IntroductionWelcome| 00:00 |
(MUSIC).
My name is Chris Orwig, and welcome to
| | 00:06 |
this course which is the third course in
our series on Lightroom.
| | 00:10 |
In this course we'll focus in on the
Develop module basics.
| | 00:14 |
We'll talk about how we can change color
temperature and correct white balance.
| | 00:18 |
We'll look at how we can use the basic
controls in order to correct and improve exposure.
| | 00:24 |
We'll look at how we can modify color
vibrance and saturation, and I'll
| | 00:28 |
introduce the topic of converting to black
and white.
| | 00:32 |
We'll explore how we can synchronize
settings across multiple files, and I'll
| | 00:36 |
share with you a few other techniques
which will help you to optimize your workflow.
| | 00:40 |
So I'm really excited about the course
that we have ahead of us.
| | 00:44 |
Let's begin.
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| Using the exercise files| 00:00 |
If you're a premium member to the
lynda.com online train library, you have
| | 00:04 |
access to the exercise files.
Once you've downloaded the exercise files
| | 00:09 |
and located the folder, you can open it
up, and inside of this folder, you'll
| | 00:13 |
discover that our exercise files are
organized into different folders based on
| | 00:17 |
the various chapters that we have in this
course.
| | 00:20 |
To view and to access these files, you can
open up one of those folders.
| | 00:24 |
And there you'll encounter all of the
images that we will be working on in that
| | 00:27 |
particular chapter.
Now if you don't have access to the
| | 00:30 |
exercise files, no big deal.
You can always work on your own images or,
| | 00:34 |
of course, you can just simply follow
along.
| | 00:36 |
Alright?
Let's begin.
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|
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1. Getting Started with the Develop ModuleDevelop module overview| 00:00 |
In this movie, I want to provide you with
a brief introduction and overview of how
| | 00:05 |
we can begin to work in the develop
module.
| | 00:07 |
Now we'll begin with a little bit of a
review, and then we'll dig a bit deeper
| | 00:11 |
into how we can use the develop module in
order to improve our photographs.
| | 00:15 |
You know typically in our light room work
flow, we begin here in the library module.
| | 00:21 |
And here I am viewing my photographs in
the library module in the grid view.
| | 00:25 |
I've selected an image by clicking on it,
this one here.
| | 00:28 |
Next, I want to take this image to what's
called the loop view.
| | 00:31 |
To do that, you may recall that you can
press the e key, or you can click on this
| | 00:36 |
icon right here, which is the loop view
icon, which is located in the toolbar.
| | 00:41 |
Now this is a photograph of Linda, one of
the co-founders of lynda.com.
| | 00:45 |
And what I want to do is, I want to take
this image to the develop module in order
| | 00:49 |
to evaluate it and to add some contrast.
Well, to do that, we can either click on
| | 00:54 |
the develop module button, which is
located right here, or you can also press
| | 00:59 |
a shortcut key.
The shortcut key for develop is the D key.
| | 01:03 |
Go ahead and press that shortcut key, and
write it down because that's a shortcut
| | 01:08 |
that you'll be using really frequently.
Alright?
| | 01:11 |
Well, now that we've navigated to the
develop module, you'll notice that the
| | 01:14 |
interface appears very similar to the
library module.
| | 01:18 |
We have panels on the left, the image here
in the middle, then we also have some
| | 01:21 |
panels on the right, a tool bar, and the
film strip below.
| | 01:26 |
Let's begin by talking about one of the
panels which we have located over here on
| | 01:30 |
the left, the navigator panel.
You can open and close any of these panels
| | 01:35 |
by clicking on their name.
Go and open up the navigator panel.
| | 01:39 |
As we've seen before in the library module
we can use this panel to zoom in and to
| | 01:43 |
zoom out.
Yet here in the Develop module, this is
| | 01:47 |
even more important.
Because, say with this photograph here,
| | 01:50 |
what I want to do is check the overall
focus.
| | 01:52 |
I want to make sure that the near eye is
sharp.
| | 01:55 |
I want to make sure that I have good
detail in this area.
| | 01:58 |
Well, to zoom in on the image, we can
either click on the navigator buttons
| | 02:02 |
right here or we can also click on the
image.
| | 02:04 |
Let's begin by clicking on these buttons.
We'll click on the 1 to 1 button.
| | 02:09 |
This allows us to zoom in to this picture
to 100%.
| | 02:13 |
To move this around, we can either click
and drag this around, or we can also click
| | 02:17 |
and drag around in the image area here.
In doing that, I can see that this area is
| | 02:22 |
sharp which is fortunate because I was
using a really shallow depth of field.
| | 02:27 |
So now that I've evaluated this image up
close, what I want to do is zoom out.
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To zoom out we can either use the
navigator buttons, or you always just
| | 02:36 |
click on the image.
Click once to zoom out.
| | 02:39 |
Click again in order to zoom in.
Alright?
| | 02:42 |
Well here, let's go ahead and click to
zoom out, and next, let's focus in on the
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panels that we have here on the right.
Now the panels which are located in the
| | 02:51 |
right side of the developed module really
are the engine which drives the developed module.
| | 02:57 |
This is where the magic takes place.
This is where we enhance and correct our photographs.
| | 03:01 |
Anyway, this is where you spend your
majority of the time here in lightroom
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because this is where really all happens.
Let's begin by talking about how we can
| | 03:11 |
work with the basic panel.
And to keep things simple, I'm just
| | 03:14 |
going to make one subtle adjustment to
this photograph.
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After having viewed this image here, I've
decided I want to increase the contrast.
| | 03:22 |
To do that, we can open up the basic
panel, again by clicking on its name, and
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then we can navigate to an area where we
can affect the overall contrast.
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As we drag the contrast slider to the
right, we can increase the contrast.
| | 03:35 |
Drag to the left, we can decrease that
value.
| | 03:39 |
Now if ever you want to reset one of these
sliders, well you can either drag it back
| | 03:43 |
to the default setting of zero, or you can
also double-click the slider and that will
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take it back to its default setting.
Well with this image, I mentioned that
| | 03:52 |
when I want to add a little bit of
contrast.
| | 03:53 |
So I'll click and drag that to the right
in order to increase the overall contrast
| | 03:58 |
of this photograph.
Alright, well there you have it, a quick
| | 04:01 |
introduction to how we can start to work
with the Develop Module.
| | 04:05 |
And now that we've seen how we can begin
to use the develop module, what we need to
| | 04:09 |
do next is really dig in to this topic of
how the Develop Module works.
| | 04:14 |
So let's go ahead and talk about that in
the next movie.
| | 04:17 |
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| How Develop module raw processing works| 00:00 |
Before we begin to enhance, correct, and
improve our photographs using the light
| | 00:05 |
room develop module, I want to take a few
minutes to go through a few slides which
| | 00:09 |
will give us better understanding on how
the develop module actually works and how
| | 00:14 |
it allows us to RAW process our
photographs.
| | 00:17 |
Now the first point that I want to bring
up is that there is a distinct difference
| | 00:22 |
between RAW capture and also RAW
processing.
| | 00:26 |
Now RAW capture is something which happens
on camera.
| | 00:29 |
You can set up your camera to capture
JPEGs or to capture RAW files, and so RAW
| | 00:34 |
capture again is all about the camera.
RAW processing, on the other hand, is
| | 00:38 |
about a tool.
You can use Adobe Camera Raw, or Light
| | 00:42 |
Room in order to RAW process your
photographs.
| | 00:44 |
And RAW processing gives us the ability to
work on our images really quickly and also non-destructively.
| | 00:51 |
In other words, we can always go back and
change the settings after the fact.
| | 00:55 |
Well let's first dig a little bit deeper
into this whole idea of RAW capture.
| | 01:00 |
Now if you set up your camera to capture a
JPEG, that image will be recorded on the sensor.
| | 01:05 |
Then it will go through this entire
process and the final result will be a
| | 01:10 |
JPEG image.
In contrast, if you set up your camera to
| | 01:13 |
capture a raw file, the file will be saved
via the sensor, and then you'll open up
| | 01:19 |
that file directly from the sensor.
And there are some distinct and
| | 01:24 |
significant advantages to working with
this RAW format because it gives you more
| | 01:28 |
flexibility because you have the file
before it's gone through any of these
| | 01:32 |
processes as you can see here.
So typically when you're capturing images,
| | 01:37 |
you want to set your camera to capture RAW
files.
| | 01:39 |
All right, well, that RAW capture.
Now, what about RAW processing?
| | 01:43 |
How does this work here in Lightroom?
Well, in Lightroom what you can do is
| | 01:47 |
import in a wide variety of different
types of files.
| | 01:50 |
I'll talk about that in a moment, and
there you have the image and the actual pixels.
| | 01:56 |
And what you can do is you can make some
adjustments, say in the Develop module.
| | 02:00 |
Now, when you do that all of those
adjustments are saved in a file.
| | 02:04 |
They're saved as RAW instructions.
Here you can see I have a screen grab of a
| | 02:08 |
part of a file which has some RAW
instructions.
| | 02:12 |
These instructions are all saved by
default to the Lightroom catalog.
| | 02:17 |
You may have noticed that when you're
working in Lightroom, there isn't a save button.
| | 02:21 |
You also never have to wait for any kind
of a render time.
| | 02:24 |
Rather, when you make an adjustment, you
see the results right away, and all of
| | 02:28 |
those results are saved as part of the
Lightroom catalog.
| | 02:31 |
Now I've talked at length about Lightroom
catalogs in one of the previous courses in
| | 02:36 |
this series.
So I don't want to get too deep into that
| | 02:38 |
topic, but I do want to say that as you
work in the Develop Module, just keep in
| | 02:43 |
mind that when you make changes to your
photographs.
| | 02:45 |
All of those changes, well they're saved
in the Light Room catalog.
| | 02:49 |
And one of the reasons why you can work so
quickly in the Develop Module is because
| | 02:54 |
you aren't actually modifying the pixels.
Rather you're modifying how these pixels
| | 02:59 |
are interpreted.
What this allows us to do is to then say,
| | 03:03 |
well, you know what, I want to display
this image so that the background is green.
| | 03:07 |
And because we're using raw processing, we
can say, you know what, actually I don't
| | 03:11 |
want green, I want blue, or perhaps red.
Or I want something different, or I
| | 03:15 |
want to convert this image to black and
white.
| | 03:18 |
And again, because we're working within
the develop module, essentially what we're
| | 03:22 |
doing is taking advantage of the camera
raw engine, which allows us to enhance,
| | 03:27 |
improve, and correct our photographs.
Now as we work in the develop module, it's
| | 03:32 |
important to remember that we can work
with many different types of file formats
| | 03:36 |
We can work with RAW of DNG files, which
are both RAW files.
| | 03:41 |
Or we can also work on PSD, TIFF, JPG,
MOV, or PNG files.
| | 03:46 |
So again, when it comes to RAW processing,
this isn't dependent upon working with RAW files.
| | 03:53 |
Rather we can work with RAW or non-RAW
files, because raw processing is really
| | 03:58 |
about this whole process, where we have
the actual pixels.
| | 04:02 |
We're then modifying the image via some
raw instructions, which then allow us to
| | 04:06 |
display the image in different ways.
All right, well, now that we have a little
| | 04:11 |
bit of a better understanding of how the
develop module works.
| | 04:14 |
Let's go ahead and dig a bit deeper into
how we can use the Develop Module, and
| | 04:18 |
let's do that in the next movie.
| | 04:20 |
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| Using Develop module presets| 00:00 |
Regardless of whether you are new to
working with the Develop module, or if
| | 00:04 |
you've been using it for some time, one of
the ways that you can begin to process
| | 00:08 |
your images and to harness the full power
of the Develop module is by taking
| | 00:13 |
advantage of what are called Presets.
We've already talked about how we can
| | 00:17 |
navigate to a panel and how we can drag
the sliders to the left or the right to
| | 00:21 |
make adjustments.
Yet we can also use presets as a way to
| | 00:24 |
speed up our workflow.
You can find the presets panel on the left
| | 00:28 |
hand side over here.
And let's say that we want to convert
| | 00:31 |
these two images to black and white so
that they appear very similar.
| | 00:36 |
To do that, we might open up the area for
working with our light room black and
| | 00:40 |
white presets.
Here as I hover over these presets, you
| | 00:43 |
can see a preview above here in the
Navigator Panel.
| | 00:46 |
After having done that, I'll go ahead and
click on one version of a preset, which is
| | 00:51 |
Black and White Look1.
I think this looks okay, yet it's a little
| | 00:55 |
bit too dark so I'll look for another
option, perhaps Black and White Contrast High.
| | 00:59 |
I think that looks pretty good.
In this way, you can see that I really
| | 01:03 |
quickly applied these settings to the
photograph without even using these
| | 01:07 |
controls over here to the right at all.
To apply these settings to another
| | 01:11 |
photograph, just select it and then once
again, click on that preset name in order
| | 01:16 |
to apply those presets to your
photographs.
| | 01:19 |
Now we'll talk more about how presets work
yet here I simply want to highlight that
| | 01:23 |
you might want to use some of these
presets as starting points for how you
| | 01:27 |
process your images.
Obviously the presets won't be enough.
| | 01:31 |
You'll need to also know how to use all of
the sliders and we'll get into that a
| | 01:36 |
little bit later.
If you're new to Lightroom it might be
| | 01:38 |
worth while to scroll around a little bit
and to take a look at the many different
| | 01:42 |
presets that you have access to here, in
the Presets panel.
| | 01:46 |
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| Evaluating your progress with before and after views| 00:00 |
As you begin the process to your
photographs here in the Develop Module,
| | 00:04 |
one of the things that you'll want to do
is evaluate your overall progress.
| | 00:08 |
And so here in this movie, I want to
highlight two shortcuts that you can use,
| | 00:12 |
which will help you to evaluate your
images.
| | 00:15 |
The first shortcut is the Backslash key.
That's the line which leans to the left.
| | 00:19 |
If you tap that, it will allow you to see
the before.
| | 00:22 |
Tap again, and then you can see the after
view of the photograph, and often this is
| | 00:27 |
helpful just to determine if you're going
in a good direction.
| | 00:31 |
Another great shortcut that you can use in
order to view a before and after is the y key.
| | 00:36 |
You can remember this one by saying, why
did I do what I just did?
| | 00:40 |
Go ahead and click the y key, and here you
can see this split view where I have the
| | 00:43 |
before on the left, and the after on the
right.
| | 00:46 |
Press the Y key again, and that will then
turn off that view.
| | 00:50 |
All right, well to review these shortcuts
on one more image, let's navigate to this
| | 00:55 |
photograph here.
It's titled balloons.cr2.
| | 00:58 |
This is the final image after I've worked
on it.
| | 01:01 |
Here we can tap the Y key to view the
split perspective of the before and the after.
| | 01:06 |
Tap Y again to remove that, or you can
press the Backslash key.
| | 01:10 |
That will give you this overall before,
and then tap that again and then the after.
| | 01:15 |
And often what will happen is as you
process your images, you may get a little
| | 01:19 |
bit carried away, like with this
photograph.
| | 01:22 |
I think the contrast is a touch too high.
Well, no big deal.
| | 01:25 |
After having seen that before and after
view, we could then drag this contrast
| | 01:29 |
down a little bit in order to modify how
we're processing our photographs.
| | 01:33 |
Now there are some other techniques that
we can use in regards to the before and
| | 01:37 |
after and the split views.
I'll be talking about those a little bit
| | 01:40 |
later, yet now I simply wanted to
introduce you to these two shortcuts.
| | 01:45 |
I recommend you write them down because I
think you'll be using these frequently.
| | 01:48 |
They also will help you to create better
photographs.
| | 01:51 |
So the two shortcuts are the backslash
key, which allows you to view the before
| | 01:55 |
and then the after, and then also the y
key which allows you to view a spilt
| | 02:00 |
perspective of your image, either side by
side or top and bottom as we'll see later.
| | 02:04 |
I'll tap the y key again in order to exit
that view.
| | 02:08 |
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| Updating older Lightroom files| 00:00 | In this movie I want to highlight an
important stuff that you may need to take
| | 00:04 | if you processed your images with their
previous version of Camera Raw or with
| | 00:08 | their previous version of Lightroom.
After having worked on those images and
| | 00:13 | then brought them into the latest and
greatest version of Lightroom, one of the
| | 00:17 | things that you may notice is that your
controls which you have access to here in
| | 00:21 | the Basic Panel might be different.
Take a look at the various sliders that we
| | 00:25 | have here in the Basic panel.
Well, when I click on this image, which is
| | 00:29 | titled antelope valley.cr2.
One of the things that you'll notice is
| | 00:33 | that our sliders and our controls are
actually named something different.
| | 00:38 | You also may notice that there's a little
lightning icon here in the histogram.
| | 00:43 | That's located on the top left if the
histogram is closed, or if it's open,
| | 00:47 | you'll find this on the bottom right hand
corner, and what this is telling me is
| | 00:51 | that this image was processed with a
previous version of Adobe Camera Raw or of Lightroom.
| | 00:57 | And here, as I hover over this, it's
suggesting that I update this to the
| | 01:01 | latest and greatest version of Camera Raw.
And you'll often want to do this in order
| | 01:06 | to improve the overall quality of the
image and to be able to take advantage of
| | 01:10 | the latest technology that we have here in
Camera Raw.
| | 01:13 | Yet in doing this, it also may shift the
overall look of the photograph as well.
| | 01:18 | So let's take a look at how we can go
through this process and evaluate our
| | 01:21 | image along the way.
First, what you can do is simply click on
| | 01:25 | this icon and it will open up this
dialogue, and tell you a little bit about
| | 01:29 | what's happening and what you might want
to do.
| | 01:31 | Now this paragraph, here you can read it
on your own time, but basically what it's
| | 01:35 | saying is that if you want to take
advantage of the latest processing
| | 01:38 | technology you want to click Update, but
this may slightly change the way that your
| | 01:43 | image appears.
If you want to be able to review the
| | 01:46 | difference, well you can click on this
check box, and then here we can update a
| | 01:50 | single image or we can update all of our
Filmstrip photos.
| | 01:53 | For example, I have another photograph
over here that needs to be updated.
| | 01:58 | If we were to click this button, it would
update them both.
| | 02:01 | If you simply click Update, it will just
update the photograph that you've selected.
| | 02:05 | Well now here it's showing us this before
and after view.
| | 02:08 | We're already familiar with this because
we talked about this in the previous movie.
| | 02:11 | Do you remember the shortcut to toggle
this on and off?
| | 02:14 | It's the Y key.
So here's the before, then here's the
| | 02:17 | after of this viewer perspective.
You can see that the before image on the
| | 02:21 | left is a little bit softer, and it has a
little bit less contrast.
| | 02:25 | The image on the right looks a touch
better.
| | 02:27 | Press the Y key to toggle that view off,
or you can also use the Backslash key,
| | 02:32 | which shows us, here's before.
Press again, then you can see the after.
| | 02:37 | Now, if the after doesn't look as good,
you can always further modify the
| | 02:41 | photograph by using any of your sliders
over here.
| | 02:44 | Let's take a look at how we can do this
yet another way.
| | 02:47 | Let's do so by clicking on this image
here.
| | 02:50 | This one again has this little lightning
bolt icon showing me the process version
| | 02:55 | is much, much older.
Well I want to update this.
| | 02:58 | We can do so by clicking on this icon here
or you can also navigate to your settings
| | 03:03 | pull down menu, and here you can choose
update to current process or you can go to
| | 03:07 | the process menu as well and then select
the menu item here.
| | 03:11 | And again, you want to choose whatever is
the most recent version of Camera Raw that
| | 03:15 | you have installed.
It may be a later version if you're
| | 03:18 | watching this movie a little bit after
I've recorded this.
| | 03:21 | So again, let's go ahead and update that
current process.
| | 03:24 | This will allow us to do so with this
photograph.
| | 03:27 | Now with this image the look is actually
pretty significantly different.
| | 03:31 | Here I'll press the Backslash key.
You can see here's the before.
| | 03:35 | Press that again, then here's the after.
In this case the image is much brighter,
| | 03:40 | and if you notice a significant difference
and you decide, you know what, I don't
| | 03:44 | actually want to update this because I
want to keep this image as is.
| | 03:48 | Well, you can always do so by simply
pressing Cmd+Z on a Mac, or Ctrl+Z on Windows.
| | 03:54 | That allows you to undo a step or steps
that you've taken in Lightroom, and in
| | 03:59 | this case, I just undid the updating of
this process version.
| | 04:03 | Another approach might be to update the
image.
| | 04:06 | Let's do so by clicking on the little icon
here and then choose Update.
| | 04:11 | And after having seen kind of the before
and after, we'll press the y key to get
| | 04:16 | rid of that.
I realize that the image is just a bit too dark.
| | 04:20 | Now we haven't completely talked about how
all these sliders work.
| | 04:24 | Yet simply to highlight how we might begin
to work with them, I'll go ahead and drag
| | 04:28 | my exposure slider to the left a little
bit order to darken that up and then I'll
| | 04:32 | drag the contrast slider to the right to
add a bit more contrast.
| | 04:35 | In doing this I'm taking advantage of the
latest and greatest technology that we
| | 04:39 | have here in the develop module and I'm
just modifying the look a little bit in
| | 04:43 | order to match my original vision that I
have for this photograph.
| | 04:47 | And here most importantly what I want to
highlight, is that if you've worked on
| | 04:51 | your photographs in older versions of
Adobe Camera Raw or on older versions of
| | 04:55 | LightRoom, you want to have a look out for
that little icon which tells you that your
| | 05:00 | images were processed with an older
version.
| | 05:03 | And then you can click on that little icon
or go to the Settings pull down menu and
| | 05:07 | choose the option which will allow you to
update your photograph or photographs to
| | 05:11 | the latest process version.
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|
|
2. Changing Color Temperature and Correcting White BalanceUnderstanding white balance and color temperature| 00:00 | As you begin to work on your photographs
in the Develop module in the Basic panel,
| | 00:04 | you'll often begin up here at the top.
Where you can work on the color
| | 00:08 | temperature and the white balance of your
photographs.
| | 00:11 | And you know, we already know quite a bit
intuitively about color temperature.
| | 00:16 | We know there are times of day when the
color temperature is really cool and cold,
| | 00:20 | like with this photograph here.
Then there are other times of day, or
| | 00:23 | other sources of light, say like a candle,
or the sunset light, which is really warm
| | 00:28 | and inviting.
Well, in light room we have the ability to
| | 00:32 | correct and to customize the color, or the
white balance in our images.
| | 00:36 | And we can do so by using these controls
right here.
| | 00:39 | Let's begin by taking a look at how we can
use the white balance tool in order to
| | 00:43 | correct the color in a photograph.
We'll begin by working with this picture
| | 00:47 | here, which is a photograph of one of my
friends named Jeff.
| | 00:51 | Well, in this particular image, it looks
like the color is off, but I just can't
| | 00:55 | figure it out.
So if you can't figure out the color, one
| | 00:58 | of the things that you want to think
about, is you want to ask yourself, was
| | 01:01 | there anything that should be neutral in
this image?
| | 01:03 | Well, I was there.
I know that this camera, it's a Leica camera.
| | 01:08 | It is black.
So what you can do is if you know that
| | 01:10 | there should be something which is
neutral, and it's a black, a gray, or
| | 01:14 | maybe a white.
