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In this course, Chris Orwig navigates through several real-world photography assignment scenarios and introduces his workflow recommendations in Adobe Photoshop Lightroom for each one, whether on-site, in the field, or back at the office. For a wedding or other event, Chris shows how to import images quickly, batch process the pictures, and create a slideshow to display during the event or import to Facebook. Back at the office, Chris demonstrates how the images can be reprocessed and exported for printing at a lab or burning to DVD.
The second workflow covers location shoots for travel photography. Chris shows how to label photos with travel-specific keywords and add locations to photos with the Lightroom Map module. At home the images can be added to catalogs, laid out in a book format, or printed on multi-image sheets.
The final two methodologies cover the editorial or commercial process and a more personal and creative one. Whatever the shooting scenario, this course offers an organized and comprehensive workflow for taking photographs through the editing process in Lightroom.
In this movie we are going to throw caution to the wind, and rather than being conservative, we're going to create a black and white version, which is really high key. When we create this strong black and white version and add a defined edge or border to our picture and also take a look at how we might bring in a little bit of color to the photograph. All right. Well, I want to work on two images. To do that, we'll go ahead and click on those in the filmstrip. Click on the first image, hold down Command or Ctrl and click on the second image. Next, let's click on the Synchronize button. You want to make sure that you click on the button for Check All. Once you have done that you can click Cancel and then flip the switch in order to turn on Auto Sync.
Now here, when we typically convert to black and white--say in the Basic panel-- we desaturate. This looks a little bit lackluster. It needs something. So here I am going to go really extreme. One of the things that I am going to do is brighten up my blacks. I am also going to brighten up my exposure. I'm going to overexpose this image so it looks really high key. Here at this point, it looks like we have lost too much detail. You will be surprised what clarity can do for a picture. Bring up that clarity. You can see how it really draws in those edges.
These are exaggerated, incredibly high amounts. We can also use whites to dial back, perhaps, a little bit of the brightness until we find the right amount of detail on the face. All right. Well, that looks good. Next, let's zoom in on the picture to see if this is holding up. Well, the detail on the eyes, it looks amazing. We have this really intense, really bright black and white conversion. Next, I want to get rid of the darkness. I see around the edges. So we need to leave the Basic panel. We'll close the Basic panel, we'll go down to our Lens Corrections panel, in lens corrections, rather than adding the vignette, we're going to remove one.
We want this image to be much brighter and whiter, so I'm going to go ahead and use these controls, swinging them really hard in order to add some brightness to the outer edge of the picture. What I want to do to finish this off is I want to add a defined border or edge and maybe a little bit of color. So let's close the Lens Corrections panel. Here, we'll open up the Effects panel. In the Effects panel we have the ability to add a post-crop vignette, and this can have a defined edge or shape. Here, we'll simply reduce all of these sliders.
So go ahead and drag them all to negative 100, or all the way to the left there. You can see we have this border or edge. What can be interesting about this is that this border edge, they can connect these two pictures. Let's click on the other picture. Well, when I do that--I click on the second picture--this one's too bright. It is too bright because the exposure was a little different. No big deal. Simply turn off Auto Sync, go back to the Basic panel, and in the Basic panel we might bring down our whites, or perhaps lower the highlights there, or take down the exposure a little bit 'til we have nice detail in the face. And I think that looks pretty good.
Okay. Well, what about color and why would we want to add color? Well, color is a great tool when it comes to expression. Here, we'll close the Basic panel and open up the Split Toning panel. In the Split Toning panel we have seen how we can add color to the highlights or to the shadows. With black and white images, a lot of times you want to have your whites a little bit more pure--not tainted with a color. So here it's just about the shadows. Perhaps we will find a blue somewhere in here. And we can bring up our saturation slider. Let me exaggerate.
As I do that, you can see that we have this blue tone and those shadows there. I want a blue which is not too purple. That looks good. And then I'll lower the saturation. Now here it is pretty subtle, but again it's just creating a little bit of a mood or a tone, or perhaps you could go the other way and add some reds or yellows or oranges in here, maybe a little bit of sepia toning. Well, this image, because it is so stark, I think blue is going to be the color. I think just cooling it off just a little bit, creating that black and white creative, expressive image. Well, after having made these adjustments, these are really extreme black and white conversions.
What I want to do is turn off the lights. I also want to minimize the Lightroom interface. So I can just check out the image and see if this is even worthwhile. So let's press our shortcut which allows us to minimize the interface, that's Shift+Tab. Now that we have minimized that, press the L key twice in order to dim the lights. Well, here on a black background, those rounded corners, well, they take on a different feel. Or that border edge, it makes it feel more like rounded corners. We can press our arrow keys to toggle between the two images. Here we can see one with a little bit of toning, and then the other one with this cooler tone.
In order to compare these two, I'm just clicking back and forth to see these. One of the things that I am noticing is that I want to bring this tone to both images. So press the L key to bring back the lights, press Shift+Tab, that will bring back all of the interface, and then you want to select the image with a tone that you like here. In this case, I like the one which is a little bit cooler, here, which has this cool tone. So I'll navigate to my synchronize dialog by clicking on Synchronize. And here, I'll check none and then just check on the option for split toning.
I don't want to touch the exposure, because remember we had to customize that for each image--just want to synchronize split toning. Click Synchronize, it will then apply that to both of these images so that they now both have this look and feel.
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