 01:16 | So as you learn how to use those view modes, you can
implement those techniques, on the secondary display window.
| | 01:23 | Also keep in mind, I'm showing this in this little
small window, so that I can record this movie.
| | 01:27 | If you were using this on a secondary display, you
would be viewing this in Full Screen view mode.
| | 01:31 | So the second window would be really big, and you
get quite a nice preview of that particular image.
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|
|
3. The Library: Importing ImagesImporting and file formats| 00:00 | Before importing our images into
Lightroom, it's worth asking, well, hay!
| | 00:04 | What kind of file formats does Lightroom support?
| | 00:06 | Well, fortunately, Lightroom supports a
wide range of formats as you can see here.
| | 00:10 | RAW files, DNG files, TIFF files, JPEGs, and PSDs.
| | 00:14 | I want to comment on a couple of these different
formats, the DNG format and the PSD format.
| | 00:19 | First, if you're going to work with
Photoshop documents inside of Lightroom,
| | 00:21 | you need to know about an important preference.
| | 00:24 | We're going to open up the Photoshop Preferences
dialog and navigate to the File handling options.
| | 00:29 | And I'm going to go down to maximize
PSD and PSB File Compatibility.
| | 00:33 | Now, if you're going to use Photoshop documents inside of
Lightroom, you have to maximize the file compatibility.
| | 00:39 | Therefore, may be worth modifying
this particular preference.
| | 00:41 | You have two options.
| | 00:42 | The first option is ask.
| | 00:44 | In that way, every time you save a
Photoshop document, it will ask you,
| | 00:47 | do you want to maximize the file compatibility?
| | 00:50 | Now, if the file is going to go into
Lightroom eventually, you want to say, yes.
| | 00:53 | If it isn't, click No.
| | 00:55 | Another option is to turn on Always.
| | 00:57 | In this way, all Photoshop documents will
always have their file compatibility maximize.
| | 01:02 | Now here is the downside in regards to doing that.
| | 01:04 | It will increase your file size.
| | 01:06 | So my own preference is to leave it on the
default setting ask and then to pay attention.
| | 01:11 | When I'm working on a Photoshop document,
if it's going to end up in Lightroom,
| | 01:14 | I want to make sure when I save it
to maximize the file compatibility.
| | 01:19 | Let's jump back to the DNG format for a moment.
| | 01:22 | The DNG format is kind of a unique format.
| | 01:24 | It's a raw format.
| | 01:25 | So it's an uncompressed raw format, yet it's unique.
| | 01:28 | In order to describe how this format
works, I'm going to navigate to Adobe site
| | 01:32 | and go to adobe.com/products/dng Digital Negative.
| | 01:36 | Now, this is a format that Adobe has come up with and
already tried to create a file that is much more archival.
| | 01:44 | You can think of the DNG format kind of like a container,
almost like a Tupperware that holds all the raw data.
| | 01:49 | So nothing has really changing here.
| | 01:50 | It's just wrapping that raw data
up in this little container.
| | 01:54 | Now, those who are not in favor of the DNG format
say you know this format is much more archival
| | 01:57 | because it's nonproprietary.
| | 01:59 | And let's compare a couple of things.
| | 02:01 | Let's say you have a raw format that has been
created by a specific camera manufacturer.
| | 02:05 | Now, there is a chance that, that
camera manufacturer may not support
| | 02:08 | that file format 10 years from now or 20 or 50 or 70.
| | 02:12 | Therefore, those who are concerned about that
or using this DNG format because it's public,
| | 02:16 | meaning anyone can access the entire information
about this particular format, which ultimately
| | 02:21 | and hopefully makes it much more archival.
| | 02:24 | And of course, the debate goes on.
| | 02:25 | There are those who say, you know, the proprietary
format from my camera manufacturer is much better.
| | 02:30 | And they know about that format.
| | 02:32 | And they have tools where you can access
more of the information from that format.
| | 02:35 | And then there are those who say,
well, no, the DNG format is better.
| | 02:38 | If you want to get some more information about the
DNG format, navigate to adobe.com/products/dng.
| | 02:44 | And as the side note in my own
workflow, I have adopted this DNG format.
| | 02:49 | And I now use it for all my files.
| | 02:51 | Yet you're going to want to dig into the issue
a little bit and see what will work best for you.
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| Importing preferences| 00:00 | One of the advantages of using Lightroom
is that when you import your images
| | 00:03 | into Lightroom they are included in
the Lightroom database catalogue.
| | 00:06 | And what that means is you've access to the files.
| | 00:09 | Therefore before you import your images it's worth
briefly looking at the Lightroom Import preferences.
| | 00:15 | Now, we're going to access these
preferences by way of a shortcut.
| | 00:18 | On a Mac it's Cmd+Comma on a PC Ctrl+Comma.
| | 00:22 | Or if you don't like shortcuts, navigate to the
Lightroom, pull-down menu and choose preferences
| | 00:27 | and then click on the import option here.
| | 00:30 | Now, there are just a couple of
things that we need to look at.
| | 00:32 | The first option we want to leave selected, show
import dialog when a memory card is detected.
| | 00:37 | In that way when we connect a memory card reader
with the memory card in it to our computer.
| | 00:41 | It will open up the import dialogue.
| | 00:44 | Now, the next option is kind of interesting.
| | 00:45 | Ignore camera generated folder names while naming folders.
| | 00:48 | Yes, I definitely want to get rid off all
the folder names that my camera created,
| | 00:52 | when it saved those images to that
particular CompactFlash card.
| | 00:56 | The next option is only relevant if you're shooting Raw and
JPEGs at the same time, if you're, you want to turn this on.
| | 01:02 | So you can treat the JPEG files next
to your Raw files as separate folders.
| | 01:07 | Down to the DNG creation, we talked
a little bit about this file format.
| | 01:11 | We've a couple of different options here.
| | 01:12 | The first option is how we want the
extension to be, lower case or upper case.
| | 01:17 | My preference is lower case.
| | 01:18 | So I'm going to go ahead and leave it there.
| | 01:19 | Next is the JPEG preview.
| | 01:21 | Whenever it comes to previews in Lightroom,
I tend to go for the largest size.
| | 01:25 | I'm going to choose full size.
| | 01:27 | Now a lot of times it will take a
little bit longer to render the preview.
| | 01:30 | Yet in my case, I find it that's really worth it.
| | 01:32 | Now for Image Conversion Method, it's best that we preserve
the Raw image on because you have more flexibility.
| | 01:38 | Converting to a linear image you actually lose a little bit
of information and you can read a little more about that
| | 01:42 | when you roll over that particular text
and read the little contextual popup menu.
| | 01:46 | The next option is Compressed Lossless meaning
we're not going to lose any information.
| | 01:50 | And the last option, this is the Option+You want
to select, if you're going to use the DNG format,
| | 01:55 | yet you're concerned about losing
some of the original raw data.
| | 01:58 | And if you're concerned about that go ahead and
embed the raw file in this DNG container so to speak.
| | 02:04 | Yet, one little side note here is if you do that
it will increase your file size pretty drastically.
| | 02:10 | So make sure that that's something you want
to do if we're going to choose that option.
| | 02:12 | Well that wraps up, our look at importing preferences.
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| Importing photos from a folder| 00:00 | In this movie, we're going to look at how
we can import photographs that are already
| | 00:03 | in a folder on a hard drive into Lightroom.
| | 00:06 | In order to make this a little bit more
real life, I have opened up a New Catalog.
| | 00:09 | And I did that by navigating the File
dropdown menu and choosing New Catalog.
| | 00:13 | Now, I opened up a New Catalog.
| | 00:14 | So, as you can see there are no images inside the Lightroom.
| | 00:17 | And you know a lot of times this
is how you start in the Lightroom.
| | 00:19 | You've already images in it.
| | 00:20 | You already have all of your images organized, and
you need to bring those images in to the Lightroom.
| | 00:25 | So, how do you do that?
| | 00:26 | Well, first thing is first.
| | 00:27 | You navigate the File dropdown menu
and you choose Import Photos from Disk.
| | 00:31 | Or use a shortcut, on the Mac that's
Shift+Cmd+I, on a PC Shift+Ctrl+I.
| | 00:36 | Now, that's one of those shortcuts
you want to write down because,
| | 00:38 | you're going to be importing photos
in the Lightroom quite often.
| | 00:41 | So, go ahead and select that.
| | 00:42 | Next what I'm going to do is navigate
to the exercise files folder.
| | 00:46 | And then I'm going to go down to the Getting
Started section of images in this 01 folder here.
| | 00:50 | And I'll open that up and then I'm
going to select the import folder.
| | 00:54 | And again what I'm doing here is simulate, then
I have these images inside of these folders
| | 00:58 | that I really want to bring into the Lightroom.
| | 01:00 | I want to keep them in that particular location.
| | 01:02 | So, I'm simply selecting that folder.
| | 01:04 | That will then open up the Import Photos dialog window.
| | 01:07 | Now, there are a couple of things that we want to do here.
| | 01:09 | The first thing that I want to do with this
particular dialog window is, I want to expand it.
| | 01:13 | So, it takes up the entirety of my screen.
| | 01:15 | You know there is no reason really to
have a small Import Photos dialog window.
| | 01:19 | There is no need to see Lightroom in the background.
| | 01:21 | I want to really focus in on the task at hand.
| | 01:24 | So I'm making this window nice and big.
| | 01:26 | All right, well, a couple of different
things that we can do here.
| | 01:28 | One is make sure Show Preview is checked on.
| | 01:31 | If it's checked off, you wont see the previews over there.
| | 01:33 | I want to have that turned on.
| | 01:35 | The second thing that we can do is increase the
Preview size of these particular thumbnails.
| | 01:39 | Let's jump over to the left hand side, File Handling.
| | 01:42 | We can add the photos to the catalog without
moving or we've a number of different options.
| | 01:46 | We can copy or move the photos to a new
location, and then add them to the catalog.
| | 01:51 | Now, why do you we want do that?
| | 01:53 | Now you would want to copy the photos.
| | 01:54 | If you've them in one location and
you want to create another copy,
| | 01:58 | so you've two versions of the same image, in a new location.
| | 02:02 | You would want to move the photos, if
you only want one version of the image.
| | 02:05 | You just want to relocate those images to a new location.
| | 02:08 | And then finally you've an option to copy the photos as
Digital Negatives and then add them to the catalogue.
| | 02:13 | In this case, I'm pretending that I have these images
organized in this folder, and I want to leave them as it is.
| | 02:19 | I simply want to be able to access
these images, inside of Lightroom.
| | 02:22 | So, I'm going to choose Add photos
to the catalog without moving.
| | 02:26 | The next option that you'll notice is
don't re-import suspected duplicates.
| | 02:30 | You typically want to leave this checked on.
| | 02:32 | Why you want that is because, it will help you
out in case if you already imported an image,
| | 02:36 | you wont import it again and have double import.
| | 02:39 | You typically only want one version of an
image when you bring it into the Lightroom.
| | 02:42 | So, leave that checked on.
| | 02:43 | Now, there is some information we
can apply to these particular images.
| | 02:47 | There are a handful of different develop
settings that come preinstalled with Lightroom.
| | 02:52 | Now, if you install your own presets or create
your own presets, those will show up here.
| | 02:55 | So, you can apply those to the images upon import.
| | 02:58 | Now my own workflow, I typically choose none
because, I can apply those presets later.
| | 03:03 | I can also apply some Metadata to these images.
| | 03:06 | I can choose a particular preset.
| | 03:07 | We'll be talking about Metadata and Metadata presets later.
| | 03:10 | But, if I had a preset like a copy write preset,
I could add that to these particular images.
| | 03:14 | So, that when I imported them, they
all had my copy write information.
| | 03:18 | Next, keywords, I want to add a few
keywords to both of these images.
| | 03:21 | I'm going to type out the word family and
beach and Greg Lawler a good friend of our,
| | 03:26 | who took these photos this last December.
| | 03:29 | Next Initial Previews, my recommendation is that you
go with a larger preview rather than a smaller preview.
| | 03:36 | Now, this will increase the overall file
size, it will slow things down a little bit.
| | 03:39 | But, typically I found that it's worth it.
| | 03:41 | Again these go from small to large.
| | 03:43 | In my own workflow, I choose the largest preview 1:1preview.
| | 03:47 | And if this option does take a little bit of extra time
and does increase the overall file size, I'm OK with that.
| | 03:53 | Because, typically that extra bit of preview is worth it.
| | 03:56 | Because what it means is I can get
to the image quickly when I need it,
| | 03:59 | rather than having to wait or to render the previews.
| | 04:02 | So, in my opinion I would rather have all the weight
in the front-end and then work on my images rather
| | 04:06 | than have to wait on it on image per image basis.
| | 04:09 | So, again, I'm going to choose that 1:1option.
| | 04:11 | Next, I'm going to click the old import button
that will bring those images into Lightroom.
| | 04:15 | Now I can double click the image,
so take it to the view mode
| | 04:18 | and then press the right arrow key to view the next image.
| | 04:21 | And those images have now been
successfully added, to my Lightroom catalog.
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| Importing photos from a CF card| 00:00 | In this movie, we're going to look at
how we can import these photos straight
| | 00:03 | from a CompactFlash card right into Lightroom.
| | 00:06 | Now, because I setup that preference to detect when I
connected a CompactFlash card reader to my computer,
| | 00:11 | it automatically opens up this dialog window for me.
| | 00:14 | And this dialog window looks very familiar to the dialog
that we saw, when we imported our photos from a folder,
| | 00:20 | Although, there are few different options.
| | 00:22 | Let's take a look at what we've here.
| | 00:24 | Well, for starters we notice that
the files are organized by date.
| | 00:26 | You can see that these images are
captured on 05/11, 5/13, and 5/25.
| | 00:31 | There are some photographs from the party that
we went to a winery, also there are some photos
| | 00:35 | of a Pro Surfer and then there are some wedding photos.
| | 00:37 | Well, all that I want to include are the wedding photos.
| | 00:39 | So, I'm going to click off this option to show all dates.
| | 00:41 | And then click on the option just to import
those two photos from this particular wedding.
| | 00:46 | Let's take a look at a couple of other options here.
| | 00:48 | Well, File Handling I can copy these photos to
a new location and add them to the catalogue
| | 00:52 | or I can copy the photos as DNG
and add them to the catalogue.
| | 00:56 | That's what I'm going to do.
| | 00:57 | I want those photos wrapped up in that DNG format
because it's hopefully going to be a more archival.
| | 01:02 | Next, I'm going to copy these photos to a specific location.
| | 01:04 | So I'm going to go ahead and choose that
location by clicking on the choose button.
| | 01:07 | I'm going to choose the exercise files folder and then
select the Getting Started folder and select Choose.
| | 01:14 | All right, so now it's going to show me.
| | 01:15 | That's going to copy those to that particular folder there.
| | 01:18 | Great. Next option, don't re-import
suspected duplicates in that way
| | 01:22 | if I have already imported these
images, it wont re-import them.
| | 01:24 | I don't want to have extra duplicates of the
file and then the next Option+You definitely want
| | 01:29 | to check this one on eject the card after importing.
| | 01:31 | It will take care of that for you.
| | 01:32 | So when you're done, it will kick that card out.
| | 01:34 | You'll be able to disconnect it without any worry.
| | 01:36 | And we've an option down here, which is really nice, Backup.
| | 01:39 | You know typically you want to have your
images on at least three different hard drives.
| | 01:43 | Well here, we can at least backup
these images to another location.
| | 01:46 | So I'm going to choose Backup to and then select
the hard drive where I want to back these up to.
| | 01:51 | I'm going to navigate to this hard drive
Inspire then choose the folder Backup.
| | 01:54 | And that's where I'm going to be backing
up these files to and then select Choose.
| | 01:59 | All right, well, now I can Backup
those files to the external hard drive.
| | 02:02 | So now I want to import these photos.
| | 02:04 | I'm going to have them in two locations.
| | 02:06 | My backup is built in to the import process.
| | 02:10 | Next file name, I can choose a
particular file name in template.
| | 02:13 | If there is a unique way that I want to name
this file, I'm just going to leave it as it is.
| | 02:16 | File name is fine.
| | 02:17 | I can apply Develop Setting, Metadata and then Keywords.
| | 02:20 | Interesting, if remembered the last Keywords
that I entered, now those don't make sense here.
| | 02:25 | So I'm going to simply retype these, delete those
and then add some new keywords, wedding and Carmel.
| | 02:31 | For the initial Previews, I'm going to leave
that on 1:1 and then finally click Import.
| | 02:36 | Now, you can see that it's converting these
files to Digital Negatives and importing them.
| | 02:40 | So up, on the top left hand corner, it's
showing that it's converting these files
| | 02:44 | to the DNG format and then rendering the 1:1 Previews.
| | 02:48 | All right, now that these images are inside the Lightroom,
I can go ahead and double click on them to open them
| | 02:53 | up in this Loupe View mode and then press the
right arrow key to select the other image.
| | 02:57 | Of course, I can also click on the
image down here, in the filmstrip.
| | 03:01 | And that wraps up our look at how we can
import photos straight from CompactFlash card.
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| Using Auto Import | 00:00 | In this movie, we're going to look at how we
can create what is called a watched folder
| | 00:04 | and then copy images into that folder
| | 00:06 | so that they are integrated and
imported automatically into Lightroom.
| | 00:10 | Now, there are a couple of different
reasons why you may want to do this.
| | 00:13 | Reason number one might be you create a folder
and then you simply drag images in that folder
| | 00:16 | and it automatically relocates the images
and integrates them into Lightroom.
| | 00:20 | Another reason may be that you want to shoot tethered
and what that means is you actually shoot straight
| | 00:25 | into your computer and then you use
your camera manufacture software
| | 00:29 | to redirect that image to this
specific folder, this watched folder
| | 00:32 | so that it's automatically brought into Lightroom.
| | 00:35 | All right, well, let's take a look at how this works.
| | 00:37 | What we need to do is navigate to the File dropdown menu
and go to Auto Import and choose Auto Import Settings.
| | 00:44 | Now inside of these Auto Import Settings,
we first want to choose the watched folder
| | 00:48 | and go ahead and click on the word Choose.
| | 00:50 | Now, what I'm going to do here is click
| | 00:52 | on the 01_Getting_Started folder
and then select the watched folder.
| | 00:56 | Now, you can name this folder anything you want.
| | 00:58 | I have simply named it watched folder in order
to keep things a little bit simple. And select Choose.
| | 01:04 | Next, we need to choose a destination.
| | 01:05 | Where do you want these photos to be saved?
| | 01:07 | I'm going to go ahead and click on Choose,
select the 01_Getting_Started folder
| | 01:12 | and then Choose Auto Import folder and select choose.
| | 01:16 | Now, I need to choose a subfolder name,
if I want these images in a subfolder.
| | 01:20 | And I'm going to go ahead and leave
that as it is, Auto Imported Folders.
| | 01:24 | Remember that folder name, we'll see it later.
| | 01:26 | Next, I can choose a particular way
to name the files, develop settings,
| | 01:29 | Metadata, keywords, and then initial previews.
| | 01:31 | You don't mind preference here.
| | 01:32 | I typically go to this 1:1 preview because I like
having those extra large previews because it helps me
| | 01:37 | out later when I start working on my images.
| | 01:40 | Click OK. Well, nothing happened right.
| | 01:42 | All we did there was, set up our Auto Import Settings.
| | 01:45 | Now what we need to do is navigate to the File dropdown
menu and then choose Auto Import and Enable Auto Import.
| | 01:52 | Now that we've enabled this, we
quote turned on that watched folder.
| | 01:55 | So we need to go ahead and navigate
to that folder and let's do that.
| | 01:59 | So here I have the 01_Getting_Started
folder and then I have these subfolders.
| | 02:03 | The first one is the watched folder.
| | 02:05 | Now you notice that I have this photograph here.
| | 02:06 | It's Kell_Sophia.jpeg.
| | 02:09 | I'm going to copy that into my watched folder.
| | 02:11 | We're going to do that.
| | 02:12 | Drop it there and then see what Lightroom does.
| | 02:14 | So we'll go ahead and watch in the background and
what we see is that Lightroom integrated and imported
| | 02:20 | that photo inside of the Lightroom Catalog.
| | 02:23 | It also relocated this.
| | 02:24 | Because we remember I said copy that image to what
folder, Auto Import folder and then I said put it
| | 02:30 | in a subfolder called Auto Imported Folders and Voila!
| | 02:33 | There is that file.
| | 02:34 | It's the same file.
| | 02:35 | It just brought in into Lightroom.
| | 02:37 | It's now included in the Lightroom Database Catalog and I
can access it in Lightroom and do what I need to do here.
| | 02:42 | We're going to go ahead and click back to Lightroom and this
particular photograph was taken by a friend of mine, Greg.
| | 02:47 | It's a beautiful photograph of
my daughter, Kelly and Sophia.
| | 02:50 | Thanks to ton, Greg, a wonderful image.
| | 02:52 | Well that wraps up our look how we can
automatically import photos in the Lightroom.
| | Collapse this transcript |
| Using multiple hard drives| 00:00 | File storage is incredibly important
for digital photographers.
| | 00:03 | And as a result digital photographers
have a number of different techniques
| | 00:06 | for storing or saving or backing up their images.
| | 00:09 | Yet one of the most common techniques
is to use multiple hard drives.
| | 00:12 | Now, if you used Lightroom 1, you may remember that
Lightroom 1 didn't work very well with multiple hard drives.
| | 00:18 | And the biggest problem was you never really
knew where your image was actually stored.
| | 00:22 | Well things have gotten much better inside of Lightroom 2.
| | 00:25 | Now before we get to working with multiple hard
drives, let's take a look at what we have so far.
| | 00:29 | So far we have a catalogue with five photographs in it.
| | 00:33 | Now, if I navigate down to the particular folder we
can see they are all saved on the Macintosh hard drive
| | 00:37 | and I can select these different subfolders.
| | 00:39 | Here are the files in the 2008 folder, the ones that were
in Auto Import folder or the ones that we brought in from
| | 00:45 | that import folder straight into Lightroom.
| | 00:48 | A couple of things that we can do here, one is,
I can click on this folder name here to expand
| | 00:52 | and collapse that particular menu or check this out.
| | 00:55 | You can Control-click or right-click and
display different information in regards
| | 01:00 | to this particular hard drive or this particular folder.
| | 01:03 | What I can do is change this to photo count
| | 01:05 | and now I can see how many photos are
stored in this particular hard drive.
| | 01:09 | My preference is to choose disk space.
| | 01:11 | Because you know, you never want
to fully load up a hard drive.
| | 01:15 | Actually when it gets to about 85 or 90%
you want to discontinue adding files to it.
| | 01:20 | And then you want to get a new
hard drive and work from there.
| | 01:22 | All right, well, now that can see what we've,
let's bring in some photos from another hard drive.
| | 01:27 | This could be an internal hard
drive or an external hard drive.
| | 01:29 | All that it needs to be is a different hard
drive than this particular hard drive here.
| | 01:33 | In order to import these photos or use a shortcut, on
a Mac, Shift+Cmd+I on a PC Shift+Ctrl+I or navigate
| | 01:41 | to the File dropdown menu and choose
import photos from disk.
| | 01:46 | Now here we're going to select the particular
hard drive we're going to work from.
| | 01:49 | In this case I have a hard drive
connected is called Sashimi.
| | 01:52 | And then I'm going to select this folder
photo library and then click Choose.
| | 01:57 | This will open up the Import Photos dialog.
| | 01:59 | Now we've seen this dialog before except
it's going to be a little bit different here.
| | 02:03 | What I'm going to do is I want to add my
photos to the catalogue without moving.
| | 02:07 | Because I assume, if you've these
photos on the external hard drive
| | 02:10 | or another hard drive, you want to keep them there.
| | 02:12 | The reason that is there is because, your other hard drive
is full, or you want to keep them there for backup reasons.
| | 02:17 | So I want to keep them where they are as opposed
to copying or moving or copying the photos as DNG.
| | 02:22 | So again add photos to the catalogue without moving.
| | 02:25 | Next I don't want to re-import suspected duplicates.
| | 02:28 | No develop setting.
| | 02:29 | No Metadata because we haven't gone to that.
| | 02:31 | And then keywords, I can't add keywords
because these are random collections of images.
| | 02:35 | And then, finally my preference for previews is 1:1.
| | 02:38 | I really like those extra large previews because I find they
help me out when I start to develop or work on my images,
| | 02:44 | as we'll be doing later in this training.
| | 02:47 | I'm pretty good to go here.
| | 02:48 | I'm going to go ahead and click on Import.
| | 02:50 | That will then show me the progress of the
import and the rendering of those previews.
| | 02:55 | Next, I'll double click one of the images.
| | 02:57 | So I can see it in the look view mode.
| | 02:59 | And I'm going to press the arrow keys,
so I can scroll through the images.
| | 03:02 | All those images look like they have
successfully being brought into Lightroom.
| | 03:07 | Interesting, let's take a look at the folders.
| | 03:10 | When I scroll down to the folder, one of the things I
noticed that I now have two different hard drive names.
| | 03:15 | I have the hard drive Sashimi and I have
the hard drive Macintosh hard drive.
| | 03:20 | If I want to see all the images in my catalogue, I
simply go to the catalogue and click on all photographs.
| | 03:25 | On the other hand, I can also go to a particular hard
drive and look at the photos on that particular hard drive.
| | 03:30 | In this case, I clicked on the folder photo
library and I can see all of those images.
| | 03:35 | All right, well, so far so good.
| | 03:36 | You can see that we can have multiple hard
drives reference in the Folders panel.
| | 03:40 | Now that really helps me out.
| | 03:42 | Yet, let's say what happens is, if I disconnect the
hard drive, or I haven't powered on the hard drive.
| | 03:47 | How would I know that these images
come from that hard drive?
| | 03:51 | Well, first let's disconnect the hard drive.
| | 03:53 | I'm going to go back my Finder window and I'm
going to eject this particular hard drive.
| | 03:57 | All right, now once I have ejected that hard drive and
exit out of this window and gone back to the Lightroom,
| | 04:02 | we'll notice something kind of interesting.
| | 04:04 | Well the title of the hard drive Sashimi is now grayed
out or blacked out and that green light, Oh that's gone.
| | 04:10 | That showing me, that this particular
hard drive is disconnected.
| | 04:14 | Now lot of times I may not know
which hard drive I'm working on.
| | 04:17 | Let's say go back to my catalogue.
| | 04:19 | And I'm viewing all these photographs.
| | 04:21 | And I have a ton of different hard drives.
| | 04:22 | Let's say I have seven different hard
drives and I work on one of the images.
| | 04:25 | In this case, this particular image and I think great, OK.
| | 04:28 | I want to work on this image.
| | 04:29 | I need to access all of the data.
| | 04:31 | So I need to access the real file itself because, I
want to do some stuff with it and then print the file.
| | 04:36 | Yet I don't know if it's on one of
those hard drives that's turned on.
| | 04:39 | What I can do here is right-click and choose, show
in Finder. That will open up this dialog window.
| | 04:46 | It says the photo, Sunrise_campus.tif, could not be used.
| | 04:51 | Because the original file could not be
found. Because the hard drive is off, right?
| | 04:54 | Would you like to locate it?
| | 04:56 | Well, no, I don't want to locate it, but I'm just using
this dialog window to show me where this file came from.
| | 05:00 | Well it came from hard drive Sashimi. Oh great!
| | 05:03 | So, all that I would need to do is, walk around the
hard drive, flip it on and then I would be good to go.
| | 05:08 | And that wraps up our look at how we can use
multiple hard drives in correlation to Lightroom.
| | Collapse this transcript |
| Creative tip 1: Handling your camera| 00:01 | Hey, welcome to another photography tip.
| | 00:03 | In this tip, what I want to do is
talk about how you handle your camera.
| | 00:07 | And here is that most people do.
| | 00:08 | They see a scene.
| | 00:08 | They are really excited.
| | 00:09 | They pull out their camera and then they
go ahead and they go to take a picture.
| | 00:12 | They want to get closer and they lean out even further.
| | 00:14 | Their elbows are sticking out.
| | 00:16 | It's not going to be a very sharp image.
| | 00:18 | Here is what you need to do.
| | 00:18 | You need to get your feet underneath the camera.
| | 00:21 | Then you want to put your elbow in
your chest, your stomach right there.
| | 00:24 | Hold your camera and then fire away and the final
result will be a photograph that is out much more sharp.
| | 00:29 | Now, after you've taken the image, a lot of times
what you do is you hang your camera on your shoulder.
| | 00:34 | And here is what most people do.
| | 00:34 | They hang their camera on their shoulder this way.
| | 00:36 | Yet, the lens is sticking out.
| | 00:38 | It's going to get hit by something
if I walk around a corner.
| | 00:40 | So here is what you want to do.
| | 00:42 | You want to change the way you hang your camera
so that the camera points towards your back.
| | 00:46 | It's much more discrete and in addition
it's not going to hit by anything.
| | 00:49 | Then when you want to take a picture,
swing it out, anchor your elbow there,
| | 00:53 | fire away and you'll create some amazing photos.
| | 00:55 | All right, well, I hope you enjoyed this photo tip.
| | 00:58 | Bye for now.
| | Collapse this transcript |
|
|
4. The Library: EssentialsThe Navigator| 00:00 | In this movie, we're going to learn more
about the Library module in particular.
| | 00:04 | We're going to learn about the Navigator panel.
| | 00:06 | And in this movie, and in the next few movies, actually
all the way up to chapter 10, we're going to be working
| | 00:10 | on the images that you can find
in the 02 folder, Library module.
| | 00:14 | So you definitely want to navigate to that folder
and then click on the subfolder, engagement photos.
| | 00:19 | All right, lets go ahead and look up at the Navigator panel.
| | 00:22 | It's a kind of interesting, isn't it?
| | 00:23 | As I rollover photo, I get a live preview of the
different photos inside of this particular folder.
| | 00:29 | That is really helpful, because it can help me
determine if I want to click on a particular folder.
| | 00:33 | I can also hover over the images in the filmstrip
here and then click on an image to select that.
| | 00:39 | So, again, I get a live preview in my filmstrip as well.
| | 00:42 | Navigate to the Grid View mode by pressing the G key.
| | 00:45 | When I hover over the images no live preview,
I only get that in the filmstrip below,
| | 00:49 | and then also in the folder structure over here.
| | 00:52 | All right, well, now that, I know, I'm going to be
working from this particular folder, lets go ahead
| | 00:56 | and close this folder, so its not distracting.
| | 00:58 | The other thing that I want to do is open
up a little bit more space for the image.
| | 01:02 | So when I double click the image and go to this Loupe View
mode, I notice that the image is actually pretty small.
| | 01:07 | So I'm going to press a shortcut
key to hide the panels on the right.
| | 01:11 | You remember this one; it's the F8 key.
| | 01:13 | So press F8 that will open or close the panels on the right.
| | 01:17 | Great, OK, well, now lets go back to the Navigator panel.
| | 01:20 | And now that we're in this view mode
lets deconstruct what we've at top.
| | 01:24 | Fit, Fill, 1:1 and 3:1, interesting!
| | 01:28 | How do these work?
| | 01:29 | Currently, I'm in this Fit view.
| | 01:31 | If I press F8 again, you notice that the image changes
size, so that it fits inside of that image view area.
| | 01:37 | Alternately, if I choose Fill, what it does is
it zooms in and fills the entire image area.
| | 01:43 | And then, if I press F8, it didn't really resize
the image, it only repositioned the image.
| | 01:48 | Now that is pretty interesting.
| | 01:50 | Now I'll go to 1:1.
| | 01:51 | That's this image at 100%.
| | 01:53 | Click and drag around the image.
| | 01:54 | I want to see if the eye is sharp.
| | 01:56 | Yes, that is.
| | 01:57 | Now when I press F8, it did not
change the size of the image at all.
| | 02:00 | So the 1:1 view are the actual
pixels in this particular image.
| | 02:04 | If I click again, it takes me back to the
Fill because it remembers where I click.
| | 02:09 | Now, this is kind of sound a little bit
strange, but stick with me for a second.
| | 02:13 | I'm going to choose Fit and then I'm going
to click on the image and it went to 1:1,
| | 02:18 | because it remembered that I had chosen 1:1 previously.
| | 02:22 | Next, I'm going to choose Fit and now choose 3:1.
| | 02:25 | OK, that's way zoomed in here.
| | 02:27 | Now when I click on the image it
toggles between Fit and 3:1.
| | 02:32 | It's as if it remembers where I was.
| | 02:34 | Also you notice that wherever I click the
image is zoomed into that particular area.
| | 02:38 | Now that's really nice.
| | 02:39 | So there is a bit of a logic built into this.
| | 02:42 | I click on 1:1 and then click on the image and now
it's toggling back and forth between Fit and 1:1.
| | 02:48 | Now that doesn't make sense at all.
| | 02:50 | If you're thinking, "Chris, you're crazy,
I don't know what you're talking about."
| | 02:53 | Just keep this in mind that these
buttons have a little bit of a memory.
| | 02:57 | Based on where you click, it determines your zoom
rate, when you actually click on the image itself.
| | 03:03 | OK, well, back to these different buttons.
| | 03:05 | Fit, we know, fits in the image area.
| | 03:07 | Fill is, fills all the way up, 1:1 is
give me the actual pixels and then zoom
| | 03:11 | and then 3:1 is zooming this image to a specific percentage.
| | 03:15 | Now there are a number of different options we can choose.
| | 03:17 | We can choose it by clicking on the popup menu and we
can go all the way up to 11:1 and go back with start 8:1.
| | 03:24 | We can see that is zoomed way in.
| | 03:26 | Now when I go to 11:1, this particular zoom right was
added as tribute to the movie Spinal Tap because a number
| | 03:32 | of the people on Lightroom team enjoyed that movie.
| | 03:35 | You can change this particular zoom rate.
| | 03:37 | Again we can just go to a 2:1 zoom rate.
| | 03:39 | So it's not quite as intense.
| | 03:41 | So we can get in a little bit closer.
| | 03:43 | So you can completely customize that.
| | 03:45 | All right, well, lets go back to Fit and look at,
one more thing in regards to the Navigator panel.
| | 03:50 | Well, so far we've learned quite a bit.
| | 03:51 | The last thing, I want to reiterate is that
when you click on the image and you zoom in,
| | 03:56 | you can't click and drag to reposition the image.
| | 03:58 | Or you can click on this little box and drag around the
image, in order to see different aspects of the image
| | 04:03 | and evaluate it, at the different zoom rate.
| | 04:06 | The Navigator panel is not only helpful for zooming
in and out on the image and evaluating image.
| | 04:11 | It will become helpful later when we
get to the other modules in regards
| | 04:14 | to previewing different presets and other things like that.
| | 04:17 | And we'll look at that more in the other chapters.
| | 04:19 | Yet for now this wraps up our look at how we can use
the Navigator panel in order to evaluating an image
| | 04:24 | or zoom in on an image inside of the Library module.
| | Collapse this transcript |
| Working in the Grid and Loupe views| 00:00 | In this movie, we're going to continue
to work with these engagement photos.
| | 00:03 | And we're going to learn a little bit about the Grid and the
Loupe View modes as well as, learn a few navigational tips
| | 00:08 | that will help us out with the
Grid and the Loupe View modes.
| | 00:11 | We currently have this image selected
and I'm in the Grid View mode.
| | 00:14 | Now lets talk about a couple of different ways to
navigate between the Grid and the Loupe View mode.
| | 00:18 | One way is to double click the image and then
double click again to go back to the Grid View mode.
| | 00:23 | Another technique that you can use is the shortcut keys.
| | 00:25 | Press the E key to go to the Loupe View mode and then
press the G key to go back to the Grid View mode.
| | 00:31 | Finally, if you don't like shortcuts, what
you can do is simply click on these icons.
| | 00:34 | These icons are great.
| | 00:35 | And there is an icon for the Loupe View mode and
then there is the icon for the Grid View mode.
| | 00:40 | And lets say that I want to see all
of my images in a one big Grid here.
| | 00:43 | So I'm going to get rid of my panels
on the left and the right.
| | 00:46 | I'm going to use that shortcut key we've
learned, the Tab key, remember that one.
| | 00:49 | So I'll go ahead and press the Tab key that
will hide the left and the right-hand panel.
| | 00:54 | And once I do that, I realize, Gosh!
| | 00:55 | My thumbnails are kind of small, based on my resolution
and based on how many images I have in this particular set.
| | 01:01 | I want to increase the size of those thumbnails.
| | 01:04 | So what I'm going to do is, navigate down to the
toolbar and click on this contextual menu here
| | 01:08 | and then choose the option for thumbnail size.
| | 01:11 | That will display this particular thumbnail slider.
| | 01:14 | Here I can increase the size of those thumbnails
| | 01:17 | and that can be really helpful
especially if I have a real large monitor.
| | 01:20 | So you want to dial this in, so that it makes sense for
your own photos, your own resolution and your own work flow.
| | 01:25 | All right, I'm going to press tab to bring back the
panels because a lot of times you do have those there.
| | 01:30 | Well, so far we've seen how we can assume in with the
Loupe View mode and then pull back with the Grid View mode.
| | 01:36 | What else can we do in regards to these particular modes?
| | 01:39 | One of the things that we can do
in the Grid View mode is scroll.
| | 01:41 | We can click on the scroll bar and scroll up and down.
| | 01:44 | And then if you've a 3-button mouse, we
can simply hover over this area to scroll
| | 01:48 | up and down and then click on a new image.
| | 01:50 | Well, lets says that we want to go to the
filmstrip and scroll to the left or right.
| | 01:54 | We can click on the scroll bar, of
course, or if you've a 3-button mouse,
| | 01:58 | we can use the scroll we'll be
able to scroll back and forth.
| | 02:01 | And this alone may be a reason that it's worthwhile
to get a 3-button mouse if you don't have one.
| | 02:05 | So, so far we've seen that we can
scroll, what else can we do?
| | 02:08 | Here is the shortcut that I want you to remember.
| | 02:10 | It's the J key.
| | 02:11 | When you're in the Grid View mode you can press the J key.
| | 02:14 | And you can scroll through the
different views of the thumbnails.
| | 02:18 | In this case, we've a Compact view
or we can have an Expanded view.
| | 02:21 | We can view Extras.
| | 02:22 | Now if you don't like shortcut or if you forget that
shortcut, you can always select those options by navigating
| | 02:28 | to the view menu, Grid View Style and then choose
one of these options, either choose Compact
| | 02:34 | or Expanded or there is that shortcut for the J key.
| | 02:37 | You can also choose those Extras that I was showing as well.
| | 02:40 | All right, well, that works really
well with the Grid View mode.
| | 02:43 | What about the Loupe View mode?
| | 02:44 | Lets double click the Zoom in on this image.
| | 02:46 | All right, great, here we've this photograph.
| | 02:48 | Press the right arrow key and scroll
through this little set, and say great.
| | 02:52 | I want to see the information about this image.
| | 02:54 | There is a shortcut key to access this information.
| | 02:57 | It's the I key.
| | 02:59 | When I press the I key, I see I have the file name.
| | 03:01 | I have the date and the time it was shot.
| | 03:03 | I also have the file size and if I pressed that
again, I can see that I have different information.
| | 03:08 | Now if I'm looking at an image that
is in the vertical orientation.
| | 03:11 | Lets see if I can find one here.
| | 03:12 | It's going to overlap the image.
| | 03:14 | So that's going to obstruct my view a little bit.
| | 03:16 | That's why you want to write that
shortcut down, the I key, the Info Overlay.
| | 03:21 | We can also go to the view dropdown menu and go the
Loupe info and then here those different options.
| | 03:26 | We've Info 1 and 2 and then the
Cycle the different info on display.
| | 03:30 | Now for like me you probably wondering
how you modify all those options.
| | 03:34 | There is a lot going on there.
| | 03:35 | What you can do is, go to view options.
| | 03:37 | This will open the Library View Options dialog.
| | 03:40 | And there are a couple of things that we can do here.
| | 03:42 | One is we've the Loupe View.
| | 03:44 | We can choose the Loupe View info,
File name, Capture date and time.
| | 03:48 | I'm going to change that to F-Stop and ISO Speed Rating.
| | 03:54 | So my first Loupe info is going to be F-Stop and speed rate.
| | 03:57 | Lets close that and then we'll
go ahead and look at down there.
| | 04:00 | We shot at f-28 and ISO of 100.
| | 04:04 | Now when I press the I key, it goes to that second info.
| | 04:06 | I'm going to go to view menu and choose view options.
| | 04:09 | Now the second Loupe info is right
here and there the options there.
| | 04:13 | Now it also gives me the option to show a
message when loading or rendering photos.
| | 04:17 | Now that's typically a good idea.
| | 04:18 | It does not show you that message.
| | 04:20 | You're going to be wondering is the image
is out of focused, what's happening?
| | 04:23 | Because a lot of times you may have not rendered the
preview or you may need to re-render the preview.
| | 04:27 | You definitely want to leave that option
on otherwise things get pretty confusing.
| | 04:32 | All right, lets click over to the Grid View options.
| | 04:34 | OK, we've a couple of different options here.
| | 04:37 | I'm going to go ahead click Show Extras and
the Expanded Cells and I can see the Extras
| | 04:41 | that I can show here and a number of different options.
| | 04:43 | In options I can show clickable items,
I can Tint the cells with label color.
| | 04:48 | I can show the image info in tooltip format.
| | 04:50 | I also have some icons that can
be displayed, some other extras,
| | 04:53 | and then here we've those Expanded Cells extras as well.
| | 04:57 | So now that I have turned those on and I'm
going to go back to the Grid View mode here,
| | 05:00 | and you can see that I have all these little extras here.
| | 05:02 | These are active.
| | 05:03 | So I can again add a star rating and
I can do a number of different things.
| | 05:07 | Add this to a Quick Collection or
remove it from the Quick Collection.
| | 05:10 | Now in my own opinion, having this
information surrounding the thumbnails
| | 05:14 | or on top of the thumbnail is a little bit distracting.
| | 05:17 | Yet, you may find it, its really helpful.
| | 05:19 | Just remember that two shortcuts that I taught you earlier.
| | 05:22 | In the Grid View mode it's the J key that will
toggle through those different view modes.
| | 05:26 | When you go to the Loupe View mode, it's the I key.
| | 05:29 | The Loupe View mode is the I key.
| | 05:32 | The Grid View mode is the J key.
| | 05:34 | All right, well, that wraps up our look
at the Loupe and the Grid View mode.
| | Collapse this transcript |
| Comparing two images| 00:00 | In this movie, we're going to look at how we can
use the Library module to compare multiple images.
| | 00:05 | Now we're going to continue to work on some
photos from this engagement photos folder.
| | 00:08 | So go ahead and select that folder.
| | 00:10 | Then what I'm going to do is actually open up some
more space for the Grid View mode or for the image area
| | 00:15 | by hovering over the line that
separates the left panel and the Grid.
| | 00:19 | And I'm going to click and drag that to the
left to actually change the size of the panel.
| | 00:24 | Next, I'm going to click on the name of
the hard drive here, to close those folders.
| | 00:28 | All right, here we've this Grid View mode and
I increase my thumbnail size just a little bit,
| | 00:32 | so I can see the thumbnails that I'm working on.
| | 00:34 | Now, I realize, you know what?
| | 00:35 | Actually I want to see the more of the thumbnails.
| | 00:37 | So I'm going to use that shortcut key to
hide the left and the right-hand panels.
| | 00:41 | Do you remember that shortcut? It's the Tab key.
| | 00:42 | So, go ahead and press Tab on your
keyboard to hide left and right-hand panels.
| | 00:46 | And now we've a nice view of all these thumbnails here.
| | 00:49 | I'm going to zoom in even a little bit
more by increasing my thumbnail size.
| | 00:52 | Probably shouldn't say zoom in, but
really that's what is happening, right?
| | 00:55 | They are getting a little bit bigger.
| | 00:56 | So I see more of the thumbnail.
| | 00:58 | Now I want to compare a couple of different
images here to decide, which image is a keeper.
| | 01:03 | So I have the first image selected.
| | 01:04 | On the Mac, I'm going to press the
Command key and click on a second image.
| | 01:08 | On a PC, that would be the Control key.
| | 01:10 | Now that I have both of these images
selected, I can navigate to the Compare view
| | 01:14 | simply by pressing the C key or by pressing this
icon here, which will take me to the Compare View mode.
| | 01:20 | Now as I open both of these images, I decide, you know what?
| | 01:23 | I think both of those are great.
| | 01:24 | I kind of like the different perspective.
| | 01:25 | I like the focus one on the girl, one on the guy
especially like how she is looking at the guy.
| | 01:30 | So I think both of these are keepers.
| | 01:32 | I don't really need to compare these in a side-by-side
fashion, but I want to compare some other images
| | 01:36 | and I don't want to leave this Compare View mode.
| | 01:39 | So what I'm going to do is on a Mac, Cmd-click on
one of the thumbnails that's located in the filmstrip-
| | 01:44 | and on a PC that would be Control-click-
to remove that from the Compare View mode.
| | 01:49 | Next, I'm going to click on another
image and I'm going to hold
| | 01:51 | down the Command key for the
Mac and the Control key for PC.
| | 01:54 | Now I'm comparing two very different images.
| | 01:57 | OK, well, that does not really make
sense because these are so different.
| | 02:00 | Hold on the Command key on a Mac and Control key on a PC.
| | 02:03 | Click in the filmstrip.
| | 02:04 | Now that image is gone.
| | 02:05 | And then I'll compare a new image to that
set by clicking on yet another image.
| | 02:10 | Now, my intent on all of that Control-clicking or
Cmd-clicking in the filmstrip was just to illustrate
| | 02:15 | that you can compare multiple images or different images.
| | 02:18 | And you can do that without leaving
this particular compare dialog.
| | 02:22 | Now, that was a little bit too confusing for you.
| | 02:24 | You can always go back to the Grid
View mode, click off everything.
| | 02:27 | Click on one image.
| | 02:28 | Hold on the Command key for the Mac and Control key for PC.
| | 02:31 | Click on another image and then
enter into the Compare View mode.
| | 02:35 | Now you can access the Compare View mode either by
clicking on this icon here or by pressing the C key.
| | 02:41 | So either the icon or the shortcut key toggles back and
forth between this view and then the Grid View mode.
| | 02:47 | All right, well, now I have these two images.
| | 02:49 | And as I'm looking at these images, I noticed that
this is the Select image, this is the Candidate.
| | 02:54 | And I say you know what?
| | 02:55 | This image is so much better; its
more romantic, more interesting.
| | 02:58 | This is kind of a normal photograph.
| | 02:59 | So this is the one that I want to be the Select image.
| | 03:02 | So in order to make that image a Select image
what I need to do is to click on this icon here.
| | 03:08 | When I hover over this icon it will tell
me that I'm able to swap these two images.
| | 03:11 | So, go ahead and click on that, you know that this is
now the Select image and this is the Candidate image.
| | 03:16 | Now, there are a couple of other things that
I can do inside of this Compare View mode.
| | 03:19 | You'll notice that I have some options.
| | 03:21 | I can flag these images.
| | 03:22 | I can give them star rating.
| | 03:24 | So I'm going to go ahead and give this star rating of 2.
| | 03:26 | This is star rating of 1 because
I think it's a little bit less.
| | 03:28 | It's still a good image, but not perfect.
| | 03:31 | Another thing that's really helpful is I
can actually zoom in both of these images.
| | 03:34 | If the images were very similar, I could
zoom in to see if I have critical focus.
| | 03:38 | Now when I do that with these particular
images, I notice that well, I like this image.
| | 03:42 | I think it's nice and romantic; it's not sharp.
| | 03:45 | So after I zoomed in, I saw both those side by side.
| | 03:48 | You know what again I have to change my
rating, this is one star rating, I like that,
| | 03:51 | it's a little bit out of focus, but
it's not just good enough for me.
| | 03:54 | This one is going to go up to the 2 star rating.
| | 03:56 | So as you can see you can use this
Compare View in really dynamic ways.
| | 04:00 | What about if you want to compare more than two images?
| | 04:03 | Well, in order to do that you need to use the
Survey View mode, which we'll do in the next movie.
| | Collapse this transcript |
| Surveying multiple images| 00:00 | You know, there will be times when you're working in the
Library module and you want to compare more than two images.
| | 00:05 | Now in order to do that, you need to
use what's called the Survey View mode.
| | 00:08 | Now let me show you how this works.
| | 00:10 | What we need to do is select more than two images.
| | 00:12 | So, currently I have one image selected.
| | 00:14 | What I want to do is go through and
select a number of different images.
| | 00:17 | I'm going to select the images where
this, particular couple are kissing.
| | 00:20 | So hold on the Command key on a Mac, Control key on a
PC, and I'm going to click on these other images here.
| | 00:25 | And I'm going to go through the Grid View mode or the
filmstrip for that matter and I have all those images there.
| | 00:31 | Next, enter the Survey View mode.
| | 00:34 | There is a shortcut.
| | 00:35 | It's a really weird shortcut key.
| | 00:37 | It's the N key or you can always click on this icon here.
| | 00:40 | Now if shortcuts kind of freak you out, go and just
click on the icon and you'll get there just as quickly.
| | 00:45 | Now when I go to the Survey View mode,
I kind of notice that, you know what?
| | 00:48 | I can't really see what I need to see.
| | 00:50 | It does not show me very much because
the thumbnails are so small.
| | 00:53 | So I need to minimize my interface.
| | 00:55 | I'm going to minimize the interface
in a couple of different ways.
| | 00:57 | The first way is, I'm going to press the F5 key.
| | 01:00 | That will get rid of the Identity
Plate and the module Picker.
| | 01:03 | Next, I'm going to press the Tab key that
will get rid of my right and left hand panel.
| | 01:07 | All right, well, now I can see the images.
| | 01:09 | They are a little bit bigger.
| | 01:10 | Now one of things that's interesting in regards to the
Survey View mode is currently I have one image targeted.
| | 01:15 | You can see the white outline around that image.
| | 01:17 | I can press the arrow key to select it or target a
different image or I can click on that image in this way.
| | 01:23 | I can also use the icons in the toolbar
to scroll through those different images.
| | 01:27 | Now why would you want to select a particular image?
| | 01:30 | Well, if you've an image selected and then press
the 1 key, you'll notice you can add a star rating.
| | 01:35 | So you can access all of your shortcuts to add Flags
or rating or rotate the images and things like that.
| | 01:40 | I'm going to press the 0 key to remove that rating.
| | 01:43 | All right, let's say as I'm looking
at these images, I decide,
| | 01:46 | you know what I want to whittle these down a little bit.
| | 01:48 | I want to have a fewer images here.
| | 01:50 | I don't like all of the images in this view.
| | 01:52 | On a Mac, press the Command key and then click on an image.
| | 01:55 | You notice that the cursor changes when I press the
Command key on a Mac or the Control key on a PC.
| | 01:59 | And then I'm going to remove the image from the set.
| | 02:02 | If I don't want to use that shortcut, I can always
hover over the image and click on this X here
| | 02:05 | and that will remove that particular image from the set.
| | 02:08 | I'm going to go ahead and remove a few of these images here.
| | 02:11 | So that I have it down precise.
| | 02:13 | Now, as I do that, I noticed that it would be kind
of nice to reorganize things here a little bit.
| | 02:17 | I can click and drag these images
and put them in new positions.
| | 02:21 | Now, lets add a different type of an image
just to make this little interesting.
| | 02:25 | I'm down in the filmstrip and I scroll to the
left by clicking on the scroll bar and dragging
| | 02:30 | and hold on the Command key on a Mac, Control key on a PC,
and then click on this image to add this one to the set.
| | 02:36 | Now as I do that, I notice that my orientation
or my organization is a little bit different.
| | 02:41 | Lets add another vertical by holding on the Command
key or the Control key and clicking on that image.
| | 02:45 | Now as I do that here, I have those two side by side.
| | 02:48 | All right, well, if I move these vertical images, its always
going to try to come up with some kind of space scenario
| | 02:53 | that works best for all the images and you
can see that as I'm clicking and dragging.
| | 02:58 | So its not as if it's a freeform light table
or you can put an image anywhere you want to,
| | 03:02 | but you do have some flexibility.
| | 03:04 | All right, I'm going to minimize this even further
and again you're going to see how this works.
| | 03:09 | It's going to try to make this image as large as
I can in order to show all the different images.
| | 03:13 | And then on Mac, I'll Cmd-click this image
or on a PC that would be a Control-click.
| | 03:17 | So I have these two images side by side.
| | 03:20 | Now I said in the beginning that the Survey View
mode is kind of interesting and there may be an image
| | 03:25 | that does not work very well by itself, but
works really well in unison with another image.
| | 03:30 | That's why the reasons I like Survey mode.
| | 03:33 | I look at a single image and I'll say well you
know that little detail shot is not very good,
| | 03:36 | but then I'll combine it with another
image and once I have two side by side,
| | 03:41 | the set is much stronger than the single image.
| | 03:43 | Well, either way as you can see the survey mode is
nonetheless really interesting and you want to experiment
| | 03:48 | with using the survey mode, just to
reiterate a couple of those shortcuts.
| | 03:52 | I'm going to press the G key to
go back to the Grid View mode.
| | 03:55 | First you need to select multiple images.
| | 03:57 | You can select multiple images by clicking
on 1, or in the Command key on a Mac,
| | 04:01 | Control key on a PC, and then click on multiple images.
| | 04:04 | Next press the N key to navigate to the Survey View mode
or click on the icon here to take it to Survey View mode.