You can work with the White Balance tool.
| | 01:17 | You can select it by pressing the W key.
You may want to jot that shortcut down, or
| | 01:22 | you can click on the White Balance tool
icon right here.
| | 01:25 | Now in doing this what we can do is
position our cursor over the image.
| | 01:30 | If you look at the navigator panel it will
show you what your image would look like
| | 01:34 | if you were to click on that area.
In this case if I were to click on the
| | 01:37 | camera area right here, and if I were to
make that area a true black it would then
| | 01:42 | color correct the photograph and it looks
as if it almost lifted a blue sheet of
| | 01:48 | saran wrap off of the photograph.
Here if we press the backslash key you can
| | 01:52 | see this is the before.
Tap again and this is the after.
| | 01:56 | And after having made this correction, I
think this image looks better.
| | 01:59 | Yet I do think, it's a little bit, too
warm.
| | 02:02 | Well, you can always further customize or
tweak the color temperature by using your
| | 02:07 | temperature in your tent sliders.
You may have noticed that it changed the
| | 02:11 | values in these sliders.
We can further customize this by simply
| | 02:15 | clicking and dragging.
Drag to the right, it'll become more warm.
| | 02:18 | Drag to the left, and this will become
more cool.
| | 02:21 | Rather than dragging it that far, it was
at 19, I'm just going to bring this down
| | 02:25 | maybe to about 14 or so.
With the tint slider, you can make the
| | 02:29 | image more magenta or more green.
And again, this one was at about 12.
| | 02:33 | I think I'll leave that right around
there.
| | 02:35 | I think that looks pretty good.
So you can always use the white balance
| | 02:39 | tool by itself, and you can click or
sample on an area which you know should be neutral.
| | 02:45 | And then if you want to take it even
further, you can further customize the
| | 02:49 | color by working with your temperature and
your tint sliders.
| | 02:53 | Alright, well now that we've been
introduced to this concept, let's go ahead
| | 02:57 | and continue this conversation about how
we can can correct and improve the color
| | 03:01 | in our photographs, and let's do that in
the next movie.
| | Collapse this transcript |
| Using the White Balance Selector tool| 00:00 |
Let's take a look at how we can continue
to color correct the white balance and
| | 00:04 |
color temperature in a few photographs.
And here I want to highlight a few options
| | 00:08 |
that we have when working with the white
Balance tool.
| | 00:10 |
And also how we can further customize our
images using the temperature and the Tint sliders.
| | 00:15 |
This is a portrait of a few friends of
mine, captured up in Washington.
| | 00:19 |
And because of the time of day, the image
is a little bit too cool.
| | 00:24 |
So, what I want to do is color correct and
warm this image up.
| | 00:27 |
To do so, tap the W key on the keyboard or
you can just click on the White Balance
| | 00:31 |
tool icon, which is located in this area
in the Basic panel.
| | 00:36 |
Now, one of the things that you may have
noticed is that in the toolbar below, you
| | 00:39 |
do have some options for the White Balance
tool.
| | 00:42 |
One of the options has to do with the
loop.
| | 00:45 |
The loop can be helpful in selecting a
correct area to click on.
| | 00:48 |
For example, you want to make sure you
don't inadvertently click on a color.
| | 00:53 |
Otherwise, what would happen is it would
create a strange color effect rather than
| | 00:56 |
correcting the image.
You can change the scale of the loop.
| | 01:00 |
If you increase the slider to the right,
you can see it's a more detailed perspective.
| | 01:05 |
Or you can decrease this just to make sure
that you are clicking on our sampling a
| | 01:08 |
particular pixel which has a color shift,
like in this casem the jacket, because
| | 01:13 |
this area it should be black but I'm
seeing a little bit of a blue cast in that
| | 01:17 |
part of the photograph.
Another option that we have is to auto
| | 01:20 |
dismiss the tool.
With this turned on, once we click it goes
| | 01:25 |
ahead and darks the tool back over here.
If you turn this option off what you can
| | 01:30 |
do is you can click on an area for example
I'm going to click on this jacket here and
| | 01:35 |
that didn't do very much.
Or if I click on the scarf the image will
| | 01:38 |
look incredibly strange.
I made a mistake.
| | 01:41 |
Well fortunately it didn't auto-dismiss
the tool so then I can click on an area
| | 01:45 |
like the jacket because I know that that
was black.
| | 01:48 |
And I can make a correct adjustment there.
Now, in order to exit out of the tool, we
| | 01:53 |
would either need to dock this tool back
over here.
| | 01:56 |
We could do so by clicking there, or we
could also click done or we could just
| | 02:00 |
press the W key in order to exit out of
the White Balance tool.
| | 02:05 |
All right, well, let's evaluate this
photograph.
| | 02:07 |
Press the Backslash key.
There's the before.
| | 02:10 |
Press again, now here's the after.
Let's look at one more image with the
| | 02:14 |
White Balance tool.
This one right here.
| | 02:16 |
And with this photograph, what I want to
do is warm it up and make it much more inviting.
| | 02:22 |
Again, there's this color cast that I
want to correct.
| | 02:25 |
So, here, I'll press the W key to select
the White Balance tool.
| | 02:29 |
Next we're going to position our cursor
over something that we know should be neutral.
| | 02:33 |
In this case, we're going to guess perhaps
that this dress here is neutral.
| | 02:36 |
It's a pretty safe guess because it's a
wedding dress.
| | 02:39 |
And then, clicking on that you can see
that it really significantly warmed up the
| | 02:43 |
overall image.
Well, I'm done with the White Balance
| | 02:46 |
tool, so I'll go ahead and click it back
in this area, or press the Done button
| | 02:51 |
which was down here.
Or just tap the W key.
| | 02:54 |
Now I want to customize this further.
For my tint, I'm going to drag this tint
| | 02:58 |
value over to the right, add a little more
magenta.
| | 03:01 |
And I'm going to bring my temperature
slider down just a bit.
| | 03:04 |
I felt like that was just a little bit
overdone.
| | 03:07 |
So again, sometimes what you'll do is
create something which is color correct
| | 03:12 |
And then take those extra steps to work
with those sliders in order to further
| | 03:16 |
customize the color.
And by doing this, this can help you to
| | 03:19 |
improve your photographs, really by leaps
and bounds.
| | 03:23 |
Let's take a look at this image.
Here is the before, press the back size
| | 03:26 |
key to see that.
Press it again, and then now here is the after.
| | 03:30 |
| | Collapse this transcript |
| Correcting white balance with a color checker| 00:00 |
When it comes to creating color correct
photographs, another common practice in
| | 00:04 |
photography is to include a sample frame
where you include something in the frame
| | 00:09 |
which has some neutrality.
That's what I did here, of this particular
| | 00:13 |
photograph of this athlete.
Here you can see he's holding this device.
| | 00:17 |
It's a device which is created by the
folks at X-ray.
| | 00:20 |
It's called a color checker passport, and
I like this one just because it's compact
| | 00:25 |
and easy to use.
And on this device, there are all of these
| | 00:28 |
different color swatches.
I know that these on the right are
| | 00:32 |
neutral, so I can use those to color
correct the image.
| | 00:35 |
You can have the subject hold something
like this, Or a gray card, or you can just
| | 00:40 |
position it in the frame, if you're a
landscape photographer.
| | 00:43 |
Then what you can do is color-correct this
image, and apply it to the other
| | 00:47 |
photographs that you have as well.
So that all of those images will be color correct.
| | 00:52 |
Well the way that you can do this is you
can click on one image.
| | 00:55 |
Hold down Cmd on a Mac or Ctrl on Windows,
and then sample other photographs that you
| | 01:00 |
want to correct.
Next in this Develop Module Area at the
| | 01:04 |
bottom, you want to turn on Auto Sync by
flipping on the switch here.
| | 01:08 |
We'll talk more about Auto Sync later, but
for now, I want to highlight that it
| | 01:12 |
allows you to process multiple files at
once.
| | 01:16 |
Well now with all of these files selected,
we'll use the White Balance tool.
| | 01:20 |
Click on the White Balance tool, then
position your cursor over an area where
| | 01:24 |
you can sample the neutrality.
Make sure you're not selecting yellow,
| | 01:27 |
pink, blue or any of those colors.
That looks pretty good, and then, click.
| | 01:32 |
This will then color correct this frame.
And because Auto Sync was turned on, it
| | 01:37 |
wall also color correct the other images.
In this way you can take one of those test
| | 01:42 |
shots and then all of the rest of your
images you can really quickly and easily
| | 01:46 |
color correct by using this technique.
| | 01:49 |
| | Collapse this transcript |
| Using the White Balance menu| 00:00 |
In this movie, I want to build upon what
we've already learned.
| | 00:03 |
And I want to focus in on how we can take
advantage, of the White Balance pull-down menu.
| | 00:07 |
And I also want to talk about how our
color temperature and white balance will
| | 00:11 |
be affected by, other adjustments that we
make to our photographs, as well.
| | 00:15 |
These are some pictures of my daughter
Anne, holding here new little puppy here.
| | 00:20 |
And what I want to do is color-correct
these images because they were captured in
| | 00:24 |
the shade.
So the color cast is a bit to cool
| | 00:27 |
(INAUDIBLE) the process multiple images at
once, we already know that you can click
| | 00:31 |
on one, then, hold down the Command key
and click on others.
| | 00:35 |
Or if the images are in a row, as these
are here, click on one image, hold down
| | 00:40 |
the Shift key.
And then click on the last image in the row.
| | 00:44 |
Or in the set, select them all.
Then make sure that auto-sync is turned on.
| | 00:49 |
If it isn't, click on that little flip
switch right there to turn it on.
| | 00:53 |
Now if you're working with RAW files are
we have here.
| | 00:56 |
You have access to working with the white
balance pull down menu.
| | 01:00 |
If you're working with JPEG files, you
won't be able to do this.
| | 01:02 |
So this needs to be with just those files,
which are raw files, either the native Raw
| | 01:06 |
file format, or the DNG Raw format that
I'm working with here.
| | 01:11 |
Well, when we click on the White Balance
pull-down menu, you can see that we have a
| | 01:14 |
number of different options.
We can try these different options.
| | 01:17 |
For example, if they were captured on a
cloudy day, we could choose that, and it
| | 01:21 |
would then color correct those
photographs.
| | 01:23 |
Or, if you know that there was a certain
light source that was used, you could make
| | 01:27 |
that selection as well.
Now this image wasn't captured under
| | 01:31 |
tungsten light, but if it was, it would
correct that color cast.
| | 01:34 |
Here you can see it just makes the images
look kind of strange.
| | 01:37 |
Another option, which you might want to
try, is to use auto.
| | 01:41 |
Auto often does a really good job as it
does here with this photograph.
| | 01:46 |
If we press the Backslash key, here you
can see the before.
| | 01:49 |
and, then, now you can see the after, just
warms the image up a little bit.
| | 01:53 |
If we want to warm this up even further,
we can always use our temperature and our
| | 01:57 |
tint sliders in order to add a little bit
more to the overall color of the
| | 02:00 |
photograph, and I think that looks pretty
good.
| | 02:03 |
Again, I'll go ahead and perhaps zoom in
on this picture a little bit.
| | 02:06 |
That's a little bit too far.
I'll change the zoom rate out here to
| | 02:09 |
something a little bit more reasonable.
Right there, that looks pretty good.
| | 02:14 |
Then I'll tap the Baclslash key.
Here's the before, tap it again then, now,
| | 02:18 |
here's the after.
Well, the other thing that I want to
| | 02:20 |
highlight with this movie is that one of
the things that will happen is, as you
| | 02:24 |
modify your image, say using these various
controls.
| | 02:28 |
It will also affect the overall color.
Just to make an exaggerated point, watch
| | 02:33 |
what happens when I increase the exposure.
As I over expose the image, notice that
| | 02:38 |
we're removing some of the yellow because
the image is becoming more white.
| | 02:42 |
As I under expose the image notice how
that yellow takes on a little bit of a
| | 02:46 |
darker tone.
So just keep in mind that as you make
| | 02:50 |
adjustments like this, let's say we want
to brighten up the photograph a little
| | 02:53 |
bit, you may need to go back to your
sliders and customize those further.
| | 02:58 |
The same thing can be said with other
adjustments as well.
| | 03:01 |
Notice that as I increase the contrast,
the image becomes more saturated with color.
| | 03:06 |
As I decrease that, it's almost as if it's
removing color.
| | 03:10 |
So again, just keep an eye on that and
know that while we'll often begin with
| | 03:14 |
these sliders, you may need to revisit
them in order to customize the way that
| | 03:18 |
the color looks.
And here I'll just tweak those sliders
| | 03:21 |
just a little bit, after you've made your
way through making other adjustments that
| | 03:25 |
you can make here in the Develop module.
| | 03:27 |
| | Collapse this transcript |
| Creative white balance| 00:00 |
In this movie, I want to take a look at
how we can use our white balance controls
| | 00:04 |
in order to come up with some creative
color options.
| | 00:07 |
And I also want to highlight a few
techniques that you can use for resetting
| | 00:10 |
these values as well.
All right, well, here's a photograph that
| | 00:14 |
I captured early in the morning.
And actually changed my camera's white
| | 00:18 |
balance setting in order to capture an
image which had more cool tones to it.
| | 00:22 |
So in this case, I'm not interested in
removing the color cast.
| | 00:26 |
Rather, I want to exaggerate it, and you
can do that using these sliders and controls.
| | 00:31 |
With this image, it appears a little bit
too cyan to me, so I'll drag my
| | 00:35 |
temperature slider to the left, which is
going to make the photograph more blue.
| | 00:40 |
I also want to add some more magenta here,
so I'll drag the slider to the right.
| | 00:45 |
And then I'll go back and forth until I
find just the right mix of the overall
| | 00:48 |
color to create a particular look for this
photograph.
| | 00:52 |
Well now if I press the Backslash key, you
can see here is the before, and then press
| | 00:56 |
it again, and then you can see the after.
Again, it's a subtle adjustment but
| | 01:00 |
sometimes when it comes to working with
color, it's the subtlety that makes all
| | 01:05 |
the difference in the world.
In other situations, you may want to do
| | 01:09 |
something which is completely wild.
Let me show you one of those examples.
| | 01:13 |
This is a photograph of a dandelion.
I set it on the top of my kitchen stove
| | 01:18 |
and the light source was really warm and
yellow.
| | 01:21 |
So I don't like the yellow color cast, so
here I'll use the White Balance tool, and
| | 01:26 |
I'm going to click on one of these areas
of the dandelion in order to make that white.
| | 01:31 |
I'm forcing something to be white which
really isn't white in real life, yet it
| | 01:36 |
kind of looks a little bit interesting.
Next, what I want to do is increase the
| | 01:40 |
contrast, so I'll drag my contrast slider
to the right, and then maybe also work
| | 01:45 |
with saturation.
Now we'll talk more about these different
| | 01:49 |
sliders later.
So I'm getting a bit ahead of myself.
| | 01:51 |
Yet still I wanted to highlight how we can
work with temperature and tint here and
| | 01:56 |
then combine that with other adjustments,
in this case to come up with some pretty
| | 02:00 |
fascinating colors.
When you press the Backslash key, you'll
| | 02:03 |
see here's the before, it's a little bit
lacking and blah and uninteresting.
| | 02:07 |
Now this one is vibrant and alive, and it
takes on a whole new look and feel.
| | 02:12 |
Let's look at one more creative example to
give you yet, another idea.
| | 02:17 |
This is a photograph of a giant chalk
drawing that was done on the ground, on
| | 02:21 |
the street.
What I want to do is bring out all of
| | 02:24 |
these colors.
So again, I'll select my White Balance
| | 02:28 |
tool, and I'll say, you know what?
I want something to be neutral.
| | 02:31 |
I want the shoulder to be white.
In doing that we now have a different
| | 02:35 |
color palette, and here I'm making
subjective adjustments.
| | 02:38 |
This isn't color correct, rather I'm
trying to create something fascinating or interesting.
| | 02:44 |
Well after having done that, what I want
to do is again increase the contrast.
| | 02:47 |
Whenever you increase the contrast it
brings out more color saturation.
| | 02:52 |
I also am going to drag my vibrance and my
saturation sliders to the right.
| | 02:57 |
Again, we'll talk more about how these
sliders work, but for now let's experiment
| | 03:01 |
and play and have some fun and just drag
those values there to the right.
| | 03:05 |
Now, after you've made some adjustments,
you may want to go back to your
| | 03:09 |
Temperature and your Tint sliders.
Here we could further customize this by
| | 03:12 |
dragging this to the right or the left,
just to change the overall look and feel
| | 03:16 |
of the color that we have.
We can also modify Exposure, if we wanted
| | 03:20 |
a little bit of a darker or a brighter
image.
| | 03:23 |
And so again, when it comes to getting
creative, often you'll combine your White
| | 03:28 |
Balance adjustments with other adjustments
here.
| | 03:31 |
In this case, we start off by white
balancing part of the image, then we
| | 03:35 |
increase Contrast, Vibrance and
Saturation, and then went back and
| | 03:39 |
modified our Temperature intent.
The end result I think is kind of interesting.
| | 03:44 |
Well here's the before, the original
image, and then press the backslash key
| | 03:49 |
again, and then now here, is the after.
| | 03:51 |
| | Collapse this transcript |
|
|
3. Enhancing Your Photographs with the Basic PanelGetting familiar with the basic controls| 00:00 |
In this chapter we'll be working with the
images which you can find in the chapter
| | 00:04 |
three folder, Basic Adjustment.
So go ahead and select that folder in the
| | 00:08 |
library module, then press the D key or
click on the Develop Module button and
| | 00:13 |
navigate to the Develop Module.
Here we're going to begin to focus in on
| | 00:17 |
our basic controls which will allow us to
improve our photographs.
| | 00:21 |
And because we'll be using these controls
so frequently, what I want to do first is
| | 00:26 |
begin by working on a demo file.
Then we'll tale what we've learned with
| | 00:30 |
this demo file here, it's titled tone.jpg,
I'll apply that to working on our other
| | 00:35 |
photographs as well.
Here you can see I've created a demo file
| | 00:39 |
where we have our shadows or the darkest
tones all the way up to the highlights, or
| | 00:43 |
the brightest tones.
Now the reason why I want to work on this
| | 00:46 |
grayscale image is to illustrate or
highlight how these sliders allow us to
| | 00:52 |
target or modify different areas of our
photographs.
| | 00:55 |
Let's begin by working with exposure, then
we'll make our way down.
| | 01:00 |
Now the exposure slider, I like to think
of this as a slider which is really big
| | 01:04 |
and bold.
As we drag this slider to the right, the
| | 01:08 |
image becomes brighter.
Here it almost becomes completely white.
| | 01:12 |
Drag this to the left and the image
becomes darker and it almost becomes
| | 01:16 |
completely black, and this slider allow
use to make big bold adjustments to the
| | 01:21 |
overall exposure or brightness of the
image.
| | 01:24 |
To reset this slider just double click the
tab there or the icon for the slider, and
| | 01:29 |
that will take it to the default setting.
Next, we have Contrast.
| | 01:33 |
Drag to the right, and that increases
contrast.
| | 01:36 |
The whites become whiter, the blacks
become blacker.
| | 01:39 |
Drag to the left, and that evens out the
tone across the photograph.
| | 01:43 |
Again, double click to reset.
Alright, well, what about highlights,
| | 01:47 |
Shadows, whites, and blacks?
Well, in a sense you can think of
| | 01:50 |
highlights and whites as similar, and
shadows and blacks as similar.
| | 01:55 |
Let's begin with highlights.
Here as we drag this to the right, it will
| | 01:59 |
brighten up the brightest tones that we
have in the image, this area here.
| | 02:02 |
Drag to the left, and it will darken those
up.
| | 02:05 |
Often you'll use this slider to recover
highlight detail in the brightest part of
| | 02:10 |
your photograph.
Again, double-click to reset that one.
| | 02:14 |
Well, what about Shadows?
Shadows is primarily going to work on this
| | 02:18 |
part of the image.
As we drag to the right, we can brighten
| | 02:21 |
up those shadows.
Drag to left and we can darken them, and
| | 02:25 |
this really focuses in on this part of the
image right here.
| | 02:28 |
And what this is kind of like, it's kind
of like having a reflector, if you've ever
| | 02:33 |
used one.
And it can bounce light into those shadows.
| | 02:36 |
Well next, we have the ability to work
with our whites or our bright tones.
| | 02:40 |
Here we can drag this to the right to
brighten it up or drag this to the left to
| | 02:44 |
darken those brighter tones.
Now while this is kind of similar to highlights.
| | 02:48 |
It's working in little bit of a lower
region.
| | 02:51 |
Highlights truly is the brightest white.
Whites is a little bit less, it's this
| | 02:56 |
area in here.
Next we have the black slider.
| | 02:59 |
This controls the deepest or the darkest
blacks.
| | 03:02 |
You can see I'm darkening those here, or
we can also bring some light into that
| | 03:06 |
area as well.
And so now that we've started to see how
| | 03:10 |
these various sliders allow us to target
and change different tonal areas of our
| | 03:15 |
photographs, let's go ahead and take a
look at how we can actually use these
| | 03:18 |
sliders with the photograph and let's do
that in the next movie.
| | 03:21 |
I'll catch you then.
| | 03:22 |
| | Collapse this transcript |
| Understanding how the tone controls work| 00:00 |
The basic panel in the develop module is
literally one of my favorite places in Lightroom.
| | 00:06 |
Because this is where the magic takes
place.
| | 00:08 |
This is where we develop and process our
images.
| | 00:11 |
And make em come to life.
Well, here let's take a look at how we can
| | 00:14 |
apply what we've learned about how to use
these controls, in order to improve this photograph.
| | 00:20 |
Often what you'll do when you're new to
Lightroom is you'll begin at the top here
| | 00:23 |
and make your way down.
As you get a little bit better you may
| | 00:27 |
become more strategic and jump right to
the area that you want to modify.
| | 00:31 |
Well first though lets analyze this
photograph.
| | 00:34 |
Its a portrait of a surfer at a local
beach in the town where I live, and while
| | 00:38 |
the detail that we have here in the
background is good, the exposure's, okay?
| | 00:43 |
It's just that the subject is too dark,
and really if this is a portrait I need to
| | 00:47 |
bring more light into that area.
Well, if we try to work with our exposure
| | 00:52 |
slider what will happen is we can drag
this to the right to brighten up the image.
| | 00:56 |
Well, now we have nicer light on the
subject, but we've lost all of this detail
| | 01:01 |
here in the brighter tones in the
background.
| | 01:04 |
So that won't really work.
Well, let's double click this slider in
| | 01:07 |
order to take this back to the default
setting of zero.
| | 01:10 |
What we actually need to do is to target
some specific tones.
| | 01:14 |
In particular, I want to target those
shadows.
| | 01:17 |
To do that, we can navigate down to the
shadow slider, and here we'll drag this to
| | 01:21 |
the right.
It's almost like we're lighting this image
| | 01:24 |
in post production.
We're bringing some light into that shadow area.
| | 01:28 |
Now whenever you work with one slider, you
always have to keep in mind that all of
| | 01:33 |
these adjustments are interconnected.
It isn't just working on one area, but
| | 01:38 |
also is affecting other areas in the image
as well.
| | 01:42 |
Well now that we've made this improvement,
one of the areas that is affected is the
| | 01:46 |
overall contrast.
