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In Photoshop Lightroom 3 Advanced Techniques, photographer Chris Orwig shows how to master the subtleties of Lightroom 3 and maximize its efficiency. The course begins with an in-depth exploration of Lightroom catalogs to keep track of photos, collections, keywords, stacks, and more. Along the way, Chris shows how to integrate Bridge and Photoshop in the Lightroom workflow and shares advanced techniques, including image editing with the adjustment brush, automating actions, using plug-ins and extensions, exporting to email or an FTP server, and more. Exercise files are included with the course.
Once you have successfully exported and created your profiles, you'll need to quit Lightroom and then re-launch Lightroom. To do so, let's press a shortcut for Quit. On a Mac that's Command Q. Next, we're going to skip the backup of our catalog; we don't need to do that right now. And then we'll go ahead and re-launch the application. Now what we're going to do is once we've re-launched application is we want to select our color passport sample image here. We want to go down to the Camera Calibration. What's interesting with Camera Calibration is that all images come in the Lightroom profile.
Here we can see the profile with the default Adobe Standard. Now this profile for the most part looks good. If I were to actually hold out my ColorChecker Passport next my monitor, there would be some inconsistencies. So what we want to do is we want to minimize those inconsistencies. We want to increase our overall accuracy in regards to color and tone. Well, to do that, all that we need to do is to select the profile that we created for this computer bag photograph here. We named that one lynda-bag. Let's select it.
Now when we do that, we should see a pretty interesting shift. Let's zoom in. That may be too far. Let me zoom out a bit there. This color here looks really good. Let's compare that to the default profile. Now you can see it's a bit more muted. We don't have that color saturation that we have when we use our new profile that we've just created. And keep in mind that sometimes what will happen is you'll notice perhaps a subtle shift; other times it will be much more significant. All right, well, once we've applied that profile, what we need to do next is to apply that to our other images.
So from here, one way to do that would be to hold down Command on the Mac, Ctrl on Windows and then click on one or more other photographs. Next, if you go to your Sync dialog, you can press Sync... And remember, whenever you see dots that means, hey, there's a dialog that's going to be opened. What you want to do is Check None, and then just turn on the check box for Calibration and then just synchronize that particular variable. All right, well, once we've done that, what we'll want to do is go ahead and click off and click back, so that we can evaluate how our new image looks with this profile.
One of the ways that you can do this is you can zoom in a little bit-- let's just zoom in a touch here--and then press the Backslash key. By pressing backslash, you can see before. I'll press it again, and then there is After. You should see that it is almost like I'm turning on the lights, like the yellows and the different color variation in here looks a little bit better. Let's zoom in even closer, so we can take a closer look at this. Here is before. You can see the color with that first profile. And then there is after. Now here we can also make the same change by going to the Adobe Standard profile and then our new profile here.
Now again, with this particular image what I'm seeing is that we have a little bit warmer tone here. Its a little bit brighter, more saturated, a little bit more vivid. And I do want you to keep in mind that the change that you will see will really vary depending upon the lighting situation, the subject, the time of day, the light source, et cetera, et cetera. Sometimes you'll see really huge color changes, so it will really dramatically increase your color accuracy. Here, like with this photograph, it's a bit more simple yet nonetheless significant.
Okay, we'll let's take a look at a couple other scenarios here. In this case, I want to go back to this photograph of the starfish. And with this image I want to go and choose my profile. And you may recall that we created one profile with a stand-alone application-- that was starfish1--and then we created one profile with Lightroom. Well, I just want to illustrate that both of these profiles are identical. There is starfish1-- let's zoom in on it--and then their starfish2. And the whole point here is just to say that when you're working inside of Lightroom you can do all of this from right inside of Lightroom. You never have to leave Lightroom to use that other stand-alone application.
That's only created for those people who are using Photoshop in Camera Raw and they don't have Lightroom. All right, so as you can see, this profile looks great. And here I'm going to zoom back out. And I want to take a look at another scenario or another technique that we can use to apply this profile to multiple images. What you might want to do, say is apply it to a hundred photographs. A really easy way to do that would be to click on the first image, hold down the Shift key, then click on the last image of the set.
Next, flip on the switch for Auto Sync. Now when you do that, with Auto Sync turned on, any change you make will be applied to all of the selected photographs. For example, if I go ahead and choose Adobe Standard, well, then both of these images will have that profile appended to the file. Or if we go ahead and choose starfish2, now that profile will be applied to both of those images. All right, great. Well, so far so good. We were able to select that. Let's take a look at our photograph here with this new profile.
Well, in this case, this image is pretty monochromatic. I just set a couple of starfish and an old camera on this Barn Wood coffee table that we have on our back patio. And why we wanted to work with this image is to illustrate this idea that this profile is our starting point. In other words, this gives us a platform from which we can go and make other changes. For example, well, now that I've applied that, I'll go to my Basic menu here. I'm going to go ahead and just make a few changes. I'm going to work on the contrast, maybe I add a little fill light, modify my blacks, and I can also even make color temperature adjustments.
The profile will help us get accurate color, but sometimes what you want to do next maybe is make some subjective color changes. For example, let's say I want to warm this up just a few points there, well, I can then do that. Now you may be thinking, "Okay, well what's the point? If you're going to make subjective color changes, why use the profile at all?" What the profile will do will again give us this foundation, almost like the foundation for a home, and then as we build the house, we can build really whatever we want. And that will help us get more interesting color, because the problem with color discrepancy from what we see and what we capture and then what we work on in Lightroom is that colors can just look strange, or odd. But if we get things neutralized, so to speak, or accurate, so that we have a nice, full spectrum of color--and we can do that of course by using the Passport-- we can then go on to make other changes in order to create more accurate, and many times, more stunning photographs.
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