| | 04:11 | And then to remove images either click
on the X in the bottom right-hand corner,
| | 04:15 | or hold down the Command key on
the Mac, Control key on the PC.
| | 04:17 | And you can remove the images that way, as well.
| | Collapse this transcript |
| The toolbar| 00:00 | In this movie, we're going to learn about the
toolbar that is located inside of the Library module.
| | 00:04 | Now there is a toolbar, that is
located inside the Develop module
| | 00:08 | and while it looks the same in functions very differently.
| | 00:10 | All right, go back to the Library module.
| | 00:12 | I selected the folder 02 and it's called the Library module.
| | 00:15 | And in order to focus in on the task at hand,
what I'm going to do is press the Tab key
| | 00:20 | to hide the left and the right-hand panels.
| | 00:22 | Now that I have done that I can see the toolbar down below.
| | 00:25 | Now in order to change the content that is displayed in
the toolbar, I can click on, this triangle icon here.
| | 00:30 | And add to the mix the view modes,
there is a Grid View mode,
| | 00:34 | the Loupe View mode, the Compare and the Survey View modes.
| | 00:36 | Now that compresses things quite a bit.
| | 00:38 | So I can't really see everything that I need to.
| | 00:39 | So I'm going to click on that icon again and select
this to uncheck or hide that particular option.
| | 00:46 | All right, lets go through these options here.
| | 00:48 | On the far left, we notice that we've this
tool, which is called the Painter tool.
| | 00:51 | We'll be talking about that later.
| | 00:53 | But it's a really interesting tool that we can use to
add information to our images in pretty unique ways.
| | 00:58 | Next, we've the tool, which is a sorting tool.
| | 01:00 | Currently they are sorted by capture time.
| | 01:02 | And I can inverse that or flip
that by using this particular icon.
| | 01:06 | You'll also notice that the films
here will be updated as well.
| | 01:10 | Now there are a handful of different options for sorting.
| | 01:12 | I can sort by Rating, by Pick, by Label, by File Name,
by Aspect ratio, etc., etc., or I can use a custom order.
| | 01:19 | If I want to do that I would select user order.
| | 01:21 | All right, I'm going to leave that as it is.
| | 01:23 | I can also add Flags, and Picks.
| | 01:25 | You can see those Flags there.
| | 01:27 | You can see as we rollover these
icons they are lit up a little bit.
| | 01:30 | This particular icon is useful for rotating images.
| | 01:33 | Let's zoom in on an image or take it to the Loupe View
mode by pressing the E key or by double clicking the image.
| | 01:39 | And here I can use the Rotation tool.
| | 01:41 | Now there is another way to rotate as well.
| | 01:44 | On a Mac, its Cmd + bracket key, right or left bracket key.
| | 01:48 | On a PC, that's Ctrl + right or left bracket key.
| | 01:51 | Cmd + Right bracket on a Mac is rotate to the right.
| | 01:55 | That would be on the PC Ctrl + right bracket.
| | 01:57 | And then the left bracket key is rotate to the left.
| | 02:00 | We also have the ability to select different photos here.
| | 02:03 | That same thing works with our arrow keys on our
keyboard in order to select different photos.
| | 02:08 | This particular icon here allows us
to enter into impromptu slideshow.
| | 02:12 | This is kind of nice way to show images really quickly.
| | 02:15 | Next, we've a Zoom slider here.
| | 02:17 | So I can zoom on in the image and look at it even closer
and I can also do that when I go to the Grid View mode
| | 02:23 | that zooms slider turns into this thumbnail slider
and then it changes the size of my thumbnails.
| | 02:27 | So when I'm in the Loupe View mode it zooms the image.
| | 02:30 | When I'm in the Grid View mode, it increases
or decreases the size of the thumbnails.
| | 02:35 | The final option that I have here is this
particular file name, which is being displayed.
| | 02:40 | Now if all these information is not helpful
like for me these two arrows are very helpful.
| | 02:44 | I'm just going to use the arrows on my keyboard.
| | 02:46 | That is a really easy shortcut to remember.
| | 02:49 | So I'm going to click on the triangle option.
| | 02:50 | And then from the contextual menu, I'll select
navigate that will then hide that particular option,
| | 02:55 | because I know the shortcut that I can use,
rather than using the icons in the toolbar.
| | 03:00 | So if you're new to Lightroom, I recommend that
you turn a number of those options on, because,
| | 03:04 | that will help you out when you're
beginning to learn Lightroom.
| | 03:07 | Yet, as you progress and as your Lightroom knowledge
deepens, you'll find that you'll slowly be turning those off
| | 03:13 | because you'll need them less and less and less.
| | 03:15 | Yet, for starters just go ahead
and click on that triangle icon
| | 03:18 | and then turn all those selections on and see what they do.
| | 03:21 | You definitely want to click through the different
options, so you'll really know how they work.
| | Collapse this transcript |
| Folders| 00:00 | In this movie, we're going to look at
yet another integral and essential aspect
| | 00:04 | of the Library module and that is Folders.
| | 00:06 | Now I want to share with you a few tips that
will help you get more out of using folders.
| | 00:10 | All right, for starters, you can see that I have the
Folders panel open in the left hand panel over there.
| | 00:15 | In order to see the names of all the different
folders, I need to expand this left hand panel.
| | 00:19 | So I'm going to hover over the dividing line between the
panel and the image area and click and drag to the right.
| | 00:25 | Now I want to open up more space for the image.
| | 00:27 | So I'm going to press the F8 key
to hide the panel on the right.
| | 00:31 | All right, well, now that image is nice and big.
| | 00:33 | This is the photograph of Ralph Clevenger from a recent trip
| | 00:36 | up to Big Sur. We took this trip
to photograph the elephant seals.
| | 00:39 | It was amazing and Ralph Clevenger is an amazing
nature photographer, who was completely inspiring.
| | 00:44 | Anyway, you can see that in my
little folder structure over there.
| | 00:47 | And what I want to do is I want to navigate
to the photos for this particular trip.
| | 00:50 | When I click on the folder, elephant seal
trip, it takes me to that particular folder.
| | 00:54 | Currently, I'm in the Loupe View mode
so I'm viewing the real big image.
| | 00:57 | If I press the G key, it will take me to the
Grid View mode so that I can see all the images
| | 01:02 | and there they are nice and small little thumbnails.
| | 01:04 | All right, I can see that I have three images here.
| | 01:06 | I want to increase the size of these thumbnails.
| | 01:08 | So I'm going to click on the triangle icon
and remove a couple of my options here.
| | 01:12 | So I can view the thumbnail slider make those a little
bit bigger, so you can actually see the images themselves.
| | 01:18 | All right, well, now I can see the images.
| | 01:19 | I want to start to work with these folders.
| | 01:21 | Now there are number of different
ways that we can work with folders.
| | 01:24 | Some of the easiest things that, we
can do is click on the plus icon.
| | 01:28 | We have a handful of different options here.
| | 01:30 | We can add a Subfolder and New Root Folder.
| | 01:32 | We can also display some different information.
| | 01:34 | Lets start off with the display information first.
| | 01:37 | Path From Volume name, here it's going to
show me where is this particular folder.
| | 01:40 | I can also show the folder name plus the path.
| | 01:43 | And again I would need to extend that even further,
so I could see where that folder is actually saved.
| | 01:47 | I'm going to go back and take out the folder
name because that will work a little bit better.
| | 01:51 | I don't necessarily need to see where
that is saved because I know where it's.
| | 01:55 | So in this case, I'm going to create a new
folder, and I'm going to create a new root folder.
| | 01:58 | With that what I'll do is, take it to my
desktop where I can create a new folder
| | 02:01 | and I'll type in adventure_photos and click Choose.
| | 02:07 | Now here you can see that I have that folder up top.
| | 02:10 | Now you can remove that folder one of two ways.
| | 02:13 | I can either click the Minus sign
or right-click and choose Remove.
| | 02:16 | And now when I do that, that folder is gone.
| | 02:19 | All right, well, lets go back to
the folder elephant seal trip.
| | 02:22 | Next what I want to do is organize this
folder a little bit more thoroughly.
| | 02:26 | Currently, we can see that we've
a couple of different images here.
| | 02:28 | We have two images with Ralph and
we then have one just with Seals.
| | 02:31 | What I would like to do is create
some subfolders inside this folder.
| | 02:35 | One subfolder that has pictures of people in it, and then
in another subfolder that has pictures of animals in it.
| | 02:40 | Well how can I do that?
| | 02:41 | Well, one way would be to right-click
or Control-click the folder name here
| | 02:45 | and choose Create folder inside elephant seals trip.
| | 02:49 | Another way would be to go to the
plus icon and choose Add Subfolder.
| | 02:52 | Now when I add a subfolder, what I'm
going to do is name this folder animals
| | 02:56 | and include selected photos in this folder.
| | 03:00 | Now when I open up this up folder, you can
see, I have a subfolder titled animals.
| | 03:03 | Great, all right, well, then I'm going
to go back to the Grid View mode here.
| | 03:06 | I'm going to select both of these images.
| | 03:09 | I select the first one by clicking on it, the
second one by holding on the Command key on a Mac
| | 03:13 | and the Control key on a PC and clicking on that image.
| | 03:16 | And then I'm going to right-click the folder name and
choose create folder inside of elephant seals trip.
| | 03:22 | So I want to show that other technique
there and include the selected photos.
| | 03:26 | And I'll call this one people and Voila!
| | 03:29 | We now have two subfolders.
| | 03:31 | The nice thing about this is if I want to get to
the animals, I simply click on the animals folder.
| | 03:34 | If I want to get to the people, I
simply click on the people folder.
| | 03:37 | And then if I want to see all the images, all that I
need to do is click on the elephant seal trip folder.
| | 03:42 | All right, what actually happens with your folder structure?
| | 03:45 | Lets take a look at that.
| | 03:46 | I'm going to go and open up my Finder window
and then drill down to that particular folder.
| | 03:50 | Here we've the elephant seal trip.
| | 03:52 | Here is the folder with the people images and then
there is a folder with that animal image inside
| | 03:57 | of it. Really interesting. So it actually
created physical new folders for me.
| | 04:02 | Let's say that I'm working outside of Lightroom.
| | 04:04 | And I make some changes outside of the Lightroom,
either to the images or to the folder structure.
| | 04:09 | In this case, I'll make it to the folder structure.
| | 04:11 | And I'm actually going to move these images back to
the main folder, because I decide, you know what?
| | 04:15 | Having all these subfolders just does not make sense for
three images, so I'm going to get rid of those subfolders.
| | 04:20 | Now what's Lightroom going to do?
| | 04:22 | Let's go back there.
| | 04:23 | When I go back to Lightroom, it
still thinks these folders exist.
| | 04:26 | It still thinks the images are in those folders.
| | 04:28 | So I have a bit of problem, right, because
the two folders are not synchronized.
| | 04:33 | So here is what I need to do.
| | 04:34 | Click on the main folder and then right-click
or Control-click and choose Synchronize Folder.
| | 04:40 | Oh! Wonderful. And so now what it will
to do, that it opens this dialog window,
| | 04:44 | which says, "Synchronizing keeps your Lightroom catalog
up to date with the latest changes you may have made
| | 04:49 | to your photos or folders- in this
case- in other applications."
| | 04:52 | So I want to synchronize that folder.
| | 04:53 | It will open up the Import Photos dialog.
| | 04:56 | Because the photos have moved right?
And here I'll click on Import.
| | 05:00 | All right, well, now it updated everything.
| | 05:02 | We can see that it still have those subfolders.
| | 05:04 | They are just empty.
| | 05:04 | To delete those folders, I'm going to
right-click or Control-click and choose Remove.
| | 05:09 | That folder is now gone.
| | 05:11 | Right-click or Control-click and choose
Remove and the next folder is gone.
| | 05:14 | And then click on my elephant seal trip folder
and there we can see I have all three images.
| | 05:19 | All right, lets take a look at another scenario
that requires that you synchronize the folder.
| | 05:24 | Lets say that I'm working on these images and I decide
you know what I want to get rid of this seal photos.
| | 05:28 | So I press the Delete key.
| | 05:30 | This gives me this dialog, which has
a question and a warning message.
| | 05:33 | Do you want to Delete the selected master
photo or just remove it from Lightroom?
| | 05:37 | What that means is, if I delete it, the image is gone.
| | 05:40 | If I remove it, the image still exists
It's just not part of Lightroom.
| | 05:44 | So what I want to do here is remove it.
| | 05:45 | I don't want this image to be part of the Lightroom catalog.
| | 05:48 | I just want these people shots to be a part of the catalog.
| | 05:50 | And then I changed my mind.
| | 05:52 | I decide you know what?
| | 05:53 | I want to bring that image back.
| | 05:54 | I want to resynchronize this folder.
| | 05:56 | So, you know, we need to do here,
right-click, choose synchronize folder
| | 06:01 | and then it will give me this dialog window.
| | 06:03 | I'll click synchronize which will open the import dialog.
| | 06:06 | I'll re-import that image.
| | 06:07 | So now that image is once again part
of this particular Lightroom catalog.
| | 06:12 | All right, well, as you can see right-clicking can give you
access to a number of different really valuable options.
| | 06:18 | Lets take a look at couple other options here.
| | 06:20 | So we're going back to this folder and I'm going to
right-click or Control-click on this folder name.
| | 06:25 | Lets take a look at what we've here.
| | 06:27 | Well, I can show this pretty good
folder and Finder, I can get some info.
| | 06:30 | I can rename the folder.
| | 06:31 | We've already seen that we can create subfolder.
| | 06:33 | We can remove this from the library.
| | 06:35 | And then we can save Metadata, synchronize the folder.
| | 06:37 | We can update the folder location.
| | 06:39 | We can actually export this folder as a catalog as a
stand-alone catalog itself if we want to share this folder
| | 06:46 | and the images inside the folder with someone else.
| | 06:48 | So that they can open up that catalog in the Lightroom
| | 06:50 | and access all the information that
we've in regards to these images.
| | 06:55 | All right, well, on closing I hope that these few tips
in regards to the Folders panel have been helpful.
| | Collapse this transcript |
| Working with catalogs| 00:01 | In this movie, I want to talk a little bit
about catalogs and how to work with catalogs.
| | 00:05 | Now in order to simulate how to work with catalogs, what
I'm going to need to do is to open up a new catalog.
| | 00:11 | So I'm going to navigate to the File
dropdown menu and choose File, New Catalog.
| | 00:15 | Now when I want to do that, it's going to ask
me, where I want to save this new catalog?
| | 00:18 | I'm going to save it on the desktop.
| | 00:20 | I'm going to create a new folder for this catalog
and I'm going to call this folder Demo Catalog.
| | 00:24 | And then inside that folder, I'll name the
catalog, New Demo Catalog, and hit Create.
| | 00:32 | Now when I do that, what's going to
need to happen is Lightroom is going
| | 00:35 | to close and then reopen with this new catalog.
| | 00:38 | Next what I want to do is, I want to
take this out of full screen view mode.
| | 00:40 | So I'm going to press F1 and then F again.
| | 00:43 | Here we can see that I have catalog name up there.
| | 00:45 | If you're on a Mac, you can actually Cmd-click that catalog
name and you can see where that catalog has been stored,
| | 00:50 | in this case, on the desktop in these folders.
| | 00:52 | Now lets go ahead and take a look at those folders.
| | 00:54 | So I'm going to minimize the Lightroom interface here.
| | 00:56 | Push it over to the left just a little
bit and push it over maybe a tad bit more,
| | 01:00 | so we can see that on my desktop I
have this folder titled Demo Catalog.
| | 01:04 | If I open up that folder inside of the
folder there we can see I have the catalog.
| | 01:09 | So go ahead and open that up and it's called
New Demo Catalog and it's currently locked.
| | 01:13 | So what's that means is its locked
down, so I can't make any changes to it.
| | 01:16 | So it doesn't get damaged and that's really nice.
| | 01:18 | I'm going to minimize this window just a little bit and
push this over to the right-hand side here and go back
| | 01:23 | to Lightroom with those numbers visible in the background.
| | 01:26 | What happens to that catalog file
when I bring in some images?
| | 01:29 | Let's give that a try.
| | 01:30 | Shift+Cmd+I on a Mac, Shift+Ctrl+I on a PC and I'm going to
import the photos from my Library module and click Choose.
| | 01:38 | Now as I do that it will ask me,
how I want to import these files?
| | 01:41 | I want to import as is and render the large previews.
| | 01:44 | So it's going to import the files
from their current location.
| | 01:47 | And then you're going to see that this
preview file size number is going to grow,
| | 01:51 | as it is rendering more and more of those previews.
| | 01:53 | And so as it renders those previews, that number increases
and here we can see it's already changed and updated.
| | 01:58 | We also see that the catalog fils size has changed as well.
| | 02:01 | So the file size there is going to be
contingent upon how we're working on our images.
| | 02:06 | Also as we make changes and do different
things, that's going to increase as well.
| | 02:11 | Well now that we've seen how this little
catalog works, what we want to do is navigate
| | 02:15 | to our catalog preferences to see
what we can do there as well.
| | 02:18 | I'm going to navigate to the Lightroom
pull-down menu and choose Catalog Settings.
| | 02:22 | And that will open up the catalog preferences
or the Catalog Settings dialog window.
| | 02:27 | Currently it gives me information about the Catalog.
| | 02:29 | Well, here is the location where it's stored.
| | 02:31 | Here is the actual file name of the catalog.
| | 02:32 | Here is the date when it was created.
| | 02:34 | Is it backed up?
| | 02:34 | Has it been optimized?
| | 02:35 | No. What's the actual file size and
then what are my backup options?
| | 02:39 | How often do I want to backup this catalog?
| | 02:41 | Well, my recommendation is you back it up pretty frequently.
| | 02:44 | Typically, it's a good idea to
select Every time Lightroom starts.
| | 02:47 | Back up that catalog.
| | 02:48 | Because what that will do is it
will create a backup for you.
| | 02:50 | You don't have to worry about it because that
catalog contains some really valuable information.
| | 02:54 | As you can see, it contains all those previews and then
it's going to contain a bunch of other information as well.
| | 02:59 | Now at the very bottom there, it says "Your
catalog is large and has been running slow."
| | 03:03 | Meaning if you've done a lot of work in
your catalog, you made a ton of changes,
| | 03:07 | it's a good idea to re-launch and optimize the catalog.
| | 03:10 | So I'm going to go ahead and do that.
| | 03:11 | It's going to close Lightroom.
| | 03:12 | Now remember my option I had set?
| | 03:14 | I said backup the catalog every time I restart Lightroom.
| | 03:18 | So it's going to do that there.
| | 03:19 | I'm going to go ahead and click Backup.
| | 03:20 | So now it's backing up the catalog
and it optimized the catalog.
| | 03:24 | I'll click OK.
| | 03:24 | It's going to bring the Lightroom back up.
| | 03:27 | And there it is and everything is running well.
| | 03:29 | I'll navigate back to the Lightroom Catalog Settings
and typically what it will read here is the date
| | 03:33 | that it was backed up and the date that it was optimized.
| | 03:36 | Now in my case, because I'm using the
version of the software that has not
| | 03:38 | yet been released, those numbers have not been updated.
| | 03:41 | It's just a small glitch, but you'll see that in
your version of the Catalog Settings dialog window.
| | 03:45 | All right, lets close this and navigate
back to this particular catalog.
| | 03:48 | And here we can see we've the catalog itself
and then it created a subfolder called Backup.
| | 03:53 | And here is the date when that catalog was backed
up and we'll open that up and there is a catalog.
| | 03:57 | There is a backup for that.
| | 03:58 | Wonderful, it backed that catalog up for me so I don't
have to worry about losing any of that information.
| | Collapse this transcript |
| Exporting catalogs| 00:02 | All right, well let's navigate back
to the Lightroom module here.
| | 00:05 | And let's say that I'm working on Lightroom.
| | 00:07 | What I wanted to do is export some of these images
from Lightroom, but I want to export them as a catalog.
| | 00:12 | Well, how do I do that?
| | 00:13 | Well, first things first, I need
to just make a selection of images.
| | 00:16 | OK, so I have clicked and then Shift-
clicked to select multiple images.
| | 00:19 | Next, I need to hold down the Option
key on a Mac, Alt key on a PC.
| | 00:23 | And then you'll notice this Export button changes into
the Export Catalog button or I can always navigate
| | 00:29 | to the File pull-down menu and choose Export as Catalog.
| | 00:32 | It works the same way, either way.
| | 00:34 | You need to save this catalog somewhere.
| | 00:35 | So go ahead and navigate to the desktop
and I'm going to create a new folder.
| | 00:38 | And I'm going to call this folder Export Catalog Demo.
| | 00:44 | And I'll name the catalog Exports Catalog Demo as well.
| | 00:48 | Now, exporting a catalog with six photos.
| | 00:50 | Do I want to include the photos?
| | 00:51 | Yes, I do.
| | 00:52 | Include the negative files?
| | 00:53 | Yes. Include available previews?
| | 00:54 | Definitely.
| | 00:55 | So, I'm going to click Export Catalog.
| | 00:57 | And now it's going to show me the
progress of that particular process
| | 01:00 | and then let's go back to this folder structure here.
| | 01:02 | And let's open up this other folder
called Export Catalog Demo.
| | 01:08 | And I'll resize this window a little bit
so we can take a look at what we have here.
| | 01:11 | And in comparison what we can see
here is we have, definitely the previews
| | 01:15 | that have been exported for those particular images.
| | 01:17 | We also have this catalog file that I
exported and then the folder structure.
| | 01:21 | So I have the 02 library mode and then the images from the
elephant seal trip that were selected and also the images
| | 01:27 | from the engagement photos that were selected.
| | 01:29 | Notice that these are the original files.
| | 01:30 | In this case, the DNG file 10 MB and then in
this case the small little JPEG's 300K or so.
| | 01:35 | So it's exporting all those images.
| | 01:38 | Now let's say that what we want
to do is export those catalogs
| | 01:40 | so that someone else can open it up on their machine,
| | 01:43 | on their version of Lightroom and
begin to work on those images.
| | 01:46 | So what I need to do then is go back to Lightroom.
| | 01:49 | Before I go back to Lightroom, I'm going to minimize
these windows, because we don't need them really any more.
| | 01:53 | And I'm going to navigate to the File
dropdown menu and choose Open Catalog.
| | 01:58 | Now which catalog I'm going to open?
| | 01:59 | Well, I'll go to my desktop there.
| | 02:01 | I'm going to go to the Export Catalog
Demo and then go inside that subfolder.
| | 02:05 | There is the catalog file that I exported and click Open.
| | 02:08 | So as you've noticed every time that you open a
catalog, Lightroom needs to close down and then reopen.
| | 02:14 | So typically it's a good idea to
click on this Don't show again.
| | 02:16 | Of course, it's nice to see that message initially,
but then after a while, OK, I get it, I get it.
| | 02:21 | Now once you got it, go ahead and just
click that option and choose re-launch.
| | 02:24 | And here I have the images
that were selected and exported.
| | 02:28 | That's a really nice way to work because what you
can do then is you can work with multiple catalog.
| | 02:33 | All right, well, I'm going to back to the previous catalog.
| | 02:36 | File > Open Catalog.
| | 02:39 | In this case I want to go back to the catalog that we were
working on, which is our demo catalog and choose Open.
| | 02:45 | It's going to ask me if I want to back it up.
| | 02:47 | Sure. And I'm inside of this catalog and I have these
images, these were the images that were selected,
| | 02:52 | And I'm going to delete those.
| | 02:54 | So I hit the Delete key.
| | 02:55 | Delete them from disk.
| | 02:56 | They have now disappeared.
| | 02:57 | Yet if you remember, I have that other catalog, right?
| | 03:01 | I have that catalog that we exported
with those images in it.
| | 03:03 | What we did last time was we looked
at how we could open that catalog.
| | 03:08 | Let's say, rather than opening the catalog,
I want to integrate the two catalogs.
| | 03:12 | So I have one catalog that contains
both of those images and information.
| | 03:16 | So I'll navigate to the File dropdown
menu, and choose Import from Catalog.
| | 03:22 | Now when I do that and navigate to my desktop and go to the
Export Catalog, we're going to select it and click Choose.
| | 03:28 | It's going to ask me, do I really
want to import from this catalog?
| | 03:32 | Yes, I want to import from this catalog.
Well, what I want to do with the file?
| | 03:36 | Well, actually, I want to copy the
photos to new location in import, right?
| | 03:39 | And the location that I'm going to copy
them to is my Export Catalog Demo.
| | 03:43 | So I want them to be part of this
particular folder structure here.
| | 03:46 | And then I'm going to click Import.
| | 03:49 | Now when I do that what it's going to do is
bring those images into this particular catalog.
| | 03:53 | And so now you can see that I have all
of these images inside of this catalog.
| | 03:57 | Let's go ahead and minimize things a bit here, so that
we can see that we indeed have all of those photographs.
| | 04:02 | Hit the G key to go to the Grid View mode.
| | 04:04 | And then press the F8 key to hide
the panel on the right over here.
| | 04:07 | And make my thumbnails a little bit smaller,
so I can actually see that I have those images.
| | 04:12 | OK, great, well, I have those images,
but I did something wrong.
| | 04:15 | My folder structure does not quite work right.
| | 04:17 | You'll notice here that I have two folder structures for 02
Library module and I have the folder for elephant seal here.
| | 04:23 | And then I have the folder for engagement here.
| | 04:25 | What happened was, when I imported the catalog, I did not
select the correct location when I copy the images in.
| | 04:31 | And I want to do that in order to illustrate what
happens if you don't select the right location.
| | 04:35 | We know how to fix this problem because
we've already talked about folders.
| | 04:39 | All that I need to do here is select the images.
| | 04:41 | I'm going to go ahead and drag them into the correct
engagement folder and move those files to that folder.
| | 04:46 | Select the image as inside of the elephant seal
folder and then drag them to the correct folder.
| | 04:51 | Move those.
| | 04:52 | All right, now this particular
folder, I don't really need it.
| | 04:55 | So I click on it and click on the minus icon.
| | 04:58 | So as you can see, its helpful to know a bit
about folders when you working with Catalogs.
| | 05:02 | Well, all right, we've covered quite a bit of material.
| | 05:04 | If anything in this movie was not
clear, here is my recommendation.
| | 05:07 | Go back and watch it again because knowing how catalogs
work really is integral to working with Lightroom.
| | Collapse this transcript |
| Defining catalogs| 00:01 | Before we can learn how to use Catalogs in more
advanced ways, we need to step back for a moment.
| | 00:06 | And actually talk about what is a Lightroom Catalog.
| | 00:08 | Well, Catalog is how Lightroom tracks the location
of files and remembers information about those files.
| | 00:14 | It's a database that contains Preview
Information, File Location, Metadata,
| | 00:17 | Develop module Settings, Ratings, Keywords and Collections.
| | 00:21 | Why have catalogs?
| | 00:22 | Well, catalogs give you flexibility in managing and
identifying and organizing photos and media files.
| | 00:27 | For example, you can transfer files from one
laptop to a desktop and preserve those changes.
| | 00:32 | So if I did still this, why have catalogs?
| | 00:35 | Well, catalogs give you flexibility in
managing, identifying and organizing photos.
| | 00:40 | What we're going to do in the next few movies
is talk about three different scenarios.
| | 00:43 | The first scenario we're going to look at
is how we can work with multiple computers?
| | 00:46 | Let's say a laptop to a desktop scenario.
| | 00:49 | Then we're going to look at another
scenario, a laptop to a laptop scenario.
| | 00:51 | And then finally we're going to look at how
we can work with catalogs on one computer
| | 00:55 | in order to optimize the catalogs performance.
| | Collapse this transcript |
| Importing catalogs from laptop to desktop| 00:01 | In order to understand Catalogs
lets look at a few common scenarios.
| | 00:04 | The first one, the good old Laptop to Desktop.
| | 00:07 | So here I have my Laptop and I go on a
trip to London and it's an amazing trip.
| | 00:12 | I get some great photos and so I'm going to
work on these photos inside of Lightroom.
| | 00:16 | And I'm going to export the catalog and
the images to an external hard drive.
| | 00:20 | I'm then going to take the images and the
catalog information to my studio desktop.
| | 00:25 | All right, well, the images and the laptop
catalog are now on this little hard drive.
| | 00:30 | And I just created a folder and icon for the
catalog, but I'm also including in there the images.
| | 00:36 | So I have the images plus the database
file on that little hard drive.
| | 00:39 | And what I wanted to do is import
those on to my studio desktop.
| | 00:43 | Now when I import what's actually happening is I'm
taking two catalogs and I'm combining them together.
| | 00:50 | It's really important thing to keep
in mind, import equals combine.
| | 00:54 | So when you import catalogs two becomes one.
| | 00:57 | The end result is a new desktop catalog
that includes all the database information
| | 01:02 | and the images that I have worked on out in the filed.
| | 01:06 | In summary, what we're doing here
is actually merging catalogs.
| | 01:10 | When we're working from a Laptop to a
Desktop, we're taking both of these catalogs.
| | 01:15 | We're importing one into the other and the
end result is a bigger desktop catalog.
| | 01:21 | All right, well that is one common scenario.
| | 01:24 | Yet there are other scenarios that involved
catalogs and will look at those in the next movie.
| | Collapse this transcript |
| Sharing catalogs between multiple computers| 00:00 | Lets consider another scenario.
| | 00:02 | In this case, I have two computers in my studio.
| | 00:05 | One of them is mine and one of them is my studio manager's.
| | 00:09 | And what I want to do is let my studio manager
work on those same images in order to be able
| | 00:14 | to process them and deliver them to the client.
| | 00:16 | So I don't have to deal with that.
| | 00:18 | Well, then how do catalogs come into play in this scenario?
| | 00:21 | Well, in this case, lets call my
laptop, the Location Laptop.
| | 00:27 | Here it's and I bring this with
me on location, to photo shoots.
| | 00:31 | I also bring it back to the studio.
| | 00:33 | Couple of hard drives again and the catalog that
I'm working on, we'll call Location Catalog.
| | 00:39 | OK. Great, so I work on my images in Lightroom.
| | 00:42 | I then export my location catalog,
same thing as we done before.
| | 00:46 | This will then include the images
and the database information.
| | 00:48 | So I export that.
| | 00:50 | I then bring that over to the studio laptop,
in this case, my studio manager's laptop.
| | 00:56 | And I want her to be able to work on these images.
| | 00:58 | What does she need to do in order to access these
images, in order to share this catalog with me?
| | 01:04 | Well, she needs to simply open this
catalog, very different than before.
| | 01:08 | Last time we did an import.
| | 01:09 | This time, we're doing simply an open.
| | 01:12 | So, she will open the catalog, work on
the images, everything will be great.
| | 01:16 | When she is done, if she has made changes, which I'm sure
she will have made, she will need to export that catalog.
| | 01:23 | That exported catalog will then
travel back on this hard drive.
| | 01:28 | I'll bring it back to my Location Laptop.
| | 01:32 | I'll then open that catalog.
| | 01:34 | So the key thing to remember here is that when
you're sharing catalogs across multiple computers,
| | 01:39 | basically what's happening is you're exporting from
one, opening on another, exporting and opening.
| | 01:46 | It's all about export and open.
| | 01:48 | In contrast, in our previous movie,
rather than open, what we did is import.
| | 01:53 | When we import, we combine two catalogs.
| | 01:56 | In this case, I don't want to combine catalogs.
| | 01:57 | Rather I want to share a single
catalog across multiple computers.
| | Collapse this transcript |
| Using multiple catalogs to optimize performance| 00:00 | Let's look at one final scenario.
| | 00:02 | Using Multiple Catalogs, on one computer
in order to optimize performance.
| | 00:08 | Right, in this scenario, we're going to look
at is how we can get the most out of Lightroom.
| | 00:13 | Some of you've possibly experienced this that you've
included all of your images in one gigantic Catalog.
| | 00:20 | As a result, Lightroom is not running
very efficiently or very quickly.
| | 00:24 | All right, what is the solution?
| | 00:26 | Here is a solution that I think will help you out so much.
| | 00:31 | One of the things you need to do is create new Catalogs.
| | 00:33 | And you can do this from Lightroom.
| | 00:35 | And you can create a whole series of Catalogs.
| | 00:38 | Once you've these different catalogs,
you can then open them, one at a time.
| | 00:43 | What that would look like is, selecting a particular catalog
and let's say you've created a new catalog for January 2008.
| | 00:49 | You have all of your images from that particular year.
| | 00:52 | Now how you actually organize these catalogs is going
to really depend on how prolific of photographer you're?
| | 00:58 | How many images you've?
| | 01:00 | I know one wedding photographer that creates
a catalog for each wedding that he shoots.
| | 01:04 | So it's really going to depend on
the volume of images that you create,
| | 01:08 | as well as the performance of your particular system.
| | 01:12 | So let's just say it's a monthly catalog.
| | 01:15 | So I have one for January 2008.
| | 01:17 | I could then open a different catalog for February 2008.
| | 01:21 | I could also have one main Catalog that
includes all of my images for the whole year,
| | 01:27 | for over the last five years for that matter.
| | 01:30 | This one is not going to perform as
well as the other smaller catalogs.
| | 01:34 | Yet, if I want to view all of my images at once, I'm kind
of OK with that, because I know in order to access all
| | 01:40 | of this information, which is actually a
ton of information, I need to do all is,
| | 01:45 | put up with Lightroom performing a little bit more slowly.
| | 01:48 | Now what I'm recommending here is that you use multiple
catalogs on one computer in order to optimize performance.
| | 01:55 | Now keep in mind that I'm generalizing things here.
| | 01:58 | And it's going to look like many
different things for many different people.
| | 02:01 | It may be helpful to experiment with your own
images and figure out what that looks like.
| | 02:06 | I know other people that have a Catalog for a year.
| | 02:09 | They have a Catalog for 2005, Catalog
for 2006, and Catalog for 2007.
| | 02:14 | So may be that you've a larger grouping of images.
| | 02:18 | Again it's going to depend on the volume
of photographs that you actually take.
| | 02:23 | All right, well, keep in mind that in order to
get the most out of using multiple Catalogs,
| | 02:29 | what you're going to do is create new Catalogs.
| | 02:31 | Import the images, then you're
going to open separate Catalogs.
| | 02:36 | And as you open up the separate
Catalogs, one of the things you'll see is
| | 02:38 | that Lightroom will begin to perform much more efficiently.
| | Collapse this transcript |
| Creative tip 2: Backing up your hard drive| 00:00 | Well, I hate to break it to you, but
your hard drive has a limited life span.
| | 00:05 | Seriously. If you were to call up any of the major
hard drive manufacturers and ask for the IT department
| | 00:10 | or the technical support department and say,
how long is my hard drive is going to live?
| | 00:14 | They will tell you, three to five years.
| | 00:17 | So now you've got to stop and think about that for a second.
| | 00:19 | Three to five years.
| | 00:21 | Your hard drive has a limited life span.
| | 00:23 | And you know recently, I was talking with
Peter Crowe, the digital asset management guru,
| | 00:28 | and we were talking about this idea, that
hard drives have a limited life span.
| | 00:31 | And I was explaining to Peter about
this problem that I have.
| | 00:35 | And then the problem is I can't get my students to accept
this fact that hard drives have a limited life span.
| | 00:41 | Now I was asking Peter for advice, and he
said "Chris, here's what you need to do.
| | 00:46 | You need to number all of the workstations
in your classroom.
| | 00:48 | And then once a week you need to
draw a number out of the hat.
| | 00:53 | Now the number that you draw determines
who you get to pick on for that week.
| | 00:57 | And of course, you need all the
students to agree to this beforehand.
| | 01:00 | But you draw the number out of the hat and then
you get to walk up to that particular student
| | 01:04 | and take their hard drive and keep it for one week.
| | 01:08 | Now if that student isn't able to turn in their homework,
the consequence is loss of credit for that assignment."
| | 01:15 | Because it's so important to keep in mind,
that your hard drive has a limited life span.
| | 01:19 | And therefore you should be putting your
files on three different hard drives.
| | 01:25 | Well, my question for you is this.
| | 01:27 | If your number was drawn today would you be OK?
| | 01:32 | Either way my hope for you is this.
| | 01:35 | Let today be the day where you backup your files.
Seriously. Take 15 minutes, you won't regret it.
| | 01:42 | Backup your files.
| | 01:44 | It will be well worth the time that you spend on it.
| | Collapse this transcript |
|
|
5. The Library: Processing ImagesPresets| 00:00 | In this chapter, we're going to begin to look at how
we can process our images inside of the Library module.
| | 00:05 | We'll be working with the images that are
located inside of the wolf family folder.
| | 00:09 | So go ahead and click on that folder and then we'll
select image number 1 in this particular folder.
| | 00:14 | This is the wolf family, beautiful
family, good friends of ours.
| | 00:17 | And now what we want to do is we want to begin to
process this image inside of the Library module.
| | 00:22 | Now in order to access Quick Develop, we can of course
go over to the Quick Develop panel and open and close it
| | 00:27 | by clicking on the triangle icon
here or we can use a shortcut.
| | 00:31 | This is going to be a great shortcut.
| | 00:32 | You'll be using these shortcuts all the time.
| | 00:34 | On a Mac, if you press the Command
key, PC that's the Control key
| | 00:37 | and then press 0 that will take you to the Histogram.
| | 00:41 | And then press 1 that will take you to Quick Develop.
| | 00:44 | Now, press 0 again.
| | 00:45 | It will close Histogram and then 1
again it will close Quick Develop.
| | 00:48 | So what happens is when you hold down the Command key on a
Mac or Control key on a PC, it opens and close the panel.
| | 00:53 | So this will be 0, 1, 2, 3, 4 and
that works in all of the modules.
| | 00:59 | All right, so what I'm going to do here is on
a Mac, press Cmd+1, or on a PC press, Ctrl+1.
| | 01:04 | This opens up the Quick Develop Settings.
| | 01:07 | What I'm going to do is use some presets
in order to speed up my workflow.
| | 01:11 | What I want to do is process this image so that
it looks a little bit old, a little bit antique.
| | 01:15 | So I'm going to click on the Default Settings here
and then I'm going to choose one of my presets.
| | 01:19 | Now, all of these presets come pre-installed with Lightroom.
| | 01:22 | Yet you can add more or create your own.
| | 01:25 | Whatever you create in the Develop
module, will show up here.
| | 01:28 | All right, so I want to choose one of these
presets and lets, say I want to try one of these.
| | 01:31 | Lets try Black and White High Contrast.
| | 01:33 | OK, kind of interesting, but not exactly what I want.
| | 01:35 | Then I'm going to go to this Antique
Grayscale and say all right perfect.
| | 01:39 | That's kind of the aesthetic that I
want to go for this particular image.
| | 01:42 | All right, well, now that I have used up preset the images
in pretty good shape and I would want to modify the exposure
| | 01:47 | and some of the other sliders a little bit.
| | 01:49 | So what I'm going to do is navigate
down to the Tone Control.
| | 01:51 | The first Tone Control option is exposure.
| | 01:54 | What I can do here is increase exposure incrementally.
| | 01:57 | Or I can decrease it, which is actually what I
want to do, right, is a little bit overexposure.
| | 02:01 | So I'm going to decrease to exposure, just a touch there.
| | 02:03 | I'm going to add a little bit of Fill Light by
clicking this icon, just a touch of Fill Light.
| | 02:07 | And then boost the contrast a little bit as well.
| | 02:10 | All right, well, now that I process this image with
this preset, you can see it was a pretty easy process
| | 02:15 | and that's why they call it Quick Develop because
you can quickly and easily modify your images.
| | 02:19 | And in this case, modify your images
with one of your saved presets.
| | Collapse this transcript |
| Quick Develop: White balance| 00:00 | In this movie, I want to talk about how we can
White Balance our images inside of Quick Develop.
| | 00:05 | Now, one of things is interesting in regards
to White Balance is, it doesn't always work.
| | 00:10 | What I want to do is show a couple
of examples where it doesn't work
| | 00:12 | and then finally show an example where it does work.
| | 00:15 | And I want to show you these examples
so you can begin to think about, OK,
| | 00:18 | how am I going to use White Balance in my own workflow?
| | 00:20 | All right, well, I have this nice
photograph of this family here.
| | 00:23 | What I want to do is apply this White Balance setting.
| | 00:25 | So, I'm going to click on the White
Balance pull-down menu and choose Auto.
| | 00:29 | Now when I do that, the image 1, cool,
it actually doesn't look very good.
| | 00:33 | Now, in order to focus in on the image,
I'm going to hide the panel on the left.
| | 00:37 | Do you remember that shortcut?
| | 00:38 | It's the F7 key.
| | 00:40 | All right, now I can really see the difference.
| | 00:41 | Here is the As Shot and then here is the Auto.
| | 00:44 | Well, what Auto is doing is trying to
make my whites white, my blacks black.
| | 00:48 | Well, in this case that doesn't look good
because I have this warm sunset light
| | 00:52 | as of all this green light reflecting off every thing.
| | 00:55 | So, it's a pretty complex lighting situation.
| | 00:57 | So As Shot worked much better than
the Auto White Balance setting.
| | 01:00 | Next, I'm going to look at one of these
photos of these kids throwing up these leaves.
| | 01:03 | Absolutely, wonderful photos here.
| | 01:05 | And what I'm going to do again is apply
this White Balance setting and choose Auto.
| | 01:10 | Well, again it doesn't look very good because
I want that real nice warm golden look.
| | 01:14 | So in many cases, White Balance won't work for you.
| | 01:17 | And in cases of sunset images, I
don't want my whites to be white.
| | 01:21 | I want my whites to be a little bit yellow right.
| | 01:23 | All right, lets pull up the panel
on the left, F7 key to do that.
| | 01:26 | And then I'm going to navigate to the elephant seal folder
and then click on this image of Ralph Clevenger here
| | 01:31 | and then press F7 again to hide the panel
over there so we can see this image.
| | 01:36 | All right, in this image, I would say well the
image is relatively warm, my blacks are black.
| | 01:39 | Everything looks pretty good.
| | 01:41 | Well, lets try the White Balance setting.
| | 01:42 | When I choose Auto here, it actually
warms the image or corrects the image.
| | 01:47 | It looks so much better.
| | 01:49 | In this case because I have a little bit more of a neutral
lighting situation, the White Balance really helps me up.
| | 01:54 | So, the reason I want to show you these different
images is to illustrate the idea that this,
| | 01:58 | White Balance control is not going to be the one control
that will correct all of your White Balance problems.
| | 02:03 | It can be used really effectively on different images.
| | 02:05 | You just have to experiment with that a little bit.
| | 02:07 | You'll get a feel for how it works.
| | 02:09 | Now, here is the good news.
| | 02:10 | If this White Balance control in Quick Develop doesn't
work well for you, well there are a ton of controls inside
| | 02:15 | of the Develop module that you can
use to correct the White Balance.
| | 02:17 | And we'll be getting into that in one of the later chapter.
| | 02:19 | All right, well, that wraps up our conversation
about White Balance in Quick Develop.
| | Collapse this transcript |
| Quick Develop: Image workflow| 00:00 | In this movie, we're going to look at how we can improve
this particular image in regards to its color, its tone,
| | 00:05 | its sharpness, its contrast, right
inside of the Quick Develop module.
| | 00:08 | All right, well before we start, what we need to do
is open up more screen real estate for the image.
| | 00:13 | So let's go ahead and press the F7 key.
| | 00:15 | That will hide the panel on the left.
| | 00:16 | Next, we need to expand all the
controls inside the Quick Develop module.
| | 00:20 | So, I'm going to go ahead and click on those
triangles to open up the options there.
| | 00:24 | All right, well my first option has to do with temperature.
| | 00:26 | Now, here I can make the image either cooler or warmer.
| | 00:29 | Now if I click this arrow here
it's going to make it really cool.
| | 00:31 | If I click this arrow here it's
going to make it really warm.
| | 00:34 | I can also do that by smaller increments here.
| | 00:36 | Well, I want to go for real warm aesthetic.
| | 00:38 | So I'm going to crank that way up.
| | 00:40 | Next I have the ability to tint the image
and again I can tint it one of two ways here.
| | 00:44 | I'm making it more magenta.
| | 00:45 | The other way I'm making it more cyan.
| | 00:47 | Now, in this case the image doesn't look very good.
| | 00:49 | And I have kind of gone too far with it.
| | 00:51 | Well, what can I do to reset this particular image?
| | 00:54 | Well, I want to share a valuable shortcut with you.
| | 00:57 | On a Mac it's Shift + command + R. On a PC
it's shift + control + R. Now if you don't
| | 01:03 | like that shortcut simply click on Reset All.
| | 01:06 | All right, well, now that I have reset everything, I
realized all I need to do is start to warm the image
| | 01:10 | up and I'm going to do that incrementally.
| | 01:12 | Great. I really like that.
| | 01:13 | Next, I'm going to go down to Exposure and again, what
this is going to do is increase the exposure incrementally.
| | 01:18 | Just a small little exposure increase
in this case 1/3 of stop.
| | 01:21 | So I'm going to bring that up a little bit.
| | 01:23 | I'm also going to try to bring my highlights down a tad bit.
| | 01:26 | Bring a little bit of Fill Light in, my blacks
I want to make those a little bit darker.
| | 01:30 | Contrast I'm going to increase
the contrast quite a bit here.
| | 01:33 | And then we have our Clarity and Vibrance sliders.
| | 01:36 | Now what clarity does is it adds a little bit of midtone
contrast, adds a little bit of shape to the image.
| | 01:40 | So I want to click that a few times.
| | 01:42 | Vibrance, I'm going to have that go up.
| | 01:43 | And what about sharpening?
| | 01:45 | Or what about saturation?
| | 01:46 | Well to access sharpening and saturation inside
of Quick Develop, what you need to is hold
| | 01:51 | down the Option key on a Mac, Alt key on a PC.
| | 01:53 | You can think of that shortcut, as give me a New
option or give me a new Alternative view here.
| | 01:58 | And then I have Sharpening and Saturation.
| | 02:00 | All right, so I can boost up the Sharpening a little bit.
| | 02:02 | I'm also going to take the Saturation down, just a
touch, because it felt a little bit over done there.
| | 02:07 | OK, well so far so good.
| | 02:08 | I think the image is looking really nice.
| | 02:10 | Now when you are sharpening, a quick side note, you
do want to view the image in this 1:1 view mode.
| | 02:15 | So I'm going to press F7 to bring back the Navigator panel
and then go to the 1:1 view mode and then press F7 again.
| | 02:21 | Now, I can really see how this image is sharpened.
| | 02:24 | Now this image has been sized down so
we can include it with this training.
| | 02:27 | So as we scroll through we're going to see,
there is a little bit of artifacting here.
| | 02:30 | But I want to pay attention to that as I'm adding my clarity
also as I'm working on my sharpening because I don't want
| | 02:36 | to oversharpen any of the pixelization here.
| | 02:38 | So I need to take my sharpening down, just
a touch, at least on my particular monitor.
| | 02:42 | All right, Cmd+Minus on a Mac,
Ctrl+Minus on a PC, zooms out.
| | 02:46 | I can also zoom back in, Cmd+Plus
on a Mac, Ctrl+Plus on a PC.
| | 02:51 | Let's press the F7 key to bring back that Navigator
panel and then navigate to our Fit In view here.
| | 02:57 | All right, well now that I'm viewing this
image, a kind of stepping back from it almost.
| | 03:00 | Just saying, OK, did I go in a good direction?
| | 03:03 | It's pretty hard to tell, isn't it?
| | 03:04 | Because the image looks good, but how good does
it look in comparison to the original file?
| | 03:09 | Here is a nice little trick you can use.
| | 03:10 | Use that shortcut I told you.
| | 03:12 | It's Reset All, or press the Reset All button here.
| | 03:15 | So I'll click Reset All and then
press Cmd+Z on a Mac, Ctrl+Z on a PC.
| | 03:21 | That will bring back all those settings.
| | 03:23 | Now, when it does that, the image really comes to life.
| | 03:26 | I'll press the F7 to get rid of the panel
over there and look at that in a larger view.
| | 03:30 | click Reset All and then Cmd+Z.
| | 03:32 | It's a nice way to a kind of toggle back and forth to
the before state and then all the way to the after state.
| | Collapse this transcript |
| Synchronizing settings| 00:00 | All right, well, now that we've
applied a few settings to couple
| | 00:02 | of images how then could we copy those
settings and apply them to other images?
| | 00:07 | Or how could we synchronize the settings, so that
multiple images have the same color and tone.
| | 00:12 | All right, well, lets look at how we can do that.
| | 00:13 | But, first lets open up a little bit more space;
press the F7 key to hide the panel on the left.
| | 00:19 | Next, to select the first image, the image looks good.
| | 00:22 | Then we hold on the Command key on a Mac,
Control key on a PC and select the other images.
| | 00:26 | Now as I do that, you notice that they
are all selected in the filmstrip.
| | 00:30 | Next, I'm going to click on the button, Sync settings.
| | 00:32 | That is going to open up the synchronize
settings dialog window and its going to ask me,
| | 00:36 | what do you actually want to synchronize?
| | 00:38 | In this case, I notice that almost everything is checked.
| | 00:40 | We have not applied any local adjustments.
| | 00:42 | We have not applied any spot removal or crops.
| | 00:44 | So those don't really matter.
| | 00:45 | But all the rest of these do.
| | 00:46 | I'll click synchronize.
| | 00:47 | Now when I do that, you'll notice that all three of
these images are now updated with those settings.
| | 00:52 | What that can do for me is speed
up my workflow by leaps and bounds.
| | 00:57 | All right, well, let me show you
one more technique for doing this.
| | 00:59 | The next technique, I want to look
at is selecting this image.
| | 01:02 | And lets say, I want to apply these
settings to another image.
| | 01:04 | This time I'm going to show you
how to do this by way of shortcut.
| | 01:07 | On a Mac, its Shift+Cmd+C, on a PC its Shift+Ctrl+C.
| | 01:13 | That will open up the copy settings dialog window.
| | 01:16 | Again on a Mac, Shift+Cmd+C, on a PC Shift+Ctrl+C and that's
definitely one of the shortcuts you want to write down.
| | 01:24 | And then click copy.
| | 01:26 | Next choose another image and press
Shift+Cmd+V for the Mac, Shift+Ctrl+V for a PC.
| | 01:33 | Again for a Mac that is Shift+Cmd+V,
for a PC that's Shift+Ctrl+V.
| | 01:37 | I know, its some kind of fun to do once you
applied some settings to multiple images.
| | 01:42 | Select both of those images.
| | 01:43 | Click on one.
| | 01:45 | On a Mac, hold down the Command key.
| | 01:46 | On a PC, hold down the Control key.
| | 01:48 | Click on another image and then go over to one of your
Compare View modes, like the Survey View mode here.
| | 01:53 | So you can see those images side by side.
| | 01:55 | Then press the F8 key to get rid of
the panel on the right-hand side.
| | 01:59 | Then press the L key once to dim the light.
| | 02:01 | Press the L key again to turn the lights all
the way off, and really focus in on the images.
| | 02:06 | You know they look so much different when you look at
them without the interface because you stop thinking
| | 02:10 | about the technical aspects and you get a
little bit more of the emotion, of the image.
| | Collapse this transcript |
|
|
6. The Library: Organizing ImagesFlagging, rating, and labeling pt. 1| 00:00 | In this movie we're going to look at how we can flag, star,
and label our images right inside of the Library module.
| | 00:06 | Now typically I import my images into Lightroom.
| | 00:09 | Then I go straight to the Library.
| | 00:11 | And here is where I add flags, stars, or labels
in order to determine which images are Keepers.
| | 00:16 | Now there are number of different ways you
can add this information to your images.
| | 00:19 | Let's take a look at how we can add it
right here inside of the Grid View mode.
| | 00:23 | Now, in the Grid View mode we have different views.
| | 00:25 | We have this compact view.
| | 00:26 | Then if we press the J key we can
scroll through the other views.
| | 00:29 | Now when I go to this particular view, I notice
that I have a yellow label on this particular image.
| | 00:33 | I also can add a Star Rating by simply
clicking on the Star Rating here.
| | 00:37 | Now I can also do that with my number keys on my keyboard.
| | 00:40 | Check this out.
| | 00:41 | 0 is remove stars; 1, add one star;
2, add two stars, so on and so forth.
| | 00:46 | Now if I press 6 through 9, I can
add different color labels.
| | 00:50 | Now as I add those different label colors you can see
that the colors surrounding the images actually updated
| | 00:55 | in the Grid View mode as well as in
the Filmstrip down here way down below.
| | 00:59 | And that's really nice.
| | 01:01 | Well how then do you remove a label?
| | 01:02 | Well, you remove the label simply
by pressing the number twice.
| | 01:05 | So if I press it once it's a yellow
label, press it again now it has no label.
| | 01:09 | To remove stars that's with the 0 key.
| | 01:11 | Now these shortcuts will really help you out.
| | 01:13 | So, you definitely want to write that down.
| | 01:15 | Your shortcuts for your stars, that is 0 through
5, and then for your labels it's 6 through 9.
| | 01:20 | All right, let's look at it a little bit more effective
way to add this type of information to your images.
| | 01:25 | Let's open up a little bit more screen real estate.
| | 01:27 | Press the Tab key to hide the left
and the right-hand panels.
| | 01:29 | Next press the E key to navigate to the Loupe View mode.
| | 01:33 | Now, once I zoom in on the image I realize, wow!
| | 01:35 | Gosh, this one isn't actually a Keeper.