It looks just a touch strange to me.
| | 01:49 |
So I'll bring some of that back by
increasing my overall contrast.
| | 01:54 |
In doing that, I may need to brighten up
my shadows even more.
| | 01:58 |
You'll discover that it will be a bit of a
back and forth dance between these various
| | 02:02 |
controls in order to get this to work just
right.
| | 02:06 |
Well next, let's brighten up the image a
little bit.
| | 02:08 |
We'll do so by dragging the exposure
slider to the right.
| | 02:11 |
That looks a little bit better.
Well now, I've brighten up the background
| | 02:15 |
or the highlights area too much.
No big deal, we'll go straight to the
| | 02:20 |
highlight slider.
This allows us to work on the brightest
| | 02:23 |
tones in the image.
Well, here if we drag this to the left,
| | 02:26 |
and here I'll exaggerate a little bit, you
can see how we can darken up this part of
| | 02:30 |
the image.
If we want to brighten it up, drag it to
| | 02:32 |
the right.
You can see how I've completely lost all
| | 02:35 |
of the detail in the brighter area of the
photograph.
| | 02:38 |
As you're customizing these sliders, a lot
of what you're doing is making adjustments
| | 02:42 |
that look good to your eye.
This is where photography becomes really subjective.
| | 02:47 |
It's about your vision, and what you want
to do is learn how you can use these
| | 02:52 |
controls in order to actualize your vision
or in order to make your vision come to life.
| | 02:56 |
Alright well next, we have a few other
sliders we haven't used.
| | 03:00 |
Whites and blacks.
Well whites deal with our brighter tones.
| | 03:04 |
Not the very brightest but those tones
just a little bit underneath that I'll
| | 03:08 |
brighten those up blacks.
This deals with the darkest tones in the image.
| | 03:13 |
We can darken those up by dragging this to
the left or we can add a little bit more
| | 03:17 |
detail into those.
Here with this image I'll just drag it
| | 03:20 |
subtly to the left.
I'm also going to darken the shadows here
| | 03:23 |
a touch and just decrease my overall
exposure.
| | 03:26 |
Alright well I think that looks kind of
interesting.
| | 03:29 |
At this stage what you'll want to do is
evaluate your progress.
| | 03:33 |
Do you remember those short cuts that I
shared with you to be able to do that?
| | 03:37 |
You can press the Backslash key that shows
you the before.
| | 03:40 |
Press again that then shows you the after.
Or you can press the Y key.
| | 03:45 |
When you tap the Y key, think why did I do
this?
| | 03:48 |
Alright, well here's why?
Here's my before and after.
| | 03:50 |
And you can see that split view of the
photograph.
| | 03:53 |
Alright, well in this case I think our
image is looking pretty good.
| | 03:56 |
I'm just going to increase the contrast
just a little bit.
| | 03:59 |
and just modify a few of these adjustments
to make some subtle improvements to the picture.
| | 04:04 |
Yet most importantly what we've started to
see here is how we can go through these
| | 04:08 |
various sliders and start to target
different tonal areas of our picture.
| | 04:13 |
In order to improve our overall
photographs.
| | 04:16 |
Now that we've seen how that works let's
continue to take a look at how we can use
| | 04:20 |
the basic panel in a few other scenarios.
And so let's take a look at how we can
| | 04:25 |
work on a couple other images.
And so we'll do that in the next few movies.
| | 04:29 |
| | Collapse this transcript |
| Using the histogram to correct exposure| 00:00 |
Now that we know a little bit about how we
can use the Basic panel to modify the tone
| | 00:05 |
in our photographs, in this movie I
want to get a little bit more technical.
| | 00:09 |
And I want to talk about how we can use
the Histogram to make changes to our
| | 00:13 |
pictures, and also how we can turn on what
are called our clipping indicators, which
| | 00:18 |
will highlight or show us some problem
areas in our photographs.
| | 00:22 |
Alright, well with this image, what I
want to do is zoom in on it.
| | 00:25 |
So I'll position my cursor over it and
click to zoom in.
| | 00:28 |
And in this case I've zoomed in to a one
to three view, just so I have a larger
| | 00:33 |
view of the subject of this photograph.
Now we've already seen how we can use our
| | 00:37 |
sliders in order to change the way the
image looks.
| | 00:40 |
We can increase the contrast by dragging
that slider to the right, or we can change
| | 00:44 |
our white point by dragging our white
slider off to the right as well.
| | 00:48 |
That brightens up those overall whites.
Yet in doing this, in making these
| | 00:52 |
subjective adjustments we don't
necessarily know if we're over doing the adjustments.
| | 00:58 |
In order to determine if we've gone too
far, we might want to travel to the Histogram.
| | 01:03 |
Click on the button, or the name, I should
say, of Histogram to open it up, and the
| | 01:08 |
first thing that I want to highlight here
is we can turn on what are called clipping
| | 01:12 |
indicators by clicking on these little
triangle icons.
| | 01:15 |
You can also just hover over that icon,
and it will temporarily show you any kind
| | 01:20 |
of clipping that you have.
Clipping is when you have loss of detail.
| | 01:25 |
Here, it's showing me I have loss of
detail in the brightest whites in this
| | 01:29 |
area of the photograph, or if we were to
darken up our black slider.
| | 01:33 |
That would show me that in this area I
have some I have some loss of detail as well.
| | 01:37 |
Now why does that matter?
Well, that matters because this image will
| | 01:41 |
not be able to be printed very well
because there just isn't any detail there.
| | 01:45 |
It's pure, 100% black, or it's pure, 100%
white.
| | 01:51 |
So what we want to do is use these
indicators to help guide us in regards to
| | 01:56 |
how far we might adjust or modify our
photographs.
| | 02:00 |
Alright, well we've seen so far that we
can click on those triangle icons, but I
| | 02:04 |
also want to share with you an advance tip
to turn the clipping on and off.
| | 02:08 |
Are you ready for it?
You want to jot this one down.
| | 02:10 |
You can press the J key that allows you to
toggle the visibility of the clipping on
| | 02:15 |
and off.
So again, tap the J key multiple times to
| | 02:19 |
turn that on and off.
If ever you forget that shortcut, you can
| | 02:23 |
always find it by going to your View menu,
and here it is, Show clipping.
| | 02:26 |
And there's that shortcut key, and you can
also click on this menu item here to turn
| | 02:31 |
both of those clipping indicators on, and
then off.
| | 02:35 |
Alright, well, now that we've been
introduced to this topic of clipping.
| | 02:38 |
What I want to do next is talk about how
we can use this as a guide so that we can
| | 02:43 |
then appropriately improve the tone in our
photographs.
| | 02:47 |
So let's go ahead and leave this image
open, as we'll continue to work on it in
| | 02:51 |
the next movie.
| | 02:53 |
| | Collapse this transcript |
| Turning on the clipping indicators to show problem areas| 00:00 |
In the previous movie, I introduced you to
the topic of working with the clipping
| | 00:04 |
indicators, which will show you where you
have some problem areas in your photographs.
| | 00:09 |
In this move, I want to talk about how we
can use those indicators as a guide.
| | 00:13 |
And I also want to highlight how we can
use the histogram in order to process our photographs.
| | 00:18 |
Well, here you can see I've made some
adjustments to the image.
| | 00:20 |
I have the clipping indicators turned on,
which we can turn on by tapping the J key.
| | 00:26 |
And what I want to do is reset all of the
tonal adjustments that I've made.
| | 00:31 |
To do so, go to this area and hold Option
on a Mac or Alt on Windows.
| | 00:36 |
Notice that the word tone changes into
reset tone when you press option on Mac,
| | 00:42 |
alt on Windows.
When you click on that, it will reset all
| | 00:45 |
your toner values to their default
settings.
| | 00:49 |
Next, what I want to do is highlight how
when we make changes to our photograph it
| | 00:53 |
affects what we have up here in our
histogram.
| | 00:56 |
Now the histogram is simply a
visualisation of the data that we have in
| | 01:00 |
our file.
This is showing us the darker tones and
| | 01:03 |
also the brighter tones as well.
As we drag our exposure to the right,
| | 01:07 |
notice how it's pushing all of these tones
over here to the right.
| | 01:11 |
Drag to the left, and it's pushing
everything over to the left so that the
| | 01:14 |
image is much darker.
And that's being displayed here in the histogram.
| | 01:19 |
Now the histogram isn't just a display,
it's also something which is active and
| | 01:23 |
which allows you to change the values in
your photograph.
| | 01:27 |
You can either change exposure, or
shadows, or these different controls by
| | 01:31 |
using the sliders, or if you position over
this, notice how it highlights that you're
| | 01:35 |
working in a certain area below.
Here's where I can modify the exposure.
| | 01:40 |
If we drag to the right you can see how
I'm changing the overall exposure in this
| | 01:43 |
image, and that in turn is also changing
the slider, below.
| | 01:47 |
So it's just two different ways to make
the same change.
| | 01:50 |
Again, you'll want to use the option which
makes most sense to you.
| | 01:54 |
All right, well, back to those clipping
indicators.
| | 01:57 |
So far those are turned on, and what I
want to do is brighten up the image,
| | 02:01 |
perhaps I want to brighten up my
highlights and also a little bit of my whites.
| | 02:05 |
Yet in doing that, I realize I can't go
this far.
| | 02:09 |
Well this indicator is helpful because it
reminds me that I might need to drop these
| | 02:13 |
values back down, in order to recover some
detail, in that area.
| | 02:18 |
Next I like to have, deep rich black so
I'll go ahead and drag this to the left,
| | 02:22 |
but again in doing that, I realize I'm
losing some detail in this area.
| | 02:26 |
Now we can either work with our shadows,
or our blacks to work on that.
| | 02:30 |
If we brighten up the shadows, notice how
I'm removing some of the problem area by
| | 02:34 |
increasing the brightness that we have in
that part of the photograph.
| | 02:38 |
Or, of course, we can always work with the
black slider as well.
| | 02:41 |
Often you'll work in unison or you'll work
with these sliders together in order to
| | 02:45 |
get the best look in your photograph.
Now, if you have a certain amount of loss
| | 02:49 |
of detail say in these really bright areas
here or in the shadows underneath It isn't
| | 02:54 |
going to be that big of a deal.
Yet, you just want to keep an eye on it.
| | 02:58 |
Also as you increase the contrast, you'll
notice that this will affect those areas
| | 03:02 |
as well.
You can see it's adding or removing more
| | 03:05 |
problems in my shadows or highlights as I
increase or decrease the contrast.
| | 03:11 |
If ever you notice there is a bit of a
problem, we'll just go back and make any
| | 03:14 |
other adjustments that you might need to
make in order to make those corrections to
| | 03:18 |
that part of the photograph.
Now after you modified the image, what
| | 03:22 |
eventually you want to do is press the j
key to turn off the clip in indicator and
| | 03:27 |
just evaluate the image.
Because keep in mind, people aren't
| | 03:31 |
going to be focusing in on the loss of
detail, and because the clipping indicator
| | 03:35 |
is so bold eventually you want to turn it
off and just say okay, let me just
| | 03:40 |
evaluate the image.
Do I like it, and in this case I realized
| | 03:43 |
you know what, I want to warm up the color
temperature so here I'll drag the
| | 03:46 |
temperature slider just a touch to a
right, and sometimes you need to almost
| | 03:51 |
step away from that view in order to work
on the image.
| | 03:54 |
Other times, what you may do is make an
adjustment, say like darkening the blacks,
| | 03:59 |
and then just tap the J key to make sure
you're in good shape.
| | 04:02 |
Here I realized, and you know what I can't
get away with that.
| | 04:05 |
I'll need to bring those values up until I
have an appropriate amount of loss detail,
| | 04:09 |
a little bit there in the trap shadows.
That will be just fine.
| | 04:13 |
Alright, well there you have it.
There's a way that we can start to work
| | 04:16 |
with the histogram, in order to modify the
tonal values in our image by hovering over
| | 04:21 |
the different parts of the histogram and
dragging to the left, or the right.
| | 04:25 |
We also looked at and reviewed how we can
turn those clipping indicators on and off,
| | 04:30 |
by pressing the J key J turns them on, tap
again, J turns them off, so we can toggle
| | 04:36 |
that on and off.
And then last but not least we talked
| | 04:39 |
about how we can work with our various
sliders that we have in this area in order
| | 04:43 |
to be able to recover detail.
And in a sense to use the clipping
| | 04:47 |
indicator as a guide, so that we can then
appropriately modify the tone in our photographs.
| | 04:52 |
| | Collapse this transcript |
| Correcting an underexposed image| 00:00 |
In this movie, I want to build upon what
we already know.
| | 00:03 |
And here, I want to talk about how we can
correct an underexposed image.
| | 00:07 |
This image is too dark, and we can begin
to use the Histogram kind of as a
| | 00:12 |
diagnostic tool to realize that there
might be an exposure issue.
| | 00:16 |
Notice in the histogram here, that all of
the tones are leaning over to the left.
| | 00:21 |
That's showing me that this image again is
too dark.
| | 00:24 |
Well, we can brighten it up by simply
dragging the Exposure slider to the right.
| | 00:29 |
And here you'll notice how our tones are a
little bit more evenly distributed.
| | 00:34 |
Then we can go into the other controls as
well.
| | 00:36 |
Here we'll increase the contrast a little
bit.
| | 00:39 |
I'll darken my highlights a touch as well
as my whites, because I want to have some
| | 00:43 |
good detail there in the snow.
Now you may be thinking okay, well what
| | 00:47 |
about Clipping?
Let's press the J key to turn on the
| | 00:50 |
clipping indicator, and then let's drag
the white slider over here to right to
| | 00:55 |
brighten that up.
You may be wondering, well why not drag
| | 00:58 |
this all the way over to the right until
you have loss of detail in these areas?
| | 01:03 |
Well, you can of course do that.
You can use that as a guide and bring this down.
| | 01:07 |
Yet, sometimes what you may want to do is
darken that up even further just for
| | 01:12 |
stylistic purposes.
So it isn't that you always need to push
| | 01:16 |
the envelope right to that edge.
Sometimes having your exposure lower or
| | 01:20 |
whites or whatever it is will create a
better look in your photograph.
| | 01:24 |
Let me show you what that means here with
exposure.
| | 01:27 |
If we drag this to the right, with the
clipping indicator on, I can brighten this
| | 01:31 |
image up until right here, and I'm not
really clipping any detail.
| | 01:35 |
Yet, this is way to bright.
I don't like the way the image looks, so
| | 01:39 |
again, we don't need to push the envelope
that far In this case I'll drop this back down.
| | 01:43 |
I think this looks a little bit better.
Then let's bring up some detail in our
| | 01:48 |
shadows there as well, and I think the
photograph looks pretty nice.
| | 01:52 |
Alright well we want to tap the J key
multiple times just to make sure we turn
| | 01:56 |
on the clipping indicator to make sure
there aren't any issues.
| | 02:00 |
We also will want to tap the Backslash
key.
| | 02:03 |
This will show us the before.
Tap again, then here we can see the after.
| | 02:08 |
In viewing the after, I've decided I
want to darken the blacks a little bit
| | 02:11 |
more to create a little bit more contrast
in the image and also increase the contrast.
| | 02:16 |
Whenever you've made adjustments, you
always want to go back and press the J key
| | 02:20 |
just to make sure you haven't created any
other problems for yourself.
| | 02:24 |
In this case we haven't.
The photograph looks much better.
| | 02:27 |
We've improved an image which was under
exposed, and we did so by working with a
| | 02:33 |
group of sliders.
We started off with exposure and then we
| | 02:37 |
walked through varies controls and sliders
to improve the overall look of the image.
| | 02:42 |
And as always once you near the end of
your work flow on a photograph, tap the
| | 02:47 |
back slash key to view the before, tap it
again to view the after.
| | 02:51 |
Because often you can get carried away in
the basic panel, and if ever you've gone
| | 02:55 |
too far this will help you to realize
that.
| | 02:58 |
What you may need to do is just make a
slight adjustment here or there to modify
| | 03:02 |
the overall look after you've evaluated
it.
| | 03:04 |
| | Collapse this transcript |
| Correcting an overexposed image| 00:00 |
In this movie, let's take a look at how we
can correct an image which is overexposed.
| | 00:05 |
You know, one of the things that happens
to us all as photographers is that we all
| | 00:09 |
make mistakes, and that's definitely what
happened here.
| | 00:12 |
I wasn't paying attention to my camera
settings when I captured this portrait,
| | 00:16 |
and it was overexposed.
Well, fortunately, I was capturing this as
| | 00:20 |
a RAW file.
And so we have a lot of detail here in the
| | 00:23 |
brighter tones that we can darken or
recover.
| | 00:25 |
So let's take a look at how we can do
that.
| | 00:28 |
We'll begin by working with the exposure
slider.
| | 00:31 |
Here I'll go ahead and drag this exposure
slider to the left.
| | 00:34 |
Now I'm just going to drag this to the
left until the image looks a little bit better.
| | 00:39 |
Now that I've done that, I can see nice
detail in the face and also in the shirt.
| | 00:44 |
And what you want to do is tap the
Backslash key to see the before.
| | 00:47 |
And then tap again to see the after.
You'll also notice that the histogram
| | 00:52 |
above is a little bit more evenly
distributed.
| | 00:54 |
Before with the exposure as it was
captured on the camera it was almost
| | 00:58 |
leaning too far to the right there.
Now we've brought this back down so that
| | 01:02 |
again the photograph looks a bit better.
Another thing that I want to do now that
| | 01:07 |
the image has more density and it's a bit
darker is just brighten up some shadow detail.
| | 01:11 |
So I'll drag the shadow slider to the
right to bring back some detail there.
| | 01:16 |
I also like to add some contrast to my
photographs.
| | 01:18 |
I like nice contrast there.
I think it adds a bit of visual interest.
| | 01:23 |
We can brighten up the whites a little bit
if we want to set a higher white point.
| | 01:27 |
So here, perhaps, just a little bit more
of the whites.
| | 01:29 |
And then after we've modified the overall
exposure, in this case I'm going to to go
| | 01:34 |
back to the color.
Because the color was so far off, it
| | 01:38 |
didn't really didn't make sense to work on
it until we corrected the exposure.
| | 01:43 |
So here we can go to our temperature and
tint sliders.
| | 01:46 |
In this case, I'll drag this to the right
just to add a little bit more warmth.
| | 01:50 |
Now often when you drag the slider, you
can make too big of adjustments.
| | 01:54 |
To be a little bit more subtle, what you
can do is position your cursor over this field.
| | 01:59 |
Notice how it highlights this value here,
and then you can use the Arrow keys.
| | 02:03 |
So if you press the Up Arrow key, when
that field is highlighted, you can see how
| | 02:08 |
it's just incrementally increasing my
overall color temperature, which sometimes
| | 02:12 |
can allow you to make more subtle
adjustments.
| | 02:15 |
You can do the same thing with these other
values.
| | 02:17 |
If you want to increase the shadows more
delicately, hover over that field.
| | 02:22 |
Tap the Up Arrow button.
You can see how I can make really small
| | 02:25 |
adjustments to the overall shadow detail
that we have in this photograph.
| | 02:29 |
Alright, well the exposure has been
corrected.
| | 02:32 |
And fortunately, we were able to salvage
and to save this photograph, because of
| | 02:37 |
our knowledge of the basic panel.
Let's evaluate how we've done.
| | 02:41 |
To do so, tap the Backslash key.
This will show us the before, and then tap
| | 02:46 |
it again, and now we can see the after.
| | 02:50 |
| | Collapse this transcript |
| Using Auto Tone to improve your photographs| 00:00 |
Now that you're a developing a pretty
thorough understanding of how you can
| | 00:04 |
begin to use the basic panel controls to
improve your photographs.
| | 00:08 |
Well, next it's time to talk about how we
can take advantage of auto-tone adjustment.
| | 00:14 |
The reason why I'm introducing this here
rather than earlier is because you really
| | 00:18 |
need to understand how those sliders work
in order to take full advantage of auto.
| | 00:23 |
Let's go back to an image which we've
worked on previously and take a look how
| | 00:27 |
auto corrections will work with this
particular image.
| | 00:30 |
In the Basic panel you can click on the
Auto button.
| | 00:34 |
What that will do is it will apply an auto
correction and modify the very sliders as
| | 00:38 |
you can see here.
And in this case, it did a pretty good job.
| | 00:42 |
Yet because we know how these sliders
work, what we might want to do is further
| | 00:47 |
customize this correction.
Here I want to darken the sky, so I'll
| | 00:51 |
drag my highlight slider to the left.
I also want a bit more detail in the
| | 00:55 |
shadows, so we'll use the shadow slider
and bring that over to the right.
| | 00:59 |
Then I'll increase the contrast a little
bit more as well and just darken up my
| | 01:03 |
overall exposure just a touch.
Then we can also modify the color
| | 01:07 |
temperature as well to warm the image up
slightly there.
| | 01:11 |
Well as you can see, we started of with
auto and it gave us a jump start or a
| | 01:16 |
kickstart on order to be able to further
modify the photograph.
| | 01:20 |
Let's take a look at another image to see
how we can do something in a similar way.
| | 01:24 |
This time we'll work on a new photograph.
This one here.
| | 01:28 |
Again, we'll click on auto.
This will then add some more contrast.
| | 01:32 |
It will set our white point so we have a
pretty good looking image.
| | 01:35 |
And I want more detail in my shadows, so
here I'll click and drag this to the right
| | 01:40 |
to bring up more detail there.
I also want a little bit more contrast as
| | 01:44 |
well and I want to darken some of those
blacks.
| | 01:46 |
Well those last few adjustments I think,
in my opinion at least, make this image
| | 01:51 |
that much better.
And here what I'm trying to do is to
| | 01:55 |
illustrate a point, that often you'll
start with auto, then you'll apply
| | 02:00 |
everything that you know about how you can
use these sliders to make your photographs
| | 02:04 |
even better.
I'll go ahead and click on this image to
| | 02:06 |
zoom in on it so we can view the before
and after, press the backslash key, here
| | 02:11 |
you can see the before, press it again and
then you can see the after.
| | 02:15 |
And again what started as an automatic
correction was finished off by modifying
| | 02:21 |
our shadows in our contrast and our blacks
in order to create the look that we wanted
| | 02:26 |
to accomplish for our photographs.
Rather than letting Lightroom do
| | 02:30 |
everything, well we let Lightroom start us
off and then we took this even further.
| | 02:35 |
Well working with auto can sometimes help
to yield some really great results.
| | 02:40 |
So let's continue to talk about how we can
use this feature and the other features
| | 02:44 |
that we've looked at here, and let's do
that in the next movie.
| | 02:48 |
| | Collapse this transcript |
| Enhancing your photographs with Auto Tone and custom adjustments| 00:00 |
In this movie we'll begin by working with
Auto Tone, and then we'll finish this
| | 00:04 |
image off by customizing the sliders that
we have in the Basic panel.
| | 00:09 |
Now so far I've highlighted that you can
click on the Auto Tone button which is
| | 00:13 |
located in the Basic panel.
You can also access this by way of a menu
| | 00:17 |
or a short cut, on a Mac you can press
Cmd+U or Windows Ctrl+U.
| | 00:22 |
Or you can navigate to settings and choose
auto tone and find the shortcut listed there.
| | 00:28 |
If you prefer to use shortcuts, you may
want to jot that one down.
| | 00:32 |
If you don't, no big deal.
