IntroductionWelcome| 00:04 |
Hi.
My name is Chris Orwig, and welcome to
| | 00:06 |
this course, which focuses in on
Lightroom.
| | 00:09 |
In this course, we're going to talk about
how we can use the develop module in order
| | 00:13 |
to improve our photographs in more
advanced ways.
| | 00:16 |
We'll talk about how we can crop or
recompose our pictures.
| | 00:19 |
We'll look at how we can retouch away
distractions or blemishes.
| | 00:23 |
And we'll look at how we can paint in
adjustments into specific areas of our photographs.
| | 00:28 |
We'll explore how we can change or modify
color using the HSL controls.
| | 00:33 |
And we'll look at how we can create more
interesting and compelling black and white
| | 00:37 |
conversions of our photographs.
We'll look at how we can reduce noise and
| | 00:41 |
sharpen our photographs.
And we'll look at how we can apply some
| | 00:44 |
important lens corrections, whether those
are subtle, like leveling a photograph,
| | 00:48 |
fixing a perspective issue.
Or dramatic in regards to removing
| | 00:52 |
dramatic distortion.
We will be covering all of these topics
| | 00:56 |
and more.
Let's begin.
| | 00:58 |
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| Using the exercise files| 00:00 |
If you're a premium member to the
lynda.com online training library, you
| | 00:04 |
have access to the exercise files.
Once you have downloaded the exercise
| | 00:08 |
files and located the folder, you can open
it up.
| | 00:11 |
And when you open up the folder, you'll
discover that the exercise files are
| | 00:15 |
grouped into different folders based on
the different chapters that we have in
| | 00:18 |
this course.
In order to view these files, you can
| | 00:20 |
simply open up one of the folders and
there you'll discover all of the images
| | 00:25 |
that we'll be working on in that
particular chapter.
| | 00:27 |
Now, if you don't have access to the
files, no big deal.
| | 00:30 |
You can always simply follow along or, of
course, you can also work on your images.
| | 00:35 |
All right, well let's begin.
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|
|
1. Crop and ComposeCropping your photographs| 00:00 |
There are so many different reasons why
you may want to crop one of your photographs.
| | 00:04 |
Perhaps you'll want to crop a photograph
in order to crop away a distracting
| | 00:07 |
element in the frame.
Or maybe you just want to crop and
| | 00:10 |
recompose the overall image.
Well either way, Lightroom gives us some
| | 00:14 |
really easy controls which we can use in
order to crop our photographs.
| | 00:18 |
So here in this movie, let's take a look
at how we can start to work with the Crop
| | 00:21 |
tool in order to improve our pictures.
Now you can select the Crop tool by
| | 00:26 |
tapping the R key on the keyboard or by
clicking on the Crop tool icon which is
| | 00:30 |
located right here in the Tools strip.
Once we select the Crop tool, you'll
| | 00:34 |
notice we have some settings which appear
below.
| | 00:36 |
We'll dig into these settings in one of
the subsequent movies, and for now what I
| | 00:39 |
want to do is focus in on the crop overlay
which appears on top of this photograph.
| | 00:44 |
Now this is a photograph of my two
daughters and a few of their friends down
| | 00:47 |
at a local beach.
And you'll notice that there's a
| | 00:49 |
distracting element.
It's Tim, who's standing here in the background.
| | 00:53 |
What I want to do is I want to crop Tim
out of the image.
| | 00:56 |
To do that just simple position your
cursor over the edge of the frame and then
| | 01:00 |
click and drag.
In doing this you can see we can decrease
| | 01:03 |
the crop area size of the photograph.
If we go to far well just click and drag
| | 01:07 |
in order to extend this.
You can also position your cursor over
| | 01:11 |
other areas.
In this case over the left-hand corner in
| | 01:14 |
order to bring that area up as well.