| | 01:37 | It's kind of interesting the Auto
Focus stuff and everything.
| | 01:40 | But, I don't think it's quite a Keeper for me.
| | 01:42 | So, I take the image to the Loupe View mode.
| | 01:44 | So, I can actually see the image.
| | 01:45 | Then what I'm going to do is, use my
arrow keys and scroll through this images.
| | 01:48 | I'm just going to scroll through the images
and determine which images I want to keep.
| | 01:52 | Then I'll press a 1 to add a one
start rating to this particular image.
| | 01:56 | Now as I do that you notice that in the
toolbar it's also updated the 1 star there.
| | 02:01 | Now when I go to the next image and may be the next image.
| | 02:03 | I like this one, and I click on that
1 Star Rating here in the toolbar.
| | 02:07 | So, I can do this by way of shortcut
or I can do it by way of long cut,
| | 02:10 | simply by clicking on the option
inside of the toolbar there.
| | 02:13 | All right, I'm going to press the Right
Arrow Key to select another image.
| | 02:16 | Now you can also add flags to your images.
| | 02:18 | You can see that I have a little flag here.
| | 02:20 | If I click on them that is now a Pick Image.
| | 02:23 | And the shortcuts for the flags are P for
Pick, U for Unpick, and then X for rejected.
| | 02:29 | And you can see we've that a Black Flag there
and we've labeled that image as a Reject.
| | 02:34 | All right, so I'm going to press the Right Arrow
Key and continue to go through these images.
| | 02:38 | I'll give that one a 1 star and then this one a 1 star
and I'm just going to go through a couple of more here.
| | 02:45 | And say, OK, great, I now have some
images with this 1 Star Rating.
| | 02:49 | And I just scroll to the left and now I can see
that I have those images with the 1 Star Rating.
| | 02:53 | Let's go ahead and navigate to the Grid View mode.
| | 02:55 | I'll press the G key to go to the Great View Mode.
| | 02:58 | Now when I go to the Great View Mode, one of the
things you notice is that I have this tool over here.
| | 03:02 | A kind of an interesting tool and we can use it
actually in regards to our editing, if we want to.
| | 03:07 | It's called the Painter tool.
| | 03:08 | I'm going to click on the Painter tool.
| | 03:09 | Now, it gives me the option to paint different things.
| | 03:11 | In this case I'm going to paint a particular
rating and I'm going to choose a rating of 1 star.
| | 03:16 | So I'm clicking on this to choose this option.
| | 03:19 | You notice that it's highlighting the images with 1 star.
| | 03:21 | So when I hover over those the
icon turns into an Eraser tool.
| | 03:25 | Now when I hover over the other images it gives me
the spray can with that one in the middle of it.
| | 03:29 | So if I click I can then add that 1 Star Rating.
| | 03:32 | You can also paint on the ratings with this particular tool.
| | 03:34 | All right, I'll click done to apply those changes.
| | 03:37 | Let's take a look at yet another option in
regards to adding stars, labels, and flags.
| | 03:42 | I want to zoom in here.
| | 03:43 | So I'll press the E key to go to the Loupe View mode.
| | 03:46 | Well as you notice what I have to do
previously was press the Right Arrow key
| | 03:49 | to select a new image press the Right
Arrow key to select a new image.
| | 03:53 | We'll check this out.
| | 03:54 | If you press the Caps Lock Key and then press
a number, I'm going to press a 1 Star Rating.
| | 03:59 | It adds a rating and then jumps
immediately to the next image.
| | 04:03 | And what it does for me is it speeds up my workflow.
| | 04:06 | So I press a 1 here.
| | 04:07 | And if I don't like this image I simply press a 0, which
is a No Star Rating, and then it jumps to the next image.
| | 04:13 | Now of course, I need to remember to press
Caps Lock again to turn off that functionality.
| | 04:18 | Now another way to have this Auto Advance is to
hold down the Shift key and then press 0 through 9.
| | 04:23 | So, here I to press a 1 Star Rating and then
I'll press a 0 for that one and a 0 for that one
| | 04:28 | as well, 0 there, and then a 1 on that one and 1.
| | 04:33 | You noticed that it's auto advanced and what
that did for me is that it sped up my workflow.
| | 04:37 | So as you can see you've a couple
of different options there.
| | 04:40 | All right, well now that we've gone through this editing
process, I want to reiterate a few of those shortcuts.
| | 04:46 | For starters press 1 through 5 to add a
Star Rating, press 0 to remove the stars.
| | 04:50 | Press 6 through 9 to add one of the color labels.
| | 04:53 | 6 is red, 7 is yellow.
| | 04:55 | 8 is green, 9 is blue.
| | 04:57 | And then there isn't a shortcut key for a purple.
| | 04:59 | So if you want to add that label
you need to click on it there.
| | 05:02 | Next, we talk about our shortcuts for our flags.
| | 05:04 | Remember P is for Pick, U is for Unpick or remove the flag
and then X is the shortcut to mark the image as a Reject.
| | 05:12 | Now if you want to remove that Reject
Flag simply press U for Unpick.
| | 05:16 | That will remove that particular flag marking.
| | 05:18 | And then finally we talked about a shortcut
technique that we can use in order to auto advance
| | 05:22 | when we're adding flags, stars, or labels.
| | 05:25 | And that is press the Shift key and then one
of the shortcuts for flags, stars, or labels,
| | 05:29 | or press the Caps Lock key and then press
the shortcut for the flags, stars or labels.
| | 05:34 | All right, well there is quite a bit of good
information that we packed into this movie.
| | 05:37 | I hope this one has been helpful.
| | Collapse this transcript |
| Flagging, rating, and labeling pt. 2| 00:00 | Once you've added Flags, Stars, and Labels you
can use that information in really powerful ways.
| | 00:05 | And I want to talk about that briefly here.
| | 00:07 | And then we'll talk about it more
in the chapter on Filtering.
| | 00:10 | Well, you notice that I have some
images that are picked as Flags.
| | 00:13 | So we can see that here a couple of flagged images.
| | 00:15 | And then these ones are marked with a Reject Flag.
| | 00:17 | So they are a little bit grayed out.
| | 00:19 | We have some images with the 1 Star Rating and then we can
also see that we've some images with this red label here.
| | 00:24 | All right, well how can I take advantage of
this information that I have added to my images?
| | 00:28 | Well, one way that I can take advantage of this
is I can actually delete the rejected photos
| | 00:32 | and I can do that by way of shortcut.
| | 00:34 | On a Mac it's Command Delete.
| | 00:36 | On a PC that's Control Delete, or I
can navigate to the Photo dropdown Menu
| | 00:40 | and simply choose Delete Rejected Photos.
| | 00:43 | Now we'll only delete the photos that are rejected.
| | 00:45 | I don't need to select them, because it knows
which ones are rejected and that is a real nice way
| | 00:49 | to quickly delete the files you don't want to have there.
| | 00:52 | Another thing that I can do in regards to
taking advantage of this information is.
| | 00:55 | I can navigate to my Edit Menu and I can select my files
based on their flags or select the files that are flagged.
| | 01:02 | So I have these two files that are flagged.
| | 01:03 | I can then export those and e-mail
them to a client or friend.
| | 01:06 | And again I can go through this and select by a number
| | 01:09 | of different options here and I
can go to my Color Label as well.
| | 01:12 | So now you can see that I have selected
the files that have that red label.
| | 01:15 | Well there is more that we can do in regards to Filtering.
| | 01:18 | And again we'll cover that in one
of the subsequent chapters.
| | 01:20 | But at least here I want to show you that you can take
advantage of this information in some pretty unique ways.
| | Collapse this transcript |
| Using Quick Collection| 00:00 | In the next couple of movies we'll
be talking about Collections.
| | 00:03 | I'm going to start off by talking about Quick Collection.
| | 00:06 | In order to talk about Quick Collections
you need to open up the Catalogue Panel.
| | 00:09 | So let's go ahead and do that.
| | 00:10 | You'll notice that currently I don't have any
images inside of the Quick Collection there.
| | 00:14 | There are a couple of different ways that
you can add images to the Quick Collection.
| | 00:17 | One way is to simply choose the image
and drag it to the Quick Collection.
| | 00:21 | Another technique that you knew is the
shortcut key and here is the shortcut key.
| | 00:25 | It's the B Key.
| | 00:26 | If I press the B key and it knows that, that
image was to be added to Quick Collection.
| | 00:30 | My number there was updated and I can then press the
B key again to remove it from the Quick Collection.
| | 00:36 | Now, currently you can see there
is a circle on top of the image.
| | 00:38 | That will show me that I can add
this image to the Quick Collection.
| | 00:41 | So, I'll click on that.
| | 00:41 | Now it's pushed down and if I push it again
it shows me that that has been pressed.
| | 00:45 | So it's not part of the Quick Collection.
| | 00:47 | When I roll over my images I see that I have that
option to add those images to the Quick Collection.
| | 00:52 | Now another way that we could add our images to the
Quick Collection will be, to navigate to our Edit Menu
| | 00:57 | and choose Select Photos by the rating all
the 1 star photos and then press the B Key.
| | 01:04 | Now, all the photos with that 1 Star Rating are now part
| | 01:07 | of the Quick Collection including this
original photo that I added to it.
| | 01:10 | I need to remove that one as it
doesn't have the 1 Star Rating.
| | 01:13 | Now in order to see all the images that have that 1 Star
Rating, all I need to do is to click on Quick Collection.
| | 01:19 | That then shows me these particular images.
| | 01:22 | Now, has it moved these photos or relocated them?
| | 01:24 | All it has done is quickly and temporarily
put these images in a little set.
| | 01:28 | Now, if you want to make the set of images a little bit
more permanent, you need to create an actual collection
| | 01:33 | as opposed to a Quick Collection
and we'll do that in the next movie.
| | Collapse this transcript |
| Collections| 00:00 | In the previous movie, we added
these images to a Quick Collection.
| | 00:04 | Now what we want to do is make a
real collection out of these images.
| | 00:07 | And this is going to be kind of interesting.
| | 00:09 | What we need to do is open up the Collections panel.
| | 00:11 | And then we're going to click on the plus icon.
| | 00:13 | I want to make sure all the images are selected.
| | 00:14 | So, I'm going off them, click on the first image.
| | 00:16 | Hold down the Shift key.
| | 00:17 | Click on the last image.
| | 00:18 | Now they are all selected.
| | 00:19 | Then click on the plus icon.
| | 00:21 | I first want to create to a collection set.
| | 00:24 | That will be my main folder.
| | 00:25 | And I'm going to name this main folder
Engagement Photos, and click Create.
| | 00:30 | And then inside of that main folder Engagement
Photos, I may have some different collections.
| | 00:34 | All right, let's click on the plus
icon and now Create Collection.
| | 00:38 | I'm going to name this collection Sarah and Brian.
| | 00:42 | I want it to be part of the Engagement Photos Set.
| | 00:44 | I want to include the selected photos and I don't
want to include the virtual copies right now.
| | 00:49 | I want to just have these original
files reference in this collection.
| | 00:52 | So I'll go ahead and click Create.
| | 00:54 | Now what's happened is it hasn't moved photos.
| | 00:56 | It hasn't copied photos.
| | 00:58 | All it does is just giving me a way to access
specific photos from a particular folder.
| | 01:03 | So, now that I have all these images in this
particular folder I can go back to my Folder Structure
| | 01:07 | and I'm going to navigate to the folder Engagement.
| | 01:11 | And here we've the engagement photos.
| | 01:12 | And if I want to do quickly, then go
from that folder to the selected photos.
| | 01:16 | All I need to do is go to the Collections Panel.
| | 01:19 | Click on that Collection and now I have all of these images.
| | 01:22 | Let's say that I want to create
yet another set of these images.
| | 01:26 | And this time, I want these images to be black and white.
| | 01:29 | I'll click on the first image.
| | 01:30 | Hold down the Shift key.
| | 01:32 | Click on the last image.
| | 01:33 | So now they are all selected.
| | 01:34 | You can also press Cmd+A on a Mac, Ctrl+A on a PC.
| | 01:38 | That's the shortcut to select all.
| | 01:40 | Once again that is shortcut Cmd+A
for the Mac, Ctrl+A for the PC.
| | 01:44 | Once we selected all of the images, we'll navigate
to the plus icon, choose Create Collection.
| | 01:50 | This time we're going to make new virtual copies.
| | 01:53 | We're going to name this Sarah and Brian
dash BW for black and white and hit Create.
| | 01:58 | I'm going to expand the view here
so we can see that little BW there.
| | 02:03 | So, now I have two different versions of these files.
| | 02:07 | What I can to do with these files is because I'm in the
Library module, I'm going to go the Quick Develop panel.
| | 02:11 | We've seen this before right.
| | 02:13 | I'm going to hold down the Option
key on a Mac, the Alt key on a PC,
| | 02:16 | that will the take the Vibrance Control to Saturation.
| | 02:20 | And then click to the left.
| | 02:21 | What we're going to do is desaturate this image.
| | 02:24 | I'm going to keep clicking all the
way, until its black and white.
| | 02:27 | We can see its black and white.
| | 02:29 | And then we're going to select that image.
| | 02:31 | Hold down the Shift key, select the rest of the images
and synchronize those settings, and choose Synchronize.
| | 02:39 | Now all of those images are black and white.
| | 02:41 | We'll double click to Zoom In on them.
| | 02:42 | They have all been desaturated.
| | 02:44 | Now if I go back to the first set Sarah and
Brian, those are all the same images in the color.
| | 02:51 | Now, the nice thing about using Collections is
that I can group images in a real unique way.
| | 02:55 | And I can have different sets of the same images.
| | 02:58 | So, hopefully you're starting to see the possibilities here.
| | 03:01 | Collections are phenomenal way to group and organize images.
| | 03:05 | And it doesn't take extra file size.
| | 03:06 | It doesn't slow down the way your system works.
| | 03:08 | It's just a quick and easy way to
organize and access your photographs.
| | Collapse this transcript |
| Smart Collections| 00:00 | In the previous movie we created
a couple of Regular Collections.
| | 00:04 | In this movie we're going to learn a
little bit about Smart Collections.
| | 00:07 | So let's navigate to the Collections Panel
and open up the Smart Collection Set.
| | 00:11 | Well, inside of the set you can see that Lightroom
has come pre-installed with a few Smart Collections.
| | 00:17 | Well, what exactly are Smart Collections?
| | 00:19 | Well, just as the name implies they are
collections with a little bit of logic built in.
| | 00:23 | So, here is what I can do.
| | 00:24 | I'm currently selecting this collection "Sarah and Brian."
| | 00:26 | I'm holding the Command key on a Mac, Control key on a PC,
| | 00:29 | and then I want to show the images
from the set that are colored red.
| | 00:33 | Just from this set here.
| | 00:34 | So, then I'll click on that option and it
shows me just the images that are colored red.
| | 00:39 | Now had I not selected "Sarah and Brian"
first, it would show me all the images
| | 00:43 | in my entire catalog that were colored red.
| | 00:45 | So if I want to limit this to a specific collection.
| | 00:48 | I first need to select that Collection
and then select the Smart Collection.
| | 00:52 | All right, let's go ahead and turn that off by holding
on the Command key on a Mac, Control key on a PC.
| | 00:57 | So now that Smart Collection has quote turned on
because I want to create yet another collection.
| | 01:02 | I'm going to go through these images here and
I'm going to add some new Star Ratings to these.
| | 01:06 | So I'll double click this image to
zoom in on it into the Loupe View mode.
| | 01:08 | I'll press 2 to add a 2 Star Rating.
| | 01:10 | That one is a 2 as well.
| | 01:11 | I want to get a couple more that
are 2 here that I specially like.
| | 01:15 | All right, let's take this back to the
Grid View mode by pressing the G Key.
| | 01:19 | You notice that I have a few images with a 2 Star Rating.
| | 01:22 | I want to create a new Smart Collection that will
show me just the images that have a 2 Star Rating.
| | 01:27 | So, I'm going to click on the plus icon.
| | 01:28 | I'll choose Create Smart Collection.
| | 01:31 | I wanted it to be part of the set Smart Collections.
| | 01:34 | I'm going to name this one 2 Star.
| | 01:38 | Next, I wanted to match all the following rules.
| | 01:40 | The Rating, and here you can see we've a number of different
options that we can choose for our Smart Collections.
| | 01:45 | I'm going to choose rating.
| | 01:47 | I wanted to be exactly 2 stars and click Create.
| | 01:51 | All right, well, now I have that new Smart Collection.
| | 01:53 | It's going to show me all the images in my
entire catalog that have this 2 Star Rating.
| | 01:58 | Now, if I want to limit it to a
particular set, I'll click on the Set,
| | 02:01 | hold down the Command key on a Mac, Control key on a PC.
| | 02:03 | And then click on the Smart Collection.
| | 02:05 | So, in this case there aren't any 2 Star
images in this particular collection.
| | 02:09 | Well, if I choose this collection as well, we can then
see that those particular images have that 2 Star Rating.
| | 02:15 | So, in order to select multiple
things in this Collections Panel,
| | 02:19 | again our shortcut is the Command key
for the Mac, Control key for a PC.
| | 02:23 | And I can go through this and remove
collections or add to this.
| | 02:27 | Let's say, I want also to have colored red,
and so I'm going to have 2 Star and colored red
| | 02:32 | from within the "Sarah and Brian Folder."
| | 02:34 | So, one of the things that you can see here
is that Smart Collections are indeed smart.
| | 02:38 | And they can help speed up your workflow.
| | 02:41 | So, if you ever find you're trying to search
for your images or group your images in a way
| | 02:45 | that you're doing again and again and again.
| | 02:47 | It's probably a good idea to create a
Smart Collection that can do that for you.
| | 02:51 | So you can quickly access these images, based on
the different criteria that mean something to you.
| | 02:55 | And then finally, just to highlight, let's go
back to the Smart Collection options for a moment.
| | 03:01 | And you'll notice that we've a wide range of options.
| | 03:03 | So you want to create Smart Collections
again that match your particular criteria.
| | 03:07 | I also want to point out that you can pick
multiple options so that we can have our rating.
| | 03:11 | We can also have an "ISO Speed Rating."
| | 03:14 | We can also go back and choose a particular label.
| | 03:16 | That way I could have an image that has a 1 Star Rating
that was shot at "ISO 100" and has the red label.
| | 03:21 | And then I want to name that a specific name and then
I could take advantage of that collection by having it
| | 03:26 | to be a part of my Smart Collections folder there.
| | 03:28 | Now, I don't want to actually create
that particular collection.
| | 03:30 | Yet, I want to illustrate this idea that you can
customize Smart Collections to your hearts content
| | 03:36 | and make sure that you begin to experiment with that.
| | 03:38 | And, again in your own workflow if you find yourself
repetitively looking for images in the same way,
| | 03:43 | try creating a Smart Collection
because it just might help out.
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| Stacking| 00:00 | In this movie, we're going to learn
about yet another organizational aspect
| | 00:04 | of the Library module and its called Stacking.
| | 00:06 | Now, Stacking can be a bit of an abstract concept.
| | 00:09 | So, rather than talk about it, what I want to do is
demonstrate how we can actually stack our images.
| | 00:13 | So, currently I have one image
selected here, this first image.
| | 00:16 | I'm going to hold down the Shift
key and select the second image.
| | 00:20 | Now, to group or stack these images together, I'm going
to navigate to the Photo, pull-down menu and then go
| | 00:25 | to Stacking and choose Group into Stack or
use a shortcut key that we can see there.
| | 00:30 | Now, you notice that those two
images all of a sudden compressed.
| | 00:34 | It's as if they are on top of each other.
| | 00:36 | You also notice that the icon here changed.
| | 00:38 | It's that handle icon on the left
and right-hand side of this image.
| | 00:42 | Now, if I click that, it expands that particular stack.
| | 00:46 | If I click it again, it closes that stack.
| | 00:49 | So, these images are now grouped in a stack and so they
are, as the name implies, stacked on top of each other.
| | 00:54 | Now, I'm going to navigate back to the Photo,
pull down menu, choose Stacking, and then Unstack
| | 00:59 | or press Shift Cmd+G on a Mac, Shift Ctrl+G on a PC.
| | 01:02 | So now I have removed that Stacking.
| | 01:04 | There are a number of different
ways that we can stack images.
| | 01:07 | Another way that we can stack images is by Capture Time.
| | 01:11 | I'll go ahead and select the first image.
| | 01:12 | Then press the shortcut Cmd+A on a Mac, Ctrl+A on a PC.
| | 01:16 | Again that's Cmd+A on a Mac to select
all, Ctrl+A on a PC to select all.
| | 01:21 | Navigate to the Photo, pull down menu, and
choose Stacking, Auto-Stack by Capture Time.
| | 01:27 | How interesting?
| | 01:28 | What I can do here is, I can actually
stack my images based on the Capture Time.
| | 01:32 | So, as I change the slider here, I'm going
to bring this down to a little bit smaller.
| | 01:36 | It's telling me I have 7 stacks,
4 of my images are unstacked
| | 01:39 | because they weren't captured within
26 seconds of each other.
| | 01:42 | I'm going to increase this a little bit more until I find
a smaller number of stacks here and will go with that,
| | 01:48 | 6 stacks, 3 unstacked and then click Stack.
| | 01:52 | All right, well now that I have done that you
notice that there is the initial Stack Marker
| | 01:57 | and what I can do then is click
on that to expand or collapse.
| | 02:01 | And I'm going to go through and collapse all
of these different stacks until we've a view
| | 02:06 | of these thumbnails, which is going to be much smaller.
| | 02:11 | All right, here we can see that, this image wasn't
part of a stack, either was this image or this image.
| | 02:17 | But then the other images down here are all part of stack.
| | 02:21 | Currently, this image is at the top of the heap.
| | 02:23 | What if I want to change that?
| | 02:25 | I'm going to select on 2 of 6 here.
| | 02:27 | Navigate to my Photo pull down menu, go to
Stacking, and then I'm going to move this either
| | 02:32 | up in the stack or down or move it straight to the top.
| | 02:36 | I'll move this one straight to the top.
| | 02:37 | Now, I notice that those switched orders.
| | 02:39 | Now, this is 1 of 6.
| | 02:40 | And again I can do that either by clicking
on the image or by using the shortcuts.
| | 02:45 | Now, it may be helpful to navigate to this menu on your own
computer and jot down these shortcuts so that you've them
| | 02:51 | and you can refer back to them when
you start to stack your images.
| | 02:54 | All right, I'm going to click back, to this
main window and then click on the first image
| | 02:58 | and then Shift click up here at the top image.
| | 03:00 | So I now have all of the images selected.
| | 03:02 | I can also press Cmd+A or Ctrl+A,
Cmd+A on a Mac, Ctrl+A on a PC.
| | 03:07 | Navigate to the Photo menu and go
to Stacking and choose Unstack.
| | 03:11 | What that's going to do is unstack all of those images.
| | 03:14 | So, I brought everything back to normal.
| | 03:16 | And that wraps up our look at Stacking.
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| Renaming| 00:00 | In this brief movie, I want to share with you, one more
organizational technique that you can perform inside
| | 00:05 | of the Library module, and it's
how you can rename your images.
| | 00:08 | Now, you can rename a single image or a group of images.
| | 00:12 | So, I'm going to go ahead and select multiple images.
| | 00:15 | I'll click on the first image.
| | 00:16 | Then hold down the Shift key and click on another image.
| | 00:19 | There you can see I have selected a set of photos.
| | 00:21 | Next, I'm going to either press a shortcut key F2.
| | 00:25 | Yeah, that's right; F2 or I'm going to
navigate to the Library pull down menu.
| | 00:29 | And I'm going to choose Rename Photos.
| | 00:31 | I'll do the same thing either ways.
| | 00:33 | When I select Rename Photos, it
opens up this Rename dialog window.
| | 00:36 | It's telling me I can rename these eight photos.
| | 00:39 | Now, I have a couple of different options here.
| | 00:41 | Let's say I want to rename them
to some kind of a custom name.
| | 00:44 | From this popup menu, I'll choose Custom
Name plus a Sequence Number and I'm going
| | 00:49 | to rename this Sarah_Brian and then Start Number of 1.
| | 00:54 | And that's going to give me an example of
how those images would be renamed there,
| | 00:58 | Sarah_Brian-1 and then -2, -3, so on and so forth.
| | 01:04 | To apply this renaming, I would simply click OK.
| | 01:06 | Now, I'm not going to apply the renaming because
these are exercise files and I want to keep
| | 01:10 | that naming consistent with what we've done so far.
| | 01:13 | Yet, in order to complete off the process on
your end, all you would need to do would be
| | 01:16 | to click the OK button to apply that renaming.
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|
|
7. The Library: Working with MetadataAdding keywords| 00:00 | In this chapter, we're going to dig
in to how to work with Metadata.
| | 00:03 | In particular, we're going to look
at how to work with Keywording.
| | 00:06 | Now, we all know that Keywording
is something that we should do.
| | 00:09 | And it's not something that we all do
because it can be a little tedious.
| | 00:12 | Yet, things have gotten much better
with this latest release of Lightroom.
| | 00:17 | Now, one of the reasons you want
to add keywords to your images is
| | 00:19 | because it can help you find them really quickly later.
| | 00:22 | All right, in this movie let's take a look
at how we can add keywords to our images.
| | 00:26 | There are two Keywording panels
located inside of the Library_module.
| | 00:29 | The first one is Keywording.
| | 00:31 | The second one is Keyword List.
| | 00:33 | Let's start off with Keywording.
| | 00:34 | Now, when I open the Keywording panel,
I notice there are Keyword Tags,
| | 00:37 | Keyword Suggestions, now that's new, and Keyword Sets.
| | 00:41 | Let's go and expand all of these so
we can see all these windows at once.
| | 00:44 | Now, this particular image has
a keyword already added to it.
| | 00:48 | It's a keyword Wildlife.
| | 00:49 | It shows me that here.
| | 00:51 | I can also add another keyword and
I'm going to go ahead and do that.
| | 00:54 | Press comma and then type in the word
Elephant Seal and press Enter or Return.
| | 01:03 | We'll take a look at what happened with my Keyword Set.
| | 01:05 | It now updated that Keyword Set.
| | 01:07 | It actually took note of what I added and
has built in, a recent Keyword Set down here.
| | 01:13 | Let's go to the next image.
| | 01:14 | When I go to the next image, this
one doesn't have any keywords.
| | 01:17 | But it gives me some suggestions.
| | 01:19 | It says, well, maybe you want to use
Wildlife, maybe you want to use Elephant Seal.
| | 01:22 | In order to add that keyword, all
I need to do is click on it.
| | 01:24 | And Voila that keyword has been added.
| | 01:26 | I can also navigate down to this Keyword
Set and click on one of these keywords.
| | 01:31 | In this case, Wildlife and add the keyword that way.
| | 01:34 | Now, you can build your own Keyword Sets or you can use
Keyword Sets that come pre-installed with Lightroom.
| | 01:40 | In this case, I'm going to go to
this Outdoor Photography Keyword Set.
| | 01:43 | Now, there is another keyword that I want to add here.
| | 01:45 | This one is Winter.
| | 01:47 | So, I have added that keyword to this here.
| | 01:49 | I'll go back to my original image.
| | 01:51 | Now, this image doesn't have that Winter
keyword, but Lightroom knows enough to think.
| | 01:56 | OK, well, what kind of keywords
would this particular image like?
| | 01:59 | When was it captured?
| | 02:01 | What are some of the other keywords?
| | 02:02 | And its going to suggest keywords based on the way
I use Lightroom, based on the way I add keywords.
| | 02:08 | So, there is quite a bit of logic built in here.
| | 02:10 | It's almost as if the Keyword Suggestions
are smarter, have some intelligence.
| | 02:14 | In this case, I'm going to add that final keyword Winter.
| | 02:17 | So, all I need to do is click on it
here in the Keyword Suggestion panel.
| | Collapse this transcript |
| Creating keyword sets| 00:00 | In the previous movie, we looked at
how we can add keywords to our images.
| | 00:03 | Let's review that quickly, and
just select this last image here.
| | 00:06 | And what I want to do is add these three
keywords, suggested these three for me.
| | 00:10 | So, I'm going to go ahead and click and add those.
| | 00:12 | Next, what I'm going to do is type in the Keyword
Tags panel and I'm going to add a few more keywords.
| | 00:17 | I'm going to add in Pacific Ocean,
Beach, Nature, Animals, and Travel.
| | 00:26 | And then press Enter or Return.
| | 00:28 | One thing that's kind of interesting here is,
| | 00:30 | it actually re-ordered my keywords so
that they are in alphabetical order.
| | 00:33 | Now that will help out quite a bit, right.
| | 00:35 | So now if I go to the Keyword Set
and I choose Recent Keywords.
| | 00:39 | Well, it's going to show me all of my recent keywords here.
| | 00:42 | Well, I probably want to be able to
use those keywords again and again.
| | 00:45 | So what I'm going to do is create a Keyword Set.
| | 00:47 | So I'm going to click on this pull-down menu and I'm
going to choose Save Current Settings as a New Preset.
| | 00:52 | And I'm going to name this new
preset Nature and click Create.
| | 00:56 | All right, well now I have my own customized nature
preset, let's take a look at how we can take advantage
| | 01:01 | of this Keyword Set and we'll do that in the next movie.
| | Collapse this transcript |
| Using keyword shortcuts| 00:00 | In the previous movie, we created a Keyword Set.
| | 00:02 | We named that Keyword Set, Nature.
| | 00:04 | You can see that here.
| | 00:06 | What I want to do then is take advantage
of the set that I have already created.
| | 00:09 | So, I'm going to click on my first image,
this image here of Ralph Clevenger.
| | 00:13 | And I notice that I have some of the
keywords, Elephant Seal, Wildlife, Winter,
| | 00:16 | Although I'm missing some other
really integral keywords here.
| | 00:20 | So, what I want to do is I want to add
some of these keywords for my Keyword Set.
| | 00:23 | Now, of course, I could click on the word Animals to add
it that way or I can use this really valuable shortcut.
| | 00:29 | Check this out.
| | 00:30 | If you hold down the Option key on a Mac, or the Alt Key on
a PC, again on a Mac Option key, on a PC that's the Alt key.
| | 00:37 | You'll notice that there are some numbers
appear right next to these keywords.
| | 00:40 | You'll also notice that the keywords that have been applied
are white; the keywords that haven't been applied are gray.
| | 00:46 | So, I want to add the keyword Travel.
| | 00:48 | So I'm going to hold down the Option key on
a Mac, Alt key on a PC then press the 8 key.
| | 00:51 | And it adds that keyword for me then the 9 key
adds that one, then the 4 key, and then the 5 key.
| | 00:57 | And I have successfully added all of those keywords.
| | 01:00 | Now, if I'm working on a particular set of images and I
have created this Keyword Set, I would know what those are.
| | 01:05 | And I could quickly go through those by using that
shortcut and add those keywords with that technique.
| | Collapse this transcript |
| Synchronizing keywords| 00:00 | In the previous movie, we looked at how we can
create a Keyword Set in order to take advantage
| | 00:04 | of Keyword Set shortcuts and to
speed up the keywording process.
| | 00:08 | But, some of you may be thinking,
"Chris, isn't there easier ways,
| | 00:10 | isn't there a way I can speed this
up even more Well, there is.
| | 00:13 | Check this out.
| | 00:14 | I'm going to go ahead and select this
particular image and delete all the keywords.
| | 00:17 | So, I'll click in the Keywording
panel and delete those keywords.
| | 00:20 | Next, click on an image that has good keywording.
| | 00:22 | Hold down the Shift key and click
on the image without the keywords.
| | 00:25 | Now, you'll notice that my keywords look a little different.
| | 00:27 | There is an asterisk next to the keyword that
tells me there is some kind of a problem.
| | 00:31 | And the problem is, this image doesn't have the keywords.
| | 00:34 | So, what I want to do is synchronize both of these.
| | 00:36 | So, I'm going to click on the Sync Metadata option.
| | 00:39 | This will open up the Synchronize Metadata dialog window.
| | 00:42 | Now, I don't want to synchronize any of
this information up here, just the keywords.
| | 00:46 | All I need to do now is click Synchronize.
| | 00:48 | All right, now both of those images
have both of those keywords.
| | 00:52 | Well, let's take a look at another scenario.
| | 00:53 | Let's say, I delete the keywords, clicking
in the Keywords panel, and hit Delete.
| | 00:57 | Now, neither of these images has good keywords.
| | 01:00 | What I need to do then is click on an
image with good keywords and then hold
| | 01:03 | down the Shift key and click on these other images.
| | 01:05 | So, now they all are selected.
| | 01:07 | I'm going to hold down the Option key on a Mac, the Alt
key on a PC, again Option key on a Mac, Alt key on a PC.
| | 01:13 | This time, click Sync Metadata, voila!
| | 01:17 | They now all have those keywords.
| | 01:19 | And I didn't have to open up that
Synchronize Metadata dialog window.
| | 01:22 | So that little last technique of holding down
the Option key for a Mac or Alt key for a PC,
| | 01:26 | and clicking on Sync Metadata will
speed up your workflow even more.
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| Keywording with the Painter tool| 00:00 | In this brief movie, I want to talk about how we
can use the Painter tool to add keywords to our images.
| | 00:05 | Well, in order to use the Painter tool, I'm going to need
to minimize the panel on the left. So, I'll press the F7 key
| | 00:10 | that will open up a little bit more space so
that I can actually see what's happening here.
| | 00:14 | Next thing that I'm going to do is click on the Painter tool and
then from this contextual menu, I'm going to choose keywords.
| | 00:19 | Now, I'm going to add in a keyword here and
I'm going to add in the keyword California.
| | 00:22 | Then I'm going to hover over the images.
You'll notice that there is a spray can.
| | 00:26 | I can then click and add that keyword
to assign the keyword California
| | 00:30 | and I'll do that to all three of those photos.
| | 00:32 | Now, when I'm done, all I need to do is click
this Done button here. Now those images all have
| | 00:37 | the extra added keyword. And there is yet another
way that you can add keywords to your images.
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| Creative tip 3: Taking wide-angle shots| 00:01 | Hey, welcome to another photography tip.
| | 00:04 | In this tip, what I want to do is I want to share
| | 00:05 | with you how you can create better photographs
when you're using a wide-angle lens.
| | 00:10 | In my case, I have a 16 to 35 mm
lens and I have this beautiful scene.
| | 00:14 | I have the dock and the ocean and the boats,
and I want to create an amazing image.
| | 00:18 | So, I'm thinking.
| | 00:19 | OK Orwig! Wide-angle lens, I need
a subject in the foreground.
| | 00:23 | So, I'm going to drop down to my knee.
| | 00:24 | And I'm going to get really close to this
foreground subject matter, the dock here.
| | 00:27 | I'm going to look through the view finder.
| | 00:29 | Now as I do that I see, OK, I have a subject
in the foreground, but I don't really like it.
| | 00:34 | The dock isn't very interesting.
| | 00:35 | So, I need to standup and rethink the shot.
| | 00:38 | So I stand up and say, OK, what's this photograph about?
| | 00:40 | Well, really what's interesting is
the water and those reflections.
| | 00:44 | So that's what I want to make my subject in the foreground.
| | 00:47 | So, I need to get close to that object there.
| | 00:49 | So I'm going to go ahead and get really close.
| | 00:50 | I'm going to walk to the edge of the dock here.
| | 00:52 | And I'm going to get down on my knee.
| | 00:54 | Now as I get down on my knee, I'm thinking,
OK, great, I can see those reflections.
| | 00:57 | I then need to position the camera as low
as possible and fire off a couple of shots.
| | 01:02 | Now, that's going to be an amazing photograph.
| | 01:04 | And the reason it's going to be an amazing photograph
is because I have a subject in the foreground.
| | 01:09 | Now, when you're shooting with a wide-angle
lens, a lot of times what happens is
| | 01:12 | people just kind of get lost
because you're showing so much.
| | 01:15 | You need to give them an anchor point.
| | 01:17 | You need some kind of subject
right there in the foreground.
| | 01:20 | And so typically what that means is you need to
recompose with your camera and then you need to get close
| | 01:26 | to that object, or to that subject in order to
have that sense of space, that sense of place.
| | 01:30 | All right, well, that wraps up this quick tip: how you
can create better photographs with wide-angle lens.
| | 01:36 | Bye for now.
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|
|
8. The Library: Finding and Sorting with FiltersFiltering overview| 00:00 | In the previous chapters, we've learned a number
of tips and techniques that are helpful in regards
| | 00:04 | to organizing our images inside of the Library module.
| | 00:07 | In this chapter, what we're going to do is look at
how we can take advantage of all that information,
| | 00:11 | all those keywords; those file
names, the flags, rating the labels.
| | 00:15 | And in particular we're going to look at the Library Filter.
| | 00:18 | Well, you'll notice that I'm in the Grid
View mode inside the Library module.
| | 00:21 | You'll also notice that I have selected
the entire folder O2_Library_module.
| | 00:26 | So I'm looking at all of the images currently.
| | 00:29 | All right, well, now that we're in that folder, let's
hide the panel on the left by pressing the F7 Key.
| | 00:33 | We wont need that for the rest of this chapter.
| | 00:35 | Next, lets look at the library filter up top.
| | 00:37 | Now you can open or close that entire
dialog by pressing the backslash key.
| | 00:42 | So now it's gone.
| | 00:43 | Press it again.
| | 00:44 | Here it comes back.
| | 00:44 | Again, that's the backslash key to
show or hide all of the Library Filter.
| | 00:50 | All right, well, the next thing that we're
going to do is look at these different filters.
| | 00:53 | So, I'm going to go ahead and click on the Text Filter.
| | 00:55 | You can see that I can filter things
by Text, by Attribute, or by Metadata.
| | 01:00 | Let's say I want to have all of
those filters visible at once.
| | 01:02 | Well, all that I need to do is
on a Mac press the Command key.
| | 01:06 | On a PC, press the Control key, now hold
that key down, Cmd+For Mac, Ctrl+For PC,
| | 01:11 | and then click on those different filters.
| | 01:13 | And now in this case, I have all
three of those filters visible.
| | 01:16 | What we can see here is that I can filter or search
or sort my images by a number of different fields.
| | 01:22 | In particular, Text Fields, Attributes,
there is our flags, and our stars,
| | 01:26 | and labels, or by different types of Metadata.
| | 01:28 | All right, well, in order to understand how the
Library Filters work, we're going to first look
| | 01:32 | at the Text Library Filter, and
we'll do that in the next movie.
| | 01:35 | See you then.
| | Collapse this transcript |
| Filtering by text| 00:00 | Welcome back.
| | 00:01 | In this movie, we're going to look
at the Text Library Filter.
| | 00:04 | Now, I'm going to go ahead and hide all
of the other filters by clicking on None.
| | 00:08 | So, they are now all gone.
| | 00:10 | And I want to quickly get to the Text Filter.
| | 00:12 | Now, I can't of course click on the Text Button here.
| | 00:14 | I'm going to go ahead and close that.
| | 00:16 | Or I can press Cmd+F on a Mac, on a PC that's
Ctrl+F, and that will take me to the Text Filter
| | 00:23 | and it will highlight that text field over there.
| | 00:26 | Now, what I want to do first is
do a search based on keywords.
| | 00:29 | You can see that I have a keyword option here.
| | 00:31 | We've added some keywords to these images.
| | 00:33 | I wanted to contain a specific keyword.
| | 00:35 | The keyword I want to contain is California.
| | 00:37 | So I'm just going to start to type California.
| | 00:39 | Now, take a look at what happens.
| | 00:41 | It already updated my window.
| | 00:42 | And I didn't even fully type out that word,
because I wanted to just contain those letters.
| | 00:46 | And based on my keywording, those are the only images that
have keywords with those letters in them in that format.
| | 00:52 | Now, let's say I want to do a different search.
| | 00:53 | I decide, you know, I actually I want to find
some of those photos that are named Engagement,
| | 00:57 | because we named some of those photos Engagement.
| | 00:59 | So, I'm going to go ahead and click
on this magnifying glass icon.
| | 01:02 | Interesting!
| | 01:03 | I can then choose file name here,
which updates the option over here.
| | 01:08 | I wanted to contain not California, but I
want the file name to contain Engagement.
| | 01:13 | So, I'll start to type that.
| | 01:14 | And it's going to show me all of those files.
| | 01:16 | Now, of course, I don't always have to use Contain.
| | 01:18 | So there are a number of different options here
Contains All, Contains Words, doesn't contain.
| | 01:23 | The one thing that I do want to point out though,
if you want to clear this particular text field,
| | 01:27 | click on the X over here and that
will take things back to normal.
| | 01:30 | I can also choose the options through this
menu by clicking on the magnifying glass,
| | 01:35 | and its the same thing that we've here and here.
| | 01:39 | It's just when I click on the magnifying
glass both of those options are combined here.
| | 01:43 | So, sometimes I find that clicking on the magnifying
glass will speed up my searches quite a bit.
| | 01:48 | All right, well, that wraps up our
look at the Text Library Filter.
| | 01:51 | In the next movie we'll look at
the Attribute Library Filter.
| | Collapse this transcript |
| Filtering by attribute| 00:00 | In the previous movie, we looked at how
we could use the Text Library Filter.
| | 00:04 | In this movie, we're going to look at how
we can use the Attribute Library Filter.
| | 00:07 | What we're going to do here is look at
how we can combine both of these filters.
| | 00:11 | Now I have already found the images that have
the file name that contains Enga or Engagement.
| | 00:16 | What I want to do is add to the mix the attributes.
| | 00:18 | So I'm going to I click on the Attribute option
that will open up the Attribute Library Filter.
| | 00:22 | Now I also want to find the images
that have this Red Label Ratings.
| | 00:25 | So I'm going to go ahead and click on that.
| | 00:27 | Now, as you can see here, what I
have are both the files that have
| | 00:30 | that Engagement file name as well as that Red Label.
| | 00:33 | Now, I don't have to use these in unison.
| | 00:35 | I can close the Text Attribute.
| | 00:37 | So, I'm going to go close that field.
| | 00:38 | What I'm going to do is turn off this Red Label.
| | 00:40 | And now I have all the images of my entire library.
| | 00:43 | Here we've all the images.
| | 00:44 | I'm going to scroll through these.
| | 00:45 | Next, I'm going to click on that Red Label.
| | 00:47 | That will then show me all the images
inside of this particular folder
| | 00:50 | that we're working from to have this particular label.
| | 00:53 | Now I can also add to this.
| | 00:54 | I can say what about Red Label plus 1 Star.
| | 00:57 | And, so I'm whittling this down even further.
| | 00:59 | Just to highlight a few things
here, we've the different flags.
| | 01:01 | We've Pick, Unpick, and Rejected.
| | 01:04 | We can also change the way the rating works currently.
| | 01:06 | It's greater than or equal to.
| | 01:08 | If I click on that I can choose rating as less
than or equal to or is exactly one star rating.
| | 01:13 | So we can choose a few different options there as well.
| | 01:16 | Next, we've our Color Labels, which speak for themselves.
| | 01:18 | And then finally we've Copy Status.
| | 01:20 | Now we haven't gotten to creating virtual copies yet.
| | 01:23 | We'll be doing that in the Develop module.
| | 01:24 | But one of the things that you can see here
is you can either show the master photo
| | 01:28 | or you can show the virtual copy.
| | 01:30 | Now once you learn about master photos and
virtual copies, as we'll discuss in one
| | 01:34 | of the later chapters, these attributes
will be really helpful.
| | 01:37 | All right, well, that wraps up our
look at the Attribute Library Filter.
| | 01:40 | Now, onto the Metadata Filter.
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| Filtering metadata by keyword| 00:00 | In this movie, we're going to learn
about the Metadata Library Filter.
| | 00:03 | Now before we begin with the Metadata Library
Filter, what I would like you to do is,
| | 00:07 | to click on your filter O2_Library_module,
so that we're working on all of these images.
| | 00:12 | Next, I want you to press the Tab key to
hide the left and the right-hand panel.
| | 00:16 | Now if you've another panel visible, just keep
pressing the Tab key until you get it to this view
| | 00:21 | or both the left and the right-hand panel are hidden.
| | 00:23 | All right, the next thing, I'm going to do is click on
the Metadata button in the Library Filter Navigation Bar.
| | 00:28 | And once we do that we notice we've a number
of different really interesting options.
| | 00:33 | I have Date, Camera, Lens, and Label.
| | 00:35 | What is it that I can do here?
| | 00:36 | I can say, well, show me the images captured
in 2007 on the 5D with the 16 to 35 mm lens.
| | 00:42 | All right, well, there I have those particular images.
| | 00:46 | Now I can also modify this a little bit.
| | 00:47 | Let's say I want to look at the
images that were captured in 2005.
| | 00:51 | When I do that, all of a sudden my Camera and my Lens and
my Label options have changed because the images captured
| | 00:57 | in 2005 were on D2X with this particular
lens without a label.
| | 01:01 | So, note that as you click through them, you can of
course build things up, but also as you're building
| | 01:07 | up your options or as you're refining your search.
| | 01:10 | You may click on an option that actually expands it a
little bit, and then you've to reselect specific options.
| | 01:15 | All right, well, let's go back to this initial
option, we've 2007, 5D, 16 to 35, great.
| | 01:21 | We have those particular images.
| | 01:23 | Let's say all of a sudden we decide,
I want to sort by these criteria.
| | 01:26 | I want to filter based on something else.
| | 01:28 | All you need to do is click on the Title
and choose another option like Keyword.
| | 01:33 | Now, I say, well, show me the images
with the keyword Animal.
| | 01:36 | Then I get those images, Animals, 5D, 16 to 35.
| | 01:40 | And as you can see, you can really refine your search
| | 01:43 | and really find specific things
with the Metadata Library Filter.
| | 01:46 | And here is the deal: it gets even better.
| | 01:48 | Let's say I want a few more columns.
| | 01:50 | All I need to do is click on the icon on the
far right and I'm going to Add Column here.
| | 01:54 | Now I want to add that next column.
| | 01:56 | I'm going to say, oh, yeah, I want Date
in this one so I can have the animals.
| | 02:00 | I want those animals shot in 2007 on this particular
camera with this particular lens or for that matter,
| | 02:06 | I can change the lens so that I can see a different image.
| | 02:09 | So as you can see, you can customize the
Metadata Filter in some really unique ways
| | 02:14 | that can help you Find, Sort, and Filter your images.
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|
|
9. The Library: Exporting ImagesExporting files| 00:01 | In this chapter, we'll be working from the same folder, the
O2_Library_module Folder and then the subfolder Exporting.
| | 00:07 | We're going to start off by working on this
image of the Santa Barbara lifeguard tower.
| | 00:10 | So go ahead and double click that
to take it to the Loupe View mode.
| | 00:13 | Now, what we're going to do in this chapter is talk
about how we can get our images out of Lightroom.
| | 00:18 | Now, there are a couple of different
reasons why we'd want to do this.
| | 00:20 | One is to simply export the file.
| | 00:22 | The other reason is so we can edit
the file in another application.
| | 00:25 | Let's first look at exporting the Image.
| | 00:27 | In order to export this image and let's
say that I want to export this image
| | 00:31 | so that I can e-mail it to a client
or e-mail it to a friend,
| | 00:33 | what I'm going to do is I'm going to
navigate to the File dropdown menu.
| | 00:36 | Then I'm going to choose Export.
| | 00:38 | This will open up the Export dialog window.
| | 00:40 | Now, there are a couple of things
that we need to point out here.
| | 00:43 | One, is we have a few presets built in.
| | 00:45 | I can say I want to check out the preset for e-mail.
| | 00:48 | Now, that may be a good starting point because I
want to e-mail this particular image to someone else.
| | 00:53 | All right, so I have chosen that option.
| | 00:54 | You'll now see that it has updated
some of the settings here.
| | 00:56 | I'm going to minimize our options here
| | 00:58 | so that we can step back for a second and see what we have.
| | 01:01 | So far we're going to export to a location, it shows me where.
| | 01:03 | I'm going to export the file name this particular way.
| | 01:05 | The JPEG quality, the color space, the image
size, what type of sharpening that I'm going
| | 01:10 | to use, metadata and then some post-processing.
| | 01:13 | All right, well, now that I know how that works,
| | 01:14 | let's go through these one at a time.
| | 01:16 | Well, the export location.
| | 01:17 | In this case it's going to go to a specific folder inside
of my pictures folder in a subfolder titled E-Mail.
| | 01:23 | Well that's fine.
| | 01:24 | I can go to that folder and then I can find
the image and then attach it to an e-mail.
| | 01:28 | Now, if there are existing files in
this folder that have the same name,
| | 01:31 | what I wanted to do is to ask what to do.
| | 01:33 | It will ask me, do you want to
overwrite the file that's already there?
| | 01:36 | So, I'm definitely going to leave that on.
| | 01:38 | Because I don't want to accidentally overwrite a file.
| | 01:40 | Now with the file I'm e-mailing, its not
that important, but if I were exporting it
| | 01:44 | in another way that would be really important.
| | 01:46 | All right, so there is our Export Location.
| | 01:48 | Next, we've our File Naming.
| | 01:49 | Now, we've seen this a number of times already, right?
| | 01:51 | We can use one of these File Naming Templates and in
this case I'm just going to leave the name as it is.
| | 01:56 | Next option is File Settings.
| | 01:58 | Well, there are a number of different options here.
| | 02:00 | I can choose JPEG, PSD, TIF, DNG, or the original
file as it is. Just get it out of Lightroom.
| | 02:05 | In my case I'm choosing JPEG and
because I'm going to e-mail it,
| | 02:09 | I'm choosing a pretty low quality.
| | 02:10 | I might crank that up just a little
bit, maybe right up to 60.
| | 02:14 | Color Space is really important for
e-mail or for images that are going
| | 02:17 | to go online, that they are in that sRGB Color Space.
| | 02:20 | Well ProPhoto is one of the best and
largest and widest gamuts Color Space,
| | 02:24 | it's horrible if the image is going to be viewed
online, in e-mail application or in a web browser.
| | 02:29 | So in my case because I'm e-mailing
the image I'm going to choose sRGB.
| | 02:33 | Nice, this preset is really working out for me.
| | 02:35 | Next option is Image Size.
| | 02:37 | I'm going to resize this image to fit Width and
Height and here I have some size 640 x 640.
| | 02:43 | Now, because I want to e-mail this to a friend
I wanted it to be actually pretty compact.
| | 02:46 | I'm going to change these numbers.
| | 02:48 | I'm going to change them to 400 x 400.
| | 02:50 | Now I'm not trying to proscribe that you need to do that.
| | 02:52 | I'm just simply showing how you
can customize this information.
| | 02:56 | Next, typically it's a good idea to select Don't Enlarge,
| | 02:59 | because if you have a small file you
typically don't want to interpolate.
| | 03:02 | If I'm going to interpolate an image up, most of
the time I like to do that in Photoshop,
| | 03:07 | and I would like to do that with a plug-in
so I can actually see what's happening.
| | 03:10 | Now, under the Resolution, 72, perfect.
| | 03:13 | Next thing I'll put Sharpening.
| | 03:14 | Do I need to sharpen this image at all?
| | 03:16 | Well, it's going to be displayed on screen.
| | 03:17 | So, I'm going to click that on
and choose this Screen Display.
| | 03:20 | The amount of sharpening is standard.
| | 03:22 | I can also sharpen for a Matte Paper or Glossy
Paper if the image is going to be printed
| | 03:26 | and then in this case I can choose Low Standard or High.
| | 03:29 | I'll go with Standard.
| | 03:30 | That should look pretty good.
| | 03:31 | I have some metadata options.
| | 03:32 | If I want to add a copyright watermark or if I want to
embed some metadata. Because this image is just going to go
| | 03:37 | in an e-mail, I definitely want
to minimize the embedded metadata.
| | 03:40 | The final option here is once it's exported
this image, what I want to have happen?
| | 03:45 | Based on this default it's chosen Show In Finder.
| | 03:47 | That will open up a Finder window and I can see the image,
| | 03:50 | and then I can add that to the e-mail.
| | 03:52 | All right, well so far we've walked
through all those options.
| | 03:55 | We're now ready to export the image.
| | 03:57 | I'll click Export.
| | 03:58 | So it's resizing that image, putting in
that folder that we had talked about,
| | 04:01 | and there it is, sb_lifeguard_tower.jpeg.
| | 04:04 | And that image is now ready to be
e-mailed to a friend or a client.
| | 04:08 | Now, in this particular movie I showed you
how to export an image in order to e-mail it.
| | 04:12 | Keep in mind there are a number of different options there.
| | 04:15 | You can export as PSD, you can export
as TIF, as DNG, or the actual raw file.
| | 04:20 | So if you need to get an image out of
Lightroom, the best way to do is File > Export.
| | Collapse this transcript |
| External editing preferences| 00:01 | Now, we're ready to export our images from Lightroom
in order to edit them in another application.
| | 00:06 | Yet before we do that, its worthwhile
to look at the Editing Preferences.
| | 00:10 | In order to open the Preferences dialog
there is a shortcut, do you remember?
| | 00:13 | It's Cmd+Comma on a Mac, Ctrl+Comma on a PC.
| | 00:17 | Of course, you can always go to the
Lightroom Menu and then choose Preferences.
| | 00:22 | All right, this will open up the Preferences dialog.
| | 00:24 | We're going to click on External Editing.
| | 00:26 | One of the things that's nice about Lightroom is
it's indeed called an Adobe Photoshop Lightroom.
| | 00:30 | It synchronizes, it works well, it talks well,
it communicates well with Photoshop itself.
| | 00:35 | So that's our first option, right.
| | 00:36 | We want to edit this image inside a Photoshop.
| | 00:39 | We have a couple of different File Format Options.
| | 00:41 | Now, the best format and the best options are
all the default settings, File Format; it's TIF.
| | 00:45 | Now if we choose PSD its going to give us a
little warning message saying this is going
| | 00:49 | to be a little bit less efficient.
| | 00:50 | Make sure you maximize compatibility.
| | 00:52 | So my recommendation, leave it on a TIF.
| | 00:55 | Next, Color Space, again, the best
Color Space is going to be ProPhoto.
| | 00:58 | If we take it to something else it's
going to give us a warning message.
| | 01:01 | This Color Space can't encompass the
full range of colors within Lightroom.
| | 01:05 | So we're going to take that back to ProPhoto.
| | 01:06 | Then we've bit depth of 16 bits, and
the 16-bit ProPhoto RGB is recommended
| | 01:12 | for preserving all the color details inside of Lightroom.
| | 01:15 | Now, there is a little bit of a
debate about 8 bit versus 16 bit
| | 01:18 | and that been said, 16 bit does contain more information.
| | 01:21 | So, I'm going to leave that option on.
| | 01:23 | We have a Resolution and then Compression.
| | 01:25 | Zip Compression.
| | 01:26 | It will be great.
| | 01:26 | We don't want that.
| | 01:27 | We definitely want to decrease
the file size a little bit there.
| | 01:30 | We can also dial in an additional External Editor.
| | 01:33 | If you're using another editing program
you can dial in the settings here.
| | 01:36 | Finally, we've the ability to apply
some Custom Naming Settings.
| | 01:40 | And we've seen this dialogue before.
| | 01:41 | I'm going to leave this as it is and just
currently export the images with our current name.
| | 01:46 | All right, well that wraps up our look at Preferences.
| | Collapse this transcript |
| Editing inside Photoshop| 00:00 | All right, well, now that we've double-checked
our Preferences as we did in the previous movie,
| | 00:04 | we're ready to export this photo to Photoshop.
| | 00:07 | The easiest way to do that, is to select the photo and
navigate to the Photo pull-down menu and then choose Edit
| | 00:12 | In Photoshop and choose whatever version
of Photoshop you've, the most recent one.
| | 00:17 | There are also some other options here, which
we'll be talking about in the subsequent movies.
| | 00:21 | All right, we'll go ahead and edit this in Photoshop.
| | 00:23 | As you can see we've the file name.
| | 00:25 | Well, currently its named a DNG file, kind of interesting.
| | 00:28 | The file size and format is just as we defined.
| | 00:30 | It's actually in that ProPhoto Color Space.
| | 00:32 | It's 16- bit per channel.
| | 00:33 | So it's a pretty big image here.
| | 00:35 | Well, what I want to do is let's say modify
this a little bit inside of Photoshop.
| | 00:38 | So I'm going to click on the Adjustment
Layer Icon and choose Curves.
| | 00:41 | And I'm just going to modify this, a bit to
make the sunset a little bit more interesting.
| | 00:46 | Little bit more contrast with this image, and click OK.
| | 00:49 | Here is my before and then after.
| | 00:52 | All right, what I like that.
| | 00:53 | What I want to do now is save this image.
| | 00:55 | So, I press Command S on a Mac, Control S on a PC, or
navigate to the File pull-down menu and choose Save.
| | 01:02 | Now, when I do that, let's take a
look at what happens in Lightroom.
| | 01:05 | I'll go ahead and save this file and
I'll close it and go back to Lightroom.
| | 01:11 | Interesting!
| | 01:11 | I now have a DNG file, and then right to the right I have
this file, which is titled sb_lifeguard_tower-Edit.tif.
| | 01:20 | So, I have two different files here.
| | 01:21 | One is a DNG file.
| | 01:23 | One is a TIF file.
| | 01:24 | They are right next to each other.
| | 01:25 | Again, Lightroom and Photoshop work really well together.
| | 01:28 | They are good teammates.
| | 01:30 | And this is one of the reasons that I enjoy Lightroom.
| | 01:32 | It makes my workflow much more
seamless, much more integrated.
| | 01:35 | I don't have to think about things to have those
images included in the library and I really enjoy that.
| | 01:40 | All right, in the next few movies we'll
look at some other Export Options.