You can always access this menu item, or
| | 00:36 |
you can just click on the button which is
located in the Basic panel.
| | 00:40 |
Well here, with this image it's obviously
over exposed, and my vision for this
| | 00:44 |
photograph is to create an image which has
a lot of deep, rich color.
| | 00:48 |
I want a lot of blue and a lot of nice
contrast.
| | 00:51 |
So here we'll click on the Auto button,
and we'll cross our fingers and we'll hope
| | 00:55 |
for the best, and the results are a little
bit lackluster.
| | 01:00 |
Now, this did correct a bit of the
exposure, yet it didn't do that much for me.
| | 01:05 |
So here, I'll go ahead and drag my
exposure slider down even further, and now
| | 01:10 |
I'm getting closer to how I might want to
modify this image.
| | 01:13 |
I'm going to increase the contrast which
will darken up those darker tones.
| | 01:17 |
I'm also going to bring some light into
the shadows and then darken the blacks.
| | 01:22 |
In doing this, I processed this image so
it's starting to match my overall vision.
| | 01:27 |
And again, what started with Auto is now
getting closer to what I want to do.
| | 01:33 |
Well now that I have the tonality of this
photograph to a little bit of a closer
| | 01:37 |
area, next what I want to do is change the
color temperature.
| | 01:40 |
To do that, we'll go to the temperature
slider, and drag this to the left, to add
| | 01:44 |
a little bit more blue.
Well at this point, you can see the
| | 01:48 |
photograph is completely different.
Here when we press the Backslash key, you
| | 01:52 |
can see this is the before.
Tap that again, now here's the after.
| | 01:57 |
And this is the file as it appeared out of
the camera originally here and then after
| | 02:02 |
we modified it.
Now there's still some more work that I
| | 02:05 |
need to do on this photograph.
For example, I think it's a little bit too
| | 02:08 |
dark, so I'll brighten the image up a
little bit more.
| | 02:12 |
Another thing that I'll want to do is
check for clipping, especially when you're
| | 02:16 |
making dramatic adjustments like this, and
when you get excited about the way that
| | 02:20 |
you're processing your photographs.
Here we can press the J key to turn the
| | 02:24 |
clipping indicator on.
In doing that I can see that I have some
| | 02:28 |
clipping up here with the sunshine and
also a little bit with the shadows over
| | 02:33 |
here on the right.
Well, with the sun, the only way to be
| | 02:36 |
able to fix that is with the highlight
slider, and I'm imagining we're going to
| | 02:40 |
need to make a pretty dramatic adjustment.
So here I'll drag the slider until I see
| | 02:44 |
the clipping indicator disappear so that
that tone now is correct.
| | 02:48 |
With these tones over here I'll need to
work with my black slider and bring that
| | 02:53 |
over to the right till I have nice detail
in that area.
| | 02:56 |
Often, again, what you want to do is just
double-check your progress to make sure
| | 03:00 |
that the image will hold up, so that it
just doesn't look good on your screen.
| | 03:05 |
But so that you can then reproduce and
print the file.
| | 03:08 |
Now that being said, let's say that you're
going to create this photograph and you
| | 03:12 |
want to process it and it's only intended
to be shown on a monitor, perhaps on your
| | 03:17 |
web site or on someone else's web site for
that matter.
| | 03:20 |
Well in that case, the whole clipping
indicator thing is Isn't as important.
| | 03:25 |
What you might want to do is press the J
key to turn that off, and then here, we
| | 03:29 |
could darken those blacks even further.
Because when you're viewing an image on a
| | 03:34 |
monitor, typically when you have really
deep rich black, sort of bright whites.
| | 03:39 |
It isn't as big of a problem when you make
more dramatic adjustments like that.
| | 03:44 |
So, again, as you start to modify your
photograph, you really want to think about
| | 03:48 |
the final intent or the final destination
for the photograph as you start to modify
| | 03:53 |
and affect its overall color, exposure,
and tone.
| | 03:57 |
| | Collapse this transcript |
| Making subtle yet significant tone adjustments| 00:00 |
So far in this chapter, we have looked at
how we can use the basic panel controls in
| | 00:04 |
order to make some pretty dramatic changes
to our photographs.
| | 00:07 |
Yet, what about those situations where you
just want to make subtle adjustments.
| | 00:12 |
Well, here in this movie, we'll look at
two of those examples and we'll be working
| | 00:16 |
on two different photographs.
You know, one of the things that happens
| | 00:19 |
often, when people are introduced to auto
tone is they press auto tone or they
| | 00:23 |
select that option with every photograph.
Like with this image here, they reach for
| | 00:28 |
Auto Tone, they click the button, and it
doesn't really look very good at all.
| | 00:32 |
Well, Auto Tone works with certain images
and it just doesn't with others.
| | 00:37 |
If ever you find an adjustment doesn't
really work, well just press Cmd+Z on a
| | 00:41 |
Mac or Ctrl+Z on Windows to undo the
adjustment.
| | 00:45 |
And you can press that multiple times to
step backwards through the adjustments
| | 00:49 |
that you've made.
Then what you need to do is, rather than
| | 00:51 |
giving Lightroom all the control, you have
to ask yourself, well, what do I want this
| | 00:56 |
image to look like.
What's interesting to me about this photograph?
| | 01:00 |
And for me, this is a tree which is
located in my parent's backyard of the
| | 01:04 |
home where I grew up in Northern
California, and I just want to bring out
| | 01:08 |
some more of the detail of the branches,
so here we'll go down to the Shadow slider.
| | 01:12 |
When we drag this to the right or the left
you can see that we can really work on the
| | 01:17 |
shadow detail that we have here.
Sometimes what can happen is if you bring
| | 01:21 |
the slider up too much...
It can kind of look like a faux HDR image.
| | 01:27 |
If that's the case, you'll need to
increase the contrast to make the image
| | 01:31 |
look a little bit more natural.
You probably will also want to bring down
| | 01:35 |
the shadows value so it isn't quite so
exaggerated, and again here, I'm just
| | 01:39 |
looking to make some subtle improvements
to this photograph.
| | 01:43 |
Next, what I want to do is just modify the
exposure a little bit, I'm just going to
| | 01:46 |
brighten that up a little bit and then add
just a touch of warmth to it.
| | 01:50 |
So, all of these adjustments, they are
pretty subtle.
| | 01:53 |
Here, we'll press the backslash key,
there's before, and I'll press it again
| | 01:57 |
and here's after.
Yet, sometimes, when it comes to the art
| | 02:01 |
and craft of photography, it's the subtle
adjustment which makes all the difference
| | 02:05 |
in the world.
I'm also going to darken my blacks here a
| | 02:08 |
little bit just to bring back a touch more
of that contrast.
| | 02:11 |
There you have it.
Pretty quick and easy work on that photograph.
| | 02:15 |
Well, next, let's look at another
scenario, this image here.
| | 02:17 |
With this image, if we try Auto Tone, it
will make the image look really horrible
| | 02:23 |
and dark.
And the reason is, is because it's
| | 02:26 |
actually kind of a complex image.
With the bright value in the background
| | 02:31 |
and the subjects here in the foreground.
So this time I'll press Cmd+Z on a Mac or
| | 02:35 |
Ctrl+Z on Windows.
And rather than working with Auto Tone, I
| | 02:39 |
needed to again ask myself, well, what is
it about this photograph?
| | 02:43 |
This is a picture of my sister and her
family.
| | 02:46 |
And the first thing about this image that
strikes me is the color is wrong.
| | 02:50 |
It's too cool.
They're in the shadow or in the shade, so
| | 02:54 |
it's always going to be a little bit more
cool in that area, and especially because
| | 02:59 |
the background's so warm.
So let's just change the color temperature
| | 03:02 |
by dragging the Temperature slider to the
right.
| | 03:05 |
Next, I like to bring a little detail into
the shadows and perhaps add a touch of
| | 03:09 |
Contrast, and sometimes what can happen is
you can say, well, what about all of the
| | 03:14 |
other sliders.
Maybe I should use those as well and, you
| | 03:17 |
know, it's definitely worth experimenting,
perhaps bringing down your highlights or
| | 03:20 |
maybe brightening up the exposure or
whatever it is.
| | 03:24 |
Yet, sometimes you can get yourself into
unnecessary trouble.
| | 03:28 |
In other words, sometimes all that you'll
need to do is to make a few little
| | 03:32 |
adjustments and the image will look it's
best.
| | 03:35 |
It's easy to overprocess a photograph, and
if you do that, it can detract from the
| | 03:40 |
value of the image.
Before we finish this up, we need to tap
| | 03:44 |
the J key.
That will show us any clipping issues.
| | 03:47 |
Here, it's showing me we have some loss of
detail in the background.
| | 03:50 |
I'll correct that by dragging the White
point down.
| | 03:54 |
I'll just drag that to the left, also drag
the Highlight slider down as well to
| | 03:58 |
correct that issue.
All right, last but not least, tap the J
| | 04:01 |
key to turn off the clipping indicator.
Then before you wrap up your work and move
| | 04:06 |
to another photograph, tap the backslash
key just to look at your overall before,
| | 04:10 |
and then tap it again to see the after.
| | 04:13 |
| | Collapse this transcript |
| Resetting your photograph to its default settings| 00:00 |
Before we wrap up our conversation about
how we can use the basic tone controls and
| | 00:05 |
color temperature sliders in order to
improve our photographs.
| | 00:08 |
Here I want to take a few minutes to talk
about a few methods or techniques that you
| | 00:12 |
can use in order to reset the settings,
which you have applied to your photographs.
| | 00:17 |
Let's begin by reviewing how we can work
with color temperature.
| | 00:21 |
Up top, we have the ability to modify our
temperature and our tint.
| | 00:25 |
And here for example, let's say that I've
decided to warm the image up, and I've
| | 00:29 |
just gone too far.
Well, how can we reset the temperature slider?
| | 00:33 |
Well, you can either double-click the icon
of the slider, or if you've made an
| | 00:37 |
adjustment, and you want to reset it to
the default setting, you can also click on
| | 00:42 |
the pull down menu and then select as
Shot.
| | 00:45 |
This will bring this back to the default
settings here and then you could further
| | 00:48 |
modify the photograph.
But what about working with our other
| | 00:52 |
sliders like these that we have here.
Again, we can either do this one slider at
| | 00:56 |
a time by double-clicking this slider or
you can also hold down the option key on a
| | 01:01 |
Mac or alt on Windows.
That will change the Tone option here into
| | 01:06 |
a button which is reset tone.
We've already talked about that, but I
| | 01:10 |
just want to re-highlight that here, hold
down option or alt, and then click on
| | 01:14 |
Reset Tone.
And that will reset the tone or
| | 01:16 |
adjustments to your picture.
Another way that we can modify our image
| | 01:20 |
is after having made a few adjustments if
the photograph doesn't look good, you can
| | 01:25 |
click on the Reset button.
What this will do is it will reset
| | 01:29 |
everything that you've done here in the
development module.
| | 01:32 |
You can also access those controls, for
example, if you've made a bad adjustment,
| | 01:36 |
by navigating to the settings pull down
menu.
| | 01:39 |
Here up top we have a menu item which is
called Reset All Settings.
| | 01:44 |
If you're one of those people who really
likes shortcuts, you may want to jot this
| | 01:48 |
shortcut down.
It's Shift+Cmd+R in a Mac, or Shift+Ctrl+R
| | 01:53 |
on Windows.
That allows you to reset everything that
| | 01:56 |
you've done in the develop module, to take
your image back to it's default settings.
| | 02:02 |
And sometimes that's really helpful to do
if you've kind of straight from the course
| | 02:06 |
and your image just isn't looking very
good.
| | 02:08 |
All right, well here, I'll go ahead and
click on that menu item that will bring my
| | 02:12 |
image back to its default settings.
And again, I just wanted to highlight that
| | 02:17 |
in case you make some mistakes.
There are a few techniques there that you
| | 02:20 |
can use in order to reset your sliders, or
to reset all of the settings which you've
| | 02:25 |
applied to your photographs in your photo
module.
| | 02:28 |
| | Collapse this transcript |
|
|
4. Improving Vibrance, Saturation, and ClarityUnderstanding vibrance and saturation| 00:00 |
In this chapter, we'll have some fun
taking a look at how we can modify,
| | 00:04 |
enhance, and even change color using the
Basic panel controls.
| | 00:08 |
In this movie, we'll begin by focusing in
on Vibrance and Saturation.
| | 00:12 |
Now, because these controls are actually
incredibly helpful, what I want to do is
| | 00:17 |
walk through how we can work with these
controls with a demo file.
| | 00:20 |
So that you can really understand the
subtle differences between these two controls.
| | 00:25 |
Then later, we'll apply what we learn to
working on photographs.
| | 00:28 |
All right, well here you can see I have
this image, we have these various color strips.
| | 00:32 |
On the left we have less saturation, then
as we move to the right, we have more saturation.
| | 00:38 |
Well, how will these color strips change
if we work with Saturation versus Vibrance?
| | 00:43 |
Well, Saturation is linear and pretty
straight forward.
| | 00:47 |
Here, if we drag to the left it removes
color.
| | 00:48 |
And here, you can now see we have a black
and white or a gray scale image.
| | 00:52 |
As we drag to the right, it increases
color.
| | 00:56 |
And what saturation allows us to do is to
say, you know what, hey, the color is
| | 00:59 |
right here, I'm going to increase that.
So that we still have this relationship
| | 01:03 |
where the colors on the left are less
saturated.
| | 01:06 |
Then, as we move to the right the colors
become more saturated.
| | 01:10 |
Well, let's now reset this slider by
double-clicking it.
| | 01:13 |
And let's compare that to Vibrance.
Vibrance works in a different way.
| | 01:18 |
What Vibrance likes to do is it likes to
befriend or to favor the weaker colors.
| | 01:24 |
These colors over here which are less
saturated.
| | 01:27 |
So, if I drag this slider to the left,
what we'll see it that it removes those
| | 01:31 |
colors more quickly.
Those are gone, yet we still have a little
| | 01:34 |
color remaining on this side.
In contrast, if we increase our vibrance
| | 01:39 |
amount, what you'll notice is that we'll
primarily work on these colors, the weaker colors.
| | 01:44 |
And what it will do is it will bring out
the saturation, it will also add a little
| | 01:48 |
more color variety.
And so, here, the Vibrant slider we're
| | 01:52 |
starting to see is a slider which favors
the weaker colors and it also allows us to
| | 01:58 |
add more color variety.
Let me show you a good example of that.
| | 02:01 |
Here, I'll double-click the slider, to
bring it back to the default setting of zero.
| | 02:06 |
Next, I'm going to change the overall
temperature.
| | 02:09 |
To do so, I'll drag the slider to the
right.
| | 02:11 |
So that now, we have some subtle oranges.
And a little bit of a purple or a blue
| | 02:15 |
color on the right.
Now, with Saturation, we can either remove
| | 02:19 |
those colors, or increase the saturation.
Now, this looks pretty good but it's
| | 02:24 |
going to look even better, if we work with
Vibrance.
| | 02:27 |
Let me show you that comparison.
Again, I'll double-click this slider, to
| | 02:30 |
bring it back to zero.
If we increase the Vibrance amount, what
| | 02:34 |
we're going to see is we now have more
color variety, and Saturation.
| | 02:38 |
And this is actually more vivid and
interesting than it was if we just had the
| | 02:43 |
Saturation, as you can see here.
So, what Vibrance allows us to do is to
| | 02:47 |
bring out colors that are really
interesting and fascinating way.
| | 02:51 |
All right.
Well, this is nice in theory.
| | 02:53 |
How does it relate to working on a
photograph?
| | 02:56 |
Let's take a look at this picture here.
This is a photograph that's a portrait
| | 03:00 |
that I captured.
And here, I'm going to zoom in on it a
| | 03:02 |
little bit so we can focus in on the skin
tone that we have in the picture.
| | 03:06 |
Now, if we increase the saturation, and we
exaggerate it here, you'll notice that the
| | 03:11 |
skin tone looks absolutely horrible.
The skin tone looks carrot orange.
| | 03:17 |
In contrast, if we just increase the
Vibrance, what we're going to see is that
| | 03:21 |
we have more vibrant colors.
We have increased Saturation.
| | 03:25 |
Yet in an essence, what it did is it
protected these skin tones, so that that
| | 03:31 |
doesn't look, as exaggerated.
If we zoom out, you can see the entire
| | 03:34 |
picture here.
Here's with zero Vibrance.
| | 03:37 |
Click to drag to the right.
There's with, 100 points of increased Vibrance.
| | 03:41 |
So, Vibrance is really helpful, when you
want to add some color variety.
| | 03:46 |
When you want to add a little boost and
when you also want to target or favor
| | 03:50 |
those weaker tones.
And in this case, you can see it really
| | 03:53 |
helps out with skin tones.
In contrast, with saturation, you can see
| | 03:57 |
how it just is creating a skin tone which
is over done.
| | 04:00 |
Now, here, I'm obviously over exaggerating
these values in order to illustrate a point.
| | 04:05 |
Yet what I'm hoping that you're starting
to see is that while Vibrance and
| | 04:09 |
Saturation both allow you to increase or
decrease the color that you have in your
| | 04:14 |
photograph, they allow you to do so in a
different way.
| | 04:17 |
To summarize, Vibrance allows you to work
on color in a way that isn't linear.
| | 04:21 |
This favors those weaker tones, so it's
primarily targeting those tones and then
| | 04:26 |
it's adding Saturation and variety to
those areas.
| | 04:30 |
Saturation on the other hand is pretty
straight forward.
| | 04:33 |
Drag to the left to remove or drag to the
right in order to increase the color in
| | 04:38 |
your photograph.
Alright, well, now that we've been
| | 04:40 |
introduced to this whole topic of working
with the Vibrance and Saturation sliders.
| | 04:45 |
Let's take a look at how we can put what
we've learned into practise and let's do
| | 04:49 |
that in the next few movies.
| | 04:50 |
| | Collapse this transcript |
| Enhancing color with vibrance, saturation, and contrast| 00:00 |
Now that we know a little bit about how
the vibrance in Saturation sliders work,
| | 00:05 |
let's take a look at how we can use these
controls and one other, in order to create
| | 00:09 |
some vivid and interesting colors in this
photograph here.
| | 00:13 |
This is photograph of a painting that I
saw on the side of a building.
| | 00:16 |
I was really attracted to the color
palette.
| | 00:18 |
Yet, when I open it up here in Light Room,
I was a little bit disappointed.
| | 00:23 |
The colors aren't as vivid and alive as I
remember, so I want to bring out more
| | 00:28 |
color variety and saturation.
To do so, we'll begin by working with Vibrant.
| | 00:33 |
When you drag the Vibrant slider to the
right, that will increase the color
| | 00:36 |
saturation of those weaker colors.
It also will help to add some more color
| | 00:40 |
variety sort of widening the color
palette.
| | 00:44 |
Now when you increase the saturation that
will really add a lot of punch to the
| | 00:48 |
colors overall.
And the advantage of working with both of
| | 00:51 |
these sliders is that it's the combined
effect which allows us to have these
| | 00:55 |
beautiful colors in this photograph.
Often if you just add saturation, what can
| | 01:01 |
happen is that your colors can sort of
block up and become uninteresting, but by
| | 01:06 |
adding vibrance and saturation, it creates
a really unique look.
| | 01:10 |
Now if we want to bring out these colors
even more, we can work with the Contrast slider.
| | 01:15 |
When you drag the slider to the left, you
will be reducing contrast and in turn
| | 01:19 |
reducing color saturation.
If we drag this slider to the right, that
| | 01:23 |
will increase contrast, which will also
bring out more of the colors that we have
| | 01:28 |
in this photograph.
And this is really what I'm going for.
| | 01:31 |
I want something which is bright and vivid
and alive.
| | 01:34 |
All right, let's take a look at the before
and after.
| | 01:37 |
Tap the Backslash key.
Here you can see is the before, a little
| | 01:40 |
bit lacking there.
Now, here is the after, bright, vivid, and
| | 01:44 |
pretty exciting colors, and we were able
to create those with a few simple
| | 01:49 |
adjustments, vibrance, saturation, and
contrast.
| | 01:53 |
| | Collapse this transcript |
| Using vibrance and saturation in a portrait workflow| 00:00 |
Let's take a look at how we can integrate
vibrance and saturation into our overall
| | 00:05 |
Basic panel workflow.
And we'll do so by working on this
| | 00:08 |
portrait of my oldest daughter Anika with
our youngest Elsie when she was just one
| | 00:13 |
day old.
What I want to do with this image is start
| | 00:16 |
up at the top here in the Basic panel.
With this photograph, I want to warm it
| | 00:20 |
up, so I'm going to drag the temperature
slider to the right.
| | 00:23 |
And I want to do that in order to create a
really warm and inviting mood in this
| | 00:27 |
particular picture.
Next, I'll go ahead and click on the image
| | 00:30 |
to zoom in so we can see this a little bit
better.
| | 00:33 |
I'm going to work my shadow detail here.
Bring in some light into that area.
| | 00:37 |
Also, I want to darken the highlights
because you can see they're next to a
| | 00:40 |
window, and it's really bright in certain
areas over here.
| | 00:44 |
Alright, well, these are some basic
adjustments, right.
| | 00:47 |
Tap the backslash key, here's before.
Tap it again, here's the after.
| | 00:51 |
These aren't that significant, yet
sometimes it's those subtle adjustments
| | 00:55 |
which are all you need to make.
Alright.
| | 00:57 |
Well next let's work on vibrance in
saturation.
| | 01:00 |
Because this is a portrait, we want to
work with vibrance.
| | 01:04 |
If we increase the Saturation the skin
tones here are going to look really
| | 01:08 |
horrible and strange.
So, rather than using saturation, we'll
| | 01:11 |
drag our Vibrance slider just a bit to the
right, until we have some nice color and
| | 01:15 |
color variety in the picture.
We also may decide to increase the
| | 01:19 |
Saturation a little bit or sometimes, what
I'll actually do, is decrease it just a
| | 01:23 |
couple of points.
This will then create an image which has a
| | 01:27 |
color palette which is a little bit more
realistic.
| | 01:30 |
In the previous movie, we created some
surreal and vibrant colors.
| | 01:34 |
In this case, I want it to be about the
subject, not the color.
| | 01:38 |
So here, I'm adding some Vibrance, which
adds some color Saturation to some of the
| | 01:42 |
weaker colors and a bit of color variety.
And then, I'm de-saturating the image just
| | 01:47 |
a few points here.
Next, I'll warm it up even a little bit
| | 01:50 |
more to add a little bit more of a yellow
tint to this image.
| | 01:54 |
And then, I'll increase my shadows here a
touch, and add just a little bit of Contrast.
| | 01:58 |
And maybe finish the image off by
modifying these sliders.
| | 02:01 |
A lot of times when you work with them,
you swing them one way, then another,
| | 02:05 |
until you find just the right spot for how
you want your image to look.
| | 02:09 |
In this case, I think we've done a pretty
good job.
| | 02:12 |
In order to evaluate our progress, we'll
tap the backslash key.
| | 02:16 |
And here, you can see this is the before.
Tap it again, and here is the after.
| | 02:20 |
Again, we process this image in order to
really support our vision for the photograph.
| | 02:25 |
Which is it's about the portrait.
It's about the connection between these
| | 02:29 |
two sisters.