Now if you decide to move the image
| | 01:19 |
around, you can do so by positioning your
cursor over the crop area.
| | 01:22 |
Notice how the cursor changes into a hand
icon, this is telling us that we can then
| | 01:27 |
click and drag in order to reposition this
around.
| | 01:30 |
Now in this case, let's say we've decided
to try out a particular crop.
| | 01:34 |
That's one of the great things about
working with this tool in Lightroom is you
| | 01:37 |
can always change your mind after the
fact.
| | 01:39 |
You can try out an idea and if it doesn't
work, you can always change your mind later.
| | 01:44 |
Well, let's say that this is a crop that
we want to try out.
| | 01:47 |
Well, in order to apply the crop, all that
we need to do is to press Enter on
| | 01:51 |
Windows, Return on a Mac.
Or you can also double click inside of the
| | 01:55 |
crop area, or just click the Done button
in order to apply that crop to the photograph.
| | 01:59 |
Now after having cropped this image, I've
decided that you know what?
| | 02:02 |
I don't really like it.
It doesn't really make sense to crop this
| | 02:06 |
image in this tight.
I want to open it up so there's more
| | 02:09 |
breathing room.
Well, all that we need to do to do that is
| | 02:12 |
to click on the Crop tool icon or press
the R key to select this tool.
| | 02:16 |
Next, we can go ahead and position our
cursor over the edge here of this crop
| | 02:20 |
area, and then I'll click and drag this up
in order to open this up a little bit more.
| | 02:24 |
And I'll just make a few little changes
there.
| | 02:26 |
Next, I'll double-click inside of this
crop area in order to apply that to the photograph.
| | 02:32 |
And here I think this image is now much
stronger.
| | 02:34 |
There isn't a distracting element in the
background, and we've cropped and we've
| | 02:38 |
recomposed this photograph.
Now what happens if you crop an image and
| | 02:42 |
you decide that, you know what, I actually
want to just remove the crop altogether.
| | 02:46 |
How can we do that.
One easy way to do that is to click on the
| | 02:50 |
Crop tool.
Once you have the crop tool selected,
| | 02:53 |
you'll notice that down below, there's a
button which is called Reset.
| | 02:57 |
If we click on that, it will then reset
the crop to its original state, and we
| | 03:01 |
could click Close or Done in order to
apply that.
| | 03:04 |
And that would then reset it to its
default settings.
| | 03:07 |
Well in this case I actually want to crop
the image in a little bit, so here I'll
| | 03:10 |
position the cursor over this guide.
I'll click and drag this in just a little
| | 03:14 |
bit here and then double click in order to
apply the crop to the photograph.
| | 03:18 |
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| Cropping and rotating your image| 00:00 |
In this movie, I want to build upon what
we've already learned about the Crop tool.
| | 00:04 |
And I want to talk about how we can crop
and rotate our images.
| | 00:07 |
And I also want to highlight a few
different techniques that we can use in
| | 00:11 |
order to reset the crop area to its
default setting.
| | 00:14 |
Well let's begin by cropping this
photograph.
| | 00:17 |
To do so, tap the R key on your keyboard
or click on the Crop tool icon which is
| | 00:22 |
located here in the tool strip.
Next, we have already talked about how you
| | 00:25 |
can position the cursor over the edge of
this crop overlay.
| | 00:29 |
When we do that we will notice that the
cursor changes.
| | 00:32 |
When we see that cursor change, we can
click and drag in order to change the crop area.
| | 00:37 |
Now, if we need to move the image,
position the cursor over the inside of
| | 00:40 |
this crop area.
And then click and drag so that we can
| | 00:43 |
then re-position this in this way.
Well next, let's take a look at how we can
| | 00:47 |
actually rotate the image.
There's two different ways that we can do this.
| | 00:51 |
The first technique that I want to show
you involves simply positioning your
| | 00:54 |
cursor outside of the cropped area.
Notice how there's an arrow which is
| | 00:58 |
connected there, sort of with a bent line.