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| Opening an image as a Smart Object in Photoshop| 00:01 | In this movie we're going to look at how we can open up
an image from Lightroom in Photoshop as a Smart Object.
| | 00:07 | And along the way I'm going to show you another
technique for selecting Edit in Photoshop.
| | 00:10 | All right, here we've this image.
| | 00:12 | We're in the Library module and
we're in the Loupe View mode.
| | 00:14 | I'm going to right-click or Control-click on the
image, not the background, but the image itself.
| | 00:19 | Next, select Edit In and then open
as Smart Object in Photoshop.
| | 00:24 | Now when I do that, what's going to happen is, it's
going to open up this image inside of Photoshop,
| | 00:29 | and you'll notice that the layer looks a little different.
| | 00:31 | Here we've this icon.
| | 00:32 | This icon is telling me that this is now a smart object.
| | 00:35 | Now I can then work on this particular document.
| | 00:37 | Save it somewhere and then if I want to
modify this particular image in Lightroom.
| | 00:42 | All I need to do is click on that icon
and it will take me back to Lightroom.
| | 00:45 | I can make those modifications because this
image is now a smart object that's sitting inside
| | 00:50 | of this Photoshop document.
| | 00:52 | Now, if you don't know a lot about Smart Objects I recommend
that you check out one of the many Photoshop titles
| | 00:57 | that we've here at the lynda.com library.
| | 00:59 | There are a good number of tutorial movies on Smart Object.
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| Editing multiple images in Photoshop as layers| 00:01 | In this movie, we're going to look at how we can select
two or more images inside of Lightroom and then choose
| | 00:06 | to edit those in Photoshop as a Layer Document.
| | 00:09 | Now, that may sound a little abstract.
| | 00:11 | So, I want to show you a couple of a
different examples how you can do this.
| | 00:14 | Lets see this first example, we've this Lifeguard Tower.
| | 00:16 | What I'm going to do is process this just a little bit.
| | 00:19 | I want to warm up the temperature, tab
it there and that looks pretty good.
| | 00:23 | Then, I'm going to create a virtual copy of this image.
| | 00:26 | Now, we haven't really talked about virtual copies.
| | 00:28 | So here will be a quick introduction.
| | 00:30 | A virtual copy is a copy of the photo.
| | 00:32 | Yet, it doesn't increase your file size
drastically or for that matter much at all.
| | 00:36 | Well, what we need to do here.
| | 00:38 | I want to press Cmd+Apostrophe on a Mac, or
Ctrl+Apostrophe on a PC to create a virtual copy.
| | 00:44 | You'll notice I have another version of
the image down here in the filmstrip.
| | 00:48 | Now with this version of the image,
I'm going to add some Fill Light.
| | 00:50 | So I just want to brighten up the detail a little bit
than I'm looking at on the particular Lifeguard Tower.
| | 00:56 | Now, when I do that the sky doesn't look, as good.
| | 00:58 | So I'm going to add a little Fill Light, a little bit
of Contrast and say, "I think that looks pretty good".
| | 01:04 | And then I want to combine these
two images together in Photoshop.
| | 01:07 | So I'm going to go to the Grid View mode.
| | 01:09 | Press the G key.
| | 01:10 | Next, I'm going to select the master
photo and the virtual copy.
| | 01:14 | I have both photos selected.
| | 01:16 | Next, I'll right-click or Control-click and then
choose Edit In, Open as Layers in Photoshop.
| | 01:24 | Let's see what happens.
| | 01:25 | This will then open both of those images and then
combine them into one document inside a Photoshop.
| | 01:31 | I'll press F to go to full screen view mode and then
Cmd+Plus to zoom in just a little bit and F one more time.
| | 01:38 | Press the Spacebar to reposition the
image near the top on the screen.
| | 01:42 | Well, here is the Background Layer, which
has the nice bright Lifeguard Tower,
| | 01:45 | and then here is the Top Layer,
which has a nice dark sunset.
| | 01:49 | Well, I'm going to move this particular
image to the top of the stack.
| | 01:52 | All right, well, now I have the Lifeguard Tower on top.
| | 01:54 | Next, I'm going to grab the Quick Select tool.
| | 01:56 | Here it's over there in the toolbox, Quick Selection tool,
and I'm going to click and drag across the Lifeguard Tower.
| | 02:01 | I think that will be pretty close.
| | 02:03 | It's not perfect, but its close enough.
| | 02:05 | If I need to fix it up, I can do that later.
| | 02:07 | I'm going to click on the Mask icon.
| | 02:10 | Well, here you can see that now what I have done is,
I have just brightened up this portion of the image.
| | 02:14 | Now, it's a little bit too intense for me.
| | 02:16 | So I'm going to back this up, just a touch.
| | 02:18 | And what I'm able to do here is combine multiple
exposures from different images into one document.
| | 02:24 | Now, of course I would need to go
in and fix up my mask a little bit.
| | 02:27 | Yet, this particular movie isn't
about Photoshop, it's about Lightroom.
| | 02:31 | And as you can see you can start to even capture images
with multiple exposures, bring them in the Photoshop
| | 02:37 | and then combine the best of both worlds.
| | 02:40 | Let's take a look at this with one more image.
| | 02:42 | I'm going to jump back to Lightroom here and
I'm going to select this particular image.
| | 02:46 | This is a Surfing photo of one of my favorite
places to surf in Santa Barbara County.
| | 02:50 | And I'm going to go ahead and minimize the
panel on the left by pressing the F7 key.
| | 02:54 | So I can focus in on the image.
| | 02:56 | OK, great, well, the image looks fine except
they have a little bit of loss of detail here,
| | 03:00 | plus I want to increase the exposure just a touch.
| | 03:02 | So I'm going to increase the exposure just a
touch to open it up a little bit on the surfer,
| | 03:06 | increase some of the Contrast, and then for the
Color, Temperature, I'm going to try warming it.
| | 03:11 | Now, I may be cooling it off, just a touch there.
| | 03:13 | All right, now when I do that, I
like the wave, I like the surfer,
| | 03:16 | but I don't like what happened
to the white water in the wave.
| | 03:18 | So I'm going to create a virtual copy.
| | 03:20 | You remember the shortcut Cmd+Plus Apostrophe
for the Mac, Ctrl+Plus Apostrophe for the PC.
| | 03:27 | Definitely want jot that one down.
| | 03:29 | Again, for the PC, Ctrl+Apostrophe.
| | 03:31 | For the Mac, Cmd+Apostrophe.
| | 03:33 | I now have a virtual copy over here.
| | 03:36 | With this particular copy what I'm going
to do is increase the Recovery sliders
| | 03:39 | because I want to try to bring back some of the detail.
| | 03:41 | I'm also going to lower the exposure, so
I have more detail up here in the waves.
| | 03:45 | We can see all the different detail there.
| | 03:47 | I'm going to bring it pretty far
down, so we've some nice detail.
| | 03:50 | Now, I have two different images, one for the exposure for
the foreground here, then for the one for the wave up here.
| | 03:56 | All right, well, next, I'm going to select both the images
by clicking and Shift clicking inside of the filmstrip.
| | 04:02 | I could also do that in the Grid View mode.
| | 04:04 | Press the G key to go to the Grid View mode.
| | 04:06 | Click one image and then hold down
the Shift key, click another.
| | 04:09 | Next, right-click or Control-click and
choose Edit In, Open as Layers in Photoshop.
| | 04:16 | Now, I'm going to press the Spacebar
to reposition the image.
| | 04:20 | And actually what I'm going to do is put the darker
image on top because I kind of like the darker image.
| | 04:24 | I like the darker tone, but I want to
brighten things up a little bit here.
| | 04:27 | So, I'm going to click the Add Layer Mask icon.
| | 04:30 | Now, I have a Layer Mask.
| | 04:31 | Grab my Brush tool and I'll paint with black.
| | 04:35 | So I'm choosing black in the color picker.
| | 04:37 | And again if you don't know how to do these
things in Photoshop, I recommend you check out one
| | 04:40 | of the many tutorial movies on Photoshop.
| | 04:43 | I'm next going to lower the Opacity of this.
| | 04:45 | I just want to paint in a little bit of brightness here.
| | 04:47 | I'm just going to bright in the surfer, little bit of
foreground here, and the brightness up just a tad bit.
| | 04:55 | Again, just sing some masking techniques to bring in a
little bit of brightness to this portion of the image.
| | 05:00 | And again here is our before and after.
| | 05:05 | We can also see that we've this before and after.
| | 05:08 | Just lightening up, that portion of the image.
| | 05:10 | And that's a little bit too intense, a little bit smudgy.
| | 05:12 | So I'm going to click on the Layer Mask, navigate to the
Filter dropdown menu, choose Blur and then Gaussian Blur.
| | 05:19 | And there if I zoom out, I'll be
able to see my mask pretty well.
| | 05:21 | Again, it's a little bit smudgy there
because I'm just using the mask.
| | 05:24 | Well, I can smooth things out quite
a bit by increasing the radius.
| | 05:28 | I'm just looking to try to get a nice smooth mask there.
| | 05:31 | Click OK, and we've our before and after.
| | 05:35 | Again, we're able to get some nice
brightness in the foreground.
| | 05:38 | We're able to maintain the detail of the wave up here.
| | 05:41 | Now, what I'm trying to do here is just get
you to begin to think about the possibilities.
| | 05:45 | There are so many possibilities in regards to taking
advantage of those full raw controls especially once we get
| | 05:51 | to the Develop module and especially as we learn how to
recover highlights and do different things like that.
| | 05:56 | Once we know those techniques, we can
then get the best of the both worlds.
| | 05:59 | Create a virtual copy, bring it into Photoshop as a
Multilayer Document and then combine the two layers in order
| | 06:05 | to create an image that any other way would take
quite a bit more time and may even be impossible.
| | 06:10 | All right, well, that wraps up our look at how we can edit
two or more images in Photoshop as a Multilayered Document.
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| Creating a panorama| 00:00 | In this movie, we're going to look at two distinct examples.
| | 00:03 | Well, we're going to combine multiple images together
from Lightroom in the Photoshop as a panorama.
| | 00:09 | I'm going to go ahead and double
click on this first image here.
| | 00:11 | Here we have a series of images.
| | 00:13 | These were all captured by nature photographer
Ralph Clevenger, wonderful photographs.
| | 00:16 | One of the things you'll notice is that
the panorama is actually backwards.
| | 00:20 | Now, that won't even really matter for us.
| | 00:22 | What we're going to do is click and then
Shift-click to select all those images.
| | 00:26 | Press G to go the Grid View mode, right-click,
choose Edit In and Merge to Panorama in Photoshop.
| | 00:32 | Then what will happen is it will open the
Photo Merge dialog inside of Photoshop.
| | 00:36 | Do you want to merge all of these images?
| | 00:37 | Yes, we want to select Auto, click OK.
| | 00:40 | Now all that you need to do is kick back and
wait and watch for Photoshop to do the magic.
| | 00:45 | What's going to happen is it's going to create a beautiful
| | 00:47 | and stunning panoramic image out of
these separate individual images.
| | 00:52 | And here we go.
| | 00:53 | We'll double click the Zoom tool, press Tab to get rid of
the toolbox and the palettes, and we'll scroll to the left
| | 00:59 | and then scroll to the right, and you
can scroll around an image like this
| | 01:01 | by pressing the spacebar key and then clicking and dragging.
| | 01:04 | All right, well, we're in pretty good shape.
| | 01:06 | The next thing I'll need to do is crop this image.
| | 01:08 | So I'll select the Marquee tool. I'm going to grab
the Marquee tool here, zoom out just a little bit.
| | 01:12 | I'm going to extend the crop across the image.
| | 01:16 | Next, navigate to the Image pull-down menu
and choose Crop. Deselect by going to Select,
| | 01:21 | Deselect, and then zoom in a little bit more.
| | 01:23 | We've successfully created a beautiful
and stunning panoramic image.
| | 01:28 | Now, the trick with creating a good
panoramic image is good photography.
| | 01:31 | Yet if you haven't created one, you
definitely want to experiment with the process.
| | 01:35 | It's really interesting. You can come
up with some really intriguing results.
| | 01:38 | All right, well, back to Lightroom.
| | 01:39 | Because I said, we're going to show two distinct techniques.
| | 01:42 | In this technique we're going to show two separate images.
| | 01:44 | These are photographs of my daughter
Annika here and her friends.
| | 01:47 | Yet the problem is there isn't a single
frame where all the kids are in the image.
| | 01:51 | So what I'm going to do is go to the Grid
View mode, select both of these images.
| | 01:55 | Again, just hand holding the camera.
| | 01:56 | Next, right-click or Control-click and choose
Edit In and Merge to Panorama in Photoshop.
| | 02:02 | Then in the Photo Merge dialog window we'll click OK.
| | 02:05 | Same settings. Auto, choose those
two files, for sure and click OK.
| | 02:09 | This is going to then create this
particular panoramic image.
| | 02:12 | Now it isn't a pano in the true sense of the word.
| | 02:15 | It's not made of multiple images.
| | 02:17 | Yet, what it did do is combine multiple
exposures in order to create an image
| | 02:21 | out of two images that I couldn't really keep.
| | 02:23 | Now I have a keeper.
| | 02:25 | If we turn the layers on and off,
| | 02:26 | you'll see here we've one layer and
then underneath we've another layer.
| | 02:29 | Well, what we can actually do with this
is click in the mask on this layer,
| | 02:32 | grab the Brush tool and choose white in our Color Picker.
| | 02:35 | I'm going to go ahead and paint in
different part of the image here.
| | 02:39 | I want to include that part of the image.
| | 02:41 | All right, that looks pretty good. A little
bit more touchup work that I'll need to do,
| | 02:44 | but for the most part I got it pretty good.
| | 02:47 | Again look at that before and after.
| | 02:48 | What we're doing is bringing that in. I want to
| | 02:50 | then bring in the other version of Macey here, and
then I'm going to paint with the black, hit the X key,
| | 02:59 | change my brush size a little bit,
bring the rest of that image in.
| | 03:02 | So, I have created something almost out of nothing.
| | 03:05 | Now, if you thinking, Gosh. I'd really like
to learn more about panoramics and masking
| | 03:09 | and how Chris is doing all this,
this particular technique is included
| | 03:12 | in another training title that I have done on Photoshop.
| | 03:14 | It's called Photoshop CS3 Creative Techniques.
| | 03:16 | Feel free to check that one out, if you want
to learn about those particular techniques.
| | 03:20 | All right, well, back to Lightroom.
| | 03:22 | As you can see in Lightroom what we can do is select
multiple images, even images that are a little bit different
| | 03:28 | or distinct we can then select those and
choose Merge to Panorama in Photoshop.
| | 03:33 | And as a result we can use Lightroom in a way
that takes advantage of some of the strengths
| | 03:38 | of Photoshop, in this case Merge to Panorama.
| | Collapse this transcript |
|
|
10. The Develop Module: IntroductionDevelop module overview and essential shortcuts| 00:00 | Welcome to the first chapter on the Develop module.
| | 00:03 | In this chapter and in the subsequent chapters, we're
going to be working from this folder 03_Develop_module.
| | 00:09 | I have currently selected a subfolder, in this
case, Shaun, just so that we can have an image up,
| | 00:13 | although I'm not going to be working
on an image in this particular movie.
| | 00:16 | Now, we're going to start to work in the Develop module
| | 00:19 | and if the Library is the module where
all the organizational work takes place,
| | 00:22 | well, that's the module where all the fun happens.
| | 00:24 | This is where we really breathe life into our images.
| | 00:27 | This is where we can see the image emerge and we're going
to learn some really amazing tips and tricks and techniques
| | 00:33 | that will help us create compelling photographs.
| | 00:36 | Now, let's go ahead and navigate to the Develop module.
| | 00:38 | In order to do that I'm going to press the D
key. That will take me to the Develop module.
| | 00:43 | Now in contrast, if I want to go back to the Library module.
| | 00:46 | Let's say in the Grid View mode, I
would press the G key or the E key.
| | 00:50 | In this case, I'm going to go back
to Develop module, the D key,
| | 00:52 | and then the E as you can see takes
me back to the Library module.
| | 00:56 | Now if you don't like shortcuts,
| | 00:57 | if you don't like the D shortcut
to take to the Develop module,
| | 01:00 | you can always click on the Navigation
button up here in the module picker.
| | 01:03 | All right, well now that we're in the Develop module,
| | 01:05 | you're going to notice that it looks
pretty similar to the Library module.
| | 01:07 | We have a Navigator over there on the left.
| | 01:09 | We also have some Presets.
| | 01:10 | We have Snapshots, History on the left, then in
the right-hand panels, now these are our big panels.
| | 01:15 | These are all of our Camera Raw controls.
| | 01:18 | We're going to dig into these different controls.
| | 01:19 | You'll also notice that there are some new tools over there.
| | 01:22 | Now the same shortcuts work that we've used previously.
| | 01:25 | Now in regards to the interface many of the
same shortcuts work that we've used previously.
| | 01:29 | We've talked about pressing F5 to hide the top of the
Lightroom, F6 to hide the filmstrip, F7 the left panel,
| | 01:35 | F8 the right panel, and then T for the toolbar.
| | 01:38 | Now, if I press Shift+Tab what happens
is that it brings everything back.
| | 01:41 | Shift+Tab again, everything is gone.
| | 01:44 | All right, now that everything is gone, let's take a look
at some of the other shortcuts inside of the Develop module.
| | 01:48 | In order to do that, I'm going to navigate to
the Help menu and choose Develop Module Shortcut.
| | 01:53 | You can go to this particular location in
the Help menu for each and every module
| | 01:57 | and you'll see a different set of shortcuts.
| | 01:59 | All right, well, let's take a look
at the Develop module Shortcuts.
| | 02:01 | You'll notice that they are broken up into groups.
| | 02:03 | You know a lot of times when I first
look at shortcuts I think, Oh mygosh!
| | 02:06 | How am I ever going to learn that?
| | 02:08 | But then when I started to say, OK, they are grouped
and then maybe I'm just going to learn a couple.
| | 02:12 | I'm going to learn a couple at a time,
it will really start to make sense.
| | 02:15 | So we've some Editing Shortcuts, some Output
Shortcuts, Navigation Shortcuts, Viewing Shortcuts,
| | 02:20 | Mode Shortcuts, and Target Collection Shortcuts.
| | 02:23 | So again let's just learn one shortcut.
| | 02:24 | How about the shortcut for the Crop tool?
| | 02:26 | If we press the R key, it will enter the Crop mode.
| | 02:29 | Let's take a look at how that works.
| | 02:31 | I'm going to navigate back to the image here.
| | 02:32 | Press Shift+Tab to bring the interface back.
| | 02:34 | I'm going to press the R key.
| | 02:36 | Now when I do that I can see that this image has been
already cropped and it's showing me the cropped area.
| | 02:41 | If I press the R key again, I exit the Crop mode.
| | 02:44 | Now that's kind of interesting and it's
especially interesting in light of this.
| | 02:47 | When I press the E key, to go to the Loupe View mode,
| | 02:50 | here I am in the Loupe View mode
doing all my organizational work.
| | 02:53 | All of a sudden I realize I really need to
crop this image or fix the crop on this image.
| | 02:57 | All I need to do is press the R key, brings me to
this crop and then I can modify the crop a little bit.
| | 03:03 | I would really like to have a little bit
more of that arm in the image over there.
| | 03:08 | And then to apply the crop, double click.
| | 03:11 | Now, we'll talk about cropping a little bit more.
| | 03:13 | But I just want to highlight how I
would start to learn those shortcuts.
| | 03:16 | I would pick one shortcut out and I would
learn that shortcut and then slowly build
| | 03:20 | up my repertoire of shortcuts.
| | 03:22 | Also, keep in mind that I'm going to be
reiterating the shortcuts throughout this training.
| | 03:26 | So you're going to hear them again and again.
| | 03:27 | And hopefully as you hear them multiple times, it will help
you learn these shortcuts, which will help you be
| | 03:32 | more effective, more fast, more
efficient inside of the Develop module.
| | 03:37 | You know I'm also aware that some people
are reticent to learning shortcuts
| | 03:40 | because I say you know, why not just click in the menu?
| | 03:42 | I don't want all of these extra complications.
| | 03:44 | Now, if the shortcuts are complicated things
for you, there is no need to worry about it.
| | 03:47 | I'll show you the long cut as well as the shortcut.
| | 03:50 | All right, the final thing that I want to show here is I
want to navigate back to the Library menu and then click
| | 03:54 | on the Develop module folder, and go to the Grid View mode.
| | 03:57 | I'm going to scroll down to the bottom here and double
click this file that I have included in the exercise files.
| | 04:02 | When I press the Tab key and we zoom in on this file, you
notice that we have all of the different shortcuts here.
| | 04:07 | Now I have included this file so that you can
print this out, have it sitting next to you
| | 04:11 | so you can begin to highlight a
shortcut that you want to learn.
| | 04:13 | And then practice that one particular shortcut.
| | 04:15 | Again its best to learn one shortcut
at a time and slowly, slowly,
| | 04:20 | build up your repertoire of shortcuts.
| | 04:22 | And here is why I use shortcuts.
| | 04:24 | For me they are valuable because they help me to
be quicker and ultimately to be more creative.
| | 04:29 | If I can be more creative more quickly, I'm all about that.
| | 04:32 | All right, well that wraps up our
overview look at the Develop module.
| | 04:35 | In the next movie, we're going to
dig into Develop module Presets.
| | Collapse this transcript |
| Using the Develop module presets| 00:00 | In this movie, we're going to learn a
little about the Develop module Presets.
| | 00:04 | We'll be working from the folder 03_Develop_module
and I'm in this subfolder titled Shaun
| | 00:09 | and I have clicked on the last image here.
| | 00:11 | Now, I want to navigate to the Develop module.
| | 00:13 | Now, I can do that either by clicking on the button up here
| | 00:15 | in the module Picker or by pressing
the D key, D for develop.
| | 00:19 | All right, now that I'm in the Develop module, what
I'm going to do is go over to my Presets Panel.
| | 00:23 | You can notice that it's already open.
| | 00:24 | I'm going to then open the subpanel Lightroom Presets.
| | 00:27 | Now, as I roll over these Presets, you notice that the
preview in the Navigator panel is actually updated.
| | 00:32 | Now if that preview isn't big enough, all we
need to do is click and drag this to the right.
| | 00:36 | So we've a larger preview, so we can
see what that actually looks like.
| | 00:39 | Now when we find a preset that we want to use, in this case,
the Sepia Tone, I'm going to go ahead and click on that.
| | 00:44 | All right, I like that.
| | 00:45 | I'll minimize this one over here,
so that I can focus in on the image.
| | 00:48 | And then press the F8 key to hide the panel on
the right, so I can actually see the image, right?
| | 00:53 | All right, I like that image, I like it's out of focus.
| | 00:56 | I think it's kind of interesting and I'll
press the F8 key to bring back my panels.
| | 01:00 | I like how this image is looking except I want
| | 01:03 | to increase the contrast a little bit,
maybe the exposure a little bit as well.
| | 01:06 | So Although we haven't gone to the Basic panel yet,
I'm going to show something pretty simple, pretty easy.
| | 01:11 | We'll open up the Basic panel and I'm going
to increase the contrast a little bit more.
| | 01:15 | Increase the exposure a little bit.
| | 01:17 | And now I have a new image.
| | 01:19 | Now what have I just done there.
| | 01:20 | Well, I started off with a preset and then I
customized it, and that's really what you want to do.
| | 01:25 | You want to think about Presets as starting point.
| | 01:27 | It's a never-ending point, just a way to get things going.
| | 01:30 | Now, because I have made all this progress,
what I probably want to do is save that.
| | 01:34 | So I'll close this folder here and click on the
plus icon and I'm going to give this a new name.
| | 01:38 | I'll call this sepia + contrast and exposure.
| | 01:43 | So now I have plus contrast and exposure.
| | 01:45 | I'm going to go ahead and click Create and there we
can see that Preset is saved inside of my User Presets.
| | 01:50 | Now let's say that we're valuing the image.
| | 01:52 | We're not really sure if we like this preset.
| | 01:54 | Did we go too far?
| | 01:55 | Was the black and white image better?
| | 01:57 | How can we compare and contrast
what we had, with what we've now?
| | 02:01 | We'll look at how we can do that in the next movie.
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| Comparing the before and after| 00:00 | In the previous movie, I mentioned that a good workflow
when using presets is to apply one of the default presets
| | 00:05 | but then to take it a little further.
| | 00:07 | And as a result you probably will need to create
your own presets that are customized based
| | 00:11 | on the default presets and that's what we have here.
| | 00:14 | Yet at this juncture, we're not sure if the black
and white version is better than the sepia version.
| | 00:18 | So we need to look at a couple of
different ways that we can compare
| | 00:21 | and contrast the original image with
this image that we've just created.
| | 00:25 | And also as a side note, this will be
relevant for all that we'll be doing inside
| | 00:28 | of the Develop module, not just here with presets,
| | 00:31 | although I thought this would be a
helpful time to show this technique.
| | 00:33 | All right, well, to open up a little
bit more screen real estate,
| | 00:36 | I'm going to minimize the panels on the right.
| | 00:38 | And I'll do that by pressing the F8 Key.
| | 00:40 | All right, well, now I can see
this image really nice and big.
| | 00:43 | And I like how it looks.
| | 00:44 | I like the color and tone, but I'm not
exactly sure if that's what I want to do.
| | 00:47 | One of the things you'll notice is the toolbar is
pretty similar to the toolbar inside the Library module.
| | 00:52 | But it's a little bit different.
| | 00:54 | Let's click on the triangle to look at the Menu.
| | 00:56 | Flagging, Rating, Color Label, Navigate, Slideshow, Zoom,
we have all of those things inside of the Library module.
| | 01:01 | The only thing that's different is view modes.
| | 01:03 | Now what are the view modes?
| | 01:04 | Well, the view modes have to do with looking
at the image in regards to comparing it.
| | 01:08 | This first icon, if you had to say what does it look
like, really, well it kind of looks like a Y.
| | 01:13 | Or if you had to say to yourself,
"Why did I actually do that?
| | 01:16 | Was that really a good edit?"
| | 01:17 | Press the Y key or click on this
icon here to see a before and after.
| | 01:22 | Now, you can customize this in pretty unique ways.
| | 01:24 | If you click on the icon, you can see
before and after left to right, split.
| | 01:28 | You can also just see before and after side by side.
| | 01:31 | You can also see top to bottom or top to bottom split.
| | 01:35 | Now, if you want to know how to do that
by way of shortcut here is how it works.
| | 01:38 | I'm going to go ahead and take
it back to the Regular View mode.
| | 01:40 | Then I'm going to press Option+Y on a Mac, Alt+Y on a PC.
| | 01:44 | Again, on a Mac that is Option+Y,
top to bottom, on a PC that's Alt+Y.
| | 01:49 | If you had to guess you would probably guess
that there is another shortcut in order
| | 01:51 | to split this vertically and that is Shift+Y.
| | 01:54 | Of course if that's a little bit too confusing,
you can always pick these options from the menu.
| | 01:58 | All right, well, I'm going to click this
icon here to take the image back to normal.
| | 02:01 | And there I can see it in full size.
| | 02:03 | Now this split view is sometimes really helpful because
it's kind of nice to see that before and after side by side,
| | 02:08 | although at the same time, there is this kind of silly
line running down the center of your image, right?
| | 02:12 | So how about if I just want to see
the whole image before and after?
| | 02:15 | This is one of my favorite shortcuts in Lightroom.
| | 02:18 | It's the backslash key.
| | 02:19 | And I kind of think of that like going back
in time, going back to the original file.
| | 02:23 | If you press the backslash key once, you go the before.
| | 02:26 | Press it again, it takes you to the after.
| | 02:28 | Again just quick before and after,
a really snappy way to look at your images.
| | 02:32 | And I like that because I can see the entirety of the image.
| | 02:36 | All right, well now that I have started
to evaluate the image, I'm thinking,
| | 02:38 | I would really like to somehow save this information.
| | 02:41 | Perhaps save this particular view of the image,
| | 02:43 | although I'm not sure I'm going to keep it.
| | 02:45 | Well, in the next movie, we're going to
look at how we can use Snapshots and History
| | 02:49 | in order to track the progress of our images
| | 02:51 | and save some of that progress so that
we can back to it at a later time.
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| Using the Snapshots and History panels| 00:00 | In this movie, we're going to take a look at how we can
use Snapshots and History in order to track our progress.
| | 00:05 | And also save some of the steps that we've already
taken, so that we can go back to them at a later time.
| | 00:10 | I'm going to start off with Snapshots.
| | 00:12 | I'll go ahead and close the presets
panel and open up the Snapshots panel.
| | 00:15 | Now when I do that, you notice that there are
already a couple of snapshots in here, interesting.
| | 00:19 | Well, this was the original import.
| | 00:21 | Then this is the image in black and white, interesting.
| | 00:23 | So I have the original file, the black and white conversion.
| | 00:26 | I have already created a couple of snapshots for us.
| | 00:28 | Let's create one more.
| | 00:29 | We'll click on this plus icon and
we're going to name this one Sepia.
| | 00:32 | And then I'm going to click on Import 2.
| | 00:35 | So I can see that.
| | 00:36 | And then, Import this was the image as captured.
| | 00:39 | So there is a color photograph.
| | 00:40 | Here we've the second version of the photograph in
black and white and then finally the Sepia tone.
| | 00:45 | Isn't that interesting?
| | 00:45 | So what I can do is actually take snapshots
in order to track the progress of the image.
| | 00:50 | And the nice thing about this is
it doesn't increase file size.
| | 00:52 | I don't have extra layers.
| | 00:53 | I'm not bogged down by the extra
weight of this particular file.
| | 00:56 | And it's easy to access.
| | 00:57 | And I can simply rollover and see what I like.
| | 00:59 | And then I could even print that image or
I could print this image for that matter.
| | 01:03 | So as a result, we can come up with some really creative
results with our images, because we've this new flexibility.
| | 01:08 | All right, well, let's close the Snapshots
panel and go to the History panel.
| | 01:12 | Well, the History panel is kind of interesting.
| | 01:13 | It's actually tracks all the history of the file.
| | 01:15 | Now if I hover over this, you'll notice that it shows
how I selected that Import 1 or the Sepia Import.
| | 01:20 | Then here is some of the Exposure Settings,
the Contrast, and the Preset that we applied.
| | 01:25 | Let's take a look at how that original preset looked.
| | 01:27 | Well, there is the original preset.
| | 01:28 | And there is the Preset that was modified by us.
| | 01:30 | I can also go back to the original
file that black and white conversion.
| | 01:34 | So I can go through the different
history states here as well.
| | 01:37 | Now there will be a time when you
want to clear out your history.
| | 01:40 | In order to clear out the history, all you've to do
is click on this X and then the history is now gone.
| | 01:45 | Yet, the history, so to speak is still built into the
file because I have the different snapshots, right.
| | 01:51 | I can still go to that Sepia, black and white
conversions, even though its not logged in my history.
| | 01:56 | So, while the history will be linear capture of
the different edits that you've made on the image.
| | 02:01 | Snapshots are a little different.
| | 02:03 | There are snapshot of a particular state of that image.
| | 02:06 | And what I have found is that by using those two panels
in combination, it gives me a lot of creative flexibility.
| | 02:12 | I'm not afraid of making mistakes because if
I make a mistake, well, I can always undo it.
| | 02:16 | I can also compare it to the past and
contrast that I have access to all
| | 02:20 | of these different states of that particular image.
| | 02:22 | All right, well, if snapshots and history are new to you,
I recommend that you experiment with those a little bit
| | 02:27 | because I think you'll discover as I have
discovered that they have the potential
| | 02:31 | to help lead you to new create a potential.
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| Using the Histogram panel| 00:00 | All right, well, now that we've made
our way through the Left hand Panels.
| | 00:02 | Let's move over here to the right-hand Panels.
| | 00:05 | And let's start off with the Histogram.
| | 00:07 | Now there is a shortcut to open and close the Histogram.
| | 00:09 | And it's an important shortcut and here it's.
| | 00:11 | On a Mac, its command 0, on a PC, that's control 0.
| | 00:15 | Again, for the Mac command 0, for the PC control 0.
| | 00:19 | And then if you remember Cmd+1 on a Mac
or Ctrl+1 on a PC is for the Basic panel
| | 00:24 | and then 2 for the tone and then 3 for HSL.
| | 00:27 | And those shortcuts work all the way down the line
in all the panels, in all the different modules.
| | 00:31 | Well, let's focus back on the Histogram.
| | 00:33 | Press command 0 on a Mac or control 0 on a PC.
| | 00:37 | Now, once this panel is open, it's
showing me some really interesting things.
| | 00:40 | I can see the three channels of information there.
| | 00:42 | I can see the overall exposure.
| | 00:44 | Underneath the Histogram I see that there
was a shot in ISO of 100, 85 mm lens, F/18.
| | 00:50 | Now that's a pretty risky F-stop, Although it
comes up with some really interesting results.
| | 00:54 | And the reason it's risky is because
your depth of field is really shallow.
| | 00:58 | So let's zoom in on the image a little bit.
| | 00:59 | I'm going to zoom all the way to the one to one.
| | 01:01 | And fortunately it looks like we've the eye sharp
in this shot, Although they are not tad sharp.
| | 01:06 | They are pretty good and sharp.
| | 01:08 | And then we've this nice fall off, nice shallow
depth of field, which is pretty interesting.
| | 01:12 | All right, well, back to the Histogram.
| | 01:14 | Next, we've these little triangles.
| | 01:15 | Now these triangles are really interesting because
they can show us what information is being clicked.
| | 01:19 | If we click on the triangle you'll notice
that its show me in this part of the image,
| | 01:23 | there is some loss of detail in this deep flex.
| | 01:25 | Well that's OK.
| | 01:26 | And then if I click on the top triangle, it's going to show
me if there is any loss of detail up there in the highlight.
| | 01:31 | Now I really enjoyed this feature, because
if there is information that's clipped,
| | 01:36 | a lot of times that means the image wont print well.
| | 01:39 | So, I'm going to use these two little icons
or I'm going to press the shortcut key.
| | 01:42 | And here it's.
| | 01:43 | The shortcut key is J, because this is just plain and cool.
| | 01:47 | And that's not really right as well.
| | 01:48 | But they just picked a random letter and it's the J Key.
| | 01:50 | So if we press the J key, you can see that I can
toggle those options on and off to show the clipping.
| | 01:55 | Well, now that I have those on, what
I'm going to do is hover over the image.
| | 01:58 | You can see here I have the Black tone.
| | 02:00 | Then I have the Fill Light tones.
| | 02:01 | And I have the exposure and then I have the Recovery.
| | 02:04 | Now if we open up the Basic panel that's
going to reference of different sliders.
| | 02:08 | When I hover over the Recovery up here, you're going
to notice that's going to highlight that 0 there.
| | 02:12 | When I hover, Exposure its highlighting my
Exposure and then my Fill Light, and then my Black.
| | 02:17 | So if I go ahead and click on Exposure and click and drag
that to the right, I'm going to drag this pretty far.
| | 02:22 | All of a sudden, this Clipping Indicator, this clipping
warning is showing me, I have loss of detail in the sky.
| | 02:28 | So if I go to the blacks and then
click and drag to the left,
| | 02:31 | with those blacks all of a sudden
I have loss of detail in this area.
| | 02:34 | Press the J Key to hide that particular warning.
| | 02:36 | Now, in this case, I would obviously know that there
were some kind of clipping, but its not always that easy.
| | 02:41 | And in addition, what you can do a lot of times
is, swing your image pretty hard and then use some
| | 02:45 | of the other sliders to actually prevent the clipping.
| | 02:48 | So let's press the J Key to turn the
clipping back on, hover over the Histogram.
| | 02:52 | What I'm going to do is bring my Exposure back down.
| | 02:54 | I want a, I have nice detail on the sky and the background.
| | 02:56 | I also want to have nice detail on the hair and the
face, little bit of trap shadow, and loss of detail here.
| | 03:02 | I'm fine with that and then also
little bit of loss of detail here.
| | 03:05 | I think that's going to be OK.
| | 03:06 | That image will still print really well.
| | 03:09 | And while we've been talking about clipping,
| | 03:10 | I have also snuck on something that's actually
pretty profound in regards to the Histogram.
| | 03:14 | The Histogram isn't just a visual display.
| | 03:17 | Typically they just show you information.
| | 03:18 | They show you an analysis of the
Tone of Values of the image.
| | 03:22 | Yet in Lightroom the Histogram is dynamic.
| | 03:25 | As you can see, you can rollover the different areas
of the image and actually click and drag to the left
| | 03:29 | or right in order to correct or enhance the image.
| | 03:32 | So in Lightroom the Histogram serves two purposes.
| | 03:35 | One it's descriptive.
| | 03:36 | It displays or shows the Tone of values
of your image, and two, its interactive.
| | 03:41 | It's dynamic or you can actually click and
drag and make modifications to your image.
| | 03:45 | All right, well, we just about
wrapped up our work on this image.
| | 03:47 | I'm going to go ahead and press the J
Key to turnoff that clipping warning.
| | 03:51 | And that wraps up our initial look at the Histogram.
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| Creative tip 4: Shooting in perspective| 00:00 | Hey, welcome to another photography tip.
| | 00:03 | In this movie, what I want to do is
talk a little bit about perspective
| | 00:06 | and I'm going to give you a homework assignment.
| | 00:08 | All right, well, perspective, in
photography it's so incredibly important.
| | 00:12 | And here we're standing on my friend's fishing boat.
| | 00:14 | And I love being out on boats on the ocean because your
perspective is always changing based on where the boat is.
| | 00:19 | Also, the ocean is always changing.
| | 00:22 | Now perspective in photography is incredibly important.
| | 00:25 | What you want to do is you don't
always want to shoot from eye level.
| | 00:28 | At times you want to get low and shoot high.
| | 00:30 | Other times what you're going to need to do is
step up on something and actually shoot down.
| | 00:35 | And then by doing that, you'll
create a much more dynamic image.
| | 00:38 | So, onto the exercise.
| | 00:40 | Here is what I want you to do.
| | 00:41 | I want you to look through your view finder.
| | 00:43 | And I want you to lock in a focus.
| | 00:44 | Then turn auto focus off, grab a piece of tape
and tape that button down so you can't change it.
| | 00:50 | Grab another piece of tape and tape down your focus ring.
| | 00:53 | Now in order to change focus, you're
going to have to physically move.
| | 00:57 | And what you're going to do is you're going
to learn how important perspective is,
| | 01:00 | and how important the physical movement
is in regards to changing perspective.
| | 01:04 | Now, a quick word of caution.
| | 01:05 | It's actually pretty painful to shoot this way.
| | 01:07 | You're going to backup and bump into things,
and move to the left, and move to the right.
| | 01:11 | Yet it's going to teach you about
the importance of physical movement.
| | 01:14 | And then finally when you can take those pieces of tape off,
and you can change the focus by simply moving a focus ring,
| | 01:21 | and you can integrate that into physically moving yourself,
you'll create that much more of a compelling photograph.
| | 01:28 | All right, well, that wraps up this
photo tip and that little exercise.
| | 01:30 | Have some fun with that.
| | 01:32 | Bye for now.
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|
|
11. The Develop Module: Using the Basic PanelCorrecting white balance| 00:00 | In this movie, we're going to learn how to correct
White Balance inside of the Develop module.
| | 00:04 | Yet before we get to the Develop module I want
to back track a little bit to the Library module.
| | 00:09 | Now, if you remember in the Library
module we opened up this particular image
| | 00:12 | and we tried to Auto White balance this image.
| | 00:15 | What we did was we selected Auto and it didn't quite work.
| | 00:17 | The image was just too cool.
| | 00:19 | And then we tried Auto White balance
another image and it did work.
| | 00:22 | And we talked about how Auto White
balance doesn't work all the time.
| | 00:25 | Let's go ahead and take this image back as shot and let's
try to White Balance this image in the Develop module.
| | 00:31 | We're going to navigate to the Develop module by
clicking on the Develop button in the module Picker.
| | 00:35 | All right, well, now that I'm in the Develop
module I have a nice large preview of the image
| | 00:39 | and the image in my opinion looks pretty good.
| | 00:41 | I think the White Balance is fine, but actually has a
little bit of a problem once we look a little bit closer.
| | 00:46 | Let's open up the panel on the left by pressing the F7 key.
| | 00:50 | We're going to select the White
Balance, so here it's up top.
| | 00:54 | We can do that either by pressing
the W key or clicking on the tool.
| | 00:57 | Now, when I hover over the image you notice
that the Navigator Preview is updated.
| | 01:01 | So, what I'm doing is I'm just looking at the image.
| | 01:03 | And I'm realizing you know, I think these shadows
right here on the pants, are a little bit cool.
| | 01:07 | So, I'm going to find one of those cool shadows.
| | 01:08 | And I'm going to click on that
and the image looks much better.
| | 01:11 | Let's press the F7 key to hide the panel on the left.
| | 01:14 | And then here is our before and then when
we use the White Balance we'll go ahead
| | 01:18 | and click on that spot again, there's the after.
| | 01:21 | So what we thought it was, white, wasn't actually white.
| | 01:24 | And what the White Balance tool does for is that it tries
to neutralize tones that we think should be neutral.
| | 01:29 | In this case, I still have this nice warm glow.
| | 01:31 | Yet the image has a much more neutral
color, in spite of it being so warm,
| | 01:36 | in spite of having so much green light bouncing around.
| | 01:39 | All right, well, back to the Library
module, press the G key if you were to go
| | 01:42 | to the Grid View mode in the Library module.
| | 01:45 | Next, what we're going to do is we're going to scroll
down to the folder, which is called White Balance.
| | 01:49 | Now, when we go to that particular folder you'll
notice that I have a handful of different files.
| | 01:53 | Let's select and bring one of these
files into the Develop modules.
| | 01:56 | So I have the first file selected.
| | 01:58 | I'll press the D key to go to the Develop module.
| | 02:01 | Well, now that I'm in the Develop module I can obviously
tell that the Image White Balance isn't very good.
| | 02:06 | Now, I may think that I could try to White balance this
image of the white in the American Flag in the background,
| | 02:10 | Although, that's not a very good idea, because the
white in that flag is actually a little bit yellow.
| | 02:15 | I also want to try to click on
something that isn't pure white.
| | 02:19 | One of the techniques you could use is
actually to shoot a Color Checker Chart.
| | 02:22 | In this case I have a Gray Color Checker Chart or I can
have a Color Checker Chart with all of these colors.
| | 02:27 | What I'm looking to do there is
to select the White Balance tool.
| | 02:30 | And then hover over one of the targets any other
target besides the target that's pure white.
| | 02:34 | It typically works well if you've something that's gray.
| | 02:37 | Now, when I do that the image looks much better.
| | 02:40 | Now, this is a pretty low-res file.
| | 02:41 | So, the quality of the image doesn't look great.
| | 02:43 | But the color looks much better.
| | 02:45 | Let's press the F7 key to zoom out.
| | 02:47 | So, now that we can see that we've
good color on that particular image.
| | 02:51 | And that we know that the rest of these images
were actually captured in the same exact light.
| | 02:55 | What I can do is select this first image.
| | 02:58 | And then select the other images while holding down the
Shift key clicking on the first one to select all of them.
| | 03:03 | And then I'm going to navigate to the Sync button.
| | 03:05 | I'll click on the Sync button.
| | 03:06 | Now it will open up the Synchronize Setting option.
| | 03:09 | Now, I'm going to Check None and go back to the top and say.
| | 03:12 | I just want to synchronize the White Balance.
| | 03:15 | Now when I click synchronize let's
take a look at our other images.
| | 03:18 | Those look pretty good and remember
that is pretty yellow, right.
| | 03:21 | That's not white.
| | 03:21 | That wouldn't have been a good choice, and that looks good.
| | 03:24 | That's pretty accurate color and
that's pretty accurate color as well.
| | 03:27 | Now, what about the situations where you're working on
an image where you don't have a Color Checker Chart?
| | 03:31 | What do you do?
| | 03:31 | How can you White balance your image?
| | 03:33 | And you also have some real complex lighting as we've
with this particular image here of a couple of musicians.
| | 03:39 | On the left that's Eddie Vedder from Pearl
Jam and on the right that's Ben Harper.
| | 03:43 | And I captured this image just about a month ago.
| | 03:45 | What I want to do is try to color correct this image.
| | 03:47 | And because this image is a little bit complicated,
we'll look at how we can do this in the next movie.
| | Collapse this transcript |
| Complicated white balance made easy| 00:00 | In this movie, we're going to look at
how we can White balance this image.
| | 00:02 | It has some pretty complicated lighting situations.
| | 00:05 | What I'm going to do first is press the F7 key to hide
the panel on the left so that I can zoom in on the image.
| | 00:10 | All right, well, now that I'm up close to the image.
| | 00:11 | I'm trying to evaluate a few things.
| | 00:13 | I'm trying to look for something that I think is
white or perhaps is black, because I can use both,
| | 00:17 | either white or black, from my White Balance.
| | 00:19 | I want to go ahead and select the White Balance tool
and I'm going to hover over the image, and I was there.
| | 00:24 | So, I know that Ben Harpers hat was black.
| | 00:26 | I'm going to go ahead and click on that.
| | 00:27 | What I'm going to try to do is not click on
something that has that real strong purple hue,
| | 00:31 | because it's lighted with a purple job
or something that is a little bit less.
| | 00:34 | Now, when I do that, that hat is definitely black.
| | 00:37 | But now we've this really strong yellow hue.
| | 00:39 | Well, what are we going to do in regards to yellow?
| | 00:41 | Well, the musicians actually look a little bit better.
| | 00:43 | But the yellows are little bit problematic.
| | 00:45 | Now, we're going to be jumping ahead
of ourselves a little bit here.
| | 00:48 | Yet, I might as well do that because we're
going to need to go there eventually.
| | 00:51 | I'm going to go down to the HSO panel.
| | 00:53 | What I'm going to do is navigate to the Saturation option.
| | 00:55 | I'm going to go ahead and click
on this Target Adjustment tool.
| | 00:58 | I'm going to hover over the pants, and
that's where I see that really strong yellow.
| | 01:01 | And I'm going to click and drag down.
| | 01:03 | And as I click and drag down.
| | 01:04 | You notice that what it's doing is actually making
those pants a little bit more white as well.
| | 01:08 | So, now that I have done that.
| | 01:09 | I would say that looks pretty good.
| | 01:11 | Now, I lost a little bit of red.
| | 01:13 | So, I'm going to boost the red just to tad bit
here, and then scroll back up to the Basic panel.
| | 01:19 | And then the Basic panel what I'm looking to
do is add a little bit of a Vibrance here.
| | 01:23 | And I would say that's a pretty good color correction.
| | 01:26 | Now it's not perfect.
| | 01:27 | Yes, there is a lot of yellow on their skin.
| | 01:28 | But yet in light of the really complex lighting
situation, we've taken this image pretty far.
| | 01:34 | Let's take a look at our before and after.
| | 01:35 | Here is a before and then here is after So you can see here
we can do a pretty good job with the White Balance tool
| | 01:41 | when we combine it with the other sliders.
| | 01:44 | So, as you learn more about the Develop module we'll be
working on the different controls in the different sliders.
| | 01:48 | But keep in mind that it's always a combination of
the sliders that typically leads to the best results.
| | Collapse this transcript |
| Customizing white balance| 00:00 | Because White Balance is such an integral
aspect here photographic workflow I have decided
| | 00:04 | to add a couple of more images to this folder.
| | 00:06 | So, we can talk a little bit more about White Balance.
| | 00:08 | The first image we'll be working here is titled Jenny Kim.
| | 00:11 | You can find it in the White Balance folder.
| | 00:13 | Let's go ahead and press the D key
to take it to the Develop module.
| | 00:16 | Then I'm going to press the W key
to select the White Balance tool.
| | 00:19 | And we haven't talked about the options
in the toolbar for the White Balance tool.
| | 00:23 | So, let's talk about these a little bit.
| | 00:25 | Currently it's on Auto Dismiss.
| | 00:26 | Therefore if I click on an area of the image and when
I do that and I create a white balance that isn't good.
| | 00:31 | It auto dismisses the White Balance tool, but I really
wish I had it again, so that I could sample another area.
| | 00:36 | Well, of course, I can reselect the tool
by clicking on it or by pressing the W key.
| | 00:41 | But how about if we turn this option off?
| | 00:43 | So, I'll g ahead and turn that option off.
| | 00:45 | Now what I can do is actually click around the image.
| | 00:47 | And a kind of learn a little bit about the
color of the image and try to find a nice spot,
| | 00:50 | where I can find a pretty good White Balance.
| | 00:52 | Now, as I'm clicking around the image it's
teaching me a little bit about this file.
| | 00:56 | And one of the things that it's teaching me is,
| | 00:58 | as I White Balance the image the Yellow
Temperature and the Tint are going way up.
| | 01:02 | The original file if we click Reset
we'll notice was down at 0.
| | 01:05 | Then it was up in the 50s or the 40s.
| | 01:07 | OK, well, that's kind of interesting.
| | 01:09 | The other thing I'm noticing is I think
this image is a little bit overexposed.
| | 01:12 | I need to lower the exposure just a touch.
| | 01:14 | Get a little bit more detail on the skin.