And how we were able to create a unique
| | 02:32 |
color look in this picture was by adding
some Vibrance in this case, and removing
| | 02:37 |
some Saturation.
Now, you won't always do that.
| | 02:40 |
Sometimes, you'll add Vibrance, and you'll
also add saturation.
| | 02:43 |
In this image I think that it looks a
little bit, over processed.
| | 02:47 |
Almost like food which is been, over
cooked.
| | 02:50 |
So, you always want to be cautious of
that.
| | 02:51 |
And again, it's up to your own, style or
your own liking how use these sliders.
| | 02:57 |
Yet here, I simply wanted to show you a
workflow example of how you might start to
| | 03:01 |
integrate your knowledge of working with
Vibrance and Saturation into your overall
| | 03:06 |
image workflow.
| | 03:08 |
| | Collapse this transcript |
| Color creativity with temperature, vibrance, and saturation| 00:00 |
In this movie, I want to focus in on how
we can use some of our basic controls in
| | 00:04 |
order to modify the color in our
photographs in some creative ways.
| | 00:08 |
We'll begin by working with this
photograph here.
| | 00:10 |
It's titled Sunrise.jpg.
And what I want to do with this image is,
| | 00:15 |
I want to bring out more of the blue of
the ocean.
| | 00:18 |
We have some nice color her in the sunset,
yet often if you can have complimentary
| | 00:22 |
colors in an image where you have warm
colors and cool colors, It can make it a
| | 00:27 |
bit more visually interesting.
So, here we'll be begin by modifying the
| | 00:31 |
color temperature.
Now this may seem a bit counter-intuitive.
| | 00:34 |
Why would you want to cool off a sunrise
or a sunset shot?
| | 00:39 |
Well, in some situations like in this
photograph, it adds some neat color in
| | 00:42 |
this part of the picture.
Well, next we may think, well, what about
| | 00:46 |
adding some contrast.
With this image, it doesn't do that much
| | 00:49 |
because there's already so much contrast
here in the photograph.
| | 00:52 |
So, there isn't really much of a need to
add very much contrast.
| | 00:56 |
Well, next let's jump down to Vibrance and
Saturation.
| | 01:00 |
I'm going to exaggerate for a moment by
dragging the vibrance slider all the way
| | 01:03 |
to the right to add 100 points of
vibrance.
| | 01:05 |
You can see that that really brings out
these vivid colors here in the ocean and
| | 01:10 |
also in the sky.
Now, these colors are, of course, way overdone.
| | 01:14 |
Yet, sometimes it's helpful to over-do
things to start to see, oh, yeah.
| | 01:18 |
This is what this slider could do.
I'll just lean the slider a little bit in
| | 01:22 |
that direction.
Now, what about saturation?
| | 01:26 |
Well, if we drag this to the right, the
color just becomes a bit blocky or strange.
| | 01:30 |
Remove color.
That doesn't look very good either.
| | 01:33 |
In this case, maybe we'll just add a few
points of color saturation.
| | 01:36 |
There really isn't a lot of work that
needs to be done with the saturation slider.
| | 01:41 |
All right, well, let's evaluate this
particular version of the image.
| | 01:44 |
To do so, tap the backslash key.
Here, you can see is a before, then tap it
| | 01:49 |
again, and now you can see the after.
And so, sometimes what you'll do, is
| | 01:53 |
you'll use your basic panel controls and
sliders in order to come up with some
| | 01:57 |
creative ways to modify the color in your
photographs as you can see here.
| | 02:02 |
| | Collapse this transcript |
| Adding warm tones| 00:00 |
In this movie I'm want to provide you with
a few more examples of how you might use
| | 00:04 |
the Basic panel controls in order to come
up with some creative color options for
| | 00:08 |
your photographs.
We'll begin with this picture here.
| | 00:11 |
This is a photograph of a family that I
captured down at a local beach.
| | 00:15 |
And I often like shooting towards the sun
because I like the warm glow and I, I just
| | 00:20 |
like the color palette that you can create
when you're capturing images in this way.
| | 00:23 |
Yet, one of the things that I want to do
with this image is I want to bring out
| | 00:27 |
even more deep and rich reds and yellows.
Well, to do that, let's begin by working
| | 00:33 |
with our Temperature and Tint sliders.
If we drag our Temperature slider over to
| | 00:37 |
the right, we can add some more yellow.
If we want some deeper reds in the image,
| | 00:42 |
we'll just bring our tint slider to the
right as well.
| | 00:45 |
Here, we now have a completely different
color palette which we can then customize.
| | 00:49 |
And as you'd make these changes to your
photographs, of course, you want to drag
| | 00:52 |
them back and forth and just experiment
until you find just the right mix for the
| | 00:56 |
look that you're going for.
Alright, well next, let's go ahead and add
| | 00:59 |
a little bit of Contrast, which will
increase our color Saturation as well.
| | 01:04 |
Then, what about Vibrance and Saturation?
Because that really is our focus here in
| | 01:08 |
this chapter.
Well, if we increase the Vibrance amount,
| | 01:11 |
what that's going to do is add a little
bit more color variety.
| | 01:14 |
going to bring out some of those weaker
colors.
| | 01:17 |
If we increase the Saturation it's
going to overdue it.
| | 01:20 |
That often happens with Saturation.
So here, we want to be really careful with
| | 01:24 |
this slider.
And just add just a touch there of
| | 01:26 |
Saturation to create this overall effect.
After we've added some Vibrance and
| | 01:31 |
Saturation, you may want to go back to
your other sliders as well.
| | 01:34 |
Customize those.
So, you can dial in the exact look you're
| | 01:37 |
going for.
Here, we'll tap the backslash key and you
| | 01:39 |
can see this is the before, and then we'll
press it again and you can see the after.
| | 01:45 |
So, this overall look or color effect was
really created by using the Temperature
| | 01:49 |
and Tint and the Vibrance and Saturation
sliders together.
| | 01:53 |
And that's important to keep in mind.
That often, when you're processing your
| | 01:57 |
photographs, there isn't one magic bullet.
There isn't one slider which saves the day.
| | 02:02 |
Rather, it's often about combining your
use of different sliders, in order to
| | 02:06 |
create a desired effect.
Let's take a look at one more photograph.
| | 02:10 |
This is a picture of a surfer at sunrise.
And this is a photograph in my portfolio,
| | 02:15 |
and again with this image, I wanted to
warm it up and to bring out more yellows
| | 02:19 |
and reds.
Well, you already know how to do this.
| | 02:22 |
You simply work with your Temperature
slider.
| | 02:24 |
Then you add some Tint to add some deeper
reds there.
| | 02:27 |
And you keep dragging these sliders, and
you kind of play with them back and forth
| | 02:31 |
until you find just the right mix that
you're going for.
| | 02:34 |
Then, you jump down to your other sliders.
As you modify the Exposure, that affects
| | 02:38 |
the overall color.
So, if you need to make Exposure
| | 02:41 |
adjustments or Contrast adjustments or
whatever it is, make those adjustments.
| | 02:46 |
Here, I'll decrease the Exposure a bit and
increase the Contrast.
| | 02:50 |
Next, I'll deepen the blacks because I
want to nice deep rich black there.
| | 02:53 |
And all of a sudden we have these
beautiful vibrant colors.
| | 02:58 |
Well, let's work on Vibrance and
Saturation here as well.
| | 03:01 |
I'm going to drag my Vibrance slider just
a little bit to the left.
| | 03:05 |
What that will allow me to do is to remove
some of the over saturation that happened
| | 03:09 |
in the brighter tones.
With the Saturation slider I'll go ahead
| | 03:13 |
and drag that around a little bit until I
find a nice spot for that.
| | 03:16 |
Just a touch there of Saturation.
And then I'll modify these sliders until I
| | 03:20 |
like the overall color palette that we've
created.
| | 03:23 |
And once again, we started off with
Temperature and Tint, then we worked with
| | 03:27 |
our controls here in the middle.
And last but not least, we made some
| | 03:31 |
adjustments using Vibrance and Saturation.
This time reducing Vibrance, so there
| | 03:37 |
isn't one way to work with these sliders.
Every image, it will be a little bit different.
| | 03:42 |
That's why you want to have a good working
understanding of how these sliders work.
| | 03:45 |
You want to keep in mind that Saturation,
it allows you to make linear adjustments
| | 03:50 |
to increase or decrease the color in a
uniform way.
| | 03:53 |
Vibrance on the other hand, allows you to
target those weaker tones.
| | 03:57 |
And so experiment with these sliders as
you work on your own images.
| | 04:01 |
And what you'll see is that as you start
to integrate these into your workflow.
| | 04:05 |
These sliders can allow you to adjust or
modify the color in your pictures in some
| | 04:10 |
really interesting ways.
| | 04:11 |
| | Collapse this transcript |
| Introducing the Clarity control| 00:00 |
The Clarity slider in the Basic Panel
allows us to add some punch or some
| | 00:05 |
midtone contrast to our photographs.
And it also affects the color in an
| | 00:09 |
interesting way as well.
So, let's begin to take a look at how we
| | 00:13 |
can use the Clarity slider in combination
with the few other sliders, in order to
| | 00:17 |
improve our photographs.
Now, we'll begin by working with this demo
| | 00:21 |
file here.
This demo file contains a circle with a
| | 00:24 |
gradient in it that I posterized so you
can see these little stair steps.
| | 00:28 |
And I did that, so that we can start to
understand the difference between contrast
| | 00:33 |
and clarity.
Both of these controls allow us to add contrast.
| | 00:37 |
But they work in different ways.
When we work with the contrast slider if
| | 00:41 |
we drag this to the right you'll notice
that this area of the image becomes much brighter.
| | 00:45 |
This area becomes much darker.
Drag this to the left and it removes the
| | 00:49 |
difference in the overall tonal range of
the image.
| | 00:52 |
It becomes a bit more even or smooth.
The contrast slider works in pretty big
| | 00:57 |
and bold ways.
It allows us to apply adjustments really
| | 01:00 |
to the entire tonal spectrum of the
photograph.
| | 01:03 |
In contrast, clarity focuses more in on
these mid-toned areas.
| | 01:08 |
Here, I'll go ahead and increase the
overall clarity and what you'll notice is
| | 01:12 |
that, it's adding some texture or detail
or punch in this part of the image.
| | 01:17 |
Click and drag this to the left and the
photograph becomes really soft and smooth.
| | 01:21 |
If I zoom in on the image, you'll see the
difference even more clearly.
| | 01:25 |
Notice that as I drag that clarity slider
to the right, it's almost like the ridges
| | 01:29 |
here are a little bit more bumpy as if you
were to drag your finger across that, you
| | 01:34 |
would feel those ridges a little bit more.
And that's what Clarity allows us to do.
| | 01:37 |
It allows us to add some of this mid-tone
contrast in this way.
| | 01:42 |
So, while Contrast allows us to make some
pretty big and bold adjustments, Clarity
| | 01:47 |
on the other hand, allows us to make some
more subtle adjustments.
| | 01:51 |
Now, both of these controls also affect
color in different ways as well.
| | 01:55 |
Let's take a look at how these controls
affect color and how we can use them to
| | 02:00 |
improve a color photograph.
And let's do that in the next movie.
| | 02:04 |
| | Collapse this transcript |
| Using clarity in collaboration with vibrance and saturation| 00:00 |
In order to understand how to best use the
Clarity slider, it's key to understand how
| | 00:05 |
this slider allows you to add some
mid-tone contrast or punch to your photographs.
| | 00:09 |
But how it also affects the color of your
images as well.
| | 00:13 |
Sometimes, you can use a slider in order
to create some unique color affects or
| | 00:17 |
looks in your pictures.
Other times, what you may need to do is to
| | 00:21 |
increase the Clarity, and then offset the
color affect by using some other sliders
| | 00:25 |
as well.
Well, let's dig into this topic beginning
| | 00:28 |
with this photograph here.
Let's start off by taking a look at how
| | 00:32 |
this photograph will be modified as we
change the overall Contrast.
| | 00:36 |
If we decrease the Contrast that removes
contrast and color saturation.
| | 00:40 |
If we increase the Contrast you can see
that the image is now much more saturated
| | 00:45 |
and you can see it has a higher level of
contrast.
| | 00:47 |
Double-click the slider to bring it back
to the default setting.
| | 00:51 |
Now, let's compare that, say, to Clarity.
When we drag the Clarity slider to the
| | 00:55 |
left, we have less color, and the image
becomes soft.
| | 00:58 |
It's almost unreadable.
It just looks a little bit strange.
| | 01:02 |
So, you want to be careful with adding a
negative amount of Clarity.
| | 01:06 |
You may just add a subtle amount in order
to soften the overall picture.
| | 01:10 |
Sometimes this works well with portraits.
Yet, you want to be really careful with
| | 01:13 |
that amount because things can really fall
apart pretty quickly.
| | 01:16 |
If we zoom in close, you can see that that
doesn't look very good.
| | 01:20 |
Well, let's then compare this to adding
some Clarity.
| | 01:23 |
If we increase the Clarity amount, you can
see the image looks like it has more
| | 01:27 |
crunch or punch.
Or mid-tone contrast here.
| | 01:31 |
Yet, it also removes some of the overall
color.
| | 01:34 |
Let's compare that again to Contrast.
Here is an increased amount of Contrast at
| | 01:39 |
100, really deep saturated colors, a lot
of contrast.
| | 01:43 |
Clarity on the other hand, it increases
mid-tone contrast.
| | 01:46 |
It also removes color.
So, the reason why I'm pointing this out,
| | 01:51 |
is because sometimes what will happen, is
people add some clarity and not really
| | 01:55 |
realize that it's also removing some
color.
| | 01:58 |
If that happens, if you want to add a bit
of clarity, what you may want to do is
| | 02:02 |
increase your overall Vibrance.
And maybe a touch of the Saturation, to
| | 02:06 |
bring back some of the original color.
In doing that, this can allow you to come
| | 02:10 |
up with a pretty interesting look in your
photograph.
| | 02:13 |
Here, let me zoom back in on this image so
we can see a bit more subtle application
| | 02:17 |
using Clarity, and Vibrance, and
Saturation together.
| | 02:21 |
Here, I've increased the clarity to about
26, brought up my Vibrance to 35, and
| | 02:26 |
Saturation to 10.
Now, when I press the backslash key, you
| | 02:30 |
can see here's the before, and then I'll
press it again, and here is the after.
| | 02:34 |
I have this interesting mid-tone contrast
or punch, and I have that because I
| | 02:39 |
increased the Clarity.
Yet, I also brought back a little bit of
| | 02:42 |
color by working with my Vibrance and my
Saturation sliders.
| | 02:45 |
And of course, what you can do is bring
these up to just the exact spot where you
| | 02:50 |
want them so that you can create the
desired effect.
| | 02:53 |
Now, it's nearly impossible to have the
exact same color as you had before.
| | 02:58 |
Yet, what you can often do is offset the
loss of color, again by working with these sliders.
| | 03:03 |
Now, sometimes, what you want to do is
apply a really subtle adjustment with the
| | 03:07 |
Clarity and Vibrance and Saturation
sliders.
| | 03:10 |
Other times, you may really want to
exaggerate it.
| | 03:13 |
And have some fun.
And come up with some fantastic and
| | 03:16 |
creative looks in your photographs.
Yet, what I want to highlight is that, as
| | 03:19 |
you work with clarity.
Keep in mind that the clarity slider is
| | 03:23 |
grouped with Vibrance and Saturation for a
distinct reason.
| | 03:28 |
As you increase this, you also may need to
increase a little bit of Vibrance and
| | 03:32 |
saturation as well.
So that you can add that mid tone punch in
| | 03:36 |
Contrast without sacrificing or comprising
the overall color.
| | 03:40 |
Well, now that we've looked at an example
of how we can use Clarity, and Vibrance,
| | 03:44 |
and Saturation in order to create a bit of
a subtle look,let's experiment and let's
| | 03:49 |
look at how we can use this slider, in
order to come up with some creative
| | 03:52 |
effects, and let's do that in the next
movie.
| | 03:54 |
| | Collapse this transcript |
| Creating a unique color look for your photographs| 00:00 |
So far, we've talked about how we can work
with the Clarity slider in order to add
| | 00:04 |
some snap or some mid-tone contrast to our
photographs.
| | 00:07 |
We've also highlighted how when you
increase the Clarity, it removes some of
| | 00:11 |
the color.
Well, sometime what you can do is you can
| | 00:14 |
use that to your advantage, in order to
come up with some creative ways to process
| | 00:18 |
your photographs.
Like with this image here, one of the
| | 00:21 |
things that I want to do is change the
overall color and look in the photograph.
| | 00:25 |
So, I'll begin by working with the Clarity
slider.
| | 00:27 |
And here, I'm going to drag this to the
right and I'm going to increase the
| | 00:30 |
overall clarity amount to an exaggerated
amount.
| | 00:33 |
Here, we have a kind of an edgy look in
our particular photograph.
| | 00:37 |
It's also removed some of the color, it's
created a bit more grit, or edge, in the
| | 00:42 |
overall photograph.
Next, I'll modify my Temperature and Tint.
| | 00:45 |
And here I'm going to change the overall
Temperature in the Tint amount.
| | 00:49 |
And I'm just going to do this in a way to
have a little bit of fun with the overall
| | 00:52 |
look in the photograph.
Now, when it comes to Contrast with this
| | 00:55 |
picture, we could of course increase or
decrease.
| | 00:58 |
Really, it's up to how you want to process
the picture.
| | 01:01 |
Here, I'll bring down the Highlights so
I'll drag my Highlight slider to the left.
| | 01:05 |
Also drag down the White slider a little
bit as well, as well as the Black slider
| | 01:10 |
here too to deepen up those darker tones
in the image.
| | 01:13 |
And all that I'm trying to do here is just
to process the image in a completely
| | 01:17 |
different way.
I'll bring up some Vibrance and also drop
| | 01:20 |
down the Saturation.
And this way, we have a very distinct and
| | 01:25 |
unique color look in this photograph.
If we tap the backslash key you can see
| | 01:30 |
here is the before, and then I'll tap it
again and here is the after.
| | 01:33 |
Now, when it comes to creative options for
how you process your photographs, really,
| | 01:38 |
the sky is the limit.
There are so many different ways that you
| | 01:41 |
can do this.
If you don't like this particular look, no
| | 01:44 |
big deal.
The point here is to start to think about
| | 01:48 |
how you can work with this Clarity slider.
And how you can use this to add some of
| | 01:52 |
this particular look to your photograph.
And then combine this with the other
| | 01:56 |
adjustments which we have here in the
Basic panel.
| | 01:58 |
Well, let's take a look at one more image
where I have an example which is a bit
| | 02:02 |
more simple.
With this photograph, I'll go ahead and
| | 02:05 |
click on it to zoom in.
One of the things that I want to do is
| | 02:08 |
desaturate it and add some mid-tone
contrast.
| | 02:11 |
To do that, I'll bring up the Clarity
slider.
| | 02:13 |
Actually, if I zoom out you may be able to
see this better.
| | 02:17 |
I like the color in the sky and also on
the subject and on the ground.
| | 02:21 |
So again, I'm going to increase that
Clarity amount.
| | 02:24 |
I'll desaturate the image a little bit and
increase my Vibrance.
| | 02:29 |
Here, I'll bring up some shadows there and
increase the Contrast.
| | 02:33 |
I'm just going to modify this image until
we have a particular look.
| | 02:36 |
Here, I've modified the temperature, bring
that up a little bit.
| | 02:41 |
A little bit of contrast.
Highlights came down, shadows went up.
| | 02:45 |
And what you want to do is just sort of
tinker with these controls.
| | 02:48 |
Drag them around until you see a look
which is interesting to you.
| | 02:53 |
If we Zoom In on this picture, you can see
that we have kind of a crazy photograph here.
| | 02:58 |
And if I tap the backslash key you can see
here's the before, tap it again, then here
| | 03:04 |
is the after.
And this particular look was able to be
| | 03:07 |
accomplished because of our Clarity
slider.
| | 03:09 |
Now, this doesn't always work well.
Sometimes what you'll find is that as you
| | 03:13 |
increase the Clarity amount, it's over
done.
| | 03:16 |
Or, perhaps as you modify the color in one
way you may want to change it back.
| | 03:20 |
You can always change your mind, and you
can always modify any of your adjustments
| | 03:24 |
after the fact.
As I'm doing here, I'm going to go ahead
| | 03:27 |
and just tweak these adjustments out a
little bit, so that we can have yet a
| | 03:31 |
different version of this photograph.
And so, here I'm just going to bring these
| | 03:34 |
values down just a bit.
All right.
| | 03:37 |
I think that's kind of a fun way to
process this image.
| | 03:40 |
I'll tap the Backslash key.
There is our before, I'll tap it again,
| | 03:44 |
there is the after.
Let me zoom in on the photograph, so that
| | 03:47 |
you can see that a bit better.
Here it is, our overall before, and then
| | 03:52 |
now our after.
And perhaps more important than our before
| | 03:56 |
and after is the concept of what I'm
trying to talk about here.
| | 03:59 |
And that is how we can start to make some
creative adjustments to our photographs by
| | 04:04 |
taking advantage of what we know about
Clarity, Vibrance and Saturation.
| | 04:09 |
And then, combining it with what we know
about some of our other controls that we
| | 04:12 |
have here in the Basic panel.
| | 04:14 |
| | Collapse this transcript |
|
|
5. Basic Black-and-White ConversionThree ways to quickly remove color| 00:00 |
I don't know how it is for you, but for
me, I just love black and white photography.
| | 00:05 |
There's something about it which is really
compelling and engaging.
| | 00:08 |
And so here, let's take a look at a few
techniques that we can use in order to
| | 00:13 |
begin to convert our photographs to black
and white.
| | 00:16 |
We'll begin by working with this portrait
here that I captured last week.
| | 00:20 |
And what I want to do with this image is I
want to remove the color and create and
| | 00:23 |
nice high-contrast black and white
picture.
| | 00:26 |
To do that, we'll begin in the Basic
panel.
| | 00:29 |
One of the ways you can remover color is
to simply reduce the Saturation.
| | 00:33 |
Drag the saturation slider to the left, in
order to remove the color.
| | 00:36 |
And this will give you a black and white
conversion which is based on your
| | 00:40 |
Temperature and your Tint.
So that if you modify these sliders,
| | 00:44 |
you'll change or modify the overall
characteristic of the black and white photograph.
| | 00:48 |
Yet, perhaps to have even more control,
what you'll want to do is, go down to your
| | 00:53 |
different sliders and controls that you
have here.
| | 00:55 |
For example, I want to brighten the
highlight, so I'll drag that slider to the right.
| | 00:59 |
I also might increase my overall exposure
touch there and add a little bit of
| | 01:03 |
contrast, and then darken the blacks.
And this gives us a really kind of
| | 01:07 |
interesting black and white version of
this photograph.
| | 01:10 |
Now, to see the before and after, just tap
your backslash key.
| | 01:14 |
That will show you the before.