| | 01:16 | A little bit of those Recovery sliders.
| | 01:17 | So, I need to do that.
| | 01:19 | Then with the White Balance tool, I'm
going to go ahead and click on the image.
| | 01:22 | Now, we can see that I have the Loupe
showing me what color I'm going to click on.
| | 01:25 | In this case it's a pretty bright color.
| | 01:27 | And see the cross right there, its on the bright color.
| | 01:29 | I want to for a little of a darker tone.
| | 01:31 | I can also scale this to zoom way out.
| | 01:34 | So that I can see a little bit more of the tone structure
and try to get an area where I can average Auto Color
| | 01:38 | and it may work a little bit better
for me or I can bring that way back.
| | 01:42 | So, that I'm zooming away and so I can
actually what color I'm working on.
| | 01:45 | So, when I do that I say, sure,
the hair looks a little bit better.
| | 01:47 | But the skin just looks horrible.
| | 01:49 | And I remember that it started at 0.
| | 01:51 | So, I'm just going to bring these back
and go ahead and try to find a sweet spot.
| | 01:55 | I'm going to manually adjust my slider.
| | 01:57 | I'm going to go somewhere half way in between.
| | 02:03 | Now, let's say right about there it looks pretty good.
| | 02:05 | Let's take a look at our before and after by pressing
the Backslash key, there is before and there is after.
| | 02:10 | We corrected the "Exposure as well
as customizing the White balance.
| | 02:14 | Well, now I have done with the White Balance tool.
| | 02:16 | So, all that I need to do is either click Done or click Back
in this little location where the White Balance icon lives.
| | 02:22 | Let's look at one more image here.
| | 02:24 | This is the photograph of Dylan.
| | 02:25 | He is the son of one of my all time best friend.
| | 02:28 | And I'm going to color correct this image.
| | 02:29 | I can tell that the image is pretty cool.
| | 02:31 | Well, we can see that the black
board in the background is blue.
| | 02:34 | We think that maybe selecting that would work pretty well.
| | 02:37 | I'm going to click Auto Dismiss on here at this time.
| | 02:39 | And when I do that and hover over the image.
| | 02:41 | I say OK I can see that the black board is black over there.
| | 02:43 | But his face just looks horrible.
| | 02:45 | Let's hover over some other portions of the image.
| | 02:47 | OK the shirt that's kind of interesting.
| | 02:49 | Now, that I hover over the shirt and look at the
Navigator Preview I realize that's probably going
| | 02:53 | to be the best place for me.
| | 02:55 | And over here I can see that there
definitely is a little bit of blue shade.
| | 02:57 | I'm going to look at the RGB numbers that are located
up here in the Histogram and when I do that I say OK,
| | 03:03 | my blue percentage is much higher than my red and my green.
| | 03:06 | So I'll click on that area.
| | 03:07 | It's bringing those three numbers
a little bit closer together.
| | 03:10 | And when I do that it's a much better image.
| | 03:12 | Finally, I'm going to lower the yellow just a touch
because I don't want it to be quite that yellow.
| | 03:16 | I'm going to hover over those numbers.
| | 03:18 | And what I'm looking for in order to
create neutrality are equal amounts of red,
| | 03:22 | green, and blue so that shirt is now neutral.
| | 03:24 | There is no blue cast in it.
| | 03:25 | And that looks pretty good.
| | 03:27 | Again let's take a look at our before and after by pressing
the Backslash key and there is before and there is after.
| | 03:32 | The image looks much better.
| | 03:34 | So as you picked up White Balance
can be a little bit tricky.
| | 03:37 | Of course, you want to use the tool.
| | 03:39 | But you want to use the tool in a way that
it teaches you a little bit about the color.
| | 03:42 | And then dive into using those temperature and
Tint sliders because those can really help you out.
| | Collapse this transcript |
| Demystifying the Tone controls| 00:01 | In this movie we're going to learn some
more of the Color and Tone adjustments
| | 00:04 | that we can make inside of the Develop module.
| | 00:06 | Now, I need you to navigate back to the O3 Develop
module folder inside of the subfolder demo files.
| | 00:11 | Then open up this image, which is simply a
gray scale that was created in Photoshop.
| | 00:16 | Then press the D key to go to the Develop module.
| | 00:18 | All right, now I'm going to go ahead
and minimize the panel on the left,
| | 00:21 | because I won't be needing that, by pressing the F7 key.
| | 00:23 | All right, well, here I have this nice gray scale.
| | 00:26 | Let's take a look at our Temperature sliders.
| | 00:28 | Well, these make sense.
| | 00:29 | What we're going to do is increase
the blue or cool the image.
| | 00:32 | You notice that, the further I
push it, the deeper those hues go.
| | 00:35 | And the same thing is going to be true with the yellows.
| | 00:36 | First it starts with the brighter tones.
| | 00:38 | And then it pushes over into those deep dark tones.
| | 00:41 | That is some thing to keep in mind if you're
working on your color temperature again.
| | 00:43 | The higher the slider, the further the reach into
the darker tones for your tint and your temperature.
| | 00:48 | And what you can do is you see sliders
just subtly or intensely modify the color.
| | 00:52 | Let's jump down to a few other sliders that we've.
| | 00:54 | We have this exposure slider.
| | 00:56 | Now, if we look up at the Histogram.
| | 00:58 | We notice that we've a real Even Histogram here.
| | 01:00 | It goes from our black all the way
to our midtones up to our white.
| | 01:04 | Now, if I click and drag this to the right all
of a sudden its shifting everything to the right.
| | 01:08 | Click and drag it to the left that's
shifting everything to the left.
| | 01:11 | It's almost as if I'm saying shift
to the left, shift to the right.
| | 01:14 | And then let's look at the image itself.
| | 01:15 | What happens is, is the whites grow and
they grow all the way across the image.
| | 01:20 | And then the blacks grow and they
grow all the way across the image.
| | 01:22 | So, one of the things that we're seeing here
is that this exposure slider is pretty strong.
| | 01:26 | As a result, we'll probably get to want
it to use it with a little bit of care.
| | 01:30 | Let's go down to the Recovery slider.
| | 01:31 | This is pretty interesting.
| | 01:32 | I'm going to swing this over to the right a little bit.
| | 01:34 | So we've a nice peak over here,
a lot of loss of detail, up top.
| | 01:37 | I'm going to turn on my clipping loss right there.
| | 01:39 | So, I'm clicking on that triangle.
| | 01:41 | There is a warning that's telling me I have loss of detail.
| | 01:43 | Now, when I click and drag my Recovery slider to the right.
| | 01:46 | Wow, isn't that amazing.
| | 01:48 | What it's doing is it's actually
pushing down this bright white.
| | 01:51 | And it's bringing back those details.
| | 01:53 | This is so incredibly helpful especially
with digital capture.
| | 01:56 | Because lot of time we've to highlight
that's blown out where you can use
| | 01:59 | that Recovery slider to bring back in the tones.
| | 02:01 | And that mostly focuses on those
top 5 or 10% of the tones there.
| | 02:05 | But take a look at the Histogram as well.
| | 02:06 | It does affect the other tones.
| | 02:08 | You notice that there is a little shift in here.
| | 02:10 | So, if you take this really high, its going to
a kind of flatten out the image a little bit.
| | 02:14 | So, when you use this slider of courser you'll
need to use it unison with the other sliders.
| | 02:19 | All right, well, let's go ahead and turn off
that clipping warning and go to Fill Light
| | 02:22 | or what part of Histogram is that going to affect.
| | 02:24 | Well, we can see this is affecting these midtones in here.
| | 02:27 | And it's really brightening those
up, bringing more of light,
| | 02:29 | almost as if we had a fill card balancing into the image.
| | 02:33 | Now, black, so that's going go from the black.
| | 02:34 | And it's going to bring those all the way over.
| | 02:36 | And that's a pretty strong adjustment, isn't it?
| | 02:38 | We can really block some of those blacks up.
| | 02:41 | But if I bring this up to about 50 and then
I bring my fill light up to about 50 as well.
| | 02:45 | We can kind of see how we can see
these two sliders in unison.
| | 02:48 | One of the things that I have found
is that if I bring up my fill light.
| | 02:51 | I almost always need to bring up my blacks as
well, because that will kind of even the tone out.
| | 02:56 | Otherwise, if I increase the fill light
drastically the image will look a little unnatural.
| | 03:01 | All right, I want to reset these sliders.
| | 03:02 | I'm going to go ahead and double click the slider.
| | 03:04 | That's going to take it back to
0 and exposure back to 0 as well.
| | 03:07 | So far so good, we're learning quite a bit about the slider.
| | 03:10 | Next option is Brightness.
| | 03:12 | How does Brightness work?
| | 03:13 | Well, what we can see here is the brightness is
affecting these tones right here in the mid range.
| | 03:16 | It's not affecting my blacks very much.
| | 03:18 | It's not affecting my bright, bright whites very much.
| | 03:21 | It's not quite as strong as the exposure slider.
| | 03:23 | Let's compare to exposure.
| | 03:24 | Exposure is just huge.
| | 03:26 | This is almost like the sledgehammer
just hammering the tone.
| | 03:29 | Now, the brightness slider is a
little bit more of a delicate hammer.
| | 03:32 | It's not quite a finish hammer or a small hammer.
| | 03:34 | It still is able to move tone, pretty significantly.
| | 03:37 | Yet it's a little bit more delicate
than the exposure slider.
| | 03:40 | Then we've the contrast slider.
| | 03:42 | Now, what the contrast slider is going to do is
it's going to increase my whites and my blacks
| | 03:47 | so that my blacks get blacker and my whites get whiter.
| | 03:50 | In that case, I have a higher level of contrast.
| | 03:53 | Again, what we're going to have to keep in mind as we're
actually working on images is how do these sliders work.
| | 03:58 | And then how do they work in unison
or in reference to one another.
| | 04:02 | All right, well, now that we've
deconstructed some of these tone sliders.
| | 04:05 | Let's go ahead and apply some of this logic to a
few images and we'll do that in the next movie.
| | Collapse this transcript |
| Using the Tone controls| 00:00 | In this movie, we're going to learn how to apply
what we learned in the previous movie in regards
| | 00:04 | to modifying the color and tone of an image.
| | 00:06 | In addition, we're going to learn a
couple of shortcuts along the way.
| | 00:09 | All right, we'll be working on these images located inside
of the 03 Develop module folder in the subfolder family.
| | 00:15 | Go and select that image and then
open it up in the Loupe View mode
| | 00:18 | and then press the D key to take it to the Develop module.
| | 00:22 | Now, next what I want to do is.
| | 00:23 | I actually want to open up a little bit of space here.
| | 00:25 | So I'm going to press the F7 key to get
rid of the panel over there on the left.
| | 00:28 | Now, in your own workflow you probably wont need
to hide your panels quite as often as I'm doing.
| | 00:33 | But I need to do that because my resolution is pretty
small and I want us to be able to see the image.
| | 00:37 | All right, well, this is a family
photograph of some friends of mine.
| | 00:40 | They guy in the right his name as Andy Davis.
| | 00:41 | He is one of my all time favorite surf artists.
| | 00:44 | His work is absolutely amazing.
| | 00:45 | You can see one of his paintings on the wall there.
| | 00:47 | And I just love the dynamic of families
and here they are in their living room.
| | 00:51 | I think its kind of a fun photograph.
| | 00:52 | What I want to do with this particular
photograph is I want to stylize it a little bit.
| | 00:56 | I wanted to try to match Andy's work just a tad bit.
| | 00:59 | Also, if you want to check out his work, do a quick Google
for Ando and Friends, and you'll see some of his stuff.
| | 01:05 | It's really fascinating.
| | 01:07 | All right, so I want to stylize this image.
| | 01:09 | I want to give it a little bit of a color shift.
| | 01:11 | I don't want it to be color neutral.
| | 01:12 | I want to have a color shift.
| | 01:13 | I want to have some interesting contrast and tones.
| | 01:16 | So, the first thing that I'm going to
do is skip over the White Balance tool.
| | 01:19 | And I'm going to go to the Temperature slider.
| | 01:20 | With the Temperature slider I'm going
to warm this image up quite a bit.
| | 01:24 | Now, that initial warming doesn't look good.
| | 01:26 | Yet, stick with me, and we'll see what we can do.
| | 01:28 | The next thing I'm going to do is I'm
going to navigate to my exposure slider.
| | 01:31 | I'm going to bring my exposure up just a little bit.
| | 01:33 | I want to bring a little bit more light in.
| | 01:35 | And one of the ways I can increase exposure is
simply by clicking and dragging or I can hover
| | 01:39 | over the exposure slider, and the use the arrow key.
| | 01:42 | So right now I'm using the up arrow
key to increase the exposure.
| | 01:45 | You can see that's increasing incrementally.
| | 01:48 | Next, I'm going to go down to the Recovery slider.
| | 01:49 | Now, I lost a lot of detail back here.
| | 01:51 | I'm OK with that, may be kind of
nice to bring some of that back.
| | 01:54 | You can see that we dial some of that detail back in.
| | 01:57 | Now, I want to bring in some fill light.
| | 01:59 | So I'm going to bring a little bit of fill in here
and now if I take this too far as I have done here.
| | 02:03 | It's going to look quite unnatural.
| | 02:04 | But if I bring it up pretty high and then bring my
blacks with it I can get this to look pretty good.
| | 02:10 | OK, one of the major problems that I'm having
with this image is the overall color, right.
| | 02:14 | It's just too strong.
| | 02:15 | So, I can't really dial in my brightness
and contrast just yet.
| | 02:18 | So, we're going to skip ahead just a little bit.
| | 02:20 | And we're going to desaturate this image, just a touch here.
| | 02:23 | Increase the Vibrance, just a touch.
| | 02:26 | And maybe a little bit more of a desaturation.
| | 02:28 | Go back to the Temperature slider
and increase the yellows there.
| | 02:31 | All right, now I'm getting closer
to what I actually want to do.
| | 02:34 | Next, I'll increase the contrast to
bring that up, and then the brightness.
| | 02:37 | I want to brighten that up that as well.
| | 02:39 | And then I have this really unique stylized look.
| | 02:41 | I need to bring my exposure back down, just a touch.
| | 02:45 | And now I have gotten to a place where I think
the image is looking kind of interesting.
| | 02:48 | Now it's very different.
| | 02:49 | So, I need to determine, is this any good?
| | 02:51 | All I need to do is to press the Backslash key.
| | 02:53 | There is my before and there is my after.
| | 02:56 | Now it may be a little bit too yellow.
| | 02:57 | So I'm going to back that off just a touch here.
| | 02:59 | I'm trying to find a sweet spot.
| | 03:01 | And you get how I'm working with these different sliders.
| | 03:03 | What I'm doing is sliding one, then another one,
then going back to one, and sliding another,
| | 03:07 | and its working with all the sliders together
that typically leads to the best results.
| | 03:12 | Well, at this point I'll say, you
know the image is kind of interesting.
| | 03:14 | I like the color and tone.
| | 03:15 | I like the contrast.
| | 03:16 | It kind of matches Andy and Ashley's aesthetic.
| | 03:19 | Now when I go back to the first image here,
I say, OK, well that doesn't match at all.
| | 03:22 | This one looks really cool.
| | 03:24 | This one is kind of this nice warm, nostalgic look.
| | 03:27 | Well, I want to synchronize those setting.
| | 03:29 | So I'll click on the first image in the filmstrip
holding down Shift key and click on the other image.
| | 03:33 | I can also hold down the Command key on a Mac or the
Control key on a PC and click on other images as well.
| | 03:39 | So, in this case I just held down the
Shift key because I only have two images.
| | 03:42 | They are right next to each other.
| | 03:43 | That works well.
| | 03:45 | Now, that I have both images selected.
| | 03:46 | You'll notice that I have this Sync option here.
| | 03:49 | Now, we've actually seen that before.
| | 03:50 | But its this time it says Sync dot, dot, dot.
| | 03:53 | If I press it now, it opens up the
synchronized settings dialog window.
| | 03:56 | Well, that's actually not what I want.
| | 03:57 | I'm going to go ahead and check all here
and hit cancel because I want to reset that.
| | 04:01 | What I do want is by pressing down
the Option key, interesting.
| | 04:04 | Those dots are gone.
| | 04:06 | What I do want to do is just apply this quickly.
| | 04:08 | So I press the Option key on a Mac or the Alt key on a PC.
| | 04:12 | We notice that that Sync option
actually changes, how interesting.
| | 04:16 | Now that the dot, dot, dots are gone and when
I press this, its automatically synchronized.
| | 04:21 | And now I'll click on the first image.
| | 04:22 | There is the first image.
| | 04:23 | I can dial this one in.
| | 04:24 | May be a little bit more fill light there,
and a little bit more brightness on that one,
| | 04:28 | perhaps a little bit less contrast and again
just dial in how I want that image to look.
| | 04:33 | Now let's say that, I'm working on this image I say
that, you know, I don't really like my tone adjustments.
| | 04:38 | Well, hold down the Option key on a Mac, Alt key on a PC.
| | 04:41 | We notice that this change is to Reset Tone.
| | 04:44 | And this changes to Reset Presence.
| | 04:46 | So I can go ahead and click on that.
| | 04:47 | It's going to reset all my sliders back to 0.
| | 04:49 | I'll click on this option.
| | 04:51 | It's going to change all of my Presence sliders,
which includes Vibrance and Saturation.
| | 04:55 | So if I need to reset an image I can quickly do that.
| | 04:58 | Now, to reset the Temperature slider I can simply double
click that slider and take it back to what it was as shot.
| | 05:03 | And double click the Tint slider as well.
| | 05:05 | That will take it back to what it was as captured.
| | 05:08 | Now when we bring in this image back to its original
state, it still looks good, it's still interesting.
| | 05:13 | Yet we've learned some really valuable
techniques for working with those sliders.
| | 05:16 | And one of the things that I'm hoping you walk away from
this particular movie is one how to use the sliders.
| | 05:21 | How to apply the knowledge we've learned.
| | 05:22 | And two, to keep in mind that it's
always a combination of the sliders.
| | 05:26 | And even though you've made adjustments
it doesn't mean the adjustments are good.
| | 05:29 | You always want to go back in time.
| | 05:31 | Compare the file to the original to see
if you're going in a good direction.
| | 05:34 | And then may be modify from there and kind
of do this give and take give and take.
| | 05:38 | I like to think of modifying images or processing
the images, kind of like, tuning a guitar.
| | 05:43 | And what you do when you tune a guitar.
| | 05:44 | You tune it sharp and then you tune it flat and then sharp
and then flat and then sharp and then flat, and then sharp
| | 05:49 | and then flat and then sharp and then
flat, and then sharp and then flat.
| | 05:51 | And then finally you'll find that middle
point, where the image just looks perfect
| | 05:56 | or the guitar string is just quite in tune.
| | 05:57 | So that's one of the things that we want to
start to do with these basic adjustment control.
| | Collapse this transcript |
| Understanding vibrance and saturation| 00:00 | In the previous movie, while I was working on the
color and tone of the image I snuck ahead a little bit.
| | 00:05 | And I made some Vibrance and Saturation adjustments.
| | 00:08 | Now, you may be wondering, what's the
deal with Vibrance and Saturation?
| | 00:11 | What's the difference?
| | 00:11 | How do those sliders work?
| | 00:13 | Well that's what we're going to
figure out in this particular movie.
| | 00:15 | So what I need you to do is navigate to the
03 Develop module folder and then navigate
| | 00:19 | to the Demo Files folder and open
up this particular demo file.
| | 00:22 | Press D to go to the Develop module.
| | 00:24 | And we're going to press F7 to hide the panel on the left.
| | 00:27 | Next, what we're going to do is we're going to scroll
| | 00:29 | so that we can see the Presence sliders
here, Clarity, Vibrance, and Saturation.
| | 00:33 | I'm also going to close this other
panel so that that's not distracting.
| | 00:37 | OK, well, we'll talk about Clarity later.
| | 00:39 | But how do Vibrance and Saturation work?
| | 00:41 | Let's take a look at simply increasing the Vibrance.
| | 00:44 | This is linear saturation.
| | 00:46 | So when I do this all the color
becomes saturated at the same level.
| | 00:50 | When I take this down all the colors
become desaturated at the same level.
| | 00:54 | It's as if all the colors are moving
or marching in a line- it's linear.
| | 00:59 | Now Vibrance is nonlinear.
| | 01:01 | There is some logic built in here.
| | 01:02 | Watch this while I drag this to the right.
| | 01:04 | It's almost as if the saturation is being pushed
from the right all the way over there to the left.
| | 01:09 | And then when I drag it out, it's
being pushed the other direction.
| | 01:12 | So I'm almost like pushing the
saturation from one side to the other.
| | 01:15 | Well, what's that all about?
| | 01:17 | Well, what's happening here is when I increase the Vibrance,
| | 01:19 | it's looking at the colors that are less saturated.
| | 01:22 | It's saying, try to keep the colors that are more
saturated, try to not mess with those very much.
| | 01:26 | But try to bring up the other colors so that it's
a little bit more of an equal level of saturation.
| | 01:31 | So you can see that it's closer
to having a similar type of a blue.
| | 01:34 | In comparison when I increase the saturation this way,
| | 01:38 | well, these blues are very, very distinct.
| | 01:40 | Because it's saying, whatever
level of saturation increase it.
| | 01:43 | And it's increased, increased, increased
in this liner fashion.
| | 01:46 | So Vibrance gives us this ability
| | 01:48 | to not only increases color saturation,
it increases color variety.
| | 01:54 | And that's one of the nice things
about this Vibrance slider.
| | 01:56 | Or on the other hand you can use
it to decrease color variety.
| | 02:01 | When I decrease this we'll notice that this is gray.
| | 02:03 | This is really close to gray.
| | 02:05 | And now we've fewer colors.
| | 02:06 | Although the colors that were more saturated
still have a little bit of color left in them.
| | 02:11 | All right, well, now that we know a little bit
| | 02:13 | about these sliders let's apply this
knowledge and let's do that in the next movie.
| | Collapse this transcript |
| Using the Vibrance and Saturation controls| 00:00 | Well, now that we know a little bit how the Vibrance and
Saturation sliders work, let's apply that now to a couple
| | 00:06 | of different images so, we can see
how this works in different scenarios.
| | 00:09 | Well the first image that I want to work
on is this photograph of the Davis Family.
| | 00:13 | So go ahead and select that photo inside of
the 03 Develop module folder subfolder family.
| | 00:18 | Next press the D key to navigate to the Develop
module then press F7 to hide the panel on the left.
| | 00:22 | All right, well, now, well, here I can see this image.
| | 00:25 | No if I go ahead and increase the
saturation what's going to happen is,
| | 00:28 | I'm going to have some real time problems
especially in regards to skin tone, yes,
| | 00:31 | the skin tone just doesn't look good at all.
| | 00:34 | If I desaturate all the way that image
becomes gray scale or black and white.
| | 00:37 | What happens if I increase Vibrance?
| | 00:39 | Now when I increase Vibrance what happens is the
skin is protected, yet we've more color variety.
| | 00:44 | Now I'm going to exaggerate this adjustment, now
this is too far, there is too much color here.
| | 00:48 | Now I'm going to exaggerate to show you even if
that high of an amount the image doesn't look
| | 00:53 | as horrible as it does in the saturation mode.
| | 00:56 | When I press the backslash key there
is my before and there is my after sop
| | 01:00 | that you can see that its adding much more color variety.
| | 01:03 | We can see much more yellow in the background
and green, there are more blues it brought some
| | 01:07 | of the hue in the couch from the reflection.
| | 01:09 | Now that's too far of course, but one of the things
that I found that you can do is increase the vibrance
| | 01:14 | and it will increase the color variety and the overall
saturation without damaging important colors like skin tones
| | 01:20 | because skin has a lot of color in it typically.
| | 01:23 | The other thing that you can do is, decrease the
saturation just a little bit and then increase the vibrance
| | 01:28 | and work with these two sliders together, in order
to come up with some pretty interesting results.
| | 01:33 | Let's take a look at our before and after.
| | 01:35 | Here is before and then after.
| | 01:37 | So it's not that significant, but
we notice there is some more blues,
| | 01:40 | there are some more yellows, there are some more greens.
| | 01:42 | There is just a little bit more of that color in the
image, which makes for a pretty interesting image.
| | 01:47 | Now of course you're going to have to figure out how
far to push these sliders on each individual image,
| | 01:52 | because it's really contingent upon
the colors and the image as a result.
| | 01:55 | Let's take a look at a couple of other images.
| | 01:57 | Press the G key to navigate to the
Grid View in the Library module.
| | 02:01 | Next click on the Miscellaneous Folder and what we're going
to do here is, we're going to select an image that I'm going
| | 02:05 | to work on it so this particular photograph of the frog.
| | 02:08 | Press the D key to take that image into the Develop module.
| | 02:12 | Now this image is really saturated.
| | 02:14 | These colors are beautiful.
| | 02:16 | These are colors that are found in nature.
| | 02:18 | This is a photograph that was captured
by Ralph Clevenger, Amazing!
| | 02:20 | Wonderful photograph; now, what
happens with the Vibrance slider here?
| | 02:24 | When I increase the Vibrance slider
what I notice is I get a little bit more
| | 02:27 | of a green variance, I also get some more blues in here.
| | 02:30 | So there is a little bit more green and blue.
| | 02:32 | Here is my before and then after.
| | 02:33 | You can really see it in those blues.
| | 02:35 | Yet the rest of the colors aren't completely wrecked.
| | 02:38 | Now may be a little bit too high in the saturation.
| | 02:40 | So, I'm going to bring that down a little
bit, so now here is my before and after.
| | 02:44 | So hasn't really shifted the color
or oversaturated the color.
| | 02:48 | Instead it has increased the overall color variety.
| | 02:51 | All right well let's reset the
sliders by double clicking them.
| | 02:54 | In contrast when I increase the Saturation
slider well the color just gets blocked up.
| | 02:58 | This color won't print well, and
so that's not going to work for us.
| | 03:01 | Let's take a look at what happens
if we decrease the Vibrance.
| | 03:04 | When I decrease the Vibrance what's happening is,
| | 03:06 | the colors that are more saturated are
still there, the eyes and the frogs back.
| | 03:10 | The blue is almost completely gone.
| | 03:12 | So we can find a real sweet spot in regards to
flattening the amount of color that we've there
| | 03:16 | and then also increasing the saturation and that can
help us come to some pretty interesting results as well,
| | 03:22 | Although typically I find what works best is,
increase the Vibrance and decrease the saturation,
| | 03:27 | just a touch and typically that gives you the best result.
| | 03:30 | Let's look at one more image.
| | 03:32 | Press the G key to navigate back
to the Library module Grid View.
| | 03:35 | I'm going to select one more image from this particular set.
| | 03:39 | This photograph of a California
poppy that I captured on my street,
| | 03:42 | we'll press the D key to navigate to the Develop module.
| | 03:46 | Now in this case I have the Vibrance
slider already pretty high.
| | 03:48 | Let's reset that by double clicking it and then
also double clicking the Saturation slider.
| | 03:53 | Now when I do that the image looks fine.
| | 03:55 | I have some nice oranges there, but the
purple is a little bit too muted for me.
| | 03:58 | So as you saw what I have done I increased that
Vibrance slider, decreased the saturation a little bit.
| | 04:03 | I didn't want to overdo it, and then
that gives me this before and then after.
| | 04:07 | So it just adds that extra little
bit of a punch to the overall color.
| | 04:12 | So as you can tell I'm a little bit excited
about the Vibrance and Saturation sliders,
| | 04:16 | because they help me make subtle yet
significant adjustments to my images.
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| Creating and using virtual copies| 00:01 | In this movie I want to talk a
little bit about virtual copies.
| | 00:04 | And then apply what we know to
a couple of different scenarios.
| | 00:07 | In order to talk about virtual copies
we've to talk about Raw Processing.
| | 00:11 | How does all this raw processing stuff actually work?
| | 00:14 | Well, for starters, you've raw data.
| | 00:16 | Now that could be raw file, a DNG file, TIF file,
JPEG file, Photoshop file, yet its just raw data.
| | 00:23 | It's the actual pixel.
| | 00:24 | Then what happens when you use Lightroom?
| | 00:26 | There is a small little tiny set
of instructions which says, hey,
| | 00:29 | display this raw data here this way,
black and white with some high contrast.
| | 00:33 | Or display this raw data here over here in color,
little bit of contrast, not much of a change there.
| | 00:39 | So what you can do is continue to have multiple
versions of that same raw data with little instructions,
| | 00:45 | just say hey display that raw data a new way.
| | 00:48 | As a result there is a kind of flexibility; it's not
destructive meaning you've never damaged these pixels.
| | 00:53 | Nothing is permanent, it can always be undone and in
addition it doesn't take up much file size, at all.
| | 01:00 | And that's a beauty of raw processing.
| | 01:02 | That's why so many people are excited about raw processing.
| | 01:05 | All right, well, just jump back to Lightroom.
| | 01:06 | Here we're inside of Lightroom and I'm back to
that family photo where you've these two images
| | 01:11 | and this is the particular image that I want to work on.
| | 01:13 | So I'll press the D key to navigate to the Develop module.
| | 01:16 | Now I have closed the panel on the left
and I closed that by pressing the F7 key.
| | 01:19 | So go ahead and press the F7 key
to close that panel on the left.
| | 01:24 | Now I want to process this image a couple of different ways.
| | 01:27 | The first way that I want to process
it's as black and white.
| | 01:30 | So I'm going to create what's called d virtual copy.
| | 01:32 | So I'm going to press command on a Mac, control
on a PC and then press the apostrophe key.
| | 01:37 | Again, on a Mac that Cmd+Apostrophe
on a PC that is Ctrl+Apostrophe.
| | 01:42 | Now I have a virtual copy.
| | 01:44 | It's the same file name, it looks the same, it acts as
same, Although I can change that little set of instructions.
| | 01:50 | In this case I'm simply going to desaturate the image.
| | 01:53 | Well, perfect, OK I like that, I'll
increase perhaps the contrast a little bit.
| | 01:57 | Now I have two versions of the same image.
| | 01:59 | Well, I want one more version.
| | 02:01 | So I'll press command + apostrophe on
a Mac or control + apostrophe on a PC.
| | 02:06 | Next with this particular image what I want
to do is I want to synchronize the settings
| | 02:11 | with this original file that we modified here.
| | 02:13 | I like the tone that we created with that image.
| | 02:15 | So I want to apply that to that third virtual copy.
| | 02:18 | Well, all that I need to do here is to
synchronize the setting or use a nice shortcut
| | 02:22 | that we can use to copy and paste camera raw setting.
| | 02:25 | So I select the first image.
| | 02:27 | On a Mac Shift+Cmd+C, on a PC Shift+Ctrl+C that
will open the copy settings dialog window.
| | 02:35 | Once again on a Mac Shift+Cmd+C on a PC Shift+Ctrl+C.
| | 02:40 | Next check All, Copy, select the other image or
images that you want to apply these settings to
| | 02:46 | and then press Shift+Cmd+V on a
Mac, or Shift+Ctrl+V on a PC.
| | 02:52 | Now when I did that I noticed something kind of interesting.
| | 02:54 | There was a mistake, I copied the crop as
well, and I don't want to copy the crop
| | 02:58 | because that doesn't really make sense of this image.
| | 03:00 | So I'll press Cmd+Z or Ctrl+Z on a Pc.
| | 03:03 | I'm going to navigate back to this
image so that I really like.
| | 03:06 | I like the color and tone.
| | 03:08 | So I'll then press Shift+Cmd+C
on a Mac, Shift+Ctrl+C on a PC.
| | 03:12 | I'm going to check this option off.
| | 03:14 | I don't want to apply that crop, choose Copy and then choose
the other image and then on a Mac Shift+Cmd+V as in Victor
| | 03:22 | or V as in victory, Shift+Ctrl+V on a PC
and that will then apply those settings.
| | 03:28 | Now when I apply those settings to this particular
image, I notice you know it's a little bit too bright.
| | 03:32 | So then I need to navigate back to my tonal adjustments.
| | 03:35 | I'm going to darken this image up just a little bit, may
be a little bit less fill light, little bit more contrast.
| | 03:41 | And Voila!
| | 03:42 | I know I have three different versions of the same image.
| | 03:45 | I'm pressing the arrow keys to scroll back
and forth between these different images.
| | 03:49 | Now, all three of these images have a different
emotion or a different feel a different aesthetic.
| | 03:54 | And as I scroll through them by pressing on the arrow keys
I'm able to compare and contrast the different images.
| | 04:00 | And one other reasons that I like virtual copies is
because of light weight, it doesn't take up a lot
| | 04:05 | of extra file size, but even more importantly it helps me
to take risks because this is a real nondestructive risk.
| | 04:12 | Let's say that I determined, you know, what,
I don't like the black and white conversion.
| | 04:15 | It does nothing for me.
| | 04:16 | Hit the Delete key, then it will ask me, do you
want to remove the virtual copy from Lightroom.
| | 04:20 | Sure I'll remove it.
| | 04:21 | No skin off my back, nothing has been
lost, hardly took any time at all.
| | 04:25 | So as you can see virtual copies are really
interesting and they are definitely something that,
| | 04:29 | you're going to want to integrate into your own workflow.
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| Understanding clarity| 00:00 | Right next over to Vibrance and
Saturation sliders is the Clarity slider.
| | 00:05 | And that's what we're going to learn about in this movie.
| | 00:07 | We'll navigate to the 03 Develop module folder
and then double click the file titled clarity.tif.
| | 00:13 | Next press the D key to navigate to the Develop module.
| | 00:16 | And then press the F7 key to get rid
of the panel over there on the left.
| | 00:20 | Now what's to do with this file?
| | 00:21 | Now, what I have here is I have a couple of
circles that I have made and I have filled it
| | 00:24 | with a few different gradients and posterize the gradient.
| | 00:27 | I also made a couple of other gradients and I
then posterize those gradients as well inside
| | 00:31 | of Photoshop, and here is a little secret for you.
| | 00:33 | If you want to learn how any of these applications
work, all you really need to do is create a gradient
| | 00:38 | and then modify the gradient and you can
teach yourself how the tool actually works.
| | 00:42 | Let's see if we can teach ourselves how clarity works.
| | 00:44 | I'm going to zoom in a little bit on this, so that
I can really see these different gradients here.
| | 00:48 | And I'm going to go down to my Clarity slider,
there it's, and I'm going to increase the clarity.
| | 00:54 | Now as I do that, I notice a couple of different things.
| | 00:56 | It's almost as if this is more bumpy.
| | 00:58 | If I would have rubbed my finger across this
particular shape there would be more of a ridge to it.
| | 01:02 | Now when I take it down it looks like its much more soft.
| | 01:06 | It almost looks like a soft focus of that.
| | 01:08 | It's muting now those differences.
| | 01:10 | So we can see here is that clarity adds a
little bit of what's called midtone contrast
| | 01:15 | or a little bit of punch a little bit of snap.
| | 01:18 | Now if you haven't used the Clarity slider
you're definitely going to want to use it,
| | 01:21 | Although you don't want to crank it up to high.
| | 01:24 | You don't want overdo it, because
you can imagine if I overdid it
| | 01:27 | and this was skin, well that just wouldn't look good.
| | 01:29 | Yet it does give that little extra bit of dimension
and dimension is incredibly important to photographers,
| | 01:36 | because that's what creates shape and its that
dimensionality or that light across an object
| | 01:41 | that actually makes the object interesting.
| | 01:43 | So this Clarity slider is really fun to work with.
| | 01:45 | In order to see the results, you
typically need to zoom in to 100%.
| | 01:49 | Otherwise if you're zoomed way out
you can't really see what's happening.
| | 01:52 | Now in this case you're zoomed out.
| | 01:53 | Yeah, we can still see it, but it were high res files we
wouldn't to be able to see what's typically happening.
| | 01:58 | So, in conclusion as you start to work with the
Clarity slider, think of that as midtone punch.
| | 02:03 | Typically you're going to increase that, unless you
want to create a little bit of a soft focus effect
| | 02:09 | and in that case you're going to go
to one of those negative numbers.
| | Collapse this transcript |
| Using the clarity controls| 00:00 | In this movie we're going to apply what
we've learned in regards to clarity.
| | 00:03 | We're going to be working on this particular file.
| | 00:05 | You can find, it inside of the 03 Develop
module folder and then subfolder Shaun.
| | 00:10 | We're going to select this image
where Shaun is holding the surfboard.
| | 00:13 | Shaun Thompson the man, the myth,
the legend, really fascinating guy.
| | 00:17 | Next, let's press the D key to take
this image to the Develop module.
| | 00:21 | Now I want to stay zoomed out for a moment
because I want to talk a little bit about clarity.
| | 00:25 | What's actually happening with the Clarity slider?
| | 00:27 | Well, one of the things we've looked at last time is the
Clarity slider added a little bit of shape or dimension.
| | 00:33 | Another important aspect of clarity or
the contrast for that matter is that,
| | 00:37 | contrast is closely connected to
sharpening, let me illustrate.
| | 00:41 | So if I take the contrast out of this image
it looks a little flat, it doesn't look sharp.
| | 00:44 | Now when I increase the contrast
dramatically the image looks much more sharp.
| | 00:48 | I'll go ahead and decrease that
because that's a little bit too far.
| | 00:51 | Well, how does that relate to clarity?
| | 00:53 | Well, clarity really is a slider that adds a little bit of
midtone or local contrast, adds a little bit of sharpness
| | 00:59 | because contrast and sharpening are closely linked.
| | 01:02 | All right, well, either way let's zoom in on this image.
| | 01:04 | I'll go ahead and click on the 1:1view and then I'm
going to reposition the image by clicking and dragging.
| | 01:09 | Press the F7 key to get rid of
the panel over there on the left.
| | 01:12 | Now what I want to do is see some of the important
details in this image, the face, the shirt.
| | 01:16 | Next, I'm going to increase the Clarity slider
and I'm going to do this so that's pretty drastic.
| | 01:20 | So there is my increase.
| | 01:22 | Now if I want to see the before and after I can press
the Y key and that shows the split before and after.
| | 01:28 | Now let's drag the slider down.
| | 01:30 | There is it, softening and let's drag it up.
| | 01:32 | So it's as if it's adding more dimension or more tonality.
| | 01:36 | You can kind of see here on the jacket the shadow is a
little bit deeper, the highlight is a little bit stronger.
| | 01:41 | Well, in this case I have taken the Clarity slider too far.
| | 01:44 | I need to do that in order to illustrate
how the slider works.
| | 01:47 | I also need to illustrate that the
clarity adjustment is pretty subtle.
| | 01:50 | Non-photographers won't notice it, but
photographers will look at the image and say, Wow!
| | 01:54 | It has so much texture, so much dimension, so much depth.
| | 01:56 | How did you do that?
| | 01:57 | How did you sharpen the image in that way?
| | 01:59 | And really, it's with that Clarity slider, because
it brings that sharpening into the midtones rather
| | 02:03 | than the real strong sharpening
that can happen with digital files.
| | 02:06 | Now that being said we're also
going to need to sharpen this image.
| | 02:09 | Yeah, right now we'll add a little bit of clarity.
| | 02:12 | OK I want to go back to the regular view mode by pressing
the Y key that will get me out of the split view mode.
| | 02:17 | Now here I'm going to double click the
Clarity slider to take it back to 0
| | 02:20 | and then I'm just going to incrementally bring this up.
| | 02:23 | Now one of the things that is important to do in regards
to Clarity slider is to use it in pretty subtle ways.
| | 02:28 | You're looking for a little subtle
extra added punch to the image.
| | 02:31 | Now let's see if we've done that.
| | 02:32 | Here is our before, here is our after.
| | 02:34 | I think that looks really nice.
| | 02:36 | And I'm going to zoom all the way out, so that I can
see that image in its entirety and look at the before
| | 02:41 | and after to make sure I haven't done anything too drastic.
| | 02:44 | And as I look at that image I think, it looks pretty good.
| | 02:46 | Press the F7 key and click on the 1:1just to make sure
we're seeing that 100% view because that's the view
| | 02:54 | that will really tell us if we're going in a good direction.
| | 02:56 | Now when I go back to the 100% view here, after having
zoomed out, I realize I have gone a little bit too far.
| | 03:02 | You know that happens a lot of times in digital photography.
| | 03:04 | Just because you've a slider, doesn't
mean you should necessarily use it.
| | 03:08 | With this particular image there is a lot
grid, there is a lot of texture already,
| | 03:11 | the lighting is really smooth, and even I love that.
| | 03:14 | So I'm going to dial this back a little
bit and I think that looks perfect.
| | 03:18 | Click on the backslash key to see
my before and then my after.
| | 03:21 | You know that little bit of extra clarity
helps us image snap that much more.
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| Typical Basic panel workflow| 00:00 | So far in this chapter we've been deconstructing
demystifying and learning about the different aspects
| | 00:05 | of the Basic panel inside of the Develop module.
| | 00:07 | Well, in this movie what I want to
do is, put all the pieces together.
| | 00:10 | I want to take an image and bring it through
a typical workflow inside of the Basic panel.
| | 00:15 | The image I'll be working on in can be found
in the 03 Develop module folder subfolder kids.
| | 00:20 | It's a photograph of my daughter Annika.
| | 00:21 | She wanted to be Ariel for Halloween, so she want to have
her hair spray painted red and there you can see the result.
| | 00:28 | She is a wonderful girl, absolutely loving to dad.
| | 00:31 | All right let's press the D key
to take this image Develop module.
| | 00:35 | Next, let's press the F7 key to hide the panel on the left.
| | 00:39 | Now what I'm going to do is I'm
going to open up the Histogram.
| | 00:42 | Now I'm going to look at the image and
see if there are faults with the image.
| | 00:44 | Well, at first glance I'm not seeing any faults.
| | 00:46 | I'm not seeing any drastic problems.
| | 00:48 | The tones are pretty evenly distributed
across the Histogram.
| | 00:51 | Well, that looks good.
| | 00:52 | Next thing I'm going to do is press the
J key to turn on the clipping warning.
| | 00:56 | Now when I do that again I'm not seeing any drastic
problems, a few little spaces are losing some detail,
| | 01:01 | but for the most part the image looks really good.
| | 01:03 | OK, I'll go ahead and close the Histogram for now and
open up the Basic panel so that we can focus on that.
| | 01:09 | The first thing I want to do is white balance the image.
| | 01:11 | So I'll press the W key to select the white balance tool.
| | 01:14 | Next, I'm going to hover over the image and try to
click on something that I think should be white.
| | 01:19 | Now I know that her shirt should be white
down here, but I also know that these drapes
| | 01:22 | in the background those should be white as well.
| | 01:24 | And I'm not going to click on the highlight but
rather the part here that's a little bit off white,
| | 01:28 | it's a little bit in the shadow and then that's
going to white balance the color correct my image.
| | 01:32 | Now once I have done that it really
adds this nice warm hue to the image.
| | 01:36 | Now if that's too far I'm going to go into
my sliders, and I'm going to modify that
| | 01:40 | or bring that back until I find a sweet spot.
| | 01:43 | In my case I think it looks kind of nice to have
that nice warm hue with this particular image.
| | 01:47 | The next thing I'll do is modify my Tint sliders.
| | 01:50 | I'm going to drag one to the left drag one to the right,
just to see if I need to swing it one way or the other,
| | 01:55 | and as I do that I determine I
don't need to touch the Tint slider.
| | 01:58 | So I'll double click the slider.
| | 01:59 | It will take it back to its default setting.
| | 02:01 | All right, well, the color is now dialed in.
| | 02:04 | The next thing then I'm going to
do is work on the overall exposure.
| | 02:07 | I'm going to increase the exposure, just a touch.
| | 02:09 | I'm going to really watch out for any warning up here.
| | 02:12 | Because I press the J key that clipping warning is going to
tell me, OK, I have gone too far, and so what I need to do
| | 02:17 | at this point is either use the Recovery slider,
| | 02:20 | increase that to bring back the detail
or decrease the overall exposure.
| | 02:24 | I'm going to leave the recovery
slider up, just for good measure.
| | 02:26 | One of the things you'll notice is
I'm going to be working through this
| | 02:28 | from top to bottom and typically that works best.
| | 02:31 | I'm going to going to bring in a little bit of
fill light or I like to think this as reflected
| | 02:35 | but its almost as if you've a little bit of reflector.
| | 02:37 | Now when I do that I need to increase
my blacks and or my contrast.
| | 02:41 | So I'll bring the blacks up just a touch there and
then I'm going to increase the contrast as well.
| | 02:45 | Now when I increase the contrast I
notice a couple of little problems here.
| | 02:49 | One is some loss of detail in the background.
| | 02:51 | I'm OK with that, that dark shadow there.
| | 02:52 | That will be fine losing it.
| | 02:54 | Next I need to zoom in the image in to 100%.
| | 02:56 | I want to look at the eyes, see if the eyes are sharp.
| | 02:58 | OK, well, they are pretty close to sharp,
but I could use a little bit of clarity here.
| | 03:02 | So I'm going to increase the clarity,
add a little bit more dimension or shape.
| | 03:05 | Now if we increase the clarity quite a bit, we're going to
see that its going to add nice texture there and nice shape,
| | 03:11 | and I'm looking for the sweet spot,
looks like right at about 30.
| | 03:14 | That looks pretty good.
| | 03:15 | Now for the color, now the color looks OK.
| | 03:17 | But it's a little bit too yellow, isn't it.
| | 03:20 | So I'm going to desaturate just a touch here
and then I'm going to increase the Vibrance,
| | 03:24 | because I want to increase the color variety and
then bring up my saturation again, just to touch.
| | 03:29 | I don't want to overdo it, and
then go to my color temperature.
| | 03:32 | I'm going to bring back some of the blue because one
| | 03:34 | of the things I'm noticing is that
her eyes are so beautiful and blue.
| | 03:38 | It's kind of nice to have that deep blue and the deep blue
here and a little bit of blue in the background is OK.
| | 03:43 | I don't need this image to be completely warm.
| | 03:46 | All right well I have successfully walked this image
through the different controls in the Basic panel.
| | 03:50 | Well, now is the moment of truth, the before and the after.
| | 03:53 | You remember there are a couple of different
shortcut keys that you can use to compare the image.
| | 03:57 | One shortcut key is the Y key this will
help you to determine, why did you do this?
| | 04:01 | Was that a good edit?
| | 04:02 | You can also press Shift+Y to look at the images
side by side, and then Shift+Y again to look
| | 04:07 | at in the split view mode or you can press option on a Mac,
| | 04:11 | Alt on a PC and then press the
Y key to go top or the bottom.
| | 04:14 | Now as I do that, as I go through those
different split view modes I say, you know what?
| | 04:18 | The image is looking better.
| | 04:20 | The next thing that I'm going to
do is press the backslash key.
| | 04:23 | That will show me the overall, before and finally the after.
| | 04:26 | Now, when I look at the after, I decide you know what?
| | 04:28 | It's still a little bit just too yellow for me.
| | 04:30 | I'm going to bring a little bit of that yellow
out and bring in just a touch of magenta there.
| | 04:34 | And then may be a touch more of yellow.
| | 04:37 | Let's look at our before and then after.
| | 04:39 | We haven't shifted the color of that drastically in order
| | 04:42 | to maintain the images integrity
Although we've warmed it up, just a touch.
| | 04:46 | The final thing I want to do is press the
J key to turn off the clipping warning.
| | 04:49 | And then I'm going to press Cmd+Apostrophe on a Mac,
Ctrl+Apostrophe on a PC and create a virtual copy.
| | 04:56 | Again, that was Cmd+Apostrophe on
a Mac, Ctrl+Apostrophe on a PC,
| | 05:00 | and then this next image I'm going to warm up quite a bit.
| | 05:03 | So I'm going to add quite a bit of warmth to this image.
| | 05:05 | And now I have two versions of the file.
| | 05:07 | Here is one version and then here is another.
| | 05:10 | That way I can print both these files.
| | 05:12 | And then the final print will help me
determine which image is actually best.
| | 05:16 | All right well I hope that this brief Basic
panel workflow movie has been helpful.
| | Collapse this transcript |
|
|
12. The Develop Module: Using the Tool Strip ToolsCropping| 00:00 | In the next couple of movies, we'll be talking about how
we can use the Crop tool inside of the Develop module.
| | 00:05 | Now, because cropping has a lot to do with composition,
I'm going to talk a little bit about composition as well.
| | 00:10 | We'll have some fun with this.
| | 00:11 | So far, we're in the 03 Develop
module folder in the subfolder crop.
| | 00:14 | I'm going to go ahead and select the first image here.
| | 00:16 | It's a photograph that I took in a London subway tunnel.
| | 00:19 | I want to go to the Develop module.
| | 00:21 | Now, I want to go the Crop tool.
| | 00:22 | And I want to do this by way of shortcut.
| | 00:24 | I'm going to press the R key.
| | 00:25 | Yep, the R key, that's the shortcut key for the Crop tool.
| | 00:28 | Now, if we forget that shortcut, no big deal. You can
always select the Crop tool here in the tool strip.
| | 00:33 | So I'll go ahead and click on that.
| | 00:34 | Next, I'm going to press the F7 key
to get rid of the panels on the left.
| | 00:38 | Now, when I look at this particular image, I say you know,
it works and it works because I was cropping and composing
| | 00:43 | on camera. I was thinking about the lines.
| | 00:45 | I was thinking about how that lines actually work.
| | 00:47 | And you know a lot of good photographers
will say, you always have to crop on camera.
| | 00:50 | You shouldn't crop after the effect.
| | 00:52 | Well, I agree with that and I also don't agree with that.
| | 00:54 | Because there are times when you just don't quite
get it on camera and so you have to fix it up.
| | 00:58 | And there are other times, well, let's say
in this particular image I like how it works,
| | 01:02 | I may want a different version of the image.
| | 01:04 | So let's say that I decide you know that this is really
interesting, but what would happen if I just cropped it in?
| | 01:09 | So, what I'm doing is I'm going over
the corner and my cursor is changing.
| | 01:13 | And I get that little bent icon.
| | 01:14 | When I get that icon I can drag to the
left or the right and rotate the image.
| | 01:19 | Next, I can press the spacebar and recompose the image.
| | 01:22 | Double click to apply that crop.
| | 01:24 | Now, when I do that I get a very different image.
| | 01:26 | Now, I was still thinking a little about my lines
| | 01:28 | and how they are coming towards the
corner and how it's leading into this.
| | 01:31 | This image is a little bit more dizzying.
| | 01:33 | Now, I don't really like it better than the other image.
| | 01:36 | Although it's interesting to begin
to experiment, to think about, OK,
| | 01:39 | what else could I have done with this particular shot?
| | 01:41 | Well, what would have happened if I
would have turned things on their axis?
| | 01:43 | How could I have achieved some other type of effects?
| | 01:46 | And, so, this Crop tool teaches
me a little bit about composition.
| | 01:50 | All right, well, let's go ahead and click the Reset button
| | 01:52 | and take that image back to normal
and move on to our next image.
| | 01:55 | Here we've a photo that I took at the
gallery in the first floor where I work.
| | 01:59 | And here are some of Rodney Smith's photos,
one of my all time favorite photographers.
| | 02:02 | I'm going to press the R key to enter into the Crop tool.
| | 02:05 | Now, what I want to do here is
| | 02:07 | I want to make sure that my Aspect ratio is Original.
| | 02:09 | It's as is and I also want to lock it.
| | 02:12 | By locking that down, what will happen is when I change
this crop it will always constrain those proportions;
| | 02:18 | if its unlocked then the proportions
aren't going to be constrained.
| | 02:21 | I can create a very different image.
| | 02:23 | Although, I have lost a ton of the information and I
haven't maintained that Aspect ratio, which is so important.
| | 02:28 | So, I'll click Reset here and then press the R key once
again and make sure that the Aspect ratio is locked down.
| | 02:34 | All right, so I'm going to go ahead and just
bring that corner in just a touch there.
| | 02:41 | Then, I'm going to click and reposition this image.
| | 02:43 | And what I'm looking to do is to
try to get those lines as close
| | 02:46 | to the bottom, left and right-hand corners as possible.
| | 02:49 | Now, you don't always need to do that Although
it can sometimes create a more dynamic image.
| | 02:54 | Now, it's pretty close.
| | 02:55 | Its just now quite on, so I'm going
to use the Arrow keys here.
| | 02:57 | And I'm using my Arrow keys just to move this around.
| | 03:00 | Or I'm going to click and drag and just try to find
a sweet spot here, and let's say that's pretty good.
| | 03:06 | Double click to a file that crop.
| | 03:08 | Now, that subtle yet sometimes the most
subtle crops are the most significant.
| | 03:12 | Because all that it does is it just connects the lines.
| | 03:14 | And this image is so much about lines.
| | 03:17 | Now, all of our images are about lines.
| | 03:19 | Like these first few I'm showing.
| | 03:21 | It's kind of helpful in order to begin to understand
a couple of different ways that we can crop.
| | 03:25 | All right, well, let's look at one more image in this movie.
| | 03:28 | We'll look at this next photograph
of a London Subway Tunnel.
| | 03:31 | Now, in this particular image its working well except
I didn't crop and compose it very well on camera.
| | 03:36 | Because you can see that this line over
here is a little bit too far to the right.
| | 03:40 | I don't have this line over here and we also
notice that image is a little bit skewed.
| | 03:45 | Well, because of that I'm going to kind of run with that
skewed nature of this image and take it a little further.
| | 03:50 | So press the R key and now hover near the corner.
| | 03:53 | I get that bent cursor.
| | 03:54 | I'm going to look to do there is to just try
to make this image lean a little bit more.
| | 03:59 | And as I make it lean it a little bit more.
| | 04:01 | I'm going to look at some lines.
| | 04:02 | It's always nice if I can drop a line right in the
corner and then double click to apply that crop.
| | 04:07 | Now, again a very different image, very different aesthetic,
but I'm going in a somewhat interesting direction.
| | 04:13 | Press the R key, and I look to try to bring
it down a little bit more on this side.
| | 04:17 | So, what I want to do in this case is I want to take
the main subject out of the center of the frame.
| | 04:22 | We can see the center of the frame
here with this grid overlay.
| | 04:25 | It was a little bit close to the center.
| | 04:26 | Now, I'm moving it closer to the edge here.
| | 04:29 | Little bit out of the center area.
| | 04:30 | Double click it.
| | 04:31 | And then the image has this different
sweep to it, different flow.
| | 04:34 | And yeah it's a little bit dizzy, but
nonetheless a little bit interesting.
| | 04:37 | It's teaching me again about what
I could have done on camera.
| | 04:41 | Its also teaching me, gosh, I wish I just paid attention
to that little detail because the image would have been
| | 04:46 | that much better had I actually been paying attention.
| | 04:48 | Nonetheless, we've kind of an intriguing image.
| | 04:50 | Now let's say with this particular image we
like it but we also like the other version.
| | 04:55 | Well, here is what I would do.
| | 04:56 | I have this particular image.
| | 04:57 | It's a different treatment or a different
cropper composition for the image.
| | 05:01 | I'll press Cmd+Apostrophe on Mac or Ctrl+Apostrophe
on a PC in order to create a virtual copy.
| | 05:06 | You can see that down there in the filmstrip.
| | 05:08 | Now, I'm going to go back to the original
image and then simply click Reset.
| | 05:12 | So I now have the original file
and then I have this new treatment.
| | 05:15 | So I can go back and forth and kind
of decide, OK, which one is best?
| | 05:19 | Maybe I need to do another crop.
| | 05:20 | Yet as I'm cropping what I'm trying to illustrate here
is that cropping or composition is really creative.
| | 05:25 | It's dynamic.
| | 05:26 | It's intriguing, it's engaging because you
can change the overall emotion of an image.
| | 05:31 | As a result I want to experiment a little bit.
| | 05:33 | And I want to use this Crop tool in some experimental ways,
in order to come up with some new compositions and in order
| | 05:39 | to learn about how to shoot and create better images.
| | 05:42 | All right, well, we've more to learn in regards to
the Crop tool, and we'll do that in the next movie.
| | Collapse this transcript |
| Crop overlay| 00:00 | Welcome back.
| | 00:01 | We're going to continue to work with the Crop tool.
| | 00:03 | In particular in this movie we're going to talk a
little bit about composition and about the Crop Overlay.
| | 00:07 | We'll be working on a couple of photographs of my
daughter Annika, and here we've this first image.
| | 00:11 | Now, one of the reasons that this particular image works
at least for me is because of the composition, right?
| | 00:16 | It's a real minimal composition.
| | 00:18 | Also, the placement of where she is.
| | 00:20 | Now, that playground was incredibly cluttered.
| | 00:22 | There is all kind of stuff going on.
| | 00:23 | There were lots of kids there.
| | 00:25 | Yet by cropping in it in this particular
perspective it makes it seem
| | 00:28 | like it almost transcends a particular
context and looks a little interesting.
| | 00:32 | Let's select the Crop tool here.
| | 00:34 | We'll click on the Crop tool icon.
| | 00:35 | And once we do that we notice that I was
pretty close with my particular composition.
| | 00:39 | I just need to bring in this top right-hand corner
or left-hand corner I should say, just a touch there.
| | 00:44 | So I'm going to bring that in and then reposition that.
| | 00:47 | When I do that what I'm looking to do is just have
those lines, the equal spot, on each side there.
| | 00:52 | I'm going to bring that down just a little
bit and then double click to apply the crop.
| | 00:56 | Well now for me the crop on that particular image is done.
| | 00:59 | Let's talk a little bit about the Crop Overlay.
| | 01:01 | And the Crop Overlay that we saw previously
when we were making the initial crop.
| | 01:05 | So I'll click on the Crop tool again.
| | 01:06 | Here I can see that I have this Overlay.
| | 01:08 | Now this Overlay is currently showing me the Rule of Thirds.
| | 01:11 | What the Rule of Thirds teaches us is that
if we put things where these axis points are,
| | 01:15 | typically the image will be a little
bit more interesting and more dynamic.
| | 01:19 | Now let's change the Crop.
| | 01:20 | Let's say you know what I want to just get up close to
her and this is a typical image you may have of someone.
| | 01:26 | The swing set is right here.
| | 01:27 | Well, it's not as interesting, right?
| | 01:28 | Because I have a kind of lost the dynamic sense of
all that negative space and her being surrounded
| | 01:34 | by that negative space and even though I have, sure, her
eyes up here by this line and her knees are down there.
| | 01:40 | It's an OK image.
| | 01:41 | Yet, we'll go ahead and escape or apply that crop.
| | 01:44 | Press Cmd+Z on Mac, Ctrl+Z on a PC.
| | 01:48 | That will undo our different crops.
| | 01:50 | So, we can go back to this particular crop.
| | 01:52 | Again, Cmd+Z on a Mac, Ctrl+Z a PC
multiple times, so that we can go backwards.
| | 01:57 | Let's bring back up that crop.
| | 01:59 | So what this Crop Overlay is at least telling me
here, I put my subject up near this top third area.
| | 02:04 | And as a result the image became more interesting.
| | 02:07 | Although the image is pretty uniform in a sense,
having all this negative space and all the space
| | 02:12 | down here made it that much more dynamic.
| | 02:14 | Well, we've other overlays and these
other overlays can teach us even more.
| | 02:19 | While you're in the Crop tool if you press the O key
you can actually toggle between different Crop Overlays.
| | 02:25 | As you can see here I have a number of different Crop
Overlays and its a nice way to begin to evaluate your images
| | 02:30 | and begin to evaluate what could potentially
be interesting in regards to your images.
| | 02:34 | Now, this particular Crop Overlay teaches
me something about why I like the image.
| | 02:38 | We'll take a look at that.
| | 02:40 | A little graphic on her overalls
is right there in the middle.
| | 02:42 | OK, well, my crop was pretty good.
| | 02:44 | We also notice that the main part of the
image is occupying this space up here
| | 02:48 | and then all these other quadrants
down here, there isn't anything.
| | 02:51 | So, there is this little bit of dynamism in the image.
| | 02:53 | There are these lines coming in and
then there is this other open space.
| | 02:56 | Now, you may be thinking, "OK,
Chris, you're overdoing a little bit.
| | 02:59 | You're overanalyzing the image."
| | 03:01 | Yeah, maybe I am, but what I'm trying to do is get us to
look at this Crop Overlay tool as a tool that we can use
| | 03:06 | to begin to evaluate how we're cropping our images
and then also how we're composing our images.
| | 03:11 | I find that this tool out of all the tools inside
of Lightroom can teach you more about photography
| | 03:16 | than anything else that's inside of Lightroom.
| | 03:18 | Because it can help you see spatially.
| | 03:20 | All right, well, let's take a look at one more image.
| | 03:21 | I'll go ahead and click on this image of my daughter Annika.
| | 03:24 | We still have the Crop tool active.
| | 03:26 | I want to get out of the Crop tool.
| | 03:27 | Couple of different ways I can do that.
| | 03:29 | The simplest is to press the Escape key.
| | 03:31 | All right, well, now that I'm looking
at this image, I can see OK,
| | 03:34 | it's an interesting photograph
of my daughter Annika on a tree.
| | 03:36 | There is a nice line up in the corner.
| | 03:38 | I always like that when those lines go near the corner.
| | 03:40 | I have her a little bit off the side, which is nice.
| | 03:42 | So let's apply Crop.
| | 03:44 | So I'll press the R key and then I'm going
to toggle through my different Crop Overlays.
| | 03:48 | Now, as I toggle through my different
Crop Overlays I'm thinking, OK,
| | 03:51 | is there anything here that is
kind of teaching me about my image?
| | 03:54 | And I say, OK, that's kind of interesting, right?
| | 03:56 | That she is kind of following that line.
| | 03:57 | There is a little bit of a dynamic flow there.
| | 04:00 | So I'm going to try to exaggerate that
just a little bit more here and bring her
| | 04:03 | over to the side just a touch more, to follow that line.
| | 04:06 | So we've that.
| | 04:07 | Great, apply that crop.
| | 04:08 | Kind of interesting.
| | 04:09 | I still have that line in the corner.
| | 04:10 | This one is pretty close to the
corner and that looks interesting.
| | 04:14 | Well, let's apply a different crop.
| | 04:15 | I'll press the R key.
| | 04:16 | What I'm going to do here is something
that happens a lot in photography.
| | 04:19 | I'm going to cutoff one of her feet there.
| | 04:21 | It still has that same nice dynamic
angle, but the image isn't as good, right?
| | 04:25 | Because her foot has been cropped off.
| | 04:27 | I'll press the R key again and then I'm going to
open that up even more and just crop off her toes.
| | 04:32 | Again the image isn't as good.
| | 04:33 | Because I can see that just kind of
disturbs me like, what happened to her toes?
| | 04:37 | Why was that cropped off?
| | 04:38 | How does that work?
| | 04:39 | It doesn't really make sense.
| | 04:41 | Well, let's see when would it make sense to
perhaps crop off different aspects of a person.
| | 04:46 | If I make this image much more dynamic, I'm going to go
ahead and rotate this and bring it in quite a bit here
| | 04:51 | and try to get one of those crop
lines right there on her eye.
| | 04:55 | That will be kind of fun and then
double click to apply that.
| | 04:59 | The crop isn't quite perfect enough yet.
| | 05:01 | And let me just modify this a little bit more.
| | 05:03 | In this case because I have zoomed in,
I have changed the angle and whatnot,
| | 05:07 | it's a little bit less distracting
that I have lost aspects of the image.
| | 05:11 | The elbow doesn't bother me that much,
the feet, yeah, it's not perfect.
| | 05:15 | Yet because I skew things so much or I changed
perspective so much, it's not quite as distracting.
| | 05:20 | Well, let's reset the image and take it back to normal.
| | 05:23 | Well, now that we've seen a couple of different things that
we can do to the image, we'll go back to the original image.
| | 05:27 | It taught us a little about how we can crop.
| | 05:30 | You know, even though I rotated and I lost a
little bit of the limbs in this case, the feet,
| | 05:33 | it didn't look as horrible, but it still doesn't look good.
| | 05:37 | So for this particular image I'll bring back the Crop tool.
| | 05:39 | I like the dynamic line that I have here.
| | 05:41 | I would love to have that top corner.
| | 05:43 | I would love to have those both just sitting right there
on the branch, leading me to that corner, I love that.
| | 05:48 | I also would like to have her a little
bit closer to the left side of the frame.
| | 05:52 | So I'm going to go ahead and get her a little
bit closer over to that left-hand side.
| | 05:57 | So, she is not quite in the middle of the frame.
| | 05:59 | And then Double click to apply that crop.
| | 06:01 | I just brought the image in a little
bit closer and cutout some of the chair.
| | 06:05 | Now, was that crop essential?
| | 06:07 | Well probably not.
| | 06:08 | The image looks fine as is.
| | 06:10 | What I'm hoping to do here is just begin
to have a conversation about composition.
| | 06:14 | Also, to have a conversation about these Crop Overlays
so that we can begin to see how we can use those
| | 06:19 | in pretty unique ways to learn about our images.
| | 06:21 | And also learn about how we can
potentially improve our photographs.
| | Collapse this transcript |
| Straightening with the Crop tool| 00:00 | In this movie, we're going to look at how we
can use the Crop tool to straighten our images.
| | 00:05 | You know, a lot of times, you'll need to straighten your
images if the horizon isn't leveled or if there is an object
| | 00:09 | like a building like in this particular image.
| | 00:12 | This photograph that I took in London.
This building is definitely not straight.
| | 00:15 | So, I need to straighten things out a little
bit in order to improve the photograph.
| | 00:19 | Well, let's press the R key to select the Crop tool.
| | 00:22 | Well, we have this angle down below
| | 00:23 | and what I can do with these angle slider is
| | 00:25 | I can actually rotate the image until I
find a place where the image is straight.
| | 00:29 | Now as I drag that you notice it goes to the
Grid Overlay or it shows me all of those lines.
| | 00:34 | I can also press the O key to toggle to that overlay
| | 00:37 | so I can see where the image is straight.
| | 00:39 | All right, well, I can straight the image with that
angle slider, but here's an even better way.
| | 00:44 | Press the Escape key to exit out of that.
| | 00:46 | Then I'll press the Reset button.
| | 00:48 | Here is the image.
| | 00:49 | It's not level.
| | 00:50 | I'm going to press the R key to enter into the Crop tool.
| | 00:54 | Next, I hold down the Command key
on a Mac, Control key on a PC.
| | 00:58 | Then I'll click and drag along
something that I know should be straight.
| | 01:03 | Again that's Cmd-click and drag on a Mac, Control-click
and drag on a PC, then double click to apply the crop.
| | 01:11 | Voila! We've quickly and successfully cropped
and straightened this particular image.
| | 01:17 | Again remember that shortcut, its
Cmd-click and drag on a Mac, Control-click
| | 01:21 | and drag once you've entered the Crop tool.
| | 01:24 | All right, I want to talk a little bit more about
straightening of photographs, with this next photograph,
| | 01:28 | which was from a surf trip to Baja, California.
| | 01:31 | There is a swing way up on this
hill that was absolutely amazing.
| | 01:35 | And one of the things you'll notice here
is that the horizon is not straight.
| | 01:39 | Well, let's go ahead and try to straighten it.
| | 01:40 | So I'll press the R key and then I'll hold down the
Command key on a Mac or the Control key on a PC.
| | 01:45 | And I'll click and drag along the horizon,
and then double click to apply the crop.
| | 01:49 | Now when I do that one of the things, I notice
is that he is not swinging quite as high.
| | 01:55 | Let's press Cmd+Z, right, he is
swinging up a little bit more.
| | 01:58 | Its almost as if there is more tilt.
| | 02:00 | So, while technically, most of the time, you
should say, your horizons have to be straight.
| | 02:05 | In this case, I don't think it made the image
better, because I like that kind of dynamic aspect.
| | 02:10 | I like the triangle that's pointing into this
particular area, and I like how he is pointing up there.
| | 02:15 | Let's press the R key and look at some of our overlays.
| | 02:17 | Now when I get to the overlay in this case I would
| | 02:19 | like that line that's happening there,
different lines that I'm seeing.
| | 02:22 | So, yeah, maybe I want to straighten
it out a touch and I could do that.
| | 02:25 | I could get it to a little bit closer straight, so people
don't notice that, but I don't need to go that far.
| | 02:31 | What I could do here is I could bring
that corner point in just a touch there.
| | 02:35 | I'm going to bring that in so the corner
of the swing really leading in there.
| | 02:40 | I have this nice upper line going on there
and then double click to apply that crop.
| | 02:45 | And its still an interesting image even
though technically it's not correct.
| | 02:49 | So as we're talking about straightening our images.
| | 02:51 | Yes, most of the time, you want to level
horizons and you want level buildings.
| | 02:55 | You want your vertical and your
horizontal lines to be leveled,
| | 02:58 | Although there are times, where
it's worth breaking the rules.
| | 03:01 | And that's what photography is all about, right.
| | 03:03 | There is a set of guidelines that we can use
in order to create interesting composition.
| | 03:07 | Yet, there are times when we need to break those
rules to create even more interesting composition.
| | 03:12 | So as you get into straightening your images
keep in mind that technical isn't always best,
| | 03:16 | Although most of the time it will
be, but it's not always best.
| | 03:19 | All right, well, that wraps up our conversation
about straightening our photographs.
| | Collapse this transcript |
| Perspective, composition, and crop aspect ratio| 00:00 | In this movie, we're going to talk a
little bit about photography, perspective,
| | 00:03 | composition, and aspect ratio, with the Crop tool.
| | 00:07 | Now quick disclaimer, I'm not a wedding photographer.
| | 00:10 | And I admire wedding photographers.
| | 00:12 | If you want to get to photography, shoot a wedding,
because there are so many different types of lights,
| | 00:15 | so many different situations, incredibly
difficult, yet really fun.
| | 00:19 | At last weekend I photographed a friends wedding.
| | 00:21 | So here you can see there, the Bride in the middle.
| | 00:23 | She has been a family friend of ours for a long time.
| | 00:25 | And we're photographing in the Church in Carmel, California.
| | 00:28 | The photographs were fine, yet one of the
bridesmaids said, let's walk across the street.
| | 00:31 | So they walked across the street.
| | 00:33 | And anytime a group of people want to walk or move,
it adds so much more of a dynamic perspective.
| | 00:38 | So this is one of the fun photographs from them
crossing the street in Downtown, Carmel, California.
| | 00:43 | Well, then we're walking back.
| | 00:44 | And as we're walking back I notice this tree.
| | 00:46 | So, of course, I climbed up the
tree, and they were walking by.
| | 00:49 | And as they were walking by, I said, hey guys look up here.
| | 00:51 | And they thought I was kind of crazy,
of course, but then I said hey!
| | 00:54 | Why don't you guys get together?
| | 00:55 | And we got this interesting perspective
shot and then another shot.
| | 00:58 | I'm trying to crop and compose.
| | 01:00 | And I'm trying to get a little bit different perspective.
| | 01:02 | And you know that's a lot of photography is all about.
| | 01:04 | It's getting a unique perspective.
| | 01:06 | It's trying to bring people together.
| | 01:08 | Get in to move and breathe and
look, and all those kind of things.
| | 01:10 | And then here is another photograph.
| | 01:11 | And then so later when I was photographing
the guys same kind of thing,
| | 01:14 | I said why not climb up on top of something and shoot down.
| | 01:17 | It's really tough to shoot guys, right, because
they don't really want to be photographed,
| | 01:21 | but you got to do something a little bit interesting.
| | 01:23 | Now these are the most amazing
photographs that I have ever taken.
| | 01:26 | Yet I hope they illustrate this idea, the perspective,
and composition is incredibly important in photography.
| | 01:31 | All right, well, now onto the Crop tool.
| | 01:32 | Let's press the R key to select the Crop tool.
| | 01:35 | The one thing that we haven't talked about in
regards to the Crop tool is the aspect ratio.
| | 01:39 | Currently the aspect ratio is original.
| | 01:41 | Well, I can change this to a number of different aspect
ratios and let's try the square aspect ratio on one-to-one.
| | 01:47 | Now when I do that I can obviously resize the corners.
| | 01:50 | Now if this isn't locked here, I can hold down the
Shift key that will also constrain the proportions.
| | 01:56 | So I'm going to go ahead and do that.
| | 01:58 | I'm just going to bring in these corners.
| | 01:59 | I'm going to tighten up this composition quite a bit.
| | 02:02 | Now before I said you don't want to
typically chop off different limbs
| | 02:05 | or edges of people, yet in this case I'm going to do that.
| | 02:08 | I want to get in really nice and tight here and
go ahead and double click to apply that crop.
| | 02:13 | Now as I look at this image, I say, you know,
its OK, but maybe I need to do something else,
| | 02:17 | maybe I need to do experiment a little bit more.
| | 02:20 | So what I'm going to do is, I'm going to Cmd + Right
bracket key on a Mac, Ctrl + right bracket key on a PC.
| | 02:28 | That's a shortcut to rotate.
| | 02:29 | Now this image is a little bit more about the bride,
right there in the middle and a little bit less
| | 02:34 | about everyone surrounding her
and including all those people.
| | 02:36 | But she is a little bit more central
in this new particular aspect ratio.
| | 02:41 | Let's say that what I want to do is
apply this crop to another image,
| | 02:44 | because I have that other image
right, which is very similar.
| | 02:46 | So I'm going to select the image that
I crop, on a Mac press the Command key,
| | 02:50 | on the PC press the Control key and select another image.
| | 02:54 | Now when I do that I'm going to go
ahead and click the sink button.
| | 02:57 | Now the sink button has a number of different options.
| | 03:00 | I want to check none and then just check the crop,
straighten angle aspect ratio and synchronize.
| | 03:07 | Now when I do that and then go to that second
image, I now have another version of the image.
| | 03:11 | Now the crop isn't perfect here.
| | 03:13 | So I press the R key.
| | 03:14 | In this case, I'm going to open
it up just a little bit more.
| | 03:17 | I want to get everyone in there and
then double click to apply that crop.
| | 03:21 | And then press that shortcut, which we learned
before, make sure I'm selected that particular image.
| | 03:26 | So, I'll click off of it, click back on
it, which was Cmd + Right bracket key.
| | 03:31 | And now I have two different images and I can see
which one works best out of the two of these images.
| | 03:36 | Again, its not the most amazing photograph in the world.
| | 03:38 | Yet, what I'm trying to do is just remind you
that this idea of perspective really matters.
| | 03:42 | Composition really matters.
| | 03:43 | And also I want to teach you a little bit about
the aspect ratio options with the Crop tool.
| | 03:47 | Let's take a look at those one more time.
| | 03:49 | Press the R key.
| | 03:50 | When you press the R key and then click
on the options for the aspect ratio,
| | 03:54 | you notice that you've a number
of different options here as well.
| | 03:56 | I just want to point out that you
can choose any of these options
| | 03:59 | and then finally you can also enter
a custom aspect ratio as well.
| | 04:03 | Well, that wraps up our conversion about the Crop tool.
| | Collapse this transcript |
| Retouching with the Spot Removal tool| 00:00 | In this movie, we're going to lean
about the Spot Removal tool.
| | 00:03 | And now this is a pretty interesting tool.
| | 00:04 | We're going to work on this image titled corwig_dylan.
| | 00:08 | You can find it in the O3 Develop
module folder, subfolder kids.
| | 00:12 | Let's press the D key to go to the Develop module,
then, F6 to hide the Filmstrip down below then F7
| | 00:17 | to hide the left panel, and then Cmd+Plus on a Mac,
Ctrl+Plus on a PC, so that we can zoom in on the image.
| | 00:24 | Now you can select the Spot Removal tool by
pressing the N key, yep, that's the N key
| | 00:28 | or by clicking on it in the tool strip here.
| | 00:31 | Now when I do that I notice that I
have a couple of different options.
| | 00:34 | I can either choose clone or heal.
| | 00:36 | I can change the size of the brush, also the opacity.
| | 00:38 | Well, in order to learn how this tool works, I'm going
to do something that may seem a little bit odd at first.
| | 00:43 | But it will just be a way to kind
of teach us how this tool works.
| | 00:45 | All right, when I hover over the
image, I see, I have my brush.
| | 00:47 | Now I can change the brush size here or I
can use the shortcut that I use in Photoshop.
| | 00:51 | Right bracket is the bigger brush;
left bracket is the smaller brush.
| | 00:55 | So I'm going to get a pretty good
brush size about the size of the eye.
| | 00:58 | Now what I'm going to do here isn't going to be a good edit.
| | 01:01 | Its more going to be to illustrate how this tool works.
| | 01:04 | I'll click on the forehead and then I'm going to bring
the eye over and currently I'm cloning that over.
| | 01:09 | Next, I'll choose heal.
| | 01:10 | Click on the forehead, and then bring the eye over.
| | 01:13 | OK, well, let's compare the results here.
| | 01:15 | One we can see is pretty hard, pretty
heavy-handed; the other one has blended.
| | 01:19 | So think of cloning as pretty heavy, pretty intense.
| | 01:22 | Healing has lots of blending.
| | 01:23 | Now because healing has lots of blending
typically, you're going to use that most.
| | 01:27 | Yet there are times where you definitely will need
to clone especially where you've to say hard line
| | 01:31 | with heavy contrast, cloning will
probably work better for you.
| | 01:34 | Now currently you cant really see the circles around
the area where I have done the cloning, healing.
| | 01:39 | And that's because the H key has been pressed.
| | 01:41 | So if you press the H key, it will
show or hide those little circles.
| | 01:45 | All right, well, now that we know
a little bit about this tool.
| | 01:48 | Let's go ahead and reset this.
| | 01:49 | And let's actually begin to work with it.
| | 01:51 | I'm going to choose heal.
| | 01:53 | What I'm going to do is make my brush pretty
small, and I'm going to show you couple
| | 01:55 | of different ways that you can remove spots.
| | 01:58 | One scenario, you can click and what will
happen is Lightroom will actually try
| | 02:02 | to find a source area that's pretty good.
| | 02:04 | And then it will copy that source area
onto the area that needs to be fixed.
| | 02:14 | And as you're working on that image if you ever need
to make a correction as I did here, you can click
| | 02:19 | and drag that to a clean area of the skin or clean
area of your image, and I can expand it that way.
| | 02:25 | Now there are other times when maybe
you click and you reposition this,
| | 02:29 | you realize, you know, this is isn't big enough.
| | 02:30 | Well, if you hover over the area that has been healed,
you can click and drag to extend the size of that.
| | 02:35 | You can also use the slider as you can
see here to change the overall healing.
| | 02:40 | Well, so far so good.
| | 02:41 | I'm making some good progress.
| | 02:44 | Yet, I can't really tell if this
retouching is any good at all,
| | 02:47 | because I have all these little circles
covering up all the areas that I have retouched.
| | 02:51 | So I need to press the H key that will
hide all those little circle areas.
| | 02:56 | Now for the most part the image is looking good.
| | 02:58 | Let's press the backslash key.
| | 02:59 | Here is my before and after.
| | 03:01 | Now when I do that I notice a couple that
just didn't work for me at all over here.
| | 03:06 | So press the H key again.
| | 03:07 | That brings back those circles.
| | 03:09 | I'm going to then click on the
circle here and hit the Delete key.
| | 03:12 | All right, those are gone.
| | 03:13 | They just didn't work.
| | 03:14 | I didn't like the retouching.
| | 03:16 | I want to redo those.
| | 03:17 | So I'm going to go ahead and click and drag.
| | 03:20 | I want to set the source area,
when I drag, again click and drag,
| | 03:23 | because it needs to be closer to the same tonality there.
| | 03:26 | Now another option that you've is you can actually hold
down the Command key on a Mac, Control key on a PC,
| | 03:32 | and extend out the area that will be retouched there.
| | 03:36 | And then I'll sample another area for you.
| | 03:39 | And then click and move that around
so you've a nice source area.
| | 03:41 | So as you're using this tool, keep in mind,
it's going to be using the H key to hide those.
| | 03:46 | The backslash key to look at your before and after
to see if you're doing some good spot removal.
| | 03:50 | And then finally press the H key
again, click on one of those areas.
| | 03:53 | Now if it's too intense you can always lower the opacity.
| | 03:56 | You can see that I'm bringing back the
blemish, it's all the way back right there,
| | 04:00 | and then when I increase the opacity
I'm just slowly taking it down.
| | 04:04 | In that way what you can do is minimize the variation
and minimize the blemish, not take it out Altogether.
| | 04:09 | So that opacity slider will really help you dial in the
amount or the intensity of the cloning or the healing.
| | 04:16 | All right, well, that wraps up our
initial look at the Spot Healing tool.
| | Collapse this transcript |
| Retouching dust on a lens| 00:00 | In the previous movie, we learned
about the Spot Removal tool.
| | 00:03 | And we learned how to use that
tool in order to enhance an image.
| | 00:06 | Remember, we looked at how we can remove all
the little dirt specks off of Dylan's face.
| | 00:10 | In this movie, we're going to look at how we can use
that tool in a little bit more of a functional way.
| | 00:14 | Well, here I'm inside of the Gird
View of the Library module.
| | 00:17 | When I press the E key I take it to the Loupe View mode.
| | 00:20 | Now that I'm in the Loupe View mode, I'm
going to scroll through these images.
| | 00:22 | Now as I scroll through these images I notice, oh,
no, the subject moves, but the piece of dust doesn't.
| | 00:28 | That tells me that there is dust on my lens or on my sensor.
| | 00:31 | And I'm thinking, oh no!
| | 00:32 | I'm going to have to retouch those 300 images I just took.
| | 00:35 | Well, here is the good news.
| | 00:36 | We can use the Spot Removal tool, and then we can Sync
those settings and apply those settings to our other images.
| | 00:42 | All right, well, let's press the D
key to navigate to the Develop module,
| | 00:45 | then click on the Spot Removal tool or press the N key.
| | 00:48 | Now I'm going to use the healing option.
| | 00:50 | And I'm going to go ahead and zoom in on the image.
| | 00:52 | It will take to the 1:1 view mode.
| | 00:54 | If I try to heal this, I'm just going to go
ahead and try to heal this with a small brush.
| | 00:58 | What's going to happen is, its not going to look good.
| | 01:00 | Press the H key, yeah, healed the middle,
but the rest doesn't look good at all.
| | 01:04 | So I'm going to undo that.
| | 01:05 | Well, I need to have a pretty big brush here.
| | 01:07 | I'm going to take my brush size up and
then I'm going to click and move around.
| | 01:11 | I'm looking for tone that kind of matches that area.
| | 01:14 | The bright tones don't work.
| | 01:15 | The real dark tones don't work.
| | 01:17 | But something in here will probably work pretty well.
| | 01:20 | Let go off that.
| | 01:21 | That looks pretty good.
| | 01:22 | Back it off by pressing the backslash
key that shows me before and then after.
| | 01:27 | So I can see that.
| | 01:27 | All right, that's great.
| | 01:28 | Finally, I might want to just lower the
opacity just a touch there before and after.
| | 01:32 | All right, well, I have successfully
removed that piece of dust.
| | 01:35 | I'll zoom out, Cmd+Minus on the Mac, Ctrl+Minus on the PC.
| | 01:38 | Now to apply that to the other images all that I need
to do is click and shift click to select all of them.
| | 01:45 | You'll notice that it says Sync dot dot dot.
| | 01:47 | If I click on it now, it will open up
the synchronized settings dialog window.
| | 01:51 | I want to go ahead and choose check all.
| | 01:53 | I want all of these adjustments in this
particular spot removal to be applied
| | 01:58 | to their images, and then I'll choose synchronize.
| | 02:01 | Now if you want to speed that up even more what you can
do is, hold down the Option key on a Mac, Alt key on a PC,
| | 02:06 | you'll notice you'll lose those
dots, and then click the option.
| | 02:09 | When you do that it wont open up the Sync dialog window.
| | 02:12 | Now there are times where you wanted
to open up the dialog window,
| | 02:15 | because in my case, not all the options were selected.
| | 02:18 | So that was a good thing, yet as
you're working in Lightroom,
| | 02:20 | just note that you can always press the
Option key on a Mac, Alt key on a PC to apply
| | 02:24 | that synchronization without opening up the dialog window.
| | 02:28 | All right, well, we've now successfully removed that
piece of dust that was on our lens on all three images
| | 02:34 | and it didn't really take much time at all.
| | 02:36 | So as you can see the Spot Removal tool
is not only good for enhancing our images,
| | 02:40 | it's also just a real good functional tool as well.
| | Collapse this transcript |
| Fixing red-eye| 00:00 | In this movie, we'll learn how to use, yet, another
tool that's located inside of the tool strip.
| | 00:04 | It's called the red eye removal tool.
| | 00:06 | We'll be working on this photo here.
| | 00:08 | It's called amanda_annika.jpeg.
| | 00:10 | You can find in the 03 Develop module
folder, subfolder miscellaneous.
| | 00:13 | Let's go ahead and press the D key
to navigate to the Develop module.
| | 00:16 | And let's hide the panels on the left by pressing the F7
key and then the filmstrip below by pressing the F6 key.
| | 00:22 | Well, now we can focus in on the image.
| | 00:24 | Now, this is the one tool in the tool strip
that doesn't have a shortcut key assigned to it.
| | 00:28 | So we actually have to physically click
on the tool here or we can always go
| | 00:32 | to the view pull-down menu and choose red eye here.
| | 00:34 | You'll notice that the other tools are there as well.
| | 00:36 | So I'm going to go ahead and click on the tool.
| | 00:38 | Now when I click on the tool it
gives me a few little instructions.
| | 00:41 | It says you can drag from the center of
the eye or click to use the current size.
| | 00:45 | Well, I need to zoom in a little bit.
| | 00:46 | So I can actually see these eyes here.
| | 00:48 | So I'm going to zoom in on my sister here.
| | 00:50 | Here is my sister, and my oldest daughter, Annika.
| | 00:53 | What I'm going to do is use the tool at its current size.
| | 00:55 | I'll go ahead and just click in that red eye area.
| | 00:58 | Now as I do that you can see that what's
happening is its analyzing the pupil of the eye,
| | 01:02 | trying to figure out what needs to be
changed and then it changes that for me.
| | 01:05 | Now I cant go in and customize the pupil size.
| | 01:08 | What that will do is it will increase
or decrease how far out that black goes.
| | 01:12 | I'll see if we can zoom in even
further, so we can really see that.
| | 01:14 | So the pupil size is small.
| | 01:16 | You can see there is a little of red fringe and
then I can increase that, so that black goes out.
| | 01:20 | You can see that I need to find just the right spot there.
| | 01:22 | And, the overall darkening of course brighter
or darker so that you can find the sweet spot.
| | 01:27 | The other option regards to doing this is to
click in the middle of the eye and then drag
| | 01:31 | and now as you drag you drag out from that.
| | 01:33 | What we're looking to do is just go beyond the red.
| | 01:35 | It will then analyze the pupil and correct it.
| | 01:38 | One of the things you're going to notice
here is these sliders will really help out.
| | 01:41 | I need to just make that a little bit bigger there and
then I need to darken things up just a touch as well.
| | 01:46 | All right, I'll zoom out and then
I'm going to work on this one here,
| | 01:50 | clicking on that eye and then clicking on this eye as well.
| | 01:53 | Then one of the shortcuts that's essential
in regards to red eye removal is the H key.
| | 01:57 | If I press the H key it will hide those
circles, so that I can evaluate the image
| | 02:02 | without thinking about things inside of that circle.
| | 02:04 | I can just see the image as the image.
| | 02:06 | Now as I do that I notice even this one wasn't very good.
| | 02:09 | I didn't extend that circle quite enough.
| | 02:11 | When I press the H key I can obviously
see that circle was too small.
| | 02:14 | So what I'm going to do is hover my cursor over the
circle until I get the icon with two arrows in a line,
| | 02:20 | I can click to expand that, and that's going to
do is help expand or extend that redeye reduction.
| | 02:26 | Another thing that I can do here is I can
hover over the circle and physically move this.
| | 02:30 | Now, in this case, this isn't going to do much of anything
except bring this little black circle onto a new location.
| | 02:35 | Although there are times when I may need to be
able to move this around a little bit and I can use
| | 02:39 | that with my arrow keys as I'm doing here.
| | 02:42 | Or I can simply hover over and move it that way.
| | 02:45 | Well, now I have extended the circle a little
bit the pupil size is just a touch too big.
| | 02:49 | So I'm going to go ahead and decrease that.
| | 02:51 | All right, press the H key to bring back all of those
circles and then press the backslash key to see our before
| | 02:57 | and after and try to determine if you're
making good improvements on this image.
| | 03:01 | Now lot of times when we do work
like this we were zoomed in.
| | 03:04 | After we've zoomed in eventually we need to zoom out
by pressing Cmd+Minus on a Mac or Ctrl+Minus on a PC.
| | 03:11 | Of course, we want to press the H key to hide the circles
and then the backslash key to look at before and after.
| | 03:16 | You know a lot of times when we're so
zoomed in, we see all the little details.
| | 03:19 | But we need to step back and look at the images as a whole,
to determine if we're taking this image in a good direction.
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| Using the Graduated Filter tool| 00:00 | In this movie, we're going to learn about yet
another tool that's located inside of the tool strip.
| | 00:04 | Its called the graduated filter.
| | 00:06 | We'll be working on this image that
you can see here I have selected.
| | 00:09 | It's inside of the 03 Develop module
folder, subfolder miscellaneous.
| | 00:13 | Go ahead and double click that to zoom in on it,
press the D key to navigate to the Develop module.
| | 00:18 | The image is titled corwig_antelope_valley.
| | 00:21 | Then press the F6 key to hide the filmstrip down below.
| | 00:24 | Press the F7 key to hide the panel on the left.
| | 00:28 | Now to access the graduated filter we can press the M
key, or we can click on the tool here in the tool strip.
| | 00:33 | Now this particular image looks pretty nice.
| | 00:35 | This is as captured.
| | 00:36 | Yet I wish I had a filter to darken the sky.
| | 00:39 | Well that's exactly where we can use a graduated filter for.
| | 00:41 | So I have the graduated filter selected.
| | 00:43 | You notice I have a number of different effect sliders.
| | 00:46 | Now I also have the option to have incremental
options and then dial in the overall effect here.
| | 00:51 | So let's take a look at how that works.
| | 00:52 | Currently my exposure is at negative four.
| | 00:55 | When I flipped the switch my amount is really low.
| | 00:58 | Let's increase the amount, you notice
that went to the positive there.
| | 01:01 | And now that exposure is really high.
| | 01:02 | So in my opinion, the sliders work better than the
incremental buttons in addition with the amount,
| | 01:08 | Although you'll probably want to
experiment with one and the other.
| | 01:11 | And you may be thinking, Chris, that makes no sense at all.
| | 01:13 | Well, may be, it will make sense
as we start to work on this.
| | 01:16 | Let's go ahead and bring our exposure down a little bit.
| | 01:18 | What I'm going to do in the image
is I'm going to click and drag.
| | 01:21 | Now when I click and drag, I notice that I have
this little node in the middle and the middle line,
| | 01:26 | then I have the top line, and the bottom line.
| | 01:27 | The closer the lines are together, the smaller
the gradation or smaller the transition.
| | 01:31 | Now if I extend those way out, you'll notice
that I have quite a bit of transition.
| | 01:35 | Well, let's say, I bring those down and
say you know that's kind of what I want
| | 01:38 | to do, but I really wish it was up higher.
| | 01:40 | Well, I just hover over the node.
| | 01:41 | When I do that I can then reposition
that to bring it up higher.
| | 01:45 | Now when I get close to the node you notice that
I get the cursor, which has the bent arrows on it.
| | 01:49 | I can then use that to rotate this.
| | 01:51 | It kind of feels like flying to me,
like you should be saying "Yahoo!"
| | 01:54 | All right, well, anyway, I'll bring that back to normal,
so that I don't have that rotation and then apply that.
| | 01:59 | All right, well, currently I'm working
on this particular modification here.
| | 02:02 | I can continue to dial it in, darkening
the exposure or brightening it.
| | 02:06 | I can also add some other effects here.
| | 02:08 | I could add a little bit more contrast to that part of the
sky, perhaps a little bit more saturation or take saturation
| | 02:13 | out for that matter, increase the clarity,
the sharpness, and then if I really want
| | 02:18 | to I can add a little bit of color shift here.
| | 02:20 | In this case I want to make it
green, so you can really see it.
| | 02:23 | I'm making those clouds green, doesn't look good, maybe
I need to deepen the blue just a tab it or mute the blue
| | 02:28 | out a little bit and then click the X to close that.
| | 02:31 | Now, if I don't want any of those
options, I can of course undo this.
| | 02:35 | Currently, I'm working on this particular gradient.
| | 02:37 | In my case, I say, you know, I think the gradient is OK.
| | 02:39 | I'm going to do another gradient.
| | 02:40 | So I'm going to go ahead and click down at the bottom
of the screen here and then click and drag up this time.
| | 02:45 | What I want to do here is I just want to do a little
bit of darkening at the bottom, its just a subtle,
| | 02:50 | so it kind of darkens the image, just a tad bit down here.
| | 02:54 | And as I do that I'll say, OK, that looks pretty cool, but
then I go back to the top and realize I just don't like it.
| | 02:59 | All that I need to do to delete this is
click on the node and hit the Delete key.
| | 03:02 | It's now gone.
| | 03:03 | Click on the node.
| | 03:04 | Hit the Delete key, that's now gone.
| | 03:07 | All right, well, now I really know what I want to do.
| | 03:09 | I played with the tool a little bit.
| | 03:10 | I know how the tool works.
| | 03:11 | I really want to do something that's just exposure.
| | 03:14 | So go back to the top.
| | 03:15 | I'm going to click pretty close to the top, right.
| | 03:17 | And then I'm going to drag down because we
remember that it comes from that top line
| | 03:22 | where I click and I can see that it's dragging down.
| | 03:24 | And I'll go ahead and pretty big transition there.
| | 03:28 | And then hover over the node and drag up.
| | 03:31 | And then I'm just going to look to
bring that down just a touch here.
| | 03:35 | And brighten it a little bit as well, a little
bit of contrast, with a tiny bit of saturation,
| | 03:42 | little bit of clarity, little bit of sharpness,
little more clarity I think will look nice.
| | 03:46 | Let's take a look at our before and after.
| | 03:48 | Press the backslash key, there is before and there is after.
| | 03:51 | Subtle, yet, significant improvement of
that image with the graduated filter tool.
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13. The Develop Module: Using the Adjustment BrushAdjustment Brush tool overview| 00:00 | In the previous movie in the previous chapter, we worked
on this landscape photograph, and in this movie we're going
| | 00:05 | to be working on the black and white
version of this landscape photo.
| | 00:09 | You can find in the 03 Develop
module, subfolder miscellaneous.
| | 00:12 | Let's go and open up that image in the Develop module
or take it to the Develop module by pressing the D key,
| | 00:17 | and then we're going to hide the
filmstrip down below by pressing the F6 key
| | 00:21 | and then press the F7 key to hide the panel on the right.
| | 00:24 | Now the tool that we're going to be learning about
in this particular movie really is revolutionary.
| | 00:29 | As you'll soon see this tool allows us to make
adjustments to our images in real specific ways.
| | 00:35 | Previously this was completely and utterly impossible.
| | 00:38 | Now here is the good news about this.
| | 00:40 | This tool has a number of different controls that
we can customize and they are all nondestructive.
| | 00:44 | We can always undo any edit we make, and it
doesn't increase the file size drastically.
| | 00:48 | For that matter it doesn't increase it hardly at all.
| | 00:51 | Well, you can access this tool by
pressing the K key on your keyboard.
| | 00:55 | You want to write that one down, right?
| | 00:56 | The K key for the Adjustment Brush or
you can click on it in the tool strip.
| | 01:00 | Now we're dedicating a whole chapter to this
particular tool because it's that revolutionary.
| | 01:05 | This is one of those tools that you're
going to start to use all the time.
| | 01:08 | And it's really going to change your
overall workflow by leaps and bounds.
| | 01:11 | I think that the tool speaks for
itself, so let's dive right in.
| | 01:14 | Well, a couple of things that I want to point out.
| | 01:16 | One is we have Mask, Effect and Brush,
and we can reset and close this tool.
| | 01:21 | This toggle button will turn the effect on and off.
| | 01:23 | We've seen those toggle buttons before in other panels.
| | 01:26 | Well, up to the top, New and Edit, how does that work?
| | 01:29 | Currently I have the effect Exposure cranked up.
| | 01:32 | I'm going to go ahead and click and paint on my image so
I can edit that particular effect by changing the slider.
| | 01:37 | So I'm darkening it or brightening it.
| | 01:39 | Now, if I want to create a new adjustment, I click
on New, and then now I have a new adjustment.
| | 01:44 | And now I'm editing that new adjustment, and then
again I can darken or brighten that adjustment.
| | 01:48 | You'll notice I also have this toggle switch so that
I can change these controls to the Effect buttons.
| | 01:54 | Now with the Effect buttons I can
increase the exposure here.
| | 01:57 | I can also increase the overall amount
and dial it in that way as well.
| | 02:00 | Now my preference is to use the effect sliders.
| | 02:03 | I think they work much better.
| | 02:04 | So far we've seen that we can have multiple
edits and that's either going to be New or Edit.
| | 02:10 | Now I can go back and click on the node for one of those
edits and press the Delete key to delete that edit.
| | 02:16 | Now when I hover over the node you notice that
there is that there is that red ruby overlay.
| | 02:20 | That is showing me the area that's being affected.
| | 02:22 | Now I also can click and drag to the right or
the left and if you see my exposure amount,
| | 02:27 | it's changing there in order to change the effect.
| | 02:29 | So again when I hover that I can
darken or I can brighten the image.
| | 02:33 | So hover over the node and then when you see the icon
with the two arrows pointing to the left and the right.
| | 02:38 | You can increase or decrease the amount of the effect.
| | 02:41 | Now it doesn't always have to be exposure.
| | 02:43 | I'm just trying to demo the tool here.
| | 02:45 | All right, let's delete this by clicking
on it and then pressing the Delete key.
| | 02:49 | OK, well, we see a little bit about the effects.
| | 02:51 | And we notice there are quite a bit
of effects that we can apply here.
| | 02:54 | Well, let's take a look at the brushes.
| | 02:56 | Currently I have A and I have B and Erase.
| | 02:58 | Now we can click on Erase because
we haven't added anything yet.
| | 03:01 | But you'll notice that I have different
settings on my B brush versus my A brush.
| | 03:05 | So what you can do is customize those sliders.
| | 03:07 | So let's say I have one brush that
it's about 20 size, 100, 100, and 100.
| | 03:12 | Then my B brush I'm going to make at
about 60 or something, 100, 100, and 100.
| | 03:17 | So, my B brush is really big.
| | 03:19 | I'll click on the A brush, it's really small,
and I can make different types of adjustments.
| | 03:23 | Well those adjustments don't look good at all.
| | 03:25 | So I'm going to go ahead and click Reset.
| | 03:27 | Well, let's deconstruct these different brush settings.
| | 03:30 | Let's start off with size.
| | 03:31 | Now, one of the things that we see when we hover over
the image is we've this center circle with a plus icon
| | 03:36 | in it, then we've this concentric circle.
| | 03:38 | Well the center circle is the overall size.
| | 03:41 | I can change the size of the brush by using the slider in
the panel or with the shortcuts that we use in Photoshop.
| | 03:46 | Left bracket key is the smaller brush;
right bracket key is the larger brush.
| | 03:50 | Next, I can change the feather with the slider.
| | 03:53 | Now, when I decrease the feather amount you
notice that the circles are closer together.
| | 03:57 | Now if they are really close it's showing me
that there isn't going to be much feathering.
| | 04:00 | Let's take a look at what that looks like.
| | 04:01 | No feathering, now lots of feathering
and nice smooth transition.
| | 04:05 | OK, so we know a little bit about size and feather.
| | 04:08 | Well, what about flow?
| | 04:09 | I'll click Reset here to take this back to normal.
| | 04:11 | Well, how flow works is it how
quickly this adjustment is built up.
| | 04:15 | I'm going to take it to about 40% here.
| | 04:17 | You'll notice its much less, but then as I continue
to paint over it, I'm building up and up and up and up
| | 04:21 | and up all the way up to this high exposure.
| | 04:24 | So I can slowly build up.
| | 04:26 | It's almost as if I have pressure sensitivity built
into the mouse right here with the Flow slider.
| | 04:30 | So flow is pretty interesting.
| | 04:32 | OK, we'll click Reset.
| | 04:33 | Well, now that we know how flow
works, how does density work?
| | 04:36 | Well, density controls the overall intensity.
| | 04:39 | If I take this to 50 or so, I'm going to click on this now.
| | 04:41 | That's as high as that can go.
| | 04:43 | Well, if I have a low flow, well even if I paint a lot
with this, the flow, and just build it up and build it up
| | 04:49 | and build it up and build it up, it
can never get higher than the density.
| | 04:52 | So the density is the cap.
| | 04:54 | That's as high as this adjustment can go, and
then the flow is how quickly we can get there.
| | 04:59 | Well, we have this other option that we can see here.
| | 05:00 | It's called Auto Mask.
| | 05:02 | Well, what's that about?
| | 05:02 | OK, well, let's click Reset.
| | 05:04 | I'm going to go ahead and click Auto Mask off.
| | 05:06 | So I've clicked that off, I don't have that on.
| | 05:08 | I have a pretty high exposure and I'm
just doing this in order to illustrate.
| | 05:12 | What I want to do is brighten up the path.
| | 05:13 | So I want to go ahead and paint on the path.
| | 05:15 | Now, as I do that we can see that I'm just kind of
painting all over, and it's going everywhere, right?
| | 05:20 | It's spilling over into all aspects of the image,
or if I paint along the horizon for that matter,
| | 05:24 | and it's just painting on the clouds
as well as on the mountain.
| | 05:27 | But what happens if I turn Auto Mask on?
| | 05:30 | Let's click Reset, turn Auto Mask on
and then watch where the plus sign is.
| | 05:35 | You'll notice that the plus sign is in the cloud area.
| | 05:37 | Now when I do that it's finding that edge or that
line and it's not affecting that portion of the image.
| | 05:44 | So I'm able to almost white out the sky or remove
the sky with this effect because its following
| | 05:50 | that plus sign finding the area of contrast.
| | 05:52 | Well that's not a very good edit.
| | 05:53 | Let's take a look at how we can use
this a little bit more realistically.
| | 05:56 | Click the Reset button.
| | 05:57 | OK, well now I want to work on the path here.
| | 06:00 | I'm going to go ahead and click along the path.
| | 06:02 | You can see I'm just affecting that.
| | 06:04 | Left bracket key makes this a little bit smaller.
| | 06:07 | It's spilling over a little bit into the dirt
there because there is dirt from the path,
| | 06:11 | which is perfect, and then I'm going to go over here.
| | 06:13 | You can see that I have just dialed in the exact
area where I want to adjust this particular image.
| | 06:19 | In this case I want to it just on the path.
| | 06:21 | I want to get close into the grass over there.
| | 06:23 | I want to bring a little bit of brighteness there.
| | 06:25 | Now, if I want to see that I can hover over the node.
| | 06:27 | It will show me that.
| | 06:28 | OK, great, that's where the area is.
| | 06:30 | A little bit of a weak spot there, perfect.
| | 06:33 | Now that exposure amount is way-way
too high, but no problem.
| | 06:37 | I want it that high so that I can actually see it.
| | 06:39 | Now what I'm going to do is bring the amount down all
the way to 0 and then I'm going to slowly bring it up.
| | 06:45 | All right, that's what I'm talking about.
| | 06:48 | Let's take a look at the before and after.
| | 06:49 | Here is my before and here is my after.
| | 06:51 | All I'm doing is bringing some
brightness to that portion of the image.
| | 06:55 | Now let's say, you know what?
| | 06:55 | I really don't like how bright it got on the edge there.
| | 06:58 | So what I'm going to do is increase my brush size
just a little bit, and what I'm going to do is click
| | 07:02 | in this particular adjustment, and then I'm going to
hold down the Option key on a Mac, Alt key on a PC.
| | 07:06 | I'm just going to go along the edge there
and I can actually undo this adjustment.
| | 07:10 | How I undo this adjustment is contingent
upon my Erase settings.
| | 07:15 | Here I have a Size, I have a Feather, and I have a Flow.
| | 07:18 | So I'm just slowly erasing some of
this effect in order to dial it in.
| | 07:21 | To illustrate that, if I hold down the Option
key, Alt key on a PC, I can go over this area,
| | 07:26 | and you can see that I can erase it out completely.
| | 07:28 | Well I don't really like that.
| | 07:29 | So I'll press Cmd+Z on a Mac, Ctrl+Z on a PC.
| | 07:34 | Again to access the Erase Brush you can hold on
the Option key on a Mac, the Alt key on a PC,
| | 07:40 | or of course you can select the
brush here and simply choose Erase.
| | 07:44 | Well, the last thing that I want to show you
in regards to this particular brush tool.
| | 07:47 | Let's go back to the A brush.
| | 07:49 | Currently the flow is at 100.
| | 07:51 | Well, let's say that I want to change the flow.
| | 07:52 | Well, all that I need to do is press the 5 on the keyboard.
| | 07:54 | It goes to 50, or 4 it goes to 40.
| | 07:57 | So 1 through 9 is going to be 10%
through 90%, and then 0 is 100.
| | 08:02 | You can actually use the keypad to change the flow.
| | 08:04 | Well, what about if you have a Wacom tablet?
| | 08:06 | Well if you've the privilege of
having Wacom tablet check this out.
| | 08:10 | Currently I have my brush.
| | 08:11 | I'm going to increase the exposure
just a little bit here, and click New.
| | 08:16 | I'm increasing the new adjustment and then what I'm
going to do is slowly paint in some brightness here,
| | 08:25 | and you can see that the harder I push, the more intense
it is, and then over here I didn't push very hard at all.
| | 08:31 | So it's really light and delicate.
| | 08:33 | So actually, I have pressure sensitivity
built into the Adjustment Brush.
| | 08:38 | Now that adjustment doesn't look very good.
| | 08:40 | So let's select the node and then delete it.
| | 08:42 | We will lower the exposure quite a bit.
| | 08:43 | What we want to do is just slowly
do some little bit of dodging here.
| | 08:47 | So I want to brighten this up, just a touch here.
| | 08:50 | I'm going to go through the image.
| | 08:51 | It's a little bit too intense, but
I'm kind of like how it's looking.
| | 08:55 | Just a little bit, nice and subtle,
and then I'll lower that even more.
| | 08:59 | So I'm just bringing a little bit of textured light
into that area and I'm going to paint it in here.
| | 09:05 | Again I'm using the Wacom tablet so
that I have pressure sensitivity.
| | 09:08 | Here is my overall before and after.