Tap it again, and then you can see the after.
| | 01:18 |
Well, next, what I want to do is bring
back the color.
| | 01:21 |
To do that, we'll double-click our
Saturation slider.
| | 01:24 |
And I want to bring back the color, just
to talk about how we can use another
| | 01:27 |
technique to convert this image to black
and white.
| | 01:30 |
Here, I'm going to zoom in on the image a
little bit.
| | 01:32 |
And when we zoom in, one of the things
that you'll notice is that we have
| | 01:35 |
different tones or colors in the skin
tone.
| | 01:38 |
We can take advantage of the colors that
we have in our photograph, say in the skin
| | 01:43 |
or if we zoom out in the shirt or in other
areas of the picture.
| | 01:46 |
And we can use those different colors to
create interesting black and white photographs.
| | 01:51 |
Let me show you how we can do that.
You can either tap the V key on your
| | 01:55 |
keyboard, or you can click on this Black
and White button right here.
| | 01:58 |
Either way, by tapping the V key or by
clicking on that button, what it will do
| | 02:03 |
is it will convert the image to black and
white.
| | 02:05 |
And it will disable the Vibrance and the
Saturation sliders.
| | 02:09 |
Now here, of course, we have the same
flexibility to work with our sliders and
| | 02:12 |
controls here, to change the overall look
of the photograph.
| | 02:15 |
Or what we can do is go down to the Black
and White panel.
| | 02:19 |
If you click on the word Black and White
to expand that, you'll notice that you
| | 02:22 |
have some sliders, which allow you to
target different colors or tones.
| | 02:26 |
Do you remember that the shirt had a
little bit of blue in it?
| | 02:29 |
Well, if we drag the blue slider to the
left, it will then darken that part of our photograph.
| | 02:34 |
Or with the skin tone that has a lot of
red and orange in it, if we brighten this
| | 02:39 |
amount, what we can do is even out the
skin and brighten that or darken that even more.
| | 02:44 |
Sometimes, this can help me to create
really interesting black and white conversions.
| | 02:48 |
Because you have even more control so that
you can sort of target precise tones or
| | 02:52 |
colors and then brighten or darken those
in order to create a particular look.
| | 02:56 |
Now often, what I find is that I'll work
with the Black and White panel, as we've
| | 03:00 |
done here.
But then, I almost always go back to the
| | 03:03 |
Basic panel and make other adjustments as
well.
| | 03:05 |
For example, I'm going to brighten the
highlights even more.
| | 03:08 |
Because the look that I'm going for in
this image is a real high contrast bright
| | 03:12 |
black and white conversion of the image.
Alright, well there you have it.
| | 03:17 |
There are a few techniques that you can
use to convert your images to black and white.
| | 03:21 |
To review you can desaturate by using the
Saturation slider.
| | 03:25 |
Or, you can press the V key.
If you forget that shortcut, you can
| | 03:28 |
always just click on the Black and White
button right here.
| | 03:31 |
And then, last but not least, you can
navigate down to the Black and White panel.
| | 03:35 |
And you can use the sliders in order to
target specific colors.
| | 03:39 |
And you can brighten or darken those
colors in your photographs once you've
| | 03:42 |
converted it to black and white.
| | 03:44 |
| | Collapse this transcript |
| Using the Targeted Adjustment tool to change brightness| 00:00 |
In the previous movie, we saw a few
methods that we can use in order to
| | 00:03 |
convert our images to black and white.
In this movie, I want to build upon what
| | 00:08 |
we learned.
And I want to talk about how we can speed
| | 00:11 |
up our work flow, in order to try to
create some engaging black and white photographs.
| | 00:15 |
Now, I've already mentioned that you can
tap the V key to convert your image to
| | 00:19 |
black and white.
Or you can press this black and white
| | 00:22 |
button right here in the Basic Panel.
Or you can also just simply click on the B
| | 00:26 |
and W button.
The black and white button here.
| | 00:28 |
And what that will do is it will convert
your image to black and white.
| | 00:31 |
And give you access to these controls.
Now, one of the controls, which I haven't
| | 00:35 |
mentioned yet, is called the Targeted
Adjustment Tool.
| | 00:39 |
You can select it by clicking on this
little icon right here.
| | 00:42 |
What's great about this tool is that, it
allows you to modify these sliders without
| | 00:47 |
having to remember what color was located
in what area in your photograph.
| | 00:52 |
Simply position your cursor over an area
your picture, then click and drag down to
| | 00:56 |
darken that area or click and drag up in
order to brighten it.
| | 00:59 |
In this way, we can just target that area
really quickly.
| | 01:02 |
We could move to the shirt and do the same
thing.
| | 01:04 |
Here, I'll click and drag down to darken
that part of the shirt, or we could go
| | 01:07 |
over to the skin tones and brighten those
up in this way.
| | 01:11 |
This allows us to create much more
interesting black and white conversions,
| | 01:15 |
and keep in mind that while I'm showing
you this with a portrait, this technique
| | 01:18 |
works with whatever type of photograph
that you have.
| | 01:21 |
Now, once you finish with the tool, go
ahead and click Done, and then you'll want
| | 01:24 |
to scroll back to the Basic Panel.
Typically, when you're creating black and
| | 01:28 |
white images, you'll want to combine thee
two panels together.
| | 01:31 |
Here, I'm going to add a little bit of
clarity.
| | 01:33 |
To add just a touch of mid-tone contrast.
I'll bring up my contrast slider as well.
| | 01:37 |
And then I'll darken those blacks in the
shadows here a little bit too.
| | 01:40 |
I'll just work on my highlights.
I want to keep those nice and bright.
| | 01:44 |
And I'm just modifying this image subtly,
in order to create, what I think is an
| | 01:48 |
interesting black and white photograph.
All right, well, after having made these
| | 01:52 |
adjustments, I like to evaluate my
progress.
| | 01:55 |
To do so, tap the backslash key that will
show you the before.
| | 01:58 |
Then tap it again and here you'll see the
after.
| | 02:02 |
Well, now that we've converted this one
image to black and white, I have a few
| | 02:05 |
more photographs that I want to convert as
well.
| | 02:07 |
So, let's take a look at how we can do
that in the next movie.
| | 02:11 |
| | Collapse this transcript |
| Synchronizing black-and-white settings across multiple images| 00:00 |
Often what will happen is once you convert
one image to Black and White, you may
| | 00:04 |
want to synchronize those settings across
other photographs as well.
| | 00:07 |
And that's what I want to do here.
In the previous movie, we converted this
| | 00:11 |
image to Black and White, working with the
Black and White panel, and also the Basic panel.
| | 00:16 |
I have these other two photographs which
were captured in a similar situation of
| | 00:20 |
the same subject, and I want to
synchronize the settings across all three files.
| | 00:24 |
We'll begin by clicking on the photograph
that you've converted to Black and White.
| | 00:28 |
Then, hold down the Cmd key on a Mac or
Ctrl key on Windows and click on the other
| | 00:32 |
photographs that you want to synchronize
the settings for.
| | 00:35 |
Then, go ahead and click on this flip
switch here so that you have, the Sync
| | 00:39 |
button, which reads, Sync dot dot dot.
Whenever you see dots after a menu item,
| | 00:45 |
that will tell you that if you click, it
will open up another dialog.
| | 00:49 |
In this case, when we click on this it
opens up our Synchronize Settings dialog.
| | 00:54 |
So, go ahead and click on the Sync dot dot
dot button.
| | 00:56 |
And what I want to do is customize what we
have here.
| | 00:59 |
So, let's begin by selecting Check None.
The settings that we want to apply to both
| | 01:04 |
images are the settings in the basic tone
area.
| | 01:07 |
Which are these adjustments which we have
in the Basic panel.
| | 01:10 |
We also want to synchronize the Black and
White Mix.
| | 01:14 |
So next, after having selected those
options simply click Synchronize.
| | 01:18 |
And what this will do is it will apply
those settings to all of these photographs.
| | 01:22 |
Now, you'll notice that all three images
are currently selected.
| | 01:26 |
In order to deselect the photograph, what
you can do is you can press the forward
| | 01:30 |
slash key.
Notice how as I did that it deselected
| | 01:33 |
those images.
Another way that you can do this is you
| | 01:36 |
can press Shift+Cmd+D on a mac or
Shift+Ctrl+D on windows that allows you to
| | 01:43 |
deselect as well.
And the third technique is to simply click
| | 01:46 |
off of your photographs in the film strip
so that you no longer have a selection.
| | 01:51 |
The reason why I wanted to highlight that
is often you have to use synchronize
| | 01:55 |
settings, you want to go back to a
specific image and here you may want to
| | 01:58 |
customize it.
I'm going to bright my highlights and my
| | 02:01 |
overall exposure a little bit more and
then darken the black.
| | 02:05 |
Because the composition is different here,
you may want to customize the settings.
| | 02:09 |
Here's another photograph that I think
could use from a little more of a
| | 02:12 |
brightening effect.
Or maybe you want to go to the Black and
| | 02:15 |
White panel, and in the Black and White
panel, click on the Targeted Adjustment tool.
| | 02:20 |
Position your cursor over an area of the
image, and then click and drag up or down
| | 02:24 |
in order to brighten or darken a certain
area of the picture.
| | 02:27 |
In this case, I'm just going to darken the
background and also brighten up the face
| | 02:31 |
there a little bit so that we have a nice
look in that part of our picture.
| | 02:35 |
Make sure to have the important area
bright, and then I'll scroll back.
| | 02:39 |
And I'm also going to brighten up the
overall exposure just a little bit more as well.
| | 02:43 |
Alright, well there's a technique that you
can use which will allow you to convert
| | 02:47 |
multiple images to Black and White.
And it all revolves around being able to
| | 02:51 |
synchronize those files.
Remember you select the image which you
| | 02:55 |
want to use as sort of the base image.
Then, hold down the Cmd key on a Mac.
| | 02:59 |
Ctrl key on Windows.
And click on any other photographs.
| | 03:03 |
Then, click on Sync dot dot dot.
If you don't see that, click on this flip
| | 03:07 |
switch to turn off Auto-Sync.
And then, in this dialog, choose the
| | 03:11 |
options which you want to synchronize.
Which will then allow you to synchronize
| | 03:15 |
those settings across multiple files.
| | 03:18 |
| | Collapse this transcript |
|
|
6. Processing Multiple ImagesSynchronizing adjustments to multiple images| 00:00 |
In the previous chapter, when we were
focusing in on creating black and white
| | 00:04 |
conversions of our photographs, I
introduced a topic of how we can start to
| | 00:08 |
synchronize the settings across multiple
files.
| | 00:11 |
Well here, what I want to do is pick up on
that topic and talk about how we can work
| | 00:15 |
with Synchronizing Settings a few
different ways.
| | 00:18 |
So, let's begin with a little bit of a
review.
| | 00:21 |
In this folder, I have a few images which
were captured in a very similar lighting situation.
| | 00:26 |
Here, you can see the two photographs.
And what I want to do is convert these
| | 00:30 |
images to black and white.
Now, we've already talked about how you
| | 00:33 |
can remove the Saturation here, and then
you can modify these sliders.
| | 00:37 |
Here, I'll increase the Highlights, add a
little bit more Contrast and Clarity, just
| | 00:41 |
to create a black and white version of
this photograph.
| | 00:44 |
Now, to apply these settings to another
photograph or many other photographs, we
| | 00:49 |
have a few different options.
One option, is to hold down the Cmd key on
| | 00:53 |
a Mac, or Ctrl key on Windows, and then to
click on one or more other photographs.
| | 00:58 |
When we have multiple images selected, we
can click on this Flip Switch, and we can
| | 01:02 |
take advantage of Sync.
Go ahead and click on Sync.
| | 01:06 |
That will open up our Synchronize
Settings.
| | 01:08 |
Now, here, we can synchronize nothing or
we can choose a specific area, say like
| | 01:13 |
Basic Tone.
And the reason why I wanted to review or
| | 01:16 |
revisit this is it whatever we have set up
here, we can also take advantage of when
| | 01:22 |
we use Auto Sync.
So, what I want to do is, I want to
| | 01:25 |
synchronize everything for just a moment,
so I'll click on Check All.
| | 01:29 |
Now that I've selected all of this, when I
click Synchronize, what that will do is it
| | 01:34 |
will then synchronize these settings, as
we can see here, so that these images are
| | 01:37 |
both converted to black and white with the
same exact settings or values.
| | 01:42 |
What becomes interesting is after you've
dialed in which particular settings you
| | 01:47 |
want to synchronize by using this dialogue
key here, what you can do is flip the
| | 01:52 |
switch and turn on what's called Auto
Sync.
| | 01:55 |
Now, Auto Sync is really phenomenal
because it allows you to select two or
| | 01:59 |
more photographs.
And then to process those simultaneously
| | 02:02 |
at the exact same time.
So, for example, let's say I decided I
| | 02:06 |
wanted to bring back the colors.
So, here I'll go ahead and drag the
| | 02:10 |
saturation slider up to a value of zero.
I also want to brighten my Highlights here
| | 02:14 |
and the Whites a little bit.
And change perhaps a color Temperature a
| | 02:18 |
touch as well.
Well, after having made those changes,
| | 02:21 |
you'll notice that those settings have
been applied to those photographs.
| | 02:25 |
And that's because Auto Sync was turned
on.
| | 02:28 |
Now, the settings that have been synced
across these files is contingent or
| | 02:33 |
dependent upon what we've selected here in
this dialog.
| | 02:37 |
In other words, if you only select, say,
White Balance.
| | 02:40 |
Well then, it will only automatically
synchronize White Balance.
| | 02:44 |
If you've checked everything as I did, it
would then synchronize all of these
| | 02:48 |
different settings if I were working in
this panel.
| | 02:50 |
And the other panels, as well.
So again, just make sure to dial in
| | 02:54 |
whatever settings it is that you want to
use before you flip on this switch.
| | 02:58 |
Otherwise, what can happen is you can
accidentally synchronize settings in
| | 03:02 |
different areas or with different panels
that you weren't really aware of.
| | 03:06 |
So again, you always want to double check
those settings before you flip on Auto
| | 03:09 |
Sync in order to make the changes to your
photographs.
| | 03:12 |
All right, well to wrap up this movie,
let's say that we actually want these in
| | 03:15 |
black and white.
Values and controls in order to dial in
| | 03:18 |
the look for these black and white images.
After you have finished your work with
| | 03:23 |
Auto Sync, what you want to do next of
course is move on to other photographs.
| | 03:27 |
And one easy way to do that, to deselect
these pictures is to simply click on
| | 03:32 |
another photograph.
I'll click on this one here.
| | 03:34 |
And now, you can see I've moved on from
those two photographs.
| | 03:37 |
And so, let's move on to these other
pictures.
| | 03:39 |
And let's talk about a few other
techniques that we can use in order to
| | 03:43 |
process these files more quickly.
| | 03:45 |
| | Collapse this transcript |
| Copying and pasting settings across multiple images| 00:00 |
Another way that you can speed up your
word flow is by processing one photograph
| | 00:04 |
and then copying and pasting the settings
from that picture to another.
| | 00:08 |
Well, let's take a look at how we can do
that with these two photographs here which
| | 00:12 |
were captured in the same lighting
situation.
| | 00:14 |
Often, if you have images which were
captured in a similar way, you can take
| | 00:18 |
advantage of this technique.
Now, this is the photograph as it appeared
| | 00:22 |
straight out of the camera.
In my opinion, it's much too warm.
| | 00:25 |
So, I want to create a version of this
image which is cooler.
| | 00:28 |
So, we'll begin my dragging our
temperature slider to the left here.
| | 00:32 |
Next, we'll work with a few other sliders
as well.
| | 00:34 |
Why don't we increase our Contrast.
Drag that value a little bit to the right.
| | 00:40 |
We could also brighten up the Highlights
here, by dragging the Highlights slider to
| | 00:43 |
the right as well.
And then, I'll go down, and I'll add just
| | 00:46 |
a bit of Clarity.
And maybe a touch of Vibrance to increase
| | 00:49 |
the overall color variety.
All right.
| | 00:51 |
Well, some simple adjustments.
But nonetheless, a different look in the photograph.
| | 00:56 |
If we tap the backslash key, you can see,
here's the before.
| | 00:58 |
Tap it again.
Now, here's the after.
| | 01:01 |
Well, after having processed this image,
I've also realized that I want to process
| | 01:05 |
this photograph exactly the same way.
Well, to do so, go to the image that you
| | 01:10 |
like, the image that you've processed.
You want to use that, and then copy those
| | 01:14 |
settings to another photograph.
In order to do that, we have a few techniques.
| | 01:19 |
You can click on the Copy dot dot dot
button, when you do that it will open up
| | 01:23 |
our Copy Settings dialogue.
You'll notice that this particular
| | 01:27 |
dialogue looks very similar to our
Synchronize Settings dialogue, it just has
| | 01:31 |
a different name.
And that's because this allows us to copy
| | 01:34 |
and paste whatever settings we want to
work with.
| | 01:37 |
Here, we could choose Check None, and then
we could specify certain settings by
| | 01:40 |
clicking on those options here.
Or we could check all and we could copy
| | 01:44 |
all of the settings, which we could apply
here in the Basic panel in the various
| | 01:48 |
panels that we have on the right.
In this case, I'll copy everything, so
| | 01:52 |
I'll go ahead and click Copy, after having
copied those, we'll navigate to another photograph.
| | 01:57 |
In this picture, we can click on the Paste
button, and then paste those settings to
| | 02:02 |
this particular file.
And after having made that adjustment,
| | 02:06 |
I've decide I actually want to change this
a little bit.
| | 02:08 |
I want to warm it up a little bit more.
So here, I'll go ahead and increase my
| | 02:11 |
color Temperature just a touch there.
I'll bring up a little more Contrast, and
| | 02:15 |
then I'll darken the Black tones a bit
more as well, and increase the Clarity.
| | 02:20 |
So here, I've taken these settings and
I've customized them further.
| | 02:24 |
And in order to be consistent, I want to
copy these settings and paste them to the
| | 02:29 |
other file.
Now, we can do this by using the copy and
| | 02:33 |
paste buttons or you can also use a few
handy shortcuts.
| | 02:37 |
I recommend that you write these down
because I think they're helpful especially
| | 02:41 |
when it comes to speeding up your
workflow.
| | 02:43 |
On a Mac, you press Shift+Cmd+C.
On Windows, press Shift+Ctrl+C.
| | 02:49 |
That will open up the Copy Settings
dialog.
| | 02:52 |
Go ahead and dial in whatever settings you
want to use.
| | 02:54 |
Or choose whatever settings it is you
want to copy.
| | 02:57 |
Then, press Copy.
Next, select another photograph, this one here.
| | 03:01 |
To paste the settings to this image press
Shift+Cmd+V on a Mac or Shift+Ctrl+V on Windows.
| | 03:08 |
That's a shortcut which allows you to
paste those settings to another file.
| | 03:12 |
Sometimes this will allow you to work
really quickly especially if you have a
| | 03:16 |
lot of photographs.
You can make a selection of those images,
| | 03:19 |
and then use those shortcut keys in order
to copy and paste the settings.
| | 03:23 |
Or if ever you forget the shortcuts or if
you just don't like those, you can always
| | 03:27 |
just press on these two buttons, and that
in turn, we'll help you to process those
| | 03:31 |
images more quickly.
| | 03:33 |
| | Collapse this transcript |
| Using one of the most useful buttons in Lightroom| 00:00 |
In my own work flow, there's one button
that I'm constantly using.
| | 00:03 |
And it's a button that often people refer
to as the most useful or the most valuable
| | 00:08 |
button in Lightroom.
It's called the "Previous button".
| | 00:11 |
Let's take a look at how we can use it in
a work flow scenario.
| | 00:14 |
You know, often what will happen is we'll
scroll through our images using our arrow keys.
| | 00:19 |
The left arrow key to move backwards, or
the right arrow key to move forwards.
| | 00:23 |
And we'll happen upon a photograph and
decide to process an image.
| | 00:27 |
And just to keep things simple, let's say
that with this photograph we decided that
| | 00:31 |
we want to increase the contrast and also
remove the color.
| | 00:34 |
So, I'll go ahead and increase the
contrast a little bit.
| | 00:37 |
And then drag the saturation slider to the
left in order to remove the color.
| | 00:41 |
After having processed this photograph, we
decide to move to the next photograph.
| | 00:45 |
To do so, I'll tap the right arrow key.
Now, upon arriving at this image I
| | 00:50 |
realized that I actually want to process
it, exactly as I processed the previous photograph.
| | 00:56 |
Well, to do that, all that you need to do
is to press the Previous button.
| | 01:00 |
What this will do, is it will apply those
settings in this case, thoss contrast and
| | 01:04 |
desaturation settings to this image.
And what this allows you to do is to
| | 01:09 |
really quickly take advantage of the
settings, which you used previously.
| | 01:14 |
Now, this works whether you're moving
forwards or backwards through your photographs.
| | 01:18 |
For example, let's say that after having
viewed this, I've decided I want to
| | 01:22 |
increase my Exposure a little bit.
And also, darken the overall highlights
| | 01:26 |
and then maybe add a little bit of Clarity
to the picture as well.
| | 01:30 |
Well, after having applied these settings,
or any settings for that matter, keep in
| | 01:33 |
mind this doesn't have to be with black
and white.
| | 01:36 |
All that you need to do is to navigate to
another photograph.
| | 01:39 |
Here, I'll click on this image here.
To apply those previous settings which
| | 01:43 |
involved modifying the exposure, clarity
and a few other sliders, we'll just click
| | 01:48 |
on the previous button.
Here, you can see how it's modifying those
| | 01:51 |
settings now to this photograph here as
well.
| | 01:54 |
And in this way, what this Previous button
allows you to do, is to take advantage of
| | 01:59 |
a typical work flow.
Because often, what will happen is you'll
| | 02:02 |
process one image, and you'll get excited
about it and then move on to the next photograph.
| | 02:07 |
And to quickly apply those settings, which
you just previously used.
| | 02:10 |
All that you need to do is to simply click
on the Previous button, which will allow
| | 02:15 |
you to reuse or reapply the settings onto
the image which you've just selected.
| | 02:21 |
| | Collapse this transcript |
|
|
7. Expanding Your Creative Potential with Virtual CopiesWhat are virtual copies and why do they matter?| 00:00 |
In this chapter, we're going to focus in
on how we can work with virtual copies
| | 00:04 |
here in Lightroom.
And in this first movie, I simply want to
| | 00:07 |
introduce you to the topic of virtual
copies, so we can understand what they are.
| | 00:12 |
And how they can help us out in our own
work flow.
| | 00:14 |
I'm working from this particular folder,
where I only have one image in the folder.
| | 00:19 |
And what I want to do, is I want to create
a virtual copy, so that I can process this
| | 00:23 |
image in multiple ways.
To do that you can navigate to the photo
| | 00:27 |
pull-down menu.
And then here, you can select Create
| | 00:30 |
Virtual Copy.
When you do that, it will create a
| | 00:33 |
duplicate version of your image here.
You can see that in the film strip below.
| | 00:37 |
And I can then process this image in a
different way.
| | 00:40 |
And just for simplicity sake, let me
change the color temperature a little bit here.
| | 00:44 |
So that now, we have two versions of our
photograph.
| | 00:47 |
The original file, as it was captured in
the camera.
| | 00:51 |
And then a virtual copy, which I processed
in a unique way.
| | 00:54 |
Now, what exactly is this virtual copy and
how does this work and why do these matter?
| | 01:00 |
Well, to answer those questions, what I
want to do is jump to a few slides, so
| | 01:04 |
that we could walk through this whole idea
of what a virtual copy is and how it can
| | 01:08 |
help us out in our own work flow.