| | 09:10 | Now the grass is pretty subtle,
yet the path is really significant.
| | 09:14 | Sometimes you're going to go for
adjustments that are really strong.
| | 09:17 | Sometimes they are going to be pretty simple.
| | 09:18 | Yet the point here is that this particular
brush supports pressure sensitivity.
| | 09:23 | Yet if you don't have a Wacom tablet you can even, quote,
have pressure sensitivity by changing your flow amount,
| | 09:29 | because really you can begin to build up the
particular type of adjustment that you're making.
| | 09:34 | Well as you can see this tool really is revolutionary.
| | 09:37 | And here is my recommendation.
| | 09:38 | It may be a good idea to go back and watch this movie again,
but of course we'll be spending more time with this tool.
| | 09:44 | That's what we're dedicating our whole chapter to it.
| | 09:46 | So that we can really learn how the Adjustment Brush works.
| | 09:48 | I'll see you in the next movie.
| | Collapse this transcript |
| Working with color| 00:00 | What we're going to do in this movie is, learn how we
can use the Adjustment Brush in order to modify color.
| | 00:05 | We well learn some pretty interesting things here.
| | 00:07 | In addition what we'll learn will set us up for doing things
like teeth whitening, which we'll do in the next movie.
| | 00:12 | We're going to work on two images; the first
image is this image titled rclevenger_frog.psd.
| | 00:17 | You can find it in the 03 Develop
module, subfolder miscellaneous.
| | 00:21 | Let's go ahead and double click that.
| | 00:23 | When we double click it we can
see it has these nice orange eyes.
| | 00:26 | I'm going to change the color of those eyes.
| | 00:28 | So I'll press the D key to navigate to the Develop module.
| | 00:31 | Next I'll press the K key to open up the Adjustment Brush.
| | 00:34 | Or I'll pick on the Adjustment Brush icon here.
| | 00:37 | Now what I want to do is, I want to work on color.
| | 00:39 | So from the effect contextual menu
here I'm going to choose color.
| | 00:43 | Now I have the option to paint in a new color.
| | 00:45 | I have my brush size, the feather and the flow.
| | 00:48 | I want to increase the flow quite a bit, turn on
Auto Mask and then I'm just going to click in paint.
| | 00:54 | Now as I click in paint I notice, OK, I
see a little bit of this green shift here,
| | 00:58 | yet I have not seen much of a color change at all.
| | 01:01 | Well, what's happening?
| | 01:02 | What's happening is I'm painting
color on top of already intense color.
| | 01:07 | So in addition to adding color, here is what I need to do.
| | 01:09 | I need to desaturate.
| | 01:11 | Now as I desaturate, now you can see that
I have that nice green painted in there.
| | 01:16 | Well, there are a few little areas
that I haven't painted over.
| | 01:18 | And Auto Mask is limiting my reach of those areas.
| | 01:21 | So, I'm going to make my brush smaller, turn
Auto Mask off, and then paint over those areas.
| | 01:26 | I'm also going to zoom in a little bit further 3 to 1.
| | 01:29 | You can see there are a few little specs of color
that I didn't get, also those edges that I didn't get.
| | 01:34 | So I want to get all those to cover
this so that the color looks nice.
| | 01:37 | I don't want any of that red around the fringes there.
| | 01:41 | And I'll go through and do some detail work there.
| | 01:44 | I'm also going to do this side over here without
Auto Mask on, because it's such a small area.
| | 01:49 | It's going to be hard for Lightroom
to find that little edge.
| | 01:53 | So Auto Mask will be fine to have off for that one.
| | 01:56 | Now command ? on a Mac, control ? on a PC.
| | 01:59 | Let's click on our color chip here and
choose a different color and you can see
| | 02:03 | that I can dial this in, and then go ahead and close that.
| | 02:07 | Pretty interesting, isn't it?
| | 02:08 | I need it to desaturate and add color.
| | 02:11 | So lot of times when you're using this brush,
you're going to have to combine your sliders
| | 02:15 | in order to come up with the best results.
| | 02:18 | Well, let's take a look at one more image.
| | 02:20 | Press the G key to navigate back to the library Gird
View mode and go to the folder titled retouching.
| | 02:26 | We're going to be working on this image here.
| | 02:27 | It's titled greg_lawler_niece.jpeg.
| | 02:30 | I'll press the D key to navigate to the Develop module.
| | 02:33 | Now when I do that I notice that I have this really
wonderful portrait that my friend Greg took of his niece.
| | 02:38 | It's color correct except for this
blue reflection that's in the hair
| | 02:41 | because this photograph was taken at a swimming pool.
| | 02:44 | So what we want to do is correct that.
| | 02:46 | We'll press the K key to select the Adjustment Brush.
| | 02:49 | So we know a little bit about how this works.
| | 02:51 | So what we're actually going to do is here is we're
first going to choose the option of saturation.
| | 02:56 | We're going to take the color out of this particular area.
| | 02:59 | I'm going to make my brush a little bit bigger, a nice
feathering on it, because I want to transition the effect.
| | 03:05 | Flow is really high, Density is really high.
| | 03:06 | I'm just going to go ahead and paint across this area.
| | 03:10 | Now as I paint across this area I'm slowly removing
the color from this area, and so far so good.
| | 03:15 | It's looking OK.
| | 03:16 | It's not looking perfect.
| | 03:19 | What I would really like to do is, add a
little bit of color back into this area.
| | 03:22 | In addition, I have desaturated a little
bit too far on this portion of the image.
| | 03:27 | So, I'll hold on the Option key on a Mac, Alt key on a PC,
| | 03:29 | and I'm going to erase the desaturation
there, because that looks much better.
| | 03:34 | Again I went a little bit too far.
| | 03:35 | Now I'm going to add a little bit of color back.
| | 03:37 | So I'll click here, and what I'm going to do
is hover over this, and we can see the area.
| | 03:41 | OK, now it's all green, and then hover out
with my mouse button still being held down.
| | 03:46 | And I'm going to look for a color
that I can bring on to this.
| | 03:49 | So I'm going to try to find a color that matches
that, and I don't want it to be too intense.
| | 03:53 | I think that looks nice.
| | 03:54 | All right, go ahead and close that.
| | 03:57 | The next thing that I'm going to do
is I'm going to change my view here.
| | 04:00 | What I want to do is show the Effect button, so I
can dial in the amount of both of those effects.
| | 04:05 | Now I pull this all the way down, we can see the blue.
| | 04:08 | Then I'm going to slowly pull the
blue out, try to find the sweet spot.
| | 04:11 | It doesn't need to go all the way, right, because I
have a little bit too much of that light brown there.
| | 04:16 | Just probably somewhere right about there.
| | 04:18 | Let's take a look at our before and after by
way of clicking on and off this toggle switch.
| | 04:22 | There is before, there is after.
| | 04:25 | Well, as you can see, you can see the Adjustment
Brush to work with color in some really unique way.
| | Collapse this transcript |
| Whitening teeth | 00:00 | In this movie we'll continue to work with
color in regards the Adjustment Brush,
| | 00:04 | and then in particular look at how we can whiten teeth.
| | 00:07 | We'll be working on this image, which is
called michael_costa_photography.jpeg.
| | 00:10 | You can find it in the 03 Develop
module folder, subfolder retouching.
| | 00:14 | This is from one of my friends Michael Costa.
| | 00:17 | Go ahead and double click the photo and
then press D to go the Develop module.
| | 00:21 | Well, now that we've this photo we're looking at it
up close, we notice that the teeth are indeed yellow.
| | 00:26 | They could use a little bit of teeth whitening.
| | 00:28 | So I'll press the K key to select the Adjustment Brush.
| | 00:32 | So what I want to do is I want to toggle back
to the view where I can show the effect sliders.
| | 00:36 | So, now that I have the effect sliders, what I'm
going to do is choose from the Effect menu, color.
| | 00:41 | Now this is kind of interesting, isn't it?
| | 00:43 | We actually did this in one of our other images.
| | 00:45 | Now what color do you want to paint on to these teeth?
| | 00:47 | Well here is the color we're going to go for.
| | 00:49 | We're going to click on the color chip and we're
going to choose the color way down here at the bottom.
| | 00:53 | We're looking for color that is white.
| | 00:54 | In this case it's really close to white.
| | 00:56 | I'm going to turn Auto Mask on.
| | 00:58 | I'm going to have a brush size that's relatively small.
| | 01:00 | Again, we're looking for a size that will get
us into this teeth area, and then what I'm going
| | 01:05 | to do is, make sure I have a high feather amount.
| | 01:08 | My flow I'm going to take down a little bit here
because I want this to be delicate adjustment.
| | 01:13 | Then I'm going to go ahead and click and begin to paint
over the teeth here, and just paint over these guys here.
| | 01:25 | We know what the problem is right, the problem is, that
we've not desaturated the current color that's in the teeth.
| | 01:33 | So now I'm going to go back to my Saturation slider.
| | 01:35 | Now as I bring this all the way out, we notice that those
teeth are too white right, they don't look very good.
| | 01:40 | Yet it's helping me see my edges.
| | 01:42 | So I'm going to zoom in even a little bit closer.
| | 01:45 | Now with my brush it's staying the same size.
| | 01:47 | I can get into those edges there and try
to cover up the areas that are yellow
| | 01:52 | with a + this brush, get into those areas there.
| | 01:58 | And I'll need to turn Auto Mask off
in a second to fix this up even more.
| | 02:04 | Use some nice detail work here
trying to work pretty quickly.
| | 02:07 | Turn Auto Mask off, little bit smaller brush.
| | 02:10 | And now I'm just going to look to try to get some
of those edges fixed up a little bit here as well.
| | 02:15 | Now we're making this adjustment at a pretty
high intensity, and we're doing that so
| | 02:20 | that we can really see our edges and see what happens.
| | 02:22 | We're going to back this way up
in order for it to look good.
| | 02:26 | Yet typically when you're retouching
its a good idea to overboard initially.
| | 02:30 | And, people there who are to walk by your
computer would say, what are you doing?
| | 02:33 | That looks horrible.
| | 02:33 | That's fine, because we can then fix that up.
| | 02:36 | Now that does look horrible.
| | 02:37 | It doesn't look good.
| | 02:38 | Yet we can dial this in couple of different ways.
| | 02:41 | One way is to hover over this, and then
click and drag to the left or the right.
| | 02:46 | We can see we're changing our overall saturation amount.
| | 02:49 | We can also go to the Saturation slider.
| | 02:50 | So let's bring that all the way up.
| | 02:52 | So here is where it was, and now
I'm just going to bring it down.
| | 02:55 | A little bit of desaturation and then a
little bit of neutral color on top of it.
| | 02:59 | Now let's look at our overall.
| | 03:00 | Here is our before and then after, its
pretty subtle yet pretty significant.
| | 03:05 | Keep in mind that real teeth aren't white.
| | 03:07 | They are off white.
| | 03:08 | So I don't want to make them white,
but we do want to whiten them.
| | 03:11 | We want to brighten them up a little bit.
| | 03:13 | Add a little bit of brightness here, also a
little bit more contrast and dial in the exposure.
| | 03:18 | You can also make peoples teeth really look really
bad if you want to obviously by dialing your sliders.
| | 03:22 | We don't want to do that.
| | 03:23 | So we want to be careful about that and
just dial in the right amount of brightness.
| | 03:29 | So I'm going to move my sliders being
very careful not to make them look bad.
| | 03:33 | And then the amount of whiteness
here that you're going to for is,
| | 03:35 | really going to be contingent upon
the effect that you want to go for.
| | 03:39 | Now, as I do that let's say, I want to go for
this real intense teeth whitening or brightening.
| | 03:44 | And again here is my before, and then after.
| | 03:46 | I notice that I did brighten or whiten some of the gums.
| | 03:49 | So that doesn't look good.
| | 03:50 | So I need to zoom back in on the image.
| | 03:52 | Hold down the Option key on a Mac, Alt
key on a PC, change the size of this brush
| | 03:56 | so that its nice and small, and a real small brush here.
| | 03:59 | Then what I'm going to do is just try to bring back
in some of the color around the edges of the teeth,
| | 04:04 | because I can have those gums without color.
| | 04:06 | And that just looks unnatural, especially, if I'm
going to go for this real brightening effect here.
| | 04:12 | I'm just going to go through this and then decrease my
flow a little bit as I get closer to the teeth here.
| | 04:17 | And again, I'm spending some time doing some detail work.
| | 04:20 | It depends on how far you really want to take this.
| | 04:22 | Then I'm going to bring my saturation up just a little bit.
| | 04:25 | There we go, and here is my overall, before and after.
| | 04:28 | And as you can see you can use this
brush in some really unique ways.
| | 04:31 | Now here is the trick.
| | 04:32 | The trick is, to get beyond just teeth whitening.
| | 04:35 | This brush isn't about just dealing with
color; it's not about dealing with tone.
| | 04:38 | You can do so much with this brush.
| | 04:40 | But what I'm trying to do is, showcase a
couple of different things that you can do.
| | 04:44 | What you need to do is then figure out, how
do I then apply this to my own workflow.
| | 04:48 | Do I want to bring in and dodge
into, do I want work on contrast,
| | 04:51 | do I want to work on sharpness,
do I want to work on tonality?
| | 04:54 | And, you can do all of these things
with this Adjustment Brush.
| | 04:56 | Well we're going to continue to work with this brush.
| | 04:58 | So I'll see you in the next movie.
| | Collapse this transcript |
| Enhancing makeup color| 00:00 | In this movie we'll be working on the
image titled kevin_thomas_photography.jpeg.
| | 00:04 | You can find it inside of the Develop module.
| | 00:06 | Let's go ahead and press the D key
to take this to the Develop module
| | 00:09 | and then press the K key to open up the Adjustment Brush.
| | 00:13 | Next we're going to hide the panel
on the left by pressing the F7 key.
| | 00:15 | Now what I want to do with the image is
I want to enhance the color a little bit.
| | 00:20 | I want take what colors there are
to make it a little bit better.
| | 00:22 | I want to do some traditional type
of retouching work on the image.
| | 00:26 | So I'm going to go ahead and make sure
I have the Adjustment Brush selected.
| | 00:28 | I do. Next from the Effect I'm
going to choose good old Color.
| | 00:32 | Now with the color what I'm going to do is
click on the color chip and then click
| | 00:36 | in the Select Color window and then click and drag my image.
| | 00:39 | And I'm going to click on the lipstick
here, and try to get one of those colors.
| | 00:42 | I think that would be kind of nice.
| | 00:43 | So I have this nice hue.
| | 00:45 | Close that.
| | 00:46 | Auto Mask is off.
| | 00:47 | Flow is really low.
| | 00:49 | And I have the size of my brush
pretty low, nice high feather.
| | 00:52 | I'm just going to bring in some color onto the cheeks here.
| | 00:55 | I want to add a little bit of color to
the cheeks and make my brush nice and big.
| | 01:00 | I'm going to take the flow way down.
| | 01:02 | I can just add a little bit more
color around this portion of the face.
| | 01:08 | All right, well, now that I have that adjustment
let's take a look at our before and after.
| | 01:11 | Here is our before and after.
| | 01:12 | It's subtle yet it's significant.
| | 01:14 | It's taking color that's already there and making it better.
| | 01:17 | Now if I want to dial that back I can click on this toggle
switch button and then I can dial in the overall intensity
| | 01:22 | of that, increasing it drastically or
pulling it back to a nice sweet spot.
| | 01:27 | I can also work on other areas of face.
| | 01:29 | So let's zoom way in here and I'm going to work on the eyes.
| | 01:33 | So I'm going to ahead and click new
because I want to have a new adjustment
| | 01:36 | and I'll toggle back so that I can see my sliders.
| | 01:38 | From the Effect menu I'm going to work on Color.
| | 01:41 | What I want to do is just deepen
the purple that I have here.
| | 01:44 | So I'll click on the color chip.
| | 01:46 | And then I'll hover over the image till I get a good
color there, and I think that looks pretty nice.
| | 01:51 | I might even deepen that a little bit more and then
click the X. All right, now I need to turn Auto Mask on.
| | 01:57 | I want to take my feathering down just a touch, bring
the size down as well, and the flow up a little bit here.
| | 02:03 | And then I'm going to go ahead and with Auto Mask on,
| | 02:05 | what it's going to do is actually limit my adjustment
to the area that already has this color in it,
| | 02:10 | so that you can see I can get right to the edge there
and I'm just bringing this color out a little bit.
| | 02:15 | So I tried to sample a color that I saw
and now I'm bringing it out a touch.
| | 02:19 | I'll zoom out just a tad bit, smaller brush.
| | 02:22 | I'll work on the other eye, again
just exaggerating or accentuating
| | 02:27 | or enhancing the makeup color that is already there.
| | 02:30 | Using this Auto Mask feature really helped me dial this in.
| | 02:33 | And then let's take a look at our before and after.
| | 02:36 | Here is our before and then after. Subtle yet significant.
| | 02:39 | And if I want to back that off I'm just going to go ahead
and go back to this overall Amount slider, there it is,
| | 02:44 | all the way off and then I'm just
going to bring it up just a little bit.
| | 02:47 | You know lot of times what happens when you're retouching,
| | 02:49 | you retouch things a little bit
high and then you scale them back.
| | 02:53 | Now of course, I could do the same thing with the lips
or I could do things with other parts of the image.
| | 02:57 | Now as I step back a little bit and look at the image I
realize that cheek has a little bit too much hue in it.
| | 03:02 | So I'll go ahead and click on that and then drag to
the left and there I can dial in just a nice amount.
| | 03:08 | Just a little bit of hue there.
| | 03:09 | Let's zoom all the way out so that we can see the image.
| | 03:12 | Press the H key. That will hide those nodes
so that I can really evaluate the image.
| | 03:16 | Here is my before and then after.
| | 03:18 | Those are some really nice and simple color
enhancements that we've made with the Adjustment Brush.
| | Collapse this transcript |
| Creative color adjustments| 00:00 | In the previous movie, we looked at how
we could use the Adjustment Brush in order
| | 00:03 | to enhance color in a pretty functional way.
| | 00:05 | Well, in this movie I want to get a little creative.
| | 00:07 | We're going to work on eyes.
| | 00:08 | We're going to work on color in a real global way.
| | 00:10 | We're going to be working on this
image titled jenny_kim.jpeg.
| | 00:13 | You can find it in the O3 Develop
module folder, subfolder retouching.
| | 00:17 | Let's press the D key to take it to the Develop module
then press the K key to select the Adjustment Brush.
| | 00:23 | Well, I want to zoom in on the eyes.
| | 00:25 | So I'm going to click the 1:1 view.
| | 00:26 | Now that I'm zoomed in on the eyes, I'm going
to choose an effect from my popup menu here.
| | 00:30 | And the effect I'm going for is exposure.
| | 00:32 | I want to bring in just a little bit of exposure here.
| | 00:35 | So I'm going to have my flow at about 50, nice high
feathering and then a real small brush, Auto Mask turned on.
| | 00:42 | I'm just going to click in the bottom part of the eye here.
| | 00:44 | I want to brighten these eyes up just a little bit
and click in the bottom part of this eye over here.
| | 00:49 | And let's take a look at our before and after, before
and after, just subtly bringing in some brightness here.
| | 00:55 | I'll paint a little bit more on this side building up
the flow on the eye, that's a little bit more sharp.
| | 01:00 | Increase the clarity a little bit.
| | 01:01 | Increase the contrast a little bit and a
little bit of brightness in the eye there.
| | 01:04 | Let's take a look now, before and after,
pretty subtle yet kind of creative.
| | 01:09 | We could also add some color.
| | 01:10 | Click on the color chip and then we can choose a color.
| | 01:12 | In this case may be a little bit of blue might be nice,
| | 01:15 | a little subtle blue there, and
then here is our before and after.
| | 01:18 | OK, well that's pretty simple.
| | 01:20 | That's kind of interesting.
| | 01:21 | Let's zoom out a little bit.
| | 01:22 | Let's say we want to do something really creative.
| | 01:24 | Let's create a new Adjustment Brush.
| | 01:26 | So we'll click on the new icon.
| | 01:28 | From the effect popup menu let's choose
saturation and desaturate 100 points.
| | 01:34 | We want the flow to be at 100.
| | 01:35 | We want a huge brush.
| | 01:37 | Now for feather I'm going to take that all the way down.
| | 01:40 | Now that I have this giant brush, what
I'm going to do is, desaturate the image.
| | 01:45 | Make sure I turn Auto Mask off.
| | 01:47 | I'm going to desaturate the image in its entirety.
| | 01:50 | Well you notice that all the color will come out
except for the brightness and the color I added
| | 01:55 | with my other adjustment because that's kind of on
top of this desaturation adjustment, but I like that.
| | 02:01 | Well the next thing that I'm going to do
is I'm going to click on my Erase Brush.
| | 02:05 | Now what would happen if I paint with my Erase Brush?
| | 02:08 | My Erase Brush would erase the desaturation,
i.e., bring back the other saturation.
| | 02:14 | Auto Mask is turned on right now.
| | 02:15 | I'm going to make my brush a little bit smaller.
| | 02:18 | I'm going to zoom in on the lips here, and what I'm
going to do is bring back the color in on the lips.
| | 02:23 | So I have a nice high flow and erasing the desaturation.
| | 02:29 | And typically when you use Auto Mask you need to go
back and fix up your edges without Auto Mask turned on.
| | 02:39 | So I'm going to need to do that here with these
lips, Although they are looking pretty good.
| | 02:43 | So I turn Auto Mask off.
| | 02:45 | Go back to the regular brush, decrease the size.
| | 02:49 | This is the brush that now has the desaturation in it.
| | 02:52 | Increase the feather amount, nice small
brush, and what I'm going to do here is,
| | 02:55 | just try to create a little bit softer edge
along the lower portion of the lip there.
| | 03:00 | It got a little bit too hard for me; it's that top part.
| | 03:03 | All right, great, so as you can see we can
remove some color in some really unique ways.
| | 03:06 | Well, if I go back to the Erase Brush what would
happen if I brought back in all the color in the eyes.
| | 03:11 | Well I could do that.
| | 03:11 | I'm slowly bringing back more color in the eyes.
| | 03:14 | Well, what would happen if I decide to paint around the eye?
| | 03:17 | Well, I could bring back some of
the color around the eye as well.
| | 03:19 | And again, how I bring back this color is going to be kind
| | 03:22 | of contingent upon the flow of
the brush, the size of the brush.
| | 03:25 | I'm going to decrease it.
| | 03:26 | May be bring back a little bit of color over here,
| | 03:28 | and you could see that you can come up
with some pretty interesting effects.
| | 03:32 | And you can do that little by little
slowly-slowly building this up.
| | 03:36 | Now my intent here isn't to say, you know what?
| | 03:38 | You're going to do this with all of your images.
| | 03:40 | I made a little mistake there, so let's go back
to the regular brush and paint back or erase.
| | 03:45 | So what I was saying was my intent here isn't to
say you're going to do this with all of your images.
| | 03:48 | You know you want to do this little desaturation effect.
| | 03:51 | Yet my intent is to say this is something that
we used to only be able to do with Photoshop.
| | 03:56 | But this is one of the reasons why this particular
program is called an Adobe Photoshop Lightroom,
| | 04:01 | because we're starting to be able to do the things
that we used to only be able to do in Photoshop.
| | 04:05 | It's really fascinating.
| | 04:07 | And of course, we can always go back to the amount
slider and we can dial in the overall amounts.
| | 04:12 | Let's just say, we want to take the color
out a little bit from the rest of the image,
| | 04:15 | but we wanted to really snap on the eyes and the lips.
| | 04:18 | Well, now I'm able to do that.
| | 04:20 | Again, I can dial in the overall intensity here and find the
sweet spot and come up with, some really creative results.
| | 04:27 | And the advantage of using Lightroom to do this is this.
| | 04:29 | It's nondestructive and it doesn't take extra file size.
| | 04:32 | So as you can see this tool is actually pretty fascinating.
| | 04:35 | And as you can tell, we've more ground to cover in
regards to this tool and we'll do that in the next movie.
| | Collapse this transcript |
| Smoothing skin| 00:00 | In this movie we're going to look at how we can soften
skin and we're going to work a couple of different images.
| | 00:04 | The first one is titled skin.jpeg.
| | 00:07 | You can find it in the O3 Develop
module folder, subfolder retouching.
| | 00:11 | Let's press the D key to take this
image to the Develop module,
| | 00:13 | then press the K key to open up the Adjustment Brush.
| | 00:17 | Now when I do that I want to zoom in even further.
| | 00:19 | So I'm going to this 1:1 zoom here.
| | 00:21 | Now I'm zoomed in on the face, and one of the things
I'm noticing is I'm seeing some small little blemishes.
| | 00:26 | Now if I'm truly wanting to soften the skin, what I would
actually need to do is to first use the Spot Removal tool.
| | 00:32 | I'm going to make this brush nice and small.
| | 00:36 | Now hit the areas of the skin that have
some real high amounts of variance.
| | 00:39 | So I'm just going to hit some of these spots
and I'm going to go ahead and click on those.
| | 00:43 | And what I'm doing is simply clicking and it's auto
selecting an area for me that it's going to correct from.
| | 00:49 | And I can move those around and if you want to learn
| | 00:51 | about that particular tool we talked
about it in the previous chapter.
| | 00:55 | Again, all I'm looking to do here
is to do a first pass of clean up.
| | 00:59 | Typically you want to clean up before you enhance.
| | 01:01 | Press the H key; it will hide all those circles.
| | 01:03 | Well, that looks pretty good.
| | 01:05 | Well, now that I have hit all the hot spots I'm going
to go ahead and go back to the Adjustment Brush.
| | 01:09 | Now with the Adjustment Brush from the
Effect menu I'm going to choose Soften Skin.
| | 01:13 | Now what Soften Skin is is clarity at a negative amount.
| | 01:17 | Clarity at a positive amount adds a little bit
of midtone contrast, a little bit of punch.
| | 01:21 | Add a negative amount it does the opposite; it's softens.
| | 01:24 | Well, I'm going to reach for my Wacom stylus tablet,
and I'm going to have a brush that's a decent size here.
| | 01:29 | No Auto Mask, pretty decent amount of flow, pretty high.
| | 01:32 | Somewhere maybe up 80s will look good,
lots of feathering, and so far so good.
| | 01:38 | I think that's looking nice there.
| | 01:40 | And I'm just going to go ahead and start
to slowly build up this skin softening.
| | 01:45 | So I'm going to build this up little by little.
| | 01:48 | You know lot of times when you're doing work on
skin, what you want to do is create an adjustment
| | 01:53 | where you don't really notice what's happening.
| | 01:55 | Now if you notice it you've probably gone too far.
| | 01:58 | So I'm going to go ahead and bring this in little by
little, again building it up, my brush a little bit bigger,
| | 02:05 | I'm going to make kind of some broad sweeping
adjustments and then go smaller to get some
| | 02:09 | of these smaller little blemishes taken care of.
| | 02:13 | OK, well, let's see how we're doing so far.
| | 02:15 | Here is our before and then after.
| | 02:18 | Subtle, yet significant, and then
the overall before and after.
| | 02:21 | Press the backslash key.
| | 02:22 | There is our before and there is our after.
| | 02:25 | We've successfully cleaned up the
skin and softened it as well.
| | 02:28 | All right, well, let's take a look at one more image.
| | 02:30 | The next image what we're working on was
captured by one of my colleagues Ben Bassu.
| | 02:34 | He is a fashion photographer.
| | 02:35 | He was also one of my previous students.
| | 02:37 | What I want to do here is zoom in on the image as we have.
| | 02:40 | Press the spacebar to reposition the image.
| | 02:42 | Now we already have our settings dialed
in with the Clarity slider at negative.
| | 02:45 | I'll increase the size quite a bit.
| | 02:47 | Now a lot of times when you're actually
working on people, in this case we're working
| | 02:51 | on people, we have arms, and we have edges of arms.
| | 02:53 | We want to turn Auto Mask on.
| | 02:54 | I'm going to increase the exposure.
| | 02:56 | Now the only reason that I'm increasing the exposure
is so that I can see how my Auto Masking is doing.
| | 03:01 | Now when I get down to working on this image you
can see that, yeah, sure I'm softening the skin,
| | 03:06 | yet I have a couple of little problem
areas around the edges of my mask.
| | 03:09 | So I'm just going to go ahead and
paint some of this in really quickly.
| | 03:13 | Now if I were actually doing this, I would
go about doing this a little bit more slowly.
| | 03:16 | I would take a little bit more care, kind
of like we were doing with our other image.
| | 03:20 | Yeah, what I want to do is here zoom in even
further and look at this portion of the arm here.
| | 03:24 | You notice that I have all these jagged edges.
| | 03:26 | What I do to need to fix those is to
zoom way in and turn Auto Mask off.
| | 03:31 | Auto Mask doesn't get it for me as it is not doing here.
| | 03:34 | I'm going to make my brush smaller and
I'm going to go into those edges there
| | 03:38 | so that I get a nice clean edge, not a pixilated rough edge.
| | 03:42 | Now some of you may be thinking, OK, Chris,
that's fine but why do you have this exposure on?
| | 03:47 | I'm not really getting it.
| | 03:48 | Well, all I'm doing is I'm using that exposure
in order for that to give away my edges.
| | 03:54 | It's telling me if my edges are looking good.
| | 03:56 | Let me take this up even higher.
| | 03:57 | So there we can see, you know, what I
missed that whole top part of the shoulder.
| | 04:00 | Now do I really want to make this adjustment
in regards to exposure at the end of the day?
| | 04:04 | No, I just want the Clarity slider.
| | 04:05 | So once I'm done with the overall
adjustment, I double-click Exposure.
| | 04:10 | That takes that off, takes it to 0.
| | 04:13 | Now it's just clarity.
| | 04:14 | Let's look at our overall before and after.
| | 04:15 | So just smoothing out those shadows.
| | 04:18 | We'll zoom out a little bit.
| | 04:19 | So what you can see here is its
building up this softening effect.
| | 04:22 | It's diminishing those shadows, making things a
little bit more silky, a little bit more smooth.
| | 04:26 | Now I haven't worked on the legs at all, so I would want
to do the same thing with the legs with Auto Mask on.
| | 04:31 | And just go ahead and hit those up, and I'm thinking about
smoothing it and ultimately it's just taking those shadows
| | 04:36 | down a little bit and taking away some
of the texture as well at the same time.
| | 04:41 | OK, well, so far so good.
| | 04:42 | We looked at smoothing the skin.
| | 04:44 | Now in addition to doing this we could add a
little bit of the highlight back if we wanted to.
| | 04:48 | And I want to do that.
| | 04:49 | So, I'm going to click on the New option.
| | 04:51 | So I have a new brush.
| | 04:52 | Effect is going to be Exposure, Auto Mask is off.
| | 04:55 | I have a pretty small brush here, lots of feather.
| | 04:59 | Flow is pretty low as well.
| | 05:01 | I'm just trying to find the right brush size here.
| | 05:06 | Right bracket key will make it a little bit bigger.
| | 05:08 | And what I'm going to do is with a pretty
high exposure amount, I'm just going to try
| | 05:13 | and paint down the highlight of the legs here.
| | 05:16 | Cmd+Z to undo that one.
| | 05:20 | I made a little mistake.
| | 05:21 | So I'm going to try to exaggerate
the highlights here just a touch.
| | 05:25 | Increase my brush size and decrease
the flow amount a little bit.
| | 05:31 | I'm looking to follow the highlights that already exist.
| | 05:34 | I'm going to exaggerate those just a touch.
| | 05:42 | The arm there, down the leg, this portion of the leg.
| | 05:45 | OK let's look at our before and after.
| | 05:47 | So, here is before and here is after.
| | 05:51 | So what's our highlight about?
| | 05:52 | Let's take a look at that one.
| | 05:53 | We'll go to the Effect button or
where we can lower the amount.
| | 05:55 | So there is that highlight, which I darkened now, and
what I want to do now is just bring that up just a touch.
| | 06:02 | Now if I go back to the other slider you can
see I'm just increasing that a little bit there.
| | 06:06 | You can see how I'm brightening and darkening that.
| | 06:08 | And all I'm looking to do is to add a little bit more
smoothness by way of adding a little bit of light.
| | 06:13 | You can especially see on the leg here.
| | 06:15 | Overall our before and after what's happening is
we're smoothing things out and then we just add
| | 06:19 | in a little bit of light again to follow the highlight.
| | 06:23 | Now of course if you want to take this further
you could, yet my intent here is to begin
| | 06:27 | to show you how you can work on
skin with the Adjustment Brush.
| | Collapse this transcript |
| Burning and dodging| 00:00 | In this movie we'll be working on the file shaun_thomson-4.
| | 00:04 | You can find it in the 03 Develop
module folder, subfolder shaun.
| | 00:08 | Press the D key to go to the Develop module and
then the F7 key to hide the panel on the left.
| | 00:14 | Now, if you like me, you're probably thinking,
OK Chris, all those other adjustments were kind
| | 00:17 | of neat were kind of cute all the color stuff.
| | 00:19 | But what I really want to know is how to control tone.
| | 00:22 | I want to know how to burn and dodge, because
that's one of the core photographic skills.
| | 00:25 | Well, that's what we're going to do in this movie.
| | 00:27 | So let's press the K key to select the Adjustment Brush.
| | 00:30 | We're going to work on exposure.
| | 00:31 | So we're going to choose an exposure
setting, this is pretty high.
| | 00:34 | In this case I have it about at
2, now it's a pretty high setting.
| | 00:37 | Now my brush size is going to be
contingent upon my view, Right?
| | 00:40 | Right now my brush is big.
| | 00:41 | But if I zoom in, my brush is small, right?
| | 00:44 | Or it seemed small.
| | 00:45 | Its not that the brush has changed,
its that my zoom rate has changed.
| | 00:48 | So I'm going to make my brush size a little
bit smaller based on my zoom rate, right?
| | 00:53 | OK, that looks pretty nice.
| | 00:54 | Now I have my size dialed in, lots of
feather, my flow I'm going to bring down.
| | 00:58 | I want this to build up slowly.
| | 01:00 | When you're working with light you want
to build things on top of themselves.
| | 01:03 | So I'm going to go ahead and then
start to just paint here in the eyes.
| | 01:06 | And I'm just slowly building up some light in this area.
| | 01:10 | And I go over to this part of the eye.
| | 01:11 | I'm going to bring that up a little bit.
| | 01:14 | Left bracket key is going to make my brush smaller.
| | 01:16 | What I'm going to do is try to get into
some of these wrinkles here, just a touch.
| | 01:20 | I'm just going to slowly try to brighten this up.
| | 01:23 | And the little node right there is in my way.
| | 01:26 | So I'll press the H key to hide it.
| | 01:29 | I love that shortcut the H key that's what you're going
to be using quite often, I like this a little bit bigger,
| | 01:34 | and again I don't have Auto Mask turned on.
| | 01:36 | This won't work with Auto Mask.
| | 01:38 | I need to be a little bit free formed with these edits.
| | 01:42 | If I want to get in on the wrinkles
I need to zoom way in here.
| | 01:45 | I know that I'm zoomed way in, I can work on the wrinkles
and I can actually remove wrinkles with this technique,
| | 01:50 | slowly building this up little bit
larger brush size in this area,
| | 01:54 | little bit smaller brush size for some of these wrinkles.
| | 01:57 | It's looking to kind of take down the intensity of the
wrinkle a little bit, and slowly work through the image.
| | 02:04 | In this case I'm just using a mouse.
| | 02:06 | Now it will be nice to use a Wacom stylus tablet, but
if you don't have you know that flow works pretty well.
| | 02:14 | Zoom out with Cmd+Minus on a Mac, Ctrl+Minus on a PC,
zoom back in with Cmd+Plus on a Mac, Ctrl+Plus on a PC.
| | 02:23 | Now I'm just looking to try to brighten these areas up
just a little bit, little bit right on top of the eyes,
| | 02:29 | well that will be nice when you do
it, little bit on the eye itself.
| | 02:32 | Zoom out. All right, let's take a look at how
we're doing, here is our before and then after.
| | 02:40 | Wow! Before and then after.
| | 02:42 | The image already looks so much better.
| | 02:44 | Now if that's too intense I can of course back it off
or if I want to give a little bit more I can take it up.
| | 02:49 | So here we can see that I can really dial in a good amount.
| | 02:52 | So I'm going to bring it right down just a little bit.
| | 02:55 | Look at my before and after so you know
I'm going in a pretty good direction,
| | 02:58 | Although I didn't get this part
of the eye of the eye very much.
| | 03:00 | So I'm going to go ahead and bring a little bit more
light in above the eye, the right eye, at least my right,
| | 03:07 | and then smaller brush get into this
area here, we'll slowly build that up.
| | 03:13 | Let's look at our before and after.
| | 03:15 | OK that's nice.
| | 03:16 | Now I have some nice light in that area, and the image
is so much better and it didn't take me much time.
| | 03:21 | All right, well, now I want to
work on the highlight up here.
| | 03:23 | I want to burn that down.
| | 03:24 | I dodged in some light into this
area, but I want to burn this down.
| | 03:27 | I'm going to turn Auto Mask on and I'm going to increase
my exposure but I just realized that I made a mistake.
| | 03:34 | I don't want to increase my exposure just yet.
| | 03:36 | I may decrease that.
| | 03:37 | First I need to click new.
| | 03:39 | Now that I have a new brush now I can increase my exposure.
| | 03:42 | All right, now I have my Auto Mask turned on, great.
| | 03:45 | I'll make my brush a little bit bigger and what I'm going
to do is just start to paint on this highlight up here,
| | 03:50 | and what I should see is that the
highlight is getting brighter.
| | 03:53 | I'm trying to Ctrl+Almost entirety of the highlight.
| | 03:55 | We can see that I have it there, and once I
have it nice and bright so that I can see it,
| | 03:59 | I'm going to then bring it down, so now
I'll bring it in down just a little bit.
| | 04:03 | Here is my before and then after.
| | 04:05 | You can see I have brought that down
quite a bit, turned Auto Mask off.
| | 04:10 | My flow needs to be even less, and I'm going
to work on the edges of the highlight here.
| | 04:14 | I'm going to darken those up a little bit.
| | 04:16 | I'm going to darken up the hair a
little bit here and then up here.
| | 04:21 | And look at our before and after.
| | 04:24 | Before and then after.
| | 04:26 | And again if we darken this a lot, we'll see the area
that we're affecting, we don't want to go that far.
| | 04:31 | We're looking for something that's subtle.
| | 04:33 | And now finally let's click on this toggle switch so that
we can see our before and after, some pretty simple edits
| | 04:39 | yet they make the image that much better.
| | 04:41 | Finally Cmd+Minus to zoom out so I can
step all the way back from the image,
| | 04:45 | almost move back from my monitor to
see if I'm going in a good direction.
| | 04:49 | That's Ctrl+Minus on a PC Cmd+Minus on a Mac to zoom out and
look at my before and after, and as I look at that I realize
| | 04:56 | that you know what, I need to modify
this one just a little bit more.
| | 04:58 | So I'll press the H key that will bring back those nodes.
| | 05:01 | I'll click on this one to activate it.
| | 05:04 | Then press the H key again.
| | 05:06 | Now I can dial in these controls.
| | 05:07 | I think I just went a little bit too far with that.
| | 05:10 | I don't want to take that down so far that it's dark.
| | 05:12 | All right, well, that looks great.
| | 05:14 | Well as you can see we can use this tool
to burn and dodge in some real unique ways.
| | 05:18 | Now keep in mind there are a lot of times what you're going
to need to do is use a combination of different settings.
| | 05:23 | There is no one setting that's best.
| | 05:25 | Rather it's a combination of different size
brushes, different feather, different flow,
| | 05:29 | different types of masking, and
different settings in regards to sliders.
| | 05:33 | And as a result by using different settings you
can arrive at some really phenomenal results.
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| Fixing exposure| 00:00 | In this movie, we'll be working on the file corwig_sophia.
| | 00:03 | This is the photograph of my youngest daughter, Sophie.
| | 00:07 | You can find it in the 03 Develop
module folder, subfolder kids.
| | 00:11 | Now let's navigate to the Adjustment Brush and let's
press the K key in order to select the Adjustment Brush.
| | 00:16 | And take this image to the Develop module.
| | 00:18 | Now let's just press the F7 key to hide the panel on the
left and then the F6 key to hide the filmstrip down below.
| | 00:25 | And what I'm going to do is, just
do a subtle exposure correction.
| | 00:27 | I notice that the face is a little bit too bright here.
| | 00:30 | I'm OK with the window being bright and the couch being
bright over here, but I don't want to correct the face.
| | 00:34 | So what I'm going to do is, I'm going to lower the exposure
and I'm going to lower the exposure pretty significantly.
| | 00:39 | Yet, I'm going to dial back my flow.
| | 00:42 | So I'll take my flow way down to somewhere here in the 20s.
| | 00:44 | And then I have a pretty big brush.
| | 00:46 | I want to make that a little bit smaller there.
| | 00:48 | That looks pretty good and Auto Mask is clicked off.
| | 00:51 | Because all that I'm looking to do here is just to subtly
bring in a little bit more detail here in the face.
| | 00:57 | Let's take a look at our overall before and after.
| | 00:59 | Here is before and then after.
| | 01:01 | So far so good.
| | 01:02 | Let's take that exposure now a little bit further
and that image is going to print so much better.
| | 01:08 | I'll lower the flow even further and I'm going to paint
on the hair a little bit, little more detail here.
| | 01:13 | And again overall before and after subtle and simple
way to correct exposure and make this image even better.
| | 01:21 | And you know, the nice thing about using the Adjustment
Brush is, I didn't have to overthink the process.
| | 01:26 | It didn't take me a lot of time.
| | 01:27 | It was a real quick fix.
| | 01:29 | It was a subtle fix, yet a really
important fix at the same time.
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| Creative tip 5: Understanding f-stop| 00:00 | All right, hey, welcome to another photo tip.
| | 00:02 | I just got back from cruising around
the harbor in my little boat here.
| | 00:05 | And in this tip, what I want to do
is I want to focus in on F-stop.
| | 00:09 | I actually want to deconstruct how F-stops actually work.
| | 00:12 | Now, in order to simplify things, let's just say that
I have an F-stop of 1, all the way up to F-stop of 30.
| | 00:19 | Now which is best?
| | 00:20 | Well, let's consider that I have a row of people,
single fine line, 30 people that I'm going to photograph.
| | 00:26 | And they are all standing right in front of me.
| | 00:28 | Now if I want to get just one person
in focus, I'm going to use F1.
| | 00:32 | If I want all 30 in focus, I'm going to use F30.
| | 00:35 | So as you can see, your F-stop number
has to do with depth of the field.
| | 00:39 | So here is what you want to do.
| | 00:41 | Let's say you want to photograph a person.
| | 00:42 | You want to choose the lowest F-stop as possible.
| | 00:45 | That way you can have that person in focus and
everything in the background completely out of focus.
| | 00:49 | And the person will look amazing.
| | 00:51 | On the other hand, let's say you have a landscape shot.
| | 00:53 | What you want to do is, you have this beach, and this cliff,
and these trees, and this islands way up in the distance.
| | 00:58 | You want to have all of that in focus.
| | 00:59 | Well you want to choose a high F-stop
number, with this particular lens
| | 01:02 | that would be F32, so that I have everything in focus.
| | 01:06 | So, as you can see F-stops actually aren't that complicated.
| | 01:09 | And if you haven't experimented
with them you definitely want
| | 01:11 | to because you can create some really unique
photographic effects by changing your F-stop.
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|
14. The Develop Module: Modifying Tone CurveDemystifying the Tone Curve controls| 00:00 | In this movie, we'll be working on this file grayscale.psd.
| | 00:03 | You can find it in the O3 Develop
module folder, subfolder demo_files.
| | 00:08 | Let's press the D key to take this to the Develop module.
| | 00:10 | There is another way to work with tone in
Lightroom and it's with the Tone Curve.
| | 00:15 | Now, so far we've only talked about the Basic panel.
| | 00:17 | Yet, as we're getting to some of the other panels,
one of the things you'll notice is once you start
| | 00:21 | to open multiple panels, let's say,
we've the Basic and the tone open.
| | 00:25 | You're going to have to do quite a bit of scrolling.
| | 00:27 | And that's not a very effective or
efficient way to work in Lightroom.
| | 00:30 | What you want to do is hold down the
Option key on a Mac or the Alt key on a PC
| | 00:35 | and click on the triangle for one of the panel.
| | 00:38 | Now you see that the icon has changed.
| | 00:39 | What that means is it's in solo mode so that
you can only have one panel open at a time.
| | 00:44 | So if I click on the panel, it closes
the other panels and just opens that one.
| | 00:49 | Definitely, its something you want to do.
| | 00:50 | Well, here we're in the Tone Curve panel.
| | 00:52 | We'll go ahead and close the Histogram.
| | 00:53 | So we can focus in on it.
| | 00:54 | One of the things you'll notice is that we've a curve.
| | 00:57 | Now if you're used to working with curves in Photoshop
you've to kind of forget what you know a little bit regards
| | 01:02 | to curves, because this curve is a little bit different.
| | 01:05 | It's a parametric curve.
| | 01:06 | So what we've here is, first of all we've our tonalities.
| | 01:09 | We can hover over the curve.
| | 01:10 | We notice that we've our dark tones, or
shadows, or darks, or lights and our highlights.
| | 01:16 | And what's interesting about that is we
can either control that with the curve.
| | 01:19 | I can click and drag up and you see that the image,
| | 01:22 | the highlights are getting brighter
or the highlights are getting darker.
| | 01:25 | You'll also notice that it's moving this particular slider.
| | 01:29 | Well, so far the highlights are
affecting this region of the image.
| | 01:32 | Let's say that I limit the adjustment
just to the upper part of the curve now,
| | 01:36 | you can see that less of the image is being affected
or on the other hand if I drag this to the left,
| | 01:41 | we can see that more of the image is being affected or more
of the image is being darkened or on other hand lightened.
| | 01:47 | And then again, I'm going to limit the
lightening to the upper part of the curve up here.
| | 01:51 | And so I can really dial in specific tonal controls.
| | 01:55 | So you'll also know at the bottom of this dialog
we've a couple of different point curve options.
| | 01:59 | Currently it's Linear.
| | 02:00 | We can also choose medium contrast and strong contrast.
| | 02:03 | Now if you've used Photoshop before you
know a little bit about the S-Curve,
| | 02:07 | the blacks become blacker, and the whites become whiter.
| | 02:10 | The last thing that we need to talk about in regards
| | 02:12 | to the Tone Curve before we actually use
it is that we've a Target Adjustment tool.
| | 02:16 | What I can do with this tool is click on it.
| | 02:18 | And then select an area of my image.
| | 02:20 | Let's say these deep shadows.
| | 02:21 | I want to brighten those.
| | 02:22 | So I'm going to click and drag up and you
can notice that those are now brightened.
| | 02:26 | I want to also brighten the midtones.
| | 02:27 | So I'm going to click and drag to increase those.
| | 02:29 | And then I'm going to go over to the
highlights and I'm going click and drag down.
| | 02:33 | I want to darken those and also darken these tones as well.
| | 02:36 | So we can come up with some pretty interesting adjustments.
| | 02:39 | And one of the things you'll notice with the Tone Curve
is that you can't adjust your image quite as strongly
| | 02:43 | as you could with those basic adjustments.
| | 02:46 | It's almost as if you can't skew the image up quite as much.
| | 02:49 | Now some people find this limiting at first.
| | 02:51 | Yet once you get to know the Tone Curve
you realize, ah, this is built in safety.
| | 02:55 | What its doing is it's protecting your image,
so that you cant swing the tone of the image.
| | 02:59 | So far you're going to wreck the image.
| | 03:01 | So there is this built-in safety.
| | 03:02 | And you can kind of see that here.
| | 03:03 | Its showing me the range and its only
allowing me to bring this tone down so far,
| | 03:08 | so that I can still have continuous
tone and even tone across the image.
| | 03:12 | As a result, the Tone Curve controls give you
a unique way to work on tone in your imaging.
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| Correcting an image with the Tone Curve panel| 00:00 | In this movie, we'll be working
on the file corwig_snow_camping.
| | 00:04 | You can find it in the O3 Develop
module folder, subfolder miscellaneous.
| | 00:08 | Let's press the D key to navigate to the Develop module.
| | 00:11 | Press the F7 key to hide the panels on the left.
| | 00:14 | Next, what we want to do is open up the Tone Curve panel.
| | 00:17 | Yet, we want to do this by way of shortcut.
| | 00:19 | The shortcut to open up the Tone Curve
panel is Cmd+2 on a Mac, or Ctrl+2 on a PC.
| | 00:25 | So I'll go ahead and press Cmd+2 on a Mac or Ctrl+2 on a PC.
| | 00:28 | That will open up the Tone Curve panel.
| | 00:31 | Now, the nice thing about the Tone
Curve panel is it actually pretty easy.
| | 00:33 | So here is what we're going to do.
| | 00:35 | I look at this image and I say you know what, I love it.
| | 00:37 | I love this image because I love
snow camping, I love the Seals.
| | 00:40 | There is something about that morning view from your tent.
| | 00:42 | You just open up your tent, you see the mountains out there.
| | 00:45 | There is something amazing about that.
| | 00:47 | Yet, there is a little bit of problem with this image.
| | 00:49 | The snow is overexposed.
| | 00:50 | So how can I fix that with this Tone Curve panel?
| | 00:53 | Well, there are a couple of different
ways that I can fix that.
| | 00:55 | Well, I know it's in my highlights, right.
| | 00:57 | The highlights have some problem.
| | 00:58 | So I could go over here up to the Tone Curve
and bring those highlights down or I could click
| | 01:03 | on the Target Adjustment tool and then click
on the highlights here and then drag down.
| | 01:06 | So I'm clicking and dragging down and that's really nice.
| | 01:09 | It brought some detail back into that area.
| | 01:11 | Let's take a look at our before and after.
| | 01:13 | Here is before and then after.
| | 01:14 | A subtle improvement, yet this
image will print so much better.
| | 01:17 | In order to illustrate that point, I'm going to open
up the histogram and when I open up the histogram
| | 01:22 | and hover over this area, you can notice that my
percentages are right at about 90% right there.
| | 01:27 | So I have some good detail.
| | 01:29 | Something is going to print there.
| | 01:30 | Now when I turn this off and hover over that area,
you notice that they are in the pretty high 90s.
| | 01:35 | One channel is almost at 98%.
| | 01:37 | So there isn't very much detail there at all.
| | 01:39 | And that's a little bit risky.
| | 01:41 | Well, I do have detail that just isn't much.
| | 01:43 | So if I press the J key to show me if there
is any clipping, which I'm going do now,
| | 01:47 | it will highlight the areas where I have some clipping.
| | 01:49 | And I notice up in here I definitely have clipping.
| | 01:52 | I have no information at all.
| | 01:53 | Well, how about if we turn on this adjustment.
| | 01:55 | All right, well, that brought down that clipping
quite a bit, quite a bit of an improvement there.
| | 02:00 | I have much more detail in the image.
| | 02:02 | Now in order to fix the image completely,
I'm going to need to go to the Basic panel.
| | 02:06 | So I go to the Basic panel and one
of the things that I'm going to need
| | 02:09 | to do is just lower the exposure a little bit, right.
| | 02:12 | Although I like that brightness of the
image, I just don't have any detail there.
| | 02:15 | I also need to bring in a little bit of Fill Light.
| | 02:17 | And if I have lost some detail in
the blacks of the tent, I'm OK.
| | 02:21 | If these get a little bit blocked
up they are going to print OK.
| | 02:24 | So I'm going to go ahead and bring
up my fill light, my recovery,
| | 02:26 | and then I'm going to increase the contrast, just a touch.
| | 02:29 | That image I think is going to print pretty well.
| | 02:31 | We'll press the J key to hide the clipping.
| | 02:34 | I'll go ahead and close the Histogram, and let's take a look
| | 02:37 | at our overall before and after
by pressing the backslash key.
| | 02:41 | Here is the backslash before and now the after.
| | 02:44 | Now when we look at the after we really realize,
gosh, the before wasn't very good at all.
| | 02:49 | Now, the after, that's going to be a much better image.
| | 02:51 | That wraps up our look at the Tone Curve panel.
| | 02:54 | One of the things that you can see here is we can control
tone in real unique ways, and in addition it's a good tool
| | 03:00 | to use in combination with the other
controls that we've in the Develop module.