In order to really understand these, we
| | 01:12 |
have to go back to the basics.
And talk about how Lightroom allows us to
| | 01:16 |
process our images.
As we note what Lightroom does, it allows
| | 01:21 |
us to work non destructively.
It allows us to make raw adjustments.
| | 01:24 |
In other words, it doesn't actually modify
the pixels, rather, it creates some raw instructions.
| | 01:30 |
All of these raw instructions, well,
they're saved inside of the Lightroom catalog.
| | 01:34 |
And the great thing about raw processing
is that, it allows us to work really
| | 01:38 |
quickly, and it gives us a lot of
flexibility.
| | 01:41 |
So, we can have an image, which we convert
to black and white.
| | 01:44 |
and then later, we can change our mind and
decide to have a bit more of a red shift
| | 01:49 |
in the photograph.
And this is really how Lightroom works
| | 01:52 |
when it comes to processing our
photographs.
| | 01:55 |
Now, we can get even more creative and
have even more flexibility if we work with
| | 02:00 |
what are called virtual copies.
And how virtual copies work is kind of interesting.
| | 02:05 |
Let's say for example that we have the
actual image and it's about 25 megs.
| | 02:10 |
Well, we create a virtual copy.
And what that can allow us to do, is to
| | 02:14 |
simply create a new set of instructions,
so that we can then display our photograph
| | 02:18 |
in a new way.
And we can also create multiple virtual
| | 02:22 |
copies, and the great thing about this, is
that rather than having to double or to
| | 02:27 |
triple our file size, we're simply adding
a new raw instruction file.
| | 02:32 |
Which really doesn't take up any file size
at all.
| | 02:35 |
In other words, what virtual copies allow
us to do, is they allow us to create
| | 02:40 |
another version of our photograph without
a significant increase in file size.
| | 02:45 |
Which in turn, allows us to get really
creative, and sometimes it gives us even
| | 02:50 |
better ways to process our photographs.
| | 02:54 |
| | Collapse this transcript |
| Expanding your creativity with virtual copies| 00:00 |
In this movie, I want to highlight three
different techniques that you can use in
| | 00:03 |
order to create a virtual copy.
And also, I want to go through a little
| | 00:07 |
bit of the work flow where we'll use
virtual copies in order to process the
| | 00:11 |
same photograph a few different ways.
Let's begin by clicking on an image or
| | 00:16 |
virtual copy for that matter, and then
next, navigate to that Photo pull-down menu.
| | 00:20 |
And here you can choose Create Virtual
Copy.
| | 00:23 |
Another way that you can do the same thing
is by using the shortcut.
| | 00:27 |
This is a shortcut that I recommend you
write down because, at least, in my own
| | 00:31 |
workflow, I find that I'm using the
shortcut quite a lot.
| | 00:34 |
On a Mac, you press Cmd+apostrophe.
Windows that's Ctrl+apostrophe, and that
| | 00:39 |
allows you to create the virtual copy.
Another way to do the same thing or the
| | 00:43 |
third way, is to click on the thumbnail in
the filmstrip below.
| | 00:47 |
Then, right-click, or Ctrl+click on the
image.
| | 00:50 |
In this Context menu, you're looking for
the option which is Create Virtual Copy.
| | 00:56 |
So, go ahead and use one of those three
techniques to create a virtual copy.
| | 01:00 |
What I want to do with this next image is
just process the image in a different way.
| | 01:05 |
Now, there is so much that we can do when
it comes to processing our photographs
| | 01:09 |
here in the Develop module.
Yet, to keep things simple, I'm going to
| | 01:12 |
remove the color here.
I'm going to desaturate the photograph.
| | 01:16 |
So, I'm going to have a black and white
version of this image.
| | 01:19 |
Yet, I'm not exactly convinced if this is
the best version of the photograph.
| | 01:23 |
Yet, I kind of like it.
But want I want to do is create another
| | 01:26 |
virtual copy so I can have another
version, so I can select between a couple
| | 01:31 |
of versions of this picture.
To do that, let's choose the shortcut key combination.
| | 01:35 |
Press Cmd+apostrophe on the Mac or
Ctrl+apostrophe on Windows to create yet
| | 01:41 |
another virtual copy.
If you don't like shortcuts or if you
| | 01:45 |
forget the shortcut, you can always just
go to the photo pull-down menu and choose
| | 01:49 |
Create Virtual Copy here.
And this will also list or show you the
| | 01:52 |
shortcut in case you forget it.
Well either way, now we have this second
| | 01:57 |
virtual copy here, at least in our
workflow in this movie.
| | 02:00 |
And with this image what I want to do is
deepen the Blacks here and also deepen my
| | 02:04 |
Highlights a bit, that will darken out
this part of the road.
| | 02:07 |
I want to increase the Contrast.
I'm looking to try to create a black and
| | 02:11 |
image which has a little bit more drama
and contrast in it.
| | 02:15 |
Well, here I'm just going to use a few
sliders to change the way that the image appears.
| | 02:18 |
In this case, I've modified contrast by
increasing that.
| | 02:22 |
Highlights, I brought way down.
It brought the Blacks down as well.
| | 02:26 |
And the Clarity slider up.
And if we click back and forth between
| | 02:30 |
these virtual copies, you can see that we
now have different versions of the photograph.
| | 02:34 |
Here's the original, or the master photo.
Then, here is virtual copy number one.
| | 02:39 |
You can see that this is listed right
here.
| | 02:41 |
And then, this is virtual copy number two,
at least in this movie.
| | 02:45 |
And this way, you can start to see how you
can have different versions of your photograph.
| | 02:50 |
Now, this works whether we're converting
to black and white or working with color
| | 02:54 |
effects as well.
In the previous movie, we created another
| | 02:58 |
color version of the image and we changed
the color temperature.
| | 03:01 |
We could create yet another version here.
Again, by using one of our techniques.
| | 03:06 |
This time, let's go to photo, and choose,
create virtual copy.
| | 03:10 |
Rather than having an image which simply
has a little bit of a color temperature
| | 03:14 |
change, I'm going to increase the
Contrast, drop the Highlights down.
| | 03:18 |
And then, bring in a little bit of
Clarity.
| | 03:20 |
And also, reduce my Vibrance and my
Saturation.
| | 03:23 |
This image has a bit more of a muted color
palette.
| | 03:27 |
It's a little bit of a different look for
this photograph.
| | 03:30 |
Now, I may not have experimented with this
picture unless I had the access to working
| | 03:35 |
with virtual copies.
This allowed me to work with the color in
| | 03:39 |
a different way.
And again, here we have the master photograph.
| | 03:43 |
And then, one version or one color
treatment, and then yet another.
| | 03:47 |
And as you're starting to see here, what
virtual copies allow you to do is they
| | 03:52 |
allow you to get really creative when it
comes to processing your photographs.
| | 03:56 |
And what I find is that as a photographer,
having this little bit of extra ability to
| | 04:01 |
be creative, often helps me discover the
best way to process a picture.
| | 04:06 |
Well, now that we've looked at how we can
create virtual copies in order to have
| | 04:09 |
more flexibility without a significant
increase in file size on your hard drive,
| | 04:14 |
What we need to do next is talk about well
what do we do with all these virtual copies.
| | 04:19 |
How can we delete them or get rid of them,
or how can we filter or find these.
| | 04:23 |
Lets talk about how we can do all of those
things in the next movie
| | 04:27 |
| | Collapse this transcript |
| Filtering, finding, and deleting virtual copies| 00:00 |
When you create a virtual copy, it is by
default saved in the same location as
| | 00:05 |
what's called the master photograph.
So here, we have the master photograph and
| | 00:08 |
then we have a few virtual copies which
we've created.
| | 00:12 |
Now, in order to follow along in this part
of the movie, what you'll need to do is to
| | 00:15 |
create some virtual copies of your own.
Because here, I want to look at how we can
| | 00:20 |
filter and find our virtual copies when
we're viewing more images.
| | 00:24 |
I also want to talk about how we can
delete or remove virtual copies as well.
| | 00:28 |
Well, often what will happen is we'll
navigate back to the Library module, and
| | 00:33 |
then the Library module, rather than just
viewing the folder that we we're working
| | 00:37 |
on, we may view another folder.
For example, like photos.
| | 00:40 |
This will show us all of the photographs
that we have here in this folder and all
| | 00:45 |
of the various sub-folders.
In this case it's showing me the master
| | 00:48 |
photograph as well as the virtual copies.
Well, if ever we just want to see the
| | 00:53 |
master photos or the virtual copies.
We can do so by navigating to the Grid View.
| | 00:58 |
Click on the Grid View icon which is
located right here.
| | 01:03 |
Next, in the Library filter bar above, we
can navigate to the Attribute area.
| | 01:07 |
Now, if this filter is invisible, press
the backslash key.
| | 01:12 |
That's the key, or the slash which leans
to the left.
| | 01:14 |
That allows you to toggle the visibility
of that on and off.
| | 01:18 |
And you want to turn that on, and then
click on Attribute.
| | 01:21 |
In this Attribute area, we can filter
based on a number of different criteria.
| | 01:25 |
But what I'm interested in focusing in on
is Kind.
| | 01:28 |
These first two icons here, they allow us
to filter based on either the master
| | 01:32 |
photograph, or the virtual copy.
If we click on Master Photo, what this
| | 01:37 |
will do is it just show us in our catalog,
or in this particular view of our catalog,
| | 01:42 |
all of the images which are master photos,
in this case, just this image here.
| | 01:46 |
On the other hand, if we want to view just
the virtual copies, we'll turn off that
| | 01:51 |
icon by clicking it.
And then, just click on this icon here and
| | 01:54 |
this is now just showing us the virtual
copies that we have in this particular
| | 01:58 |
view of our catalog.
Which we accessed by clicking on the
| | 02:01 |
Photos Folder.
And this can be a really helpful way to
| | 02:04 |
quickly find those virtual copies so that
you can then begin to work with those
| | 02:08 |
files and do what you need to do with
those images.
| | 02:10 |
And, you know, another thing that will
come up in your workflow is that you may
| | 02:14 |
decide that you want to delete or remove
or get rid off a virtual copy.
| | 02:19 |
Well, how can we do that?
Well, typically I find that happens when
| | 02:22 |
we're in the develop module.
Before I do that we need to turn off this
| | 02:25 |
filtering because I want to view all of
the images, the master photos, and the
| | 02:29 |
virtual copies.
And here, we'll go to the Virtual Copies
| | 02:32 |
folder again just to keep things clear and
simple so we're just viewing these images.
| | 02:38 |
Then, in the Develop module, we can see
that we have the master photograph here.
| | 02:42 |
And then, we have a few versions.
Two of our versions have to do with color.
| | 02:46 |
The first one, we have a little bit of a
warming effect.
| | 02:50 |
And the second one, we have a warming
effect, but also some increased Clarity
| | 02:54 |
and Contrast.
And we have a muted color palette.
| | 02:57 |
Well, out of these two images, I kind of
like the second one better.
| | 03:02 |
So, what I want to do is remove or delete
this virtual copy.
| | 03:06 |
To do so, simply press Delete on a Mac, or
Backspace on Windows.
| | 03:11 |
This will open up a dialog and say hey, do
you want to get rid of this virtual copy?
| | 03:15 |
Do you want to remove it?
Here, we'll just click Remove and that
| | 03:18 |
virtual copy is now gone.
And the great thing about this is that it
| | 03:22 |
doesn't delete the master photograph.
Rather, simply deleted our virtual copy
| | 03:27 |
which we created.
And now, I got rid of that because I've decided.
| | 03:30 |
You know what?
I actually like this particular version of
| | 03:33 |
the photograph.
You may be wondering.
| | 03:35 |
Well, why not just keep the virtual copy?
Well, you can definitely do that.
| | 03:39 |
There's no need to delete it because it
isn't taking up a lot of file size.
| | 03:43 |
Yet, sometimes you may just want to clean
house a little bit and get rid of those.
| | 03:47 |
So, I wanted to show you how you could do
that by simply pressing the Delete key on
| | 03:50 |
a Mac or the Backspace key on Windows.
| | 03:53 |
| | Collapse this transcript |
| Changing a virtual copy to a master photograph| 00:00 |
This movie will be a little bit more
advanced.
| | 00:02 |
Yet, I feel towards it's worthwhile to
talk about one more topic with virtual
| | 00:06 |
copies, and then it's how we can change a
virtual copy to a master photograph.
| | 00:11 |
And sometimes you may want to do this, so
that you can delete everything else.
| | 00:15 |
And then just have a new version of your
photograph, which is no longer a virtual
| | 00:19 |
copy, but which is actually the master
version of the picture.
| | 00:24 |
In order to do this, let's consider our
workflow here.
| | 00:26 |
Currently, the master photograph is this
one here.
| | 00:29 |
Then we have three different copies or
virtual copies which we've created.
| | 00:33 |
Well, let's say that I've decided that the
only image that I want to work with is
| | 00:37 |
this one here, and I want this one to be
the master photograph.
| | 00:41 |
To change this or to change its status,
we'll go to the Library module.
| | 00:45 |
You can think of the Library module as the
place you go, where you do your heavy
| | 00:49 |
lifting in regards to your organizational
work.
| | 00:52 |
Next, you can navigate to the photo pull
down menu, and here we can select the
| | 00:56 |
option to set the copy as the master
photograph.
| | 01:00 |
What this will do is, rather than refer to
this file as a virtual copy.
| | 01:03 |
It will now become the master picture.
So that if we click off of it, and then
| | 01:07 |
click back on it.
You'll notice that it's name is simply Kelle.dng.
| | 01:10 |
And now, all of these other files are the
virtual copies.
| | 01:15 |
What we could, of course, do next, is we
could delete all of the virtual copies.
| | 01:19 |
And the only image that would remain would
be this one here.
| | 01:23 |
And so again, while this is a little bit
more unique, you won't have to do this all
| | 01:27 |
the time.
I did want to highlight that you are able
| | 01:30 |
to convert, or to change a virtual copy
into a master photograph, and you can also
| | 01:35 |
always make the change back.
For example, if I want to go back to this
| | 01:38 |
one, which is now a copy.
I can select Photo ,and then choose Set
| | 01:43 |
Copy as the Master photograph, and that
will then bring this one back to the
| | 01:47 |
master picture.
And so again, as you start to work with
| | 01:50 |
virtual copies, you may discover that you
won't need to use this technique at all.
| | 01:55 |
Yet still, I wanted to highlight that it's
possible.
| | 01:58 |
And I wanted to show you how, in case you
encounter a scenario, where you may
| | 02:02 |
want to convert a virtual copy into a
master photograph.
| | 02:06 |
| | Collapse this transcript |
|
|
8. Basic Panel WorkflowBasic panel workflow| 00:00 |
So far in this course, we've been focusing
in on how we can use specific controls in
| | 00:04 |
order to improve and enhance our
photographs.
| | 00:07 |
And in this chapter what I want to do is
take a look at how we can put together all
| | 00:11 |
of those controls.
How we can put together all of these
| | 00:13 |
different pieces of the puzzle into a
cohesive workflow, so that we can view how
| | 00:18 |
we can work on some images from start to
finish.
| | 00:21 |
We'll begin by working on these three
photographs here, which were captured in
| | 00:25 |
an annual chalk festival which is held in
the town where I live.
| | 00:29 |
And let's begin with this photograph, and
often what you'll do in the Basic Panel is
| | 00:33 |
you'll begin at the top.
Then you'll make some adjustments.
| | 00:36 |
You'll make your way down through the
controls.
| | 00:38 |
And then, of course, you'll go back and
customize any of the settings further.
| | 00:42 |
And then, last but not least, we'll look
at how we can synchronize these settings.
| | 00:45 |
And I want to share with you one more tip
that you can use to speed up how you
| | 00:49 |
synchronize the settings across your
files.
| | 00:51 |
All right, well, let's begin with this
project.
| | 00:53 |
First, lets select the white balance tool.
To do so, tap the W key or click on the
| | 00:58 |
tool icon which is located right here.
Now, you want to have the navigator panel open.
| | 01:03 |
Because as you position the cursor over
the image, it will give you a preview of
| | 01:06 |
how the white balance would change if you
were to click on that area.
| | 01:10 |
What you want to do is look for an area
that you think should be neutral.
| | 01:13 |
In this case, I think that the whites of
the eye of this chalk drawing should be neutral.
| | 01:18 |
So, I'll click on that area there.
This will then shift our temperature, and
| | 01:22 |
our tint sliders.
Now, often what I find is that after using
| | 01:25 |
the White Balance tool.
That I'll need to customize this a little
| | 01:29 |
bit further.
So, I'm just going to drag the temperature
| | 01:31 |
slider a little bit over because I felt
like it was a touch too warm there.
| | 01:35 |
So, you can always customize the overall
color look in your photographs by using
| | 01:39 |
these sliders.
Next, we'll navigate to our controls below.
| | 01:43 |
The first control that I'm going to jump
to is Contrast because the exposure is
| | 01:47 |
actually pretty good.
So, I'm actually going to skip that slider.
| | 01:50 |
You know?
You don't need to use each and every slider.
| | 01:52 |
Rather just use the sliders, which will be
helpful for improving your particular picture.
| | 01:57 |
I like a lot of contrast in my
photographs.
| | 01:59 |
So I'm going to crank that one up a little
bit.
| | 02:02 |
Next, the highlights look pretty good.
The shadows.
| | 02:05 |
I almost always like to bring up a little
bit of shadow detail because I find it
| | 02:08 |
adds some nice tonal variety.
Especially, because I tend to increase the
| | 02:12 |
contrast on my pictures.
I find that this sort of compliments that,
| | 02:16 |
and it helps to make the image look little
a bit more balanced and interesting.
| | 02:19 |
In regard to the whites, we can drag that
to the left or the right often you just
| | 02:23 |
sling these sliders around to see if it
would be helpful to do that.
| | 02:27 |
Just brighten it up, just the touch there.
And I'll go and darken some of those
| | 02:30 |
deeper tones.
Next, we'll increase a little mid-tone
| | 02:34 |
punch or snap to the picture by dragging
the clarity slider to the right.
| | 02:38 |
When you do that, you lose some color, and
in this case, this picture, well, a lot of
| | 02:42 |
it is about color.
So, let's bring some of that back by
| | 02:45 |
bringing up the vibrant slider.
We can also add a little color boost by
| | 02:48 |
dragging our saturation slider up as well.
All right, well, now that we've processed
| | 02:53 |
one image.
What we'll often want to do is apply these
| | 02:56 |
setting to other photographs as well.
These two pictures here.
| | 02:59 |
Now, before we actually get to processing
those.
| | 03:02 |
What we'll want to do, is we'll want to
navigate to the first image here.
| | 03:05 |
Then hold down Cmd on a Mac, or Ctrl on
Windows.
| | 03:08 |
And click on these other images that we
want to work with.
| | 03:12 |
Now, when you do that, this gives us the
ability to either work with auto sync.
| | 03:16 |
If we have the switch turned on or click
on it to turn it off, and we'll see this
| | 03:20 |
menu item which says sync dot dot dot.
We have already talked about that, if we
| | 03:24 |
click on this, this will open up our
synchronized settings dialogue.
| | 03:28 |
Here, we can choose check none, and then
we can specify what we want to apply here.
| | 03:32 |
For example, Basic Tone, Clarity, and
Color and Color Treatment, and we can just
| | 03:37 |
choose those options or, of course, you
can always choose Check All.
| | 03:40 |
Well, often what happens when you
synchronize settings, is that you'll be
| | 03:44 |
synchronizing similar settings as you go
across your images.
| | 03:48 |
So, what I like to do is to dial in what I
want to synchronize, and then actually hit Cancel.
| | 03:54 |
Because in most work flows, you'll be
doing this multiple times.
| | 03:57 |
And rather than always seeing that
dialogue, there's a little trick that you
| | 04:01 |
can use, which will allow you to
synchronize the settings.
| | 04:04 |
And skip the dialogue, but first, of
course, you want to set up the settings in
| | 04:08 |
the dialogue then next you can select your
photographs.
| | 04:11 |
Hold down the Option key on the Mac, Alt
on Windows, notice that the Sync button no
| | 04:16 |
longer has the dots, it just says sync.
Now, when you Opt+click into Mac or
| | 04:21 |
Alt+click that on a window, it will then
apply those settings to the other
| | 04:24 |
photographs that we have here.
And you can see how it improved those pictures.
| | 04:29 |
Well, currently, I have all three
photographs selected.
| | 04:32 |
In order to deselect, there are a couple
of options that you have.
| | 04:36 |
Perhaps, one of the easiest options is to
just click on another photograph.
| | 04:40 |
Or you can also press Shift+Cmd+D on a Mac
or Shift+Ctrl+D on Windows in order to
| | 04:46 |
deselect a selection of pictures.
I notice that this image needs to be rotated.
| | 04:51 |
In order to rotate the image on a Mac,
press Cmd+left bracket, on Windows press
| | 04:56 |
Ctrl+left bracket and that then wraps up
our workflow on these photographs.
| | 05:02 |
| | Collapse this transcript |
| When to use Auto Tone| 00:00 |
In this movie, we'll do another work flow.
This time we'll work with a single image,
| | 00:04 |
and we'll work on this image from start to
finish.
| | 00:07 |
And here I want to highlight a few
workflow tips, in regards to working with
| | 00:11 |
exposure and trying to find some clipping
indicators.
| | 00:14 |
I'll share with you a new shortcut that
you can use in order to try to create even
| | 00:18 |
better exposure in your photographs.
Well, let's begin up here at the top in
| | 00:23 |
the Basic Panel.
To do so, we'll press the W key to select
| | 00:26 |
the White Balance tool, or we'll click on
this icon here.
| | 00:30 |
Now, by default, the option for auto
dismiss is turned on.
| | 00:33 |
And I actually don't like to use that very
often, because it only allows you to click
| | 00:38 |
in one area.
If you turn this off, what you can do, is
| | 00:41 |
you can click on one area.
If you click in the wrong area, as I did
| | 00:44 |
here, no big deal.
You can always sample another area, and
| | 00:48 |
you can click through your photograph
until you find what you think is the best
| | 00:51 |
white balance.
Because in your image you'll have
| | 00:54 |
different areas, which you can sample or
select in order to customize the overall
| | 00:58 |
color you have in the picture.
Now, in order to get rid of the White
| | 01:02 |
Balance tool.
You either need to press the Done button,
| | 01:05 |
or just click back in this area in order
to re-dock the tool.
| | 01:09 |
Now, of course, you can always customize
the color further if you want to.
| | 01:13 |
You can drag these sliders around a little
bit.
| | 01:15 |
If you want to subtly nudge the color to
one of the different ways.
| | 01:18 |
To the left or right.
Cool or warm.
| | 01:21 |
Well, next, let's work on our overall
exposure.
| | 01:23 |
To do that, what I'm going to do is
increase my exposure.
| | 01:26 |
I'm going to bring up my contrast, bring
up some shadows, and also, bring up the
| | 01:30 |
overall whites.
Now, in doing this.
| | 01:33 |
In a sense, what I'm doing is just
guessing.
| | 01:36 |
I'm making some subjective adjustments.
Yet, what we learned previously, is that
| | 01:40 |
one of the things that we often want to do
is we want to turn on what's called the
| | 01:44 |
Clipping Indicator.
We can do that by pressing the J key on
| | 01:48 |
the keyboard, or by going to the Histogram
and clicking on these icons here.
| | 01:53 |
When we do that this will show us any area
where we have some problems.
| | 01:56 |
In this case, I have problems on the
exposure on the hands and also a little
| | 02:01 |
bit of loss of shadow detail in a few
other areas.
| | 02:04 |
Now, we can leave the clipping indicator
on, and then we can then drag these
| | 02:07 |
sliders in order to try to recover detail
in different areas of the photograph.
| | 02:12 |
Yet, there's also another way that you can
access the clipping information.
| | 02:16 |
Here, let's turn off the clipping
indicators by tapping the J key or by
| | 02:21 |
clicking on these icons here.
Another way that you can access that data,
| | 02:26 |
is by holding down the Option key on a Mac
and Alt on Windows.
| | 02:29 |
And then by dragging the sliders that we
have here in this tone area of the Basic Panel.
| | 02:34 |
Let me close the Histogram for a moment,
so we can really focus in on these sliders.
| | 02:37 |
For example, hold down Option on Mac, Alt
on Windows and drag the white slider.
| | 02:43 |
Notice how it gives us this black version
of the image, and then it shows us some
| | 02:47 |
areas where we have clipping.
Well, that's showing us the problem areas.
| | 02:51 |
As I drag it to the right, there's more of
a problem area, as I drag it to the left,
| | 02:55 |
it's smaller.
If I want to have a brighter white, but I
| | 02:58 |
still want to recover some detail there,
we might try to hold down Option on a Mac,
| | 03:02 |
Alt on Windows, and then click and drag on
the highlight slider here.
| | 03:05 |
We can drag this to the left to try to
recover some detail in that area.
| | 03:10 |
If the highlight slider doesn't get all
the way there, go back to the white slider
| | 03:14 |
while holding down Option, or Alt, and
drag to the left.
| | 03:17 |
In this way we can find just the right
spot for being able to recover the detail there.
| | 03:21 |
Now, we can also do the same thing with
the exposure slider.
| | 03:25 |
Hold down Option on a Mac, Alt on Windows,
and drag the Exposure Slider until you see
| | 03:29 |
that you're introducing more problems
there in the photograph.
| | 03:32 |
In this case clipping in this part of the
picture.
| | 03:34 |
And this can help us to set an appropriate
amount of exposure, or it can help us to
| | 03:39 |
recover shadows or highlights.
Again, it's all about pressing Option or
| | 03:43 |
Alt and then dragging those sliders.
They can act as a bit of a guide to try to
| | 03:47 |
make sure that you don't have any loss of
detail in your shadows or in your highlights.
| | 03:52 |
All right, well after having dialed in the
exposure, next I'll go down to clarity.
| | 03:56 |
And bring that up a little bit.
I'm also going to bring up my vibrance and
| | 04:00 |
a touch of color saturation there, and
then I'll change the color temperature
| | 04:04 |
just a little bit more.
In this case, I think it might be fun to
| | 04:07 |
warm that up just a little bit there, and
now that I see that, I'm going to bring my
| | 04:11 |
saturation down just a touch as well.
Last but not least, you want to tap the
| | 04:15 |
backslash key that will show you the
before, tap it again then you can see the after.
| | 04:21 |
Or you can also tap the Y key the.
Y key allows you to look at split view
| | 04:25 |
before and after.
You have other options with this split view.
| | 04:30 |
You can view those or access those by
clicking and this item here, and then you
| | 04:34 |
can choose from the menu how you can
process your images in different ways.
| | 04:38 |
To access or to get rid of this, just tap
the Y key again, and it will bring you
| | 04:42 |
back to your photograph.
Again, here it is, our overall before, and
| | 04:46 |
then now, the after.
| | 04:48 |
| | Collapse this transcript |
| Workflow considerations| 00:00 |
Let's take a look at one more workflow
scenario.
| | 00:02 |
In this scenario that I wann look at here
will allow us to take advantage of Auto
| | 00:07 |
Sync, so that we can process multiple
images at once.
| | 00:10 |
We'll begin by working with these two
photographs here.
| | 00:13 |
These are iPhone pics that I captured of
my daughter Annie jumping off of this wall
| | 00:17 |
at the beach.
And so, what I want to do is first select
| | 00:20 |
both of these images.
Click on one, and then hold down the Cmd
| | 00:23 |
key on a Mac, Ctrl on Windows, and click
on another.
| | 00:26 |
Then, flip on the switch to turn on Auto
Sync.
| | 00:29 |
This will allow you to synchronize the
settings as you make adjustments.
| | 00:33 |
The first adjustment that I want to make
has to do with exposure.
| | 00:36 |
So, tap the J key to turn on our clipping
indicator.
| | 00:40 |
Here, it's showing me, I have some loss of
detail in this part of the picture.
| | 00:44 |
We can recover that by using our
highlights and also our White slider.
| | 00:48 |
We can brighten up the whites.
If we brighten them up too far though,
| | 00:51 |
you'll notice that will bring back a
little bit of that issue there.
| | 00:54 |
So, you just want to be careful that as
you work with those that there isn't any
| | 00:57 |
clipping indicator shown in that part of
the picture.
| | 01:01 |
Next, the shadows are obviously too dark,
so we'll work with the shadow area.
| | 01:05 |
We'll brighten those up with the Shadow
slider.
| | 01:07 |
We brighten them up to far.
We'll bring back some clipping.
| | 01:10 |
So again, watch that as you're working
with your shadows.
| | 01:13 |
If you see a little bit of a clipping
indicator show up, just drag the Highlight
| | 01:17 |
slider to the left to correct that part of
the picture.
| | 01:20 |
We can also add a little bit of Contrast.
We could choose to Expose this image at
| | 01:24 |
the higher exposure.
Of course, though, we'll have some
| | 01:27 |
problems in the background.
So, you can make that choice though.
| | 01:30 |
If you want to expose for the subject, we
could say, you know what?
| | 01:33 |
Who cares about the loss of detail in the
background?
| | 01:35 |
I want a little more light in this area,
so that choice will be up to you.
| | 01:40 |
You also want to click through the images,
you can do so using your arrow keys.
| | 01:44 |
So, tap the arrow keys and as you do that,
you'll target or select different photographs.
| | 01:49 |
Press the backslash key to look at the
before and after, and just make sure that
| | 01:52 |
the processing is going in a good
direction.
| | 01:55 |
This case, I'll bring some more light into
that area.
| | 01:58 |
I'm going to brighten up the Exposure,
recover more of those Highlights so that
| | 02:01 |
we now have a much brighter photograph.
And then, of course, click between the two
| | 02:06 |
until you make sure that you like the look
in those pictures.
| | 02:09 |
Let's look at one more scenario.
Another set of iPhone photographs.
| | 02:13 |
This is my daughter Sophie drawing at
grandma's coffee table here, around the
| | 02:18 |
holiday season.
And in this case, we'll select both images
| | 02:22 |
by holding down the Cmd key on a Mac, Ctrl
on Windows, and clicking on the images.
| | 02:28 |
There is some loss of detail here at this
photograph.
| | 02:30 |
We'll fix that up just by dragging the
Highlight slider a little bit to the left.
| | 02:34 |
We'll go even just a touch past, past
where we need to to bring some more detail there.
| | 02:39 |
Bring up some Contrast, some Shadows, a
little bit of Clarity, and then of course,
| | 02:44 |
some Vibrance to bring out some more
color.
| | 02:47 |
As we made some of those other
adjustments, there's a little bit more
| | 02:51 |
problem area highlighted here, so just
drag the Highlight slider to the left.
| | 02:55 |
So here, what I'm trying to highlight is
that it's a bit of a dance back and forth
| | 02:59 |
between using these controls.
Paying attention to your overall exposure.
| | 03:04 |
But then, last but not least, tap the J
key to turn the clipping indicator off.
| | 03:08 |
And just make sure that you like the way
that the image looks.
| | 03:11 |
In this case, I want to darken up those,
those blacks more.
| | 03:14 |
So, I'll drop that down.
Then I'll tap the J key just to make sure
| | 03:17 |
that I haven't gone too far.
I think that that looks pretty good.
| | 03:21 |
Tap the arrow keys to go back and forth
between these two photographs.
| | 03:25 |
These moments of this budding and aspiring
artist here at work on a project.
| | 03:30 |
And then, last but not least, tap the
backslash key.
| | 03:33 |
That will show your overall before, and
then tap it again, and then you'll be able
| | 03:38 |
to see the after.
| | 03:40 |
| | Collapse this transcript |
|
|
9. Optimizing Your Basic WorkflowCreating your own custom presets| 00:00 |
In this chapter, I want to share with you
a few tips that might help you to optimize
| | 00:04 |
your workflow as you start to work more
with the basic controls here in the
| | 00:08 |
Develop Module.
And in this movie I want to highlight how
| | 00:11 |
you can create and use your own custom
presets.
| | 00:15 |
In one of the previous chapters in this
course, I talked about how we can access
| | 00:18 |
presets by working with the presets panel
over here on the left.
| | 00:22 |
Here, we can click to open up one of these
folders, and then we can hover over the
| | 00:26 |
Presets, and view the preview in the
Navigator panel.
| | 00:29 |
To apply a preset, simply click on its
name.
| | 00:32 |
In this case, this allows us to quickly
convert this image to black and white.
| | 00:37 |
Well, rather than using one of these
preinstalled presets, I want to create my own.
| | 00:41 |
So here, press Cmd+Z on a Mac or Ctrl+Z on
Windows to undo that.
| | 00:46 |
And let's close this folder altogether,
and lets build or create one of our own presets.
| | 00:52 |
Now, these are three photographs that I
captured last week.
| | 00:55 |
These images haven't been processed.
So what I want to do is create a couple of
| | 00:59 |
presets which I can then use and apply to
these photographs.
| | 01:03 |
I want to create one which is a Muted
Contrast preset, I also want to create
| | 01:06 |
another which is a Black and White
conversion.
| | 01:09 |
What you may want to do is zoom in on the
image.
| | 01:11 |
I want to do that, so here, I'll click on
the photograph just so that I can see more
| | 01:15 |
detail in this picture.
Next, I'll navigate to the Basic panel.
| | 01:19 |
In the Basic panel, I'm going to begin to
work with the various controls.
| | 01:23 |
Now, I mentioned that one of the things
that I want to do here is remove a bit of
| | 01:27 |
color and add some contrast.
So I'll begin by reducing the Vibrance and
| | 01:31 |
also the Saturation a little bit.
We'll increase the Clarity.
| | 01:36 |
That will add some midtone punch there,
and then, I'll also bring up the shadows
| | 01:39 |
to bring back some shadow detail there or
bring back some life into those shadows
| | 01:44 |
and I'll bring up my Contrast, bring down
the Exposure.
| | 01:48 |
And also bring down the Whites there a
little bit as well.
| | 01:52 |
Well, now we have a unique look that we've
created with this picture.
| | 01:55 |
We could further customize it by changing
the color temperature if we wanted to.
| | 01:59 |
I actually think it looks pretty good just
the way it is.
| | 02:03 |
Well, if we want to save these settings
out as a preset, it's really easy to do so.
| | 02:08 |
Just click on the plus icon here.
And then this will open up our new Develop
| | 02:12 |
preset dialog.
Here, let's begin by choosing check None.
| | 02:16 |
Because what you most likely will want to
do is just check the option of the
| | 02:21 |
different sliders that you've used.
In this case, we modified white balance we
| | 02:26 |
also did some basic tone work then if we
made adjustments in any other area for
| | 02:30 |
example like the color with Saturation or
Vibrance as we made a few adjustments
| | 02:35 |
there or clarity or sharpening or whatever
it is, check off all of those boxes that
| | 02:39 |
you want to have to be part of your
presets.
| | 02:42 |
Then you want to give your preset a name.
What I like to do is to begin my presets
| | 02:46 |
with my initials, just so that I know that
this is one of my own presets versus one
| | 02:51 |
that I'm using which someone else created.
Next, we'll press the dash key and then
| | 02:55 |
give this one a name.
I'll just call this one a really simple
| | 02:59 |
name which is Muted-Contrast.
In order to create the preset, click on
| | 03:03 |
the Create button, and it will then save
this here in this area of Lightroom so
| | 03:08 |
that we can then access it and use it for
our photographs.
| | 03:11 |
Well, after having created this preset,
I've decided I also want to create another
| | 03:15 |
one, which is a black and white version of
a photograph.
| | 03:18 |
So here I'll de-saturate the image.
And in this case, what I'm going to go is
| | 03:22 |
change the way that this photograph looks
and I'm going to zoom out so I can see the
| | 03:26 |
entire picture.
We are going to brighten it a little bit
| | 03:29 |
darken the blacks, want to create black
and white version of this image where I
| | 03:33 |
have a lot of contrast here.
So I'm just going to go ahead and modify
| | 03:37 |
these sliders until we have some really
nice contrast, a lot of deep rich black
| | 03:41 |
tones there, brighten up some of those
shadows and I think that looks kind of fun.
| | 03:46 |
All right, well, after you've customized
your settings for another preset, just
| | 03:50 |
click on the plus icon.
Here, this will reopen our Develop preset dialog.
| | 03:56 |
This case, I'll leave all of these
settings exactly as they are.
| | 03:59 |
I'll call this one CO-blackandwhite1, and
then click Create.
| | 04:05 |
Once you've created a few presets, you can
then apply those by simply clicking on the
| | 04:10 |
preset name.
And what that will do is it will apply
| | 04:13 |
those settings to your photograph.
For example, if we wanted all of these
| | 04:16 |
images to have the same muted contrast
look.
| | 04:20 |
We could just click on those images and
then select the preset there.
| | 04:23 |
And in doing that, that would then allow
us to have consistency with these photographs.
| | 04:28 |
So if we were to zoom in on the pictures,
so we can see them perhaps a little bit
| | 04:32 |
better you can see how these two pictures
are processed in exactly the same way.
| | 04:36 |
Now often, what will happen is that the
preset will get you really close.
| | 04:40 |
But you may need to make some other steps
or take some other steps to really finish
| | 04:44 |
it off.
Sometimes, I find that after having used a
| | 04:47 |
preset, I need to go back and just tweak
these controls a little bit in order to
| | 04:51 |
customize exactly how I want that preset
to look in the photograph.
| | 04:55 |
In this image, I'm just customizing this
just a little bit here in order to get the
| | 05:00 |
desired effect or the exact look that I
want for this picture.
| | 05:04 |
What you can see and as you can start to
imagine by creating your own Custom presets.
| | 05:09 |
What this can do is allow you to create a
really distinct and cohesive look in your photographs.
| | 05:15 |
Now, you can do this as we saw here, by
simply clicking on a photograph and then
| | 05:19 |
by selecting the Preset.
Or you can also click on one image, hold
| | 05:24 |
down the Shift key, then click on another
to select an entire set.
| | 05:28 |
And if you have Auto Sync turned on, go
ahead and flip that switch to turn it on,
| | 05:32 |
you can then sample the preset.
In ding that, you can see how that preset
| | 05:36 |
was now applied to all of these
photographs.
| | 05:38 |
And this can allow you to synchronize the
settings of those presets across multiple photographs.
| | 05:43 |
| | Collapse this transcript |
| Using Snapshots and History| 00:00 |
In the previous movie, we looked at how we
can create custom presets.
| | 00:04 |
And then, apply those presets to our
photographs.
| | 00:06 |
And in this movie, I want to take a look
at how we can take advantage of what are
| | 00:10 |
called Snapshots in History.
In order to help us to have a, perhaps, an
| | 00:14 |
even more effective workflow.
Well, with this image, one of the things
| | 00:18 |
that I want to do is change the overall
contrast.
| | 00:21 |
To do that, I'll go ahead and increase the
contrast and also brighten up the exposure.
| | 00:26 |
In making those changes here, one of the
things that you'll notice is that if you
| | 00:30 |
navigate to the History panel, it will
record all of the steps you've taken with
| | 00:35 |
your photographs.
In this case, it's recorded that I applied
| | 00:38 |
a preset, then another, then made a few
changes as you can see here.
| | 00:42 |
As we make more changes, say, by
increasing the Clarity, you can see how it
| | 00:46 |
will record those steps as well.
Now, if ever you want to go back in time,
| | 00:51 |
all that you need to do is to click on
that step that you want to go back to.
| | 00:55 |
In this case, I'll go back to the step
where I have this muted contrast look here.
| | 01:00 |
Or I can also step through the History in
order to be able to view these different
| | 01:03 |
stages of the development of this
photograph.
| | 01:07 |
Sometimes this can help you to realize
that, you know what, I went a little bit
| | 01:09 |
too far there.
So, I might go back to that exposure area.
| | 01:13 |
And then, perhaps dial that back down.
And then, bring my exposure to something a
| | 01:17 |
little bit lower.
Another reason why this is helpful is it
| | 01:21 |
just can help you to see your overall
workflow and to see how you processed the photograph.
| | 01:26 |
Now if ever you want to save a certain
state of your image, you can do that by
| | 01:31 |
taking a snapshot.
If you open up the Snapshots panel, you'll
| | 01:35 |
find that's empty.
That's because we haven't created a
| | 01:37 |
snapshot yet.
To do that, we can click on the plus icon.
| | 01:41 |
What this will do is it will create a new
snapshot of our photograph, and it will
| | 01:45 |
remember all of the settings we've applied
here in the Developmodule.
| | 01:49 |
I'm going to go ahead and name this one
black and white dash one, and then click create.
| | 01:53 |
This will then show me the file with these
settings applied.
| | 01:57 |
Now perhaps, I want to create a different
version of this image which is much more
| | 02:01 |
moody which it's just much darker.
So, here I'll go ahead and darken the
| | 02:04 |
photograph and I'm going to try to find a
different version of this picture.
| | 02:08 |
How about that particular version there?
Then, we'll click on the Plus icon.
| | 02:12 |
And I'll name this one BW for black and
white dash 2.
| | 02:17 |
Then, I'll click Create.
Now, while I'm here creating snapshots, I
| | 02:20 |
also want to create a snapshot which takes
advantage of the history.
| | 02:24 |
I'll go back to my History panel and
select this CO Muted Contrast.
| | 02:29 |
With this muted contrast look, I'm
going to increase my Clarity.
| | 02:33 |
And also, remove the colors even further,
so I have a more distinct look, and then
| | 02:38 |
click on the plus icon, and I'll name this
one Muted dash Contrast dash one, and then
| | 02:43 |
click Create.
Now, what Snapshots allows you to do is to
| | 02:48 |
save these different states here, so that
you can always go back and access those.
| | 02:52 |
For example, let's say that we decide to
reset the photograph, or reset it to its
| | 02:57 |
default settings.
Notice that that's saved here in the history.
| | 03:02 |
For a moment, I'll close the History panel
and just focus in on the snapshots.
| | 03:06 |
Well, because I've saved the various
states, what I can do is I can click on
| | 03:11 |
one of these options.
It will then take my settings to whatever
| | 03:14 |
the settings were when I created that
particular snapshot.
| | 03:18 |
In this case, for the snapshot titled
Muted Contrast.
| | 03:21 |
I can also click between these different
looks of these black and white snapshots
| | 03:25 |
that I've created.
And this sometimes can help you to find a
| | 03:29 |
different way to process our photographs.
Often what I've discovered is that
| | 03:33 |
snapshots can be an invaluable tool in
order to just have different ideas for
| | 03:38 |
your photographs.
And by having all of these settings,
| | 03:41 |
quote, remembered, in the snapshots panel,
well this can allow you to then interpret
| | 03:46 |
or to process your photographs in
different ways.
| | 03:48 |
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| Information overlay| 00:00 |
Typically in Lightroom, we do all of our
organizational work in the Library module.
| | 00:04 |
Yet, on occasion, you may be in the
developed module.
| | 00:07 |
And you may be interested in displaying
some information on top of your photograph.
| | 00:12 |
Rather than navigating to the Library
module to discover what camera or lens was
| | 00:16 |
used to capture a photograph.
You may want to display that on top of an
| | 00:20 |
image right here in the Develop module.
Well, to turn on and off the information
| | 00:25 |
overlay in the Develop module.
You can remember a shortcut which is
| | 00:29 |
really easy to remember.
It's the I key.
| | 00:31 |
Think I for information.
When you tap the I key one time, this will
| | 00:36 |
show you some information.
This is loop info number one.
| | 00:40 |
This is the file name, the date and the
time that was captured, and also some
| | 00:44 |
important file dimensions.
Tap the I key a second time and you'll see
| | 00:48 |
some other information.
Here, I have some common, photographic
| | 00:51 |
information about the F stop that was
used, the ISO, the lens, and the lens setting.
| | 00:55 |
And we can press this again in order to
toggle off the visibility of the overlay.
| | 01:01 |
If you want to customize what appears
there, you can do so by navigating to the
| | 01:06 |
View pull down menu.
And then here you want to select View Options.
| | 01:09 |
This will open up the Develop View Options
dialogue.
| | 01:13 |
In this case, you can see that we have the
loop info number one.
| | 01:17 |
We can change this for example, rather
than crop dimensions.
| | 01:20 |
Perhaps, what we want to see is
Megapixels.
| | 01:23 |
We'll go ahead and choose that option.
And it will then display that information here.
| | 01:27 |
We can make changes with Loop Info 2 as
well.
| | 01:31 |
Here I'll go ahead and click on this
pull-down menu.
| | 01:32 |
I'm just going to choose something that
switches the capture date and time.
| | 01:36 |
And you can see how that information is
displayed in this field right here.
| | 01:40 |
If you want to reset these settings to
their default.
| | 01:43 |
Just click on Use Defaults, and it will
bring those back to the default settings.
| | 01:47 |
There are a number of different ways that
you can customize these.
| | 01:51 |
Let me just scroll through this menu a
little bit, so that you can see that you
| | 01:54 |
have all of these different options.
Again, you'll want to choose the options
| | 01:57 |
which are relevant to your own workflow.
So, it may be worthwhile to visit this menu,.
| | 02:02 |
And to make some selections there to
customize Loop Info 1 and Loop Info 2.
| | 02:08 |
In order to access that menu, again where
you'll go is View.
| | 02:12 |
And then choose View Options.
Next, customize this by clicking on the
| | 02:17 |
pull-down menus here.
And then to apply those settings, just
| | 02:20 |
click this button in order to close the
dialog.
| | 02:22 |
The I key allows you to toggle through the
different loop info overlays that you have
| | 02:28 |
access to in the develop module.
| | 02:31 |
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|
|
ConclusionNext steps| 00:00 |
I hope that you have enjoyed learning
about how you can use the Develop Module
| | 00:04 |
in order to improve your photographs.
You know, the Develop Module for me is
| | 00:08 |
really where the magic takes place.
This is where we breathe some life into
| | 00:12 |
our photographs.
Well, so far, we've learned some of the
| | 00:14 |
essential tools of the Develop Module.
Well, our next step here is to dig a bit
| | 00:19 |
deeper, and become more advanced with
working with this module.
| | 00:23 |
So, if you're interested in learning how
to make your images even better.
| | 00:26 |
Well, you'll definitely want to check out
the next course in this series, which is
| | 00:30 |
course number four.
Which will help you to become even better
| | 00:34 |
in the Develop Module.
Well, in closing, thanks for joining me in
| | 00:38 |
this course.
I hope to see you in another one.
| | 00:40 |
Bye for now.
| | 00:41 |
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