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15. The Develop Module: Using HSL and ColorUnderstanding the HSL controls| 00:00 | In this movie, we're going to be learning some
interesting ways to work with color in the Develop module.
| | 00:05 | We'll be working with this image here title colors.jpeg.
| | 00:07 | You can find it in the demo files folder, with
a subfolder of the 03 Develop module folder.
| | 00:13 | Let's go up and open up this image in the Lightroom.
| | 00:15 | We'll do that by pressing the D key.
| | 00:17 | Now that we've this image, open up in the Develop module.
| | 00:20 | We want to open up the, HSL / Color / Grayscale panel.
| | 00:24 | Now, in order to access that, we're
going to use our shortcut.
| | 00:27 | And if you remember the shortcuts, its Command on
the Mac, Control on the PC Plus 0 for Histogram,
| | 00:31 | 1 for Basic, 2 for ToneCurve and then 3 for HSL.
| | 00:34 | So lets press Cmd+3 on a Mac, Ctrl+3 on a PC.
| | 00:39 | That will open up the HSL slider.
| | 00:42 | Now currently I have the view of
all, Hue Saturation and Luminance.
| | 00:45 | Now I can just view the Hue sliders.
| | 00:48 | I can also just view the Saturation
sliders or just the Luminance slider.
| | 00:52 | I want to just look at one side of sliders at a time.
| | 00:54 | So we can kind of deconstruct how
these sliders actually work.
| | 00:57 | Now when I go to the Hue slider, one of
the things, it's kind of interesting.
| | 01:00 | I can modify the color for the red.
| | 01:02 | So that the red can become pink
or that the red can become orange.
| | 01:06 | I can't completely change the red.
| | 01:09 | Yet, I can push or swing the red one way or the other.
| | 01:13 | Now just take a look at the yellow down here.
| | 01:15 | I could make the yellow green, so now
the yellow and the green are both green.
| | 01:19 | And then we've this aqua and blue color.
| | 01:22 | Well, same thing is going to be true here.
| | 01:24 | I can select to push these colors, so that they get closer.
| | 01:27 | And I moved the wrong slider there.
| | 01:28 | So I'll push that one back.
| | 01:30 | What I wanted to do was to push that one this way
and then make that one a little bit light blue.
| | 01:35 | So you can see that I'm bringing these two colors together.
| | 01:38 | And then finally we've this purple and magenta down here.
| | 01:41 | I'm going to try to bring those
together and then fix my blue.
| | 01:45 | So it's little bit closer to the blue above it.
| | 01:48 | All right, one of the things that you can
see is that you can swing colors only so far.
| | 01:53 | You can definitely change or shift colors and you can do it
in pretty interesting ways in that all color is connected.
| | 02:00 | Reds are connected to oranges.
| | 02:02 | Oranges are connected to Yellows.
| | 02:03 | Yellows is connected to greens, so on and so forth.
| | 02:06 | I'm going to reset the image and try
to illustrate that in another way.
| | 02:09 | I'll click on the Target Adjustment tool.
| | 02:11 | Now when I click on the Target Adjustment tool, I'm going to
go up here to the reds and I'm going to click and drag down.
| | 02:16 | When I click and drag down you notice
that the oranges came down as well.
| | 02:20 | So again these two colors are connected.
| | 02:22 | The yellows I'm going to drag those down.
| | 02:24 | Yellow and green are connected.
| | 02:25 | Then the aqua and blue are connected.
| | 02:27 | Now I click and drag the purple, you get
the gist on how the colors are interrelated.
| | 02:31 | All right, well, I reset the image.
| | 02:32 | Lets go to the Saturation slider.
| | 02:35 | When we go to the Saturation slider,
I want to take this to another image.
| | 02:38 | The next image, we'll be working on is called chalk.psd.
| | 02:41 | And lets open up a little bit more space
because this image is interesting to look at.
| | 02:46 | We press the F7 key.
| | 02:47 | There is something about artist tools.
| | 02:49 | Its just fascinates me.
| | 02:50 | In this case it's the artist chalk.
| | 02:52 | We're going to go ahead and click
on the Saturation option here.
| | 02:55 | Now I can modify the Saturation of any particular color.
| | 02:59 | Again, I'm going to use the Target Adjustment tool.
| | 03:01 | Now I want to go ahead and select target
adjustment tool and hover over my images.
| | 03:04 | I'm going to drag the colors out of this image.
| | 03:07 | And you can see slowly that what I'm
doing is pulling all the color out
| | 03:10 | and you can see how the colors are somewhat connected.
| | 03:13 | That's when I click and drag a slider
down; its never just one slider by itself.
| | 03:18 | It's always the interrelationship between these
different colors and the different types of colors
| | 03:22 | that we have until they are all completely gone.
| | 03:25 | So you can come up with some pretty interesting results.
| | 03:27 | I can also begin to bring back the
color or turn the colors back on.
| | 03:32 | And you can start to see how the
color relationships are build.
| | 03:35 | OK, well, lets click Reset and
then go to the Luminance slider.
| | 03:38 | What is the Luminance slider do?
| | 03:40 | Well, so far we've seen that a Hue
slider allows us to shift the color.
| | 03:43 | Saturation can increase or decrease the saturation.
| | 03:47 | Well, the Luminance is the brightness.
| | 03:48 | So I can go down to my yellows right
here and I can darken those up.
| | 03:52 | So we can see the yellows are much
darker or I can brighten those up.
| | 03:55 | So it controls the overall brightness value.
| | 03:57 | And again I can use that Target Adjustment tool that change
the overall brightness or darkness of a particular tone.
| | 04:04 | One of the things that are interesting in regards to
the sliders is that, I can target real specific color.
| | 04:10 | And that can be helpful for me,
because I can add a little bit of snap.
| | 04:13 | Or if a color is a little bit too saturated like, these
blues are little bit too saturated, I can bring it down.
| | 04:18 | So I have some more texture.
| | 04:19 | I don't know if you're able to see that.
| | 04:21 | So when you look here, when it
saturates up, it's all blocked up.
| | 04:24 | There is loss of detail, but when I
just pull that down, just a little bit,
| | 04:27 | I have some nice shape, I have nice detail there.
| | 04:30 | Yes, I don't have the same intensity of color,
| | 04:32 | but don't you know that some colors can't
be printed because they are too intense.
| | 04:36 | There is too much color there.
| | 04:37 | There is clipping going on.
| | 04:39 | So as you can imagine, these controls can help you with
your images in real technical and real creative ways.
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| Using HSL to brighten based on color| 00:00 | In this movie, we'll be working on
this photograph of my daughter, Annika.
| | 00:03 | You can find it in the crop folder, which is
a subfolder of the 03 Develop module folder.
| | 00:08 | Let's press the D key to navigate to the Develop module.
| | 00:11 | Now what we're going to do in this movie is pretty simple.
| | 00:13 | But I'm going to throw on a couple of
shortcuts, so that we get some more out of it.
| | 00:16 | What I want to do is, take advantage
of the color that I have in this image.
| | 00:20 | And then I want to brighten the image based on color.
| | 00:22 | So I'm going to go ahead and navigate
to the Luminance option here.
| | 00:25 | Next, I'm going to click on the target
adjustment tool and hover over the image.
| | 00:29 | Now, when I do that you notice that
it's highlighting the blue filed here.
| | 00:32 | We can see that the number is highlighted there.
| | 00:34 | So all that I need to do now is press the up arrow
key to increase the brightness or the Luminance values
| | 00:41 | of those particular colors or if I press
the down arrow key, I can also decrease.
| | 00:45 | Another thing that you notice here is when I hover over
the number, I can actually use that as a scrubby slider
| | 00:51 | and then of course, I can always just grab the slider.
| | 00:54 | All that I want to do at this particular
image is I want to brighten the overalls.
| | 00:58 | And I again I can use the target adjustment
tool to click and drag up or down as well.
| | 01:02 | So, it seems that we can modify the
controls in a couple of different ways.
| | 01:08 | So far I have just brighten that, I
think, that is a little bit too far.
| | 01:11 | So I'm going to back that up.
| | 01:12 | Press the Y key, so I can see the before and after.
| | 01:15 | I really like that.
| | 01:16 | I think that is looking good.
| | 01:17 | Press the backslash key to look
at the overall before and after
| | 01:20 | and all I do is just adding the little bit
extra snap, a little bit visual interest.
| | 01:24 | And I'm doing that by way of the
Luminance option inside of the HSL panel.
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| Creative color with HSL| 00:00 | In this movie, we'll be looking at
how we can use those HSL controls,
| | 00:03 | in order to come up with some really
creative color combination.
| | 00:07 | Now we'll be working on this image corwig_vegas.
| | 00:10 | It's inside of the 03 Develop module
folder, subfolder Miscellaneous.
| | 00:14 | Press the D key to navigate to the Develop module.
| | 00:17 | Next, I want to open up that HSL panel.
| | 00:20 | So I press Cmd+3 on a Mac or Ctrl+3 on a PC.
| | 00:24 | What I want to do with this particular image is I want
to modify the sky and then also the color of the sign.
| | 00:28 | Because this image really only has two colors in it.
| | 00:31 | So I want to kind of play with those a little bit.
| | 00:32 | I want to have some fun with this image.
| | 00:34 | So I'm going to start off in the Hue slider.
| | 00:36 | What I can do is actually change the sky;
from blue I could change it to purple.
| | 00:39 | I could also change it to this aqua green.
| | 00:42 | That is kind of interesting.
| | 00:42 | That is what I want to go for in this particular image.
| | 00:45 | Next, I'm going to navigate to the Saturation slider.
| | 00:47 | Now I want to increase the orange
saturation of this particular sign.
| | 00:51 | So I'm going to brighten that up quite a bit there.
| | 00:53 | And then I'm going to de-saturate the background.
| | 00:55 | Just a touch because that was a little
bit neon or little bit over the top.
| | 00:59 | So now I have this really interesting
kind of aqua color in the background.
| | 01:02 | Then finally, I'm going to go to my
Luminance slider and experiment a little bit.
| | 01:05 | I can brighten up the sign or I
can also darken down the sign.
| | 01:08 | I want to brighten it up, just a touch.
| | 01:10 | I want to bring a little bit of light there.
| | 01:11 | And then take a look at my background.
| | 01:13 | See how that is going, I can darken it or brighten it.
| | 01:16 | And again, I think, I want to do just a little bit of
darkening so that, the focus really is on the sign.
| | 01:21 | All right, well, all that I'm trying to illustrate here is,
| | 01:23 | you can come up with some really
interesting color combinations,
| | 01:26 | that you really could not achieve any
other way without using these HSL controls.
| | 01:31 | Now lets take a look at our overall before
and after by pressing the backslash key.
| | 01:35 | Here is before and after.
| | 01:38 | Now if you've not experimented much with
those HSL controls, I definitely recommend it.
| | 01:42 | They are really interesting.
| | 01:43 | I think that you'll find that, it will help you
out in your photographic workflow quite a bit.
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| Desaturating color with HSL| 00:00 | That will be fine to include one more example
of how you can use those HSL controls,
| | 00:04 | in order to come up with some creative results.
| | 00:07 | In this particular movie, we'll be
working on this file corwig_umbrella.jpeg.
| | 00:12 | You can find this image in the miscellaneous folder,
which is a subfolder of the 03 Develop module.
| | 00:17 | Let's press the D key, navigate to the Develop module.
| | 00:20 | Then press Cmd+3 on a Mac, Ctrl+3
on a PC to open up the HSL panel.
| | 00:25 | Now I'm in the HSL panel.
| | 00:26 | One of the things, I noticed about this image is that,
there really aren't a lot of colors in this image.
| | 00:31 | So what I want do is I want to remove all the
colors, but the color on the suitcase here.
| | 00:35 | So I'm going to go ahead click on the Saturation option.
| | 00:38 | Then click on the target adjustment
tool and then hover over the image.
| | 00:41 | Now as I do that, I notice that
it's bouncing around a little bit.
| | 00:44 | There is a little bit of blue in the image.
| | 00:45 | There is also some yellows.
| | 00:46 | So I'm going to go ahead and pull out the blue first.
| | 00:49 | All right, the blue is now gone.
| | 00:50 | And I'm going to hover over the yellows.
| | 00:52 | Now when I do that I'm going to
get almost all of the color out.
| | 00:56 | Now there is a little bit of Hue
inside of this umbrella here.
| | 00:59 | I want to leave that.
| | 00:59 | I think that's look a little bit interesting.
| | 01:01 | But as you can see, what I can
do is really control the color.
| | 01:04 | I could also bring a little bit of the color back.
| | 01:06 | So its not completely, completely de-saturated,
nonetheless a pretty interesting effect.
| | 01:12 | Next, I want to see the before and after.
| | 01:13 | So I'm going to go ahead and click
on the toggle switch here.
| | 01:15 | Here is our before and then our after.
| | 01:18 | Just another fine example of how you can use these HSL
controls to come up with some really creative result.
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| Using the Color panel| 00:00 | In this movie, we'll be working
on the image corwig_snow_camping.
| | 00:03 | You can find it in the 03 Develop module
folder subfolder of Miscellaneous.
| | 00:07 | Lets press the D key to navigate to the Develop module.
| | 00:09 | And then lets press the F7 key
to hide the panels on the left.
| | 00:13 | What we're going to at this particular image
is we're going to look at how we can access
| | 00:16 | and understand the HSL controls
in a new way, in that color panel.
| | 00:19 | So we're going to go over here and click
on color to open up the color panel.
| | 00:23 | Now as I do that, one of the things you'll
notice here is I have the different colors here
| | 00:26 | and then have the Hue Saturation
and Luminance sliders down below.
| | 00:29 | So, the same sliders were just organized in
these sliders in a little bit of a different way.
| | 00:34 | Now what I can do with this organization is, I
can go to my yellows and say I'm going to pull
| | 00:38 | out all the yellows also the oranges
pull out all the oranges.
| | 00:41 | Then I want to, may be brighten those up a little bit.
| | 00:43 | I'm brightening up the yellows as well.
| | 00:44 | So now I have an image.
| | 00:45 | It's primarily made up of these blues.
| | 00:47 | So we can see the blues there and there.
| | 00:49 | I'm going to go over to my blues and my blues.
| | 00:51 | In this case, I can change overall Luminance.
| | 00:53 | I can also change the color.
| | 00:55 | Try to create a kind of unique or off the wall color effect.
| | 00:58 | And I can modify things in pretty unique ways.
| | 01:00 | So what this does for is it simply gives us
access to the HSL controls by way of color.
| | 01:06 | Now a couple of other things you have
to know about this particular panel.
| | 01:09 | One, if you press the Option key on a Mac, or the
Alt key on a PC, you can reset the individual color.
| | 01:14 | So I'm going to go through here and reset those
colors, one by one to bring the image back to normal.
| | 01:19 | The other thing that we can do is click All in order to work
| | 01:22 | on all the different colors at
once, we can scroll around here.
| | 01:26 | In this case, lets say, I want to bring a little
bit of brightness to that tent right there.
| | 01:29 | So I can just brighten that up with that Luminance slider.
| | 01:32 | And then work on the Saturation.
| | 01:34 | Just touch of a little bit more green in there.
| | 01:36 | There is also quite a bit of yellow in that tent.
| | 01:38 | So I'm going to go head and brighten up the
yellow of both tents there and little bit
| | 01:43 | of orange and then I'll go down to my blue slider.
| | 01:46 | Then finally with the blue slider, I'm
just going to darken the sky, just a touch.
| | 01:49 | So in this case, we've not done a lot.
| | 01:51 | Yet we've been able to target specific tones,
based on their color and modify the color
| | 01:57 | and tone at the same time with this particular panel.
| | 02:00 | So, as you can see, it's a pretty interesting panel.
| | 02:02 | Again the same controls just a different way to access them.
| | 02:05 | Now if you ever want to go back
just working on one color at a time,
| | 02:08 | all you need to do is click on
one of the colors you watch here.
| | 02:10 | Then you can go back and you can modify
that particular color and continue to go
| | 02:14 | through the different colors in this way as well.
| | 02:17 | Alight, well, that wraps up our look at the color panel.
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| Creative tip 6: Take your camera everywhere| 00:00 | Welcome to another photography tip.
| | 00:02 | You know, I'm often asked, "Chris,
how can I create better photos?"
| | 00:05 | Well, here is my tip for you.
| | 00:06 | Bring your camera with you everywhere.
| | 00:09 | Now, I teach at this photography school, right?
| | 00:10 | And there are students who study every thing from fine art
to fashion to food photography and everything in between.
| | 00:16 | And we have this one school.
| | 00:17 | It's called the School of Visual Journalism.
| | 00:18 | Now these students are really fascinating.
| | 00:20 | They are taught that they need to bring
their camera with them everywhere they go.
| | 00:24 | So what they do is they tape over the logos on the camera.
| | 00:26 | They tape over everything on their lenses.
| | 00:28 | So their cameras look really discrete.
| | 00:30 | And then they bring those cameras
and those lenses everywhere they go.
| | 00:33 | And you know what's often said of these students
is they can find a photograph anywhere.
| | 00:37 | And they can find a photograph anywhere because they
brought their camera to so many different situations
| | 00:42 | that the situation does not necessarily surprise them.
| | 00:45 | And they know how to look and how to see.
By simply having your camera with you,
| | 00:49 | it teaches you to see things in new ways.
| | 00:52 | So if you want to create better
photographs, start bringing your camera
| | 00:55 | with you everywhere and here is my idea for you.
| | 00:58 | The next two days, bring your camera with you everywhere.
| | 01:00 | Even if it means you have a meeting in a conference
room, bring your camera with you in that conference room.
| | 01:05 | It will teach you to see things in new ways.
| | 01:08 | All right, well, I hope you enjoy this photo tip.
| | 01:10 | Bye for now.
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|
|
16. The Develop Module: Converting to GrayscaleConverting to black and white| 00:00 | In this movie, we're going to begin to talk about
how we can convert our images to black and white?
| | 00:04 | We'll be working on this file colors.jpg.
| | 00:06 | You can find it in the demo files folder.
| | 00:09 | Press the D key to navigate to the Develop module.
| | 00:11 | Now, in the Develop module we want
to open up a couple of panels here.
| | 00:14 | I'm going to first open up the Basic panel.
| | 00:17 | Now, when I open up the Basic panel,
one of the things that I want to point
| | 00:19 | out here is that, I can modify the color temperatures.
| | 00:22 | So that the image goes warm or so that it goes cool.
| | 00:25 | Now, when I do that you're kind of noticing
that the brightness or the overall intensity
| | 00:30 | or density of the colors actually changes.
| | 00:32 | Lets leave that as it is.
| | 00:34 | And then lets convert this image to black and white.
| | 00:37 | And the quickest way that you can convert
the black and white is with the V key.
| | 00:40 | Now when I press the V key, you notice that all of a sudden
my Vibrance and Saturation controls are completely gone.
| | 00:46 | Now what it did is it converted this image to
black and white based on the color temperature.
| | 00:50 | So if I increase the yellow, you can see
the same tonality that we saw before.
| | 00:55 | We just don't have the colors in the mix.
| | 00:57 | So again the black and white conversion
is based on color temperature.
| | 01:01 | Now since we press the V key, we also notice that our
HSL and our color sliders have now been grayed out.
| | 01:07 | So I'm going to open up the Grayscale panel.
| | 01:09 | Now I have this option to perform
what's called Grayscale Mix.
| | 01:12 | I can click on the target adjustment
tool and click on the yellows.
| | 01:16 | Now I'm going to click and drag down.
| | 01:17 | You notice that those became much darker
or the blues and the aquas and the purples.
| | 01:21 | And you can see that I'm slowly going
to darkening all the different colors.
| | 01:25 | So we can start to do when we convert our images to black
and white, is take advantage of the color information.
| | 01:31 | And target specific areas in our images, in order to
come up with more compelling black and white conversions.
| | 01:38 | Now there are a couple of different ways to do this.
| | 01:39 | And there are some important techniques
that we need to learn,
| | 01:42 | in order to come up with the best black and white results.
| | 01:44 | And we'll start to look at those
in the next couple of movies.
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| Modify black-and-white tone with the Grayscale panel| 00:00 | In the previous movie, we talked a little
bit about converting to black and white.
| | 00:03 | In this movie, we're going to take things even further.
| | 00:06 | We'll be working on this file corwig_ antelope_valley.
| | 00:09 | You can find it in the 03 Develop
module folder, subfolder miscellaneous.
| | 00:13 | Lets press the D key to go to the Develop module.
| | 00:15 | And then press the F7 key to open up a
little space and hide the panels on the left.
| | 00:20 | Now there is something just engaging, and intriguing,
and compelling about black and white images.
| | 00:24 | But, somehow, they are reduction
of just black and white tones.
| | 00:27 | It really grabs hold of me.
| | 00:28 | So I'm pretty excited about black and
white conversations and what I wanted
| | 00:31 | to do is create really good black and white conversations.
| | 00:33 | I'm going to learn how to that in this movie.
| | 00:35 | In the last movie, we talked about pressing the V key.
| | 00:38 | Now there are three ways to do the same exact thing.
| | 00:40 | Let's go and open up the Basic panel.
| | 00:42 | I can either press the V key or I can click on the
Grayscale option here, or I can go down to the HSL, Color
| | 00:49 | and Grayscale panel and simply click on Grayscale.
| | 00:52 | Now that I have converted this image to Grayscale,
| | 00:55 | we know from the previous movie
that we can go back to the Basic slider
| | 00:58 | and we can modify the Temperature and Tint sliders.
| | 01:00 | Yet, that doesn't given us very much control.
| | 01:02 | We also know that we can use the
Exposure sliders and the Contrast sliders.
| | 01:06 | And we can come up with some pretty interesting
conversions, yet again it does not give us much control.
| | 01:11 | In order to have precise control over
how this image is converted to grayscale,
| | 01:15 | we need to drop down to this Grayscale panel.
| | 01:17 | Now, here I'm going to use the Target Adjustment tool.
| | 01:19 | I'll click on the tool and then I hover
over the sky and click and drag down.
| | 01:23 | Now those deep blues, they became black.
| | 01:26 | Now there also are some light blues, there is a aqua color.
| | 01:29 | So I need to go down to the horizon.
| | 01:30 | Now when I do that, we can see
that I'm going to bring those down.
| | 01:33 | I want a little bit too low there.
| | 01:34 | So I'm just going to manually bring those down.
| | 01:36 | Because I know that there is always
a little bit of that in the sky.
| | 01:38 | I want to bring this up just a touch.
| | 01:40 | I don't want go too far, because
I'll add extra noise to my image.
| | 01:44 | Now, when I add this extra noise, I'm going to need
to reduce that with some noise reduction techniques.
| | 01:49 | We'll talk about those in a later chapter.
| | 01:51 | Next, I'm going to go ahead and
work on the hills and darken those.
| | 01:54 | And then when I work on the path, it will
brighten up a little bit of the hills.
| | 01:57 | But that is OK.
| | 01:58 | I want to get little bit brighter path there.
| | 02:01 | And then I'll go up to the sky and
want to darken that down just a touch.
| | 02:05 | All right, so far so good.
| | 02:07 | I'm liking how this image is looking.
Very different from the original conversion.
| | 02:11 | And then next what I'm going to do
is navigate back to the Basic panel.
| | 02:15 | Now, I want to use all of these different panels together.
| | 02:21 | In this case, what I want to do
is save some of the detail here.
| | 02:23 | So, I'm going to increase the Recovery slider.
| | 02:26 | Now, when I did that it muted out the sky just a touch.
| | 02:29 | So I need to fix things up.
| | 02:30 | So modify my Exposure slider or increase
some Contrast, little bit more Fill Light.
| | 02:36 | Modify those black tones, just a touch there.
| | 02:39 | And then I'm going to go back to the Grayscale panel.
| | 02:45 | And in the Grayscale panel, I'll click on the
Target Adjustment tool and I'm going to click
| | 02:51 | and drag those blacks down just a little bit more.
| | 02:54 | Now, I have a pretty compelling and pretty
engaging black and white conversion.
| | 02:58 | Let's take a look at our before and
after by pressing the backslash key.
| | 03:01 | Here is before and then here is after.
| | 03:05 | And we accomplished that by using the Grayscale
sliders in combination with those sliders and controls
| | 03:10 | that we know how to use in the Basic panel.
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| Enhancing black and white with other tools| 00:00 | Now, that we've converted this image to black
and white using all of our slider controls
| | 00:04 | in the Grayscale panel and in the Basic panel.
| | 00:06 | We're going to take this image even further,
with some tools that we've already learned.
| | 00:09 | And those tools reside in the tool strip.
| | 00:11 | So, lets go ahead and select the Graduated filter first.
| | 00:14 | Press the M key to select that filter
or click on it in the tool strip.
| | 00:17 | Now that we've that filter, what I'm going to
do is decrease my exposure a little bit here.
| | 00:21 | And then I'm going to go up to the image up,
really close to the top and click and drag down.
| | 00:26 | What I'm looking to do is darken that sky.
| | 00:27 | I want to get some more darkness
there and then I can reposition this.
| | 00:31 | I can go down even further if I want to.
| | 00:33 | In my case, I just want to have it
extend down to the horizon there.
| | 00:37 | I think that looks pretty nice.
| | 00:39 | Now, we can see the before and after by clicking on
and off this Toggle switch and it looks pretty nice.
| | 00:43 | I can also control the overall intensity of that adjustment.
| | 00:48 | I want to increase the little bit of the
contrast there with those clouds, right,
| | 00:51 | and may be a little brightness, and clarity as well.
| | 00:54 | OK, well that looks pretty good.
| | 00:55 | Next lets click on the Adjustment Brush.
| | 00:58 | Now we're going to choose the Adjustment
Brush, because, I want to brighten up the path
| | 01:01 | and work on the hills and the grass a little bit.
| | 01:03 | And we've seen all this works, right?
| | 01:05 | We're going to turn Auto Mask on.
| | 01:06 | I'm going to bring my exposure up.
| | 01:08 | I'm going to bring it up significantly.
| | 01:10 | But, I'm going to have a pretty low flow.
| | 01:11 | So this is built up little at a time.
| | 01:14 | Press the left bracket key and what I'm going to do
here is just start to paint across this path here.
| | 01:23 | Little bit smaller brush and little bit more flow.
| | 01:28 | This exposure is looking to bring this up
using Auto Mask to limited to this area.
| | 01:39 | Bring the exposure up a little bit more, so I can
see where I painted and where I haven't painted.
| | 01:44 | All right, that's looking pretty good.
| | 01:46 | And then decrease the Exposure there.
| | 01:51 | I just want to brighten up path up a little bit.
| | 01:53 | Lets look at our before and after, very nice.
| | 01:56 | So, now we've an adjustment for the path.
| | 01:58 | Definitely it leads into the image nicely.
| | 02:00 | Next, I'm going to create a new adjustment,
another adjustment with exposure.
| | 02:04 | And take my flow down a little bit, nice big brush here.
| | 02:08 | What I'm going to do is, I just want to bring in a
little bit of brightness into this portion of this image,
| | 02:13 | brightness that follows the lines of the image here.
| | 02:15 | So I'm just slowly building this up.
| | 02:17 | I'm bringing up a little flow here,
little bit on the mountains.
| | 02:21 | Increase the flow or touch more, speed up the demo.
| | 02:28 | That was a little bit too strong wasn't it, so undo that.
| | 02:31 | I need to decrease the flow there and go there
fast with the stuff little bit larger brush.
| | 02:38 | Bring in some brightness into that area.
| | 02:46 | Great! Now, I'm going to create a new
adjustment by clicking on the new here.
| | 02:50 | I'm going to decrease this a little
bit, again same amount of flow.
| | 02:53 | What I'm looking to do here is, just to darken some areas.
| | 02:56 | You can see the nodes of some other adjustments.
| | 02:57 | I'll press the H key, so I can get those out of the way.
| | 03:00 | What I'm looking to do here is I just want to
burn down the sides over here a little bit.
| | 03:03 | A little bit too bright and I burned down
the foreground a tad bit to down too.
| | 03:07 | Let me do some burning and here is some of the detail.
| | 03:12 | And this portion of the sky definitely
needs to be burned down, touch as well.
| | 03:17 | Smaller brush here and a little bit smaller brush there.
| | 03:27 | I can change my brush size by pressing the bracket key.
| | 03:30 | Just looking to add a little bit of visual interest,
and lets take a look at our overall, before and after.
| | 03:38 | There is our before and there is our after.
| | 03:41 | Again just adding a little bit of visual interest
and we're doing that with the Adjustment Brush.
| | 03:46 | We have the Adjustment Brush that we've used.
| | 03:49 | Then if we go back to the Graduated Filter we can
see what we've done there with the sky as well.
| | 03:53 | So we've taken this image pretty far.
| | 03:55 | Lets take a look at our overall before and after.
| | 03:57 | Here is the original image and then here is the after.
| | 04:00 | We created some visual interest by
converting to Grayscale using the sliders
| | 04:04 | in the Basic panel as well as in the Grayscale panel.
| | 04:06 | And then in addition using the Graduated filter in
combination with the Adjustment Brush in order to come
| | 04:12 | up with a compelling and engaging
Black and White conversion.
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| Using presets to convert to black and white| 00:00 | In this movie, we're going to look at how we
can use our presets that come preinstalled
| | 00:04 | in Lightroom in order to convert the black and white.
| | 00:06 | And in addition, we're going to
cheat a little bit and skip ahead.
| | 00:08 | I'm going to show you few other things that
we can do in addition to using these presets.
| | 00:13 | The image that we working on is titled corgwig_sisters.jpg.
| | 00:16 | You can find it in the Kids folder, which
is a subfolder of the 03 Develop module.
| | 00:22 | Lets press the D key to navigate to the Develop module.
| | 00:24 | Next what we're going do is open up
our presets panel on the left hand side
| | 00:28 | and then our Lightroom presets you'll notice
a number of different Creative presets here.
| | 00:32 | We have Antique Grayscale, Antique Light, B&W High
Contrast, B&W Low Contrast, really interesting.
| | 00:38 | Lets go ahead and apply B&W High Contrast.
| | 00:41 | Once I do that I realize you know what,
the image does not look very good.
| | 00:44 | It's blown out all the details of my whites.
| | 00:46 | Yet, I see that there is some potential here.
| | 00:48 | So, I'm going to go ahead and navigate to the Basic panel.
| | 00:50 | What I need to do here is just lower the Exposure right.
| | 00:53 | Exposure was a little bit high and
then increase, my Recovery slider.
| | 00:56 | OK, what I'm trying to find the sweet spot for this
particular conversion and that means I lowered my blacks,
| | 01:02 | little bit of Fill Light, little bit of
less brightness, little bit more contrast.
| | 01:06 | All right, well, that looks pretty good.
| | 01:08 | So what I have done is I have taken
that preset then customized it.
| | 01:11 | I like the high contrast, but with
this image, it did not quite work.
| | 01:15 | Now, each image is going to respond a
little bit differently to those presets.
| | 01:18 | You want to experiment a little bit.
| | 01:20 | But keep in mind you always want to use your
sliders in combination with the presets.
| | 01:24 | All right, well the next thing that we're
going to do is skip ahead, just a touch.
| | 01:27 | We're going to go to the Vignettes panel.
| | 01:29 | We'll be talking about this later.
| | 01:30 | But I'm just going to go ahead and darken
up those corners just a little bit.
| | 01:33 | And again we'll talk a little bit
more about how these sliders work.
| | 01:36 | And next, I'm going to go to the Split Toning
panel and we'll talk more about this panel later.
| | 01:40 | I'm cheating a little bit here, but I want to show
you couple of things that are coming your way.
| | 01:44 | I'm going to increase the saturation
then modify the Hue, just a touch here.
| | 01:48 | So, I now have the subtle Hue adjustment
and then finally go back to the Basic panel.
| | 01:52 | Now that I have made all those adjustments, I need to
increase the brightness Just a touch because the darkening,
| | 01:58 | darkened stuff objects are, little bit too much for me.
| | 02:00 | And there we've our final black and white conversion.
| | 02:03 | So, again I began this, saying that we're going
to use presets and then cheat a little bit.
| | 02:07 | Yet, what I wanted to illustrate here is that
when you're converting the black and white again,
| | 02:11 | its not just using those black and white controls or just
the presets rather its using all the Lightroom has to offer,
| | 02:18 | in order to come up with some pretty interesting results.
| | 02:20 | Now the final thing that you want to do
here is press the L key a couple of times.
| | 02:23 | So you can focus in on the image
that you can evaluate the image.
| | 02:26 | Then press the backslash key to
look at the before and after.
| | 02:30 | Now, when I look at the before I say you
know what I really like the color image.
| | 02:33 | I also like this black and white image.
| | 02:35 | So here is what I'm going to do.
| | 02:36 | Press the L key again.
| | 02:37 | And then I'm going to create what is called a virtual copy.
| | 02:40 | I'm going to create this virtual copy by pressing
Cmd+Apostrophe on a Mac or Ctrl+Apostrophe on a PC.
| | 02:47 | Now, that will create this virtual
copy down here in the Filmstrip.
| | 02:50 | I'll click on the original image and click Reset.
| | 02:53 | So, now I have the color image.
| | 02:55 | I also have this Grayscale with
a little bit of a tone to it.
| | 02:59 | It looks really beautiful.
| | 03:00 | I have two images that have been processed
in two different ways and the good news
| | 03:04 | about all this, it did not take me a lot of time.
| | 03:06 | It did not take me a lot of effort and I
came up with some really intriguing results.
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| Creative black and white| 00:00 | You can think of this movie as a little bit of
more of a creative tip than a technical tip.
| | 00:04 | What we're going to do is work on these
couple of images here titled corwig_annika.
| | 00:09 | You can find them in the kids folder, which
is a subfolder of the 03 Develop module.
| | 00:13 | Lets press the D key to navigate to the Develop module.
| | 00:16 | And then press the F7 key to hide the panel on the left.
| | 00:19 | And here is a photograph of my daughter, Annika, in one
of those tunnels that you find in the kids playground.
| | 00:24 | Now, that kids playground was so crowded.
| | 00:26 | It was so busy, it was almost annoying.
| | 00:28 | Yet, I saw her in that tunnel.
| | 00:29 | And I saw the light that was surrounding her.
| | 00:31 | I was like Oh!
| | 00:32 | Wow! That's so interesting those shades and those circles.
| | 00:34 | Now a lot of times you see those images.
| | 00:36 | You capture them.
| | 00:37 | Then you open up on your computer and you're like, oh!
| | 00:39 | All is lost.
| | 00:40 | There is no way I can get anything out of this image.
| | 00:43 | Yet, what I'm hoping to do here with this movie is to
convince you not give up on your images so quickly.
| | 00:48 | I'm going to go ahead and try to White Balance this image.
| | 00:50 | So I select the White Balance tool.
| | 00:52 | I know that it needs to be blue.
| | 00:54 | I'll click on her jeans.
| | 00:55 | OK. Well that makes the image a little bit more visible.
| | 00:58 | Yet, it does not look very good.
| | 01:00 | I'm not going to really be able to work with this.
| | 01:02 | So undo that, Cmd+G on a Mac, Ctrl+G on a PC.
| | 01:05 | What happens if I pull the color out all together?
| | 01:08 | I'll take down the saturation.
| | 01:09 | OK, well, I might be able to do something with this.
| | 01:12 | I'm going to then increase the exposure
and make this, nice, bright and white.
| | 01:16 | Increase the contrast.
| | 01:17 | Ah! That's a kind of interesting, right, a little bit of
Fill Light there, may be a little bit more of my blacks.
| | 01:22 | And I'm going to go ahead and modify
this, just a dial in something.
| | 01:25 | I think it looks kind of interesting.
| | 01:26 | Again, it's not amazing yet, nonetheless
kind of interesting.
| | 01:29 | And I'll press the R key to select the Crop tool.
| | 01:32 | What I'm going to do here is just bring in the crop here.
| | 01:35 | Crop this, nice and tight.
| | 01:37 | Just going to look to try to create an image that's
kind of interesting, use those circles and those shapes.
| | 01:42 | Then I'm going to just reposition the image.
| | 01:44 | I don't know really what I'm going to come up with.
| | 01:45 | But I'm going to try to have a little bit of fun.
| | 01:47 | And then double click to apply that crop.
| | 01:50 | Now when I do that you may be thinking OK, yeah, Chris.
| | 01:52 | You've cropped off all this information.
| | 01:54 | This image wont print well.
| | 01:55 | But who cares?
| | 01:56 | Sometimes images are just good for the web or
just good for e-mail or just for the fun of it.
| | 02:01 | Sometimes you don't want to give up on an image so quickly.
| | 02:03 | Lets apply these settings to the second image.
| | 02:06 | Hold on the Shift key and select
the second image in the Filmstrip
| | 02:09 | and choose Sync and then synchronize all those settings.
| | 02:12 | Now when I do that, I go to this next image.
| | 02:13 | I say, OK, well, that's kind of interesting.
| | 02:15 | And I see that I could possibly do something like this.
| | 02:18 | Well, what else could I do?
| | 02:19 | I press the R key, what if I cropped it in even tighter and
made it a little bit more about her and just those circles
| | 02:24 | and those shapes right there, I'll go ahead and apply that
crop by double clicking into make it just a touch bigger.
| | 02:31 | So I get both of the shapes visible on her
right and her left there and double click that.
| | 02:37 | That's a pretty interesting image.
| | 02:39 | You never would really know where
it was captured, how it was created.
| | 02:43 | How this image really came to life.
| | 02:45 | All right, kind of interesting!
| | 02:46 | I'm going to go back to the other image.
| | 02:47 | Now that I see this other image, I like
the way that this image has been treated.
| | 02:50 | I like the crop, but I want to create another version of it.
| | 02:53 | So I'll right-click, and choose create virtual copy.
| | 02:57 | If you don't have a 3-button mouse and you cant right-click,
you can always Control-click to get access to the menu.
| | 03:02 | So again right-click or Control-click
and choose create virtual copy.
| | 03:06 | Well now that I have a virtual copy, I'll press the R key.
| | 03:09 | And this time what I'm gong to do is, I'm going to swing
my crop pretty far and create something very different,
| | 03:14 | very distinct, and a little bit of rotation going on there.
| | 03:18 | Move that over to the left a little bit
and then double click to apply that crop.
| | 03:23 | And soon you've one version of the image and
then another and then I have that second image.
| | 03:28 | So again, I started off my saying that this movie was
going to be a little bit more about creativity than it was
| | 03:34 | about a technical black and white conversion.
| | 03:36 | Yet, my hope was to get you to realize that, sometimes
you don't want to give up on your images so quickly,
| | 03:41 | especially those images where you have huge color problems.
| | 03:45 | Now it sounds kind of silly, but sometimes if
you just remove the color from the equation,
| | 03:49 | you can still come up with a pretty interesting and
pretty engaging and pretty compelling photograph.
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17. The Develop Module: Split ToningSplit Toning essentials| 00:00 | In this movie, we'll be learning about the
Split Toning panel inside of the Develop module
| | 00:04 | and we'll be working on this image corwig_new_york_museum.
| | 00:07 | You can find in the 03 Develop module
folder subfolder miscellaneous.
| | 00:11 | Lets press the D key to navigate to the Develop module.
| | 00:13 | Now, why we learn about Split Toning?
| | 00:15 | I'm going to sneak in a couple of shortcuts,
to remind you of a few things here as well.
| | 00:18 | Now, to navigate to the Split Toning
panel, we remember the shortcuts.
| | 00:21 | Right? On a Mac its command, on a PC its
Ctrl+Plus 0 for Histogram, 1 for basic,
| | 00:26 | 2 for tone, 3 for HSL and 4 for Split Toning.
| | 00:30 | So press Cmd+4 on a Mac or Ctrl+4 on a PC.
| | 00:34 | That will open up the Split Toning panel.
| | 00:36 | You also notice that the triangle icon, which shows you
that the panel is open or closed, has the dots on it.
| | 00:41 | That shows me that I'm in the Solo Mode.
| | 00:43 | Now, to change from the Solo Mode to the Regular
Mode you can either right-click or Control-click
| | 00:48 | in the panel area and choose Solo Mode here.
| | 00:50 | Now, its non Solo Mode.
| | 00:51 | So I can have two panels open at once or
you can hold on the Option key on a Mac,
| | 00:56 | Alt key on a PC and click on that triangle icon.
| | 00:59 | So that you can only have one panel open at once.
| | 01:01 | I want to have two panels opened in this case.
| | 01:04 | So I'm going to go out of Solo Mode.
| | 01:05 | And I'm going to do that by right-clicking or
Control-clicking in the panel area and turn Solo Mode off.
| | 01:11 | Now, what I can do is have the Grayscale Mix panel open
as well as my Splint Toning panel open at the same time.
| | 01:18 | All right, well, we want to convert this image to Grayscale.
| | 01:20 | And we're going to do that pretty quickly.
| | 01:22 | So I press the V key.
| | 01:24 | The image is now in black and white.
| | 01:25 | Next, I'm going to click on the Target Adjustment tool.
| | 01:27 | And I'm just going to go ahead and try
to modify the tone here a little bit.
| | 01:30 | And looks like I'm just going to
brighten things up, just a touch.
| | 01:33 | All right, well, now that I have converted this image to
black and white, I'm going to apply Split Toning effect.
| | 01:37 | Just as a side note, you don't
need to convert to black and white.
| | 01:40 | You can apply Split Toning to color
or black and white images.
| | 01:44 | Here I'm going to do this to a black and white image because
it's easier to deconstruct what is actually happening.
| | 01:49 | All right, well.
| | 01:49 | I'm done with the Grayscale panel.
| | 01:51 | So go ahead and close that.
| | 01:52 | Now focus in on Split Toning.
| | 01:54 | We have a couple of different things that we can do here.
| | 01:56 | We have our highlights and we have our
shadows and then the balance in between.
| | 01:59 | I want to go ahead and crank up a Hue here.
| | 02:01 | Choose a Hue about blue and then crank that way up.
| | 02:03 | So I have a lot of blue.
| | 02:05 | We can see that the blue is primarily
affecting the background of the image.
| | 02:08 | Its not affecting these darker tones as much.
| | 02:11 | Now, for the darker tones, I'm going to leave
it right here on Red and then crank that up.
| | 02:15 | We can now see that the darker tones are tinted red.
| | 02:17 | Now, what's to do with the balance slider?
| | 02:19 | When I drag this left it means, give
me more my shadow color everywhere.
| | 02:22 | When I drag this to the right, it's the opposite.
| | 02:25 | Give me more of that highlight color everywhere.
| | 02:26 | So now, I just have a little bit of
the red in those deep dark shadows.
| | 02:30 | OK, well, how can I reset things?
| | 02:32 | On a Mac hold down the Option key,
on a PC hold down the Alt key.
| | 02:35 | You'll notice that the shadows menu and the highlights
menu turn into reset and I go ahead and resetting.
| | 02:41 | So far so good we're learning a little
bit about how this Split Toning works.
| | 02:44 | Well, how do I dial in a specific color?
| | 02:47 | Lets say what I want to do with these images.
| | 02:49 | I want to cross-process this image.
| | 02:50 | I want to have it have some greens and
some yellows, looks kind of interesting.
| | 02:54 | What I want to do is create a color effect, kind of looks a
little bit like this image where its been cross processed.
| | 02:59 | I want to add some greens and some yellows.
| | 03:01 | What I'm going to do is drag the Hue slider.
| | 03:03 | I'm going to hold on the Option
key on a Mac or the Alt key on a PC
| | 03:06 | and that's going to show the color at full intensity.
| | 03:09 | That way I can really determine
what color I want to go with.
| | 03:12 | In this case, I want to go with this green.
| | 03:14 | Now when I let go off the Option key I don't see any color.
| | 03:16 | That's because my saturation is 0.
| | 03:18 | So I then need to bring up the saturation amount.
| | 03:21 | Next with the Hue.
| | 03:22 | I hold on the Option key on a Mac, the
Alt key on a PC and then drag this up.
| | 03:27 | What I'm looking to do is to try
to bring in some blues there.
| | 03:30 | So I now have this blue cool and
then that green affect there.
| | 03:36 | So then I have the cooling effect in my
shadows and the bright effect in my highlights.
| | 03:40 | Now, my balance slider, I didn't Reset that.
| | 03:42 | That's one of the reasons why my adjustment
is not looking as I had anticipated.
| | 03:46 | So I'm going to double click that slider.
| | 03:47 | It will then take it to 0.
| | 03:50 | Now, I don't need to bring that
Saturation slider up so high.
| | 03:52 | All right, once I have done that, I decided
really want to pick a different color here.
| | 03:55 | So I'm going to go find a different color may be a
little bit of more of a yellow green would be nice.
| | 04:00 | And then bring that up.
| | 04:01 | Again I'm just having some fun with this image and seeing
| | 04:03 | where I could potentially take this image,
trying to create a unique color effect.
| | 04:08 | Now, once I have dialed in the Split Toning a lot of times
what I'm going to need to do is go back to the Basic panel.
| | 04:13 | And in the Basic panel I need to
modify my sliders even further right.
| | 04:17 | Maybe increase the exposure.
| | 04:18 | Lets increase a little bit of contrast.
| | 04:20 | Some of the Fill Light.
| | 04:21 | Some of the blacks here, a little bit of the recovery.
| | 04:24 | Again I want to modify this so
that the tonality works really well
| | 04:27 | and a little bit of clarity and I'll call that a wrap.
| | 04:30 | I have converted to black and white.
| | 04:32 | I then applied some Split Toning and
then finally I modified the overall tone.
| | 04:35 | And the last thing that I wanted to here is remind you
of a couple of other shortcuts just for the fun of it.
| | 04:40 | You know lots of times when you're modifying your
images what you need to do is turn the lights down.
| | 04:43 | So I'm going to press the L key to turn the lights down.
| | 04:45 | Now the image is too small here.
| | 04:47 | So I'm going to press Shift + Tab.
| | 04:49 | That will hide my panels and my Filmstrip.
| | 04:51 | So, now this image is really nice and
big and I can see it in its entirety.
| | 04:55 | And I just love this image.
| | 04:56 | This woman walked up to that particular statue
and went to it nose-to-nose and was just like oh!
| | 05:00 | That's so perfect.
| | 05:02 | So that I can kind of evaluate
the color and tone in this view.
| | 05:05 | Now, press the L key to bring the lights back on.
| | 05:07 | Press Shift+Tab and bring my panels and my Filmstrip back.
| | 05:10 | All right, well we've some more ground to cover in regards
| | 05:13 | to the Splint Toning panel and
we'll do that in the next movie.
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| Advanced Split Toning tips| 00:00 | In this movie, we're going to learn some more general tips
and tricks and some tips and tricks that will help you
| | 00:04 | out when you're using the Split Toning panel.
| | 00:06 | All right, we're going to continue
to work with this particular image.
| | 00:09 | Yet, what I want to do is create a Virtual Copy.
| | 00:11 | Now we all know that shortcuts create a virtual copyright.
| | 00:14 | It's Ctrl+Apostrophe on a PC and
its Cmd+Apostrophe on a Mac.
| | 00:18 | Lets say we don't want to use a
shortcut or we forget the shortcut.
| | 00:21 | How else can we create a virtual copy?
| | 00:23 | We can always navigate to the photo pull-down menu and
then choose Create Virtual Copy or we can also hover
| | 00:29 | over the image and right-click or
Control-click and choose Create Virtual Copy.
| | 00:34 | And then the final way we can do this is we can right-click
| | 00:37 | or Control-click the thumbnail and
that from menu choose Virtual Copy.
| | 00:41 | Or either way, let's go ahead and create a Virtual Copy.
| | 00:43 | Then lets press the F7 key to get
rid of the panels on the left.
| | 00:47 | So you can really focus in on the image.
| | 00:49 | All right, now that we're focused in on the image,
Press the Option key on a Mac, Alt key on a PC
| | 00:53 | and then Reset the highlights and Resets the shadows.
| | 00:57 | Now we've a Grayscale image.
| | 00:58 | What I want to do is I want to add a little
bit of toning to this particular image.
| | 01:01 | I want to keep the toning kind of subtle.
| | 01:03 | And want to make this a little bit more of muted toning,
add some perhaps kind of Sepia Toning to this image.
| | 01:08 | What we're going to do is click
on this little Color Picker here.
| | 01:10 | It's going to open up what's called the Color Ramp.
| | 01:12 | Inside of this Color Ramp I can
choose a number of different colors.
| | 01:15 | Now, if you notice as I click and drag around the image.
| | 01:18 | One of the things that's happening here is I have
a green, I have green at certain saturation level.
| | 01:22 | Well, there it's at 100%.
| | 01:24 | And there it's at 10%.
| | 01:25 | So I can dial in the saturation either with
the slider or by simply clicking and dragging.
| | 01:31 | What I want to do is just have
this muted tone in the background.
| | 01:34 | Now, I also want to work on my shadow.
| | 01:35 | So in order to work on the shadows I'll close that
dialog window and then I'll open it up from my shadows.
| | 01:41 | And now here you can see that I have the color from my
shadows and I'm going to add a little bit of color there.
| | 01:45 | All right, well so far so good.
| | 01:46 | Lets take a look at a couple of more
tips in regards to these dialog windows.
| | 01:50 | Well, one thing that I can do here is press
the Space Bar and I can actually click
| | 01:54 | and drag this Color Ramp to the right and the left.
| | 01:56 | Then if I right-click or Control-click I can reset the
ramp position so it takes everything back to normal.
| | 02:02 | Now, when I'm moving that, its not giving me more colors.
| | 02:04 | So just notice that my colors are here.
| | 02:07 | I'm then shifting them over to the right.
| | 02:08 | They can help me kind of see the color in
new way and get to the different colors.
| | 02:12 | All right, well, lets go ahead and close
this dialog and lets close it in a new way
| | 02:15 | by double clicking and then that dialog is gone.
| | 02:17 | Now, I want to go back to my highlight.
| | 02:19 | So I open this Color Ramp.
| | 02:21 | Unless I do that I'm not seeing, OK here I have the color.
| | 02:23 | What I really want to do is reset
this or right-click or Control-click.
| | 02:27 | So everything is back to normal, because I
kind of know how to see color in that way.
| | 02:30 | And the shadows color, which we
can see here, I just don't like it.
| | 02:34 | I want to change it.
| | 02:35 | Rather than having to go down here and
choose the shadows here is what you can do.
| | 02:39 | Press the Command key on a Mac, Control key on a PC
and I can change the shadows as you can see here.
| | 02:44 | So I can access both of those dialog in
one little window and I can slowly dial
| | 02:50 | in just a perfect colors I'm going through this.
| | 02:54 | So, just have this real subtle kind of muted
tone here I want that to be over the top.
| | 03:00 | Let go over the Command key or Control key.
| | 03:02 | I'll work on my highlights.
| | 03:05 | May be find that sweet spot.
| | 03:08 | I think that's looks pretty good.
| | 03:09 | And then I'll go ahead and click on the close icon there.
| | 03:12 | So now that has been turned off.
| | 03:14 | So what I want to do is see the before and after.
| | 03:16 | So I'll click on the toggle switch
and there is the before and after.
| | 03:19 | I can also obviously use the balance slider
so I can swing this one way or the other
| | 03:23 | and then finally I can go back and
dial in the saturation even further.
| | 03:26 | So I just have a subtle warming of the image there.
| | 03:29 | Its not quite a Sepia Tone, but just a
subtle warming again my before and after.
| | 03:34 | Well I hope those tips will help you out
when you're using the Split Toning panel.
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| Split Toning a color image| 00:00 | Here is one more quick split toning movie for you.
| | 00:02 | In this movie, we'll be looking how
we can split tone a colored image.
| | 00:06 | I'll be working on the file corwig_vegas.psd.
| | 00:09 | You can find it in the 03 Develop
module folder, subfolder Miscellaneous.
| | 00:13 | Press the D key to navigate to the Develop module.
| | 00:16 | Then on a Mac it's Cmd+4 to open up the
Split Toning panel and on a PC that's Ctrl+4.
| | 00:21 | Well, so far we've seen as we can
click on this little color picker here.
| | 00:24 | And we can go through we can modify the highlight color.
| | 00:27 | Well, let's say that we want to select a color
from the image itself for the highlights.
| | 00:31 | What you can do is click in this
color ramp area and then click out.
| | 00:34 | You'll notice that I'm sampling colors from the image.
| | 00:37 | Now there's times when that will really help you out.
| | 00:39 | With this particular image that won't help out so much yet.
| | 00:42 | Just wanted to show that especially
because now we have a color image.
| | 00:45 | What I do want to do here is I want to
add some color into my highlights here.
| | 00:48 | And I'm going to add a little bit of green.
| | 00:50 | Then I'm going to go down to my shadows.
| | 00:52 | Hold on the Command key on a Mac, Control key on a PC and
I'm going to make those shadows nice bright green there.
| | 00:58 | And then I'll let go the Command key on the Mac.
| | 01:00 | Let go the Control key on a PC.
| | 01:02 | And I'm going to modify the highlight
color, just looking for good mix here.
| | 01:06 | And then close this dialog window and of course we can
then dial in the overall saturation of our highlights.
| | 01:13 | So, I'm going to find the sweet spot here.
Just want to tone this image pretty subtly.
| | 01:20 | Now this particular creative color effect we
could have also accomplished inside of Photoshop.
| | 01:25 | Yet by doing this inside the Lightroom, it happened much
more quickly and we didn't increase the file size at all.
| | 01:30 | So one of the things you can do with
the Split Toning panel is you can work
| | 01:33 | on your color images in pretty interesting ways.
| | 01:35 | In this case I have gone pretty far.
| | 01:37 | I swung the color really far.
| | 01:38 | Yet you can create some really
subtle color adjustments as well.
| | 01:42 | So, if you haven't experimented with split
toning color images I definitely recommend it.
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18. The Develop Module: Improving DetailsReducing noise in a grayscale photo| 00:00 | In the next few movies, we're going to look at how we can
take advantage of the Detail panel, which is located inside
| | 00:05 | of the Develop module, in order to improve our images.
| | 00:08 | The first image we'll be working
on is titled corwig_fashion_shoot.
| | 00:12 | You can find it in the 03_Develop_module
folder, subfolder detail.
| | 00:16 | Let's press the D key to navigate to the Develop module.
| | 00:19 | Press the F7 key to hide the panels on the left.
| | 00:21 | Now, here we have this interesting photograph.
| | 00:23 | And in order to capture this photograph,
because there wasn't much light on the set,
| | 00:27 | I need to crank up my ISO.
| | 00:29 | As a result, there is quite a bit of |
|
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