Well here when we click and drag this we
| | 01:02 |
can then reposition this, or re-angle the
photograph.
| | 01:06 |
We can also do this by using this Angle
slider here.
| | 01:09 |
Notice that when we get to a place where
we have to change the angle so that the
| | 01:13 |
crop area is smaller, it will
automatically decrease that crop area.
| | 01:17 |
Yet when I go back, I'll need to click and
drag that out in order to extend that
| | 01:21 |
further so that I can have the largest
part of the image or the largest crop area possible.
| | 01:26 |
Because as we start to rotate it,
invariably we'll bump into the edges of
| | 01:30 |
the photograph.
Now if we do this on screen and click and
| | 01:33 |
drag it will automatically resize it so
it's smaller and it will also
| | 01:37 |
automatically resize it so it's bigger.
And this is why I prefer to use the
| | 01:41 |
on-screen controls rather than the Angle
slider here in the Crop tools area.
| | 01:46 |
Well after we've cropped the image, in
order to evaluate our new composition for
| | 01:51 |
this photograph.
Let's double click inside of the crop area
| | 01:54 |
in order to apply that to the photograph.
And this is just a fun way to change the
| | 01:58 |
overall look and feel in an image.
To re-access the Crop tool, click on the
| | 02:02 |
Crop tool icon or tap the R key.
We could also experiment with rotating
| | 02:07 |
this the other way and then I'll double
click that in order to apply that as well.
| | 02:11 |
And sometimes what this can do for you is
just help you to create a different energy
| | 02:15 |
or look in a photograph.
And again, it's really easy to customize,
| | 02:18 |
simply select the Crop tool and then just
make a subtle change.
| | 02:21 |
And sometimes it may be just a slight
rotation which will look best for one of
| | 02:25 |
your photographs.
Right, well here I'll double click that in
| | 02:28 |
order to apply that in the photograph.
Now, let's say that after having rotated
| | 02:32 |
the image and changed the crop, you've
decided you want to reset the crop to its
| | 02:37 |
default setting.
That you actually don't like The look of
| | 02:39 |
this particular composition.
Well, to do that, you can select the Crop
| | 02:43 |
tool, and you can press the Reset button
as we've already talked about.
| | 02:47 |
Or you can also use a very handy shortcut.
Now this shortcut is a little bit more
| | 02:51 |
advanced, but let me show you where you
can find it.
| | 02:54 |
If you navigate to the settings pull down
menu, you'll find a menu item which is
| | 02:57 |
listed as Reset Crop, and there's a
shortcut.
| | 03:01 |
On a Mac it's Option+Cmd+R, on Windows
that's Alt+Ctrl+R.
| | 03:05 |
I want you to write that shortcut down
because I think it's one of those
| | 03:08 |
shortcuts that you'll start to use quite
frequently.
| | 03:10 |
At least I do in my own work flow.
Now that we know the shortcut, after we've
| | 03:15 |
applied the crop, we can then press it.
On a Mac, it's Option+Cmd+R, on Windows,
| | 03:20 |
that's Alt+Ctrl+R in order to reset the
crop to its default setting.
| | 03:25 |
Well, now that I've reset the crop, I
actually want to reapply the crop.
| | 03:28 |
So here, we'll click on the Crop tool, go
ahead and click and drag this down.
| | 03:32 |
Add a little rotation just to add a bit of
fun or a little bit of spirit into this
| | 03:36 |
image here, which is kind of a fun capture
of a bride and her bridesmaids.
| | 03:40 |
And then double-click inside of the crop
area in order to apply the crop to the photograph.
| | 03:44 |
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| Changing the crop aspect ratio| 00:00 |
In this movie, I want to continue to build
upon and reinforce what we've already
| | 00:04 |
learned about the Crop tool.
And I want to highlight how we can
| | 00:07 |
customize and change the crop aspect
ratio.
| | 00:10 |
So let's activate the Crop tool by taping
the R key on the keyboard or by clicking
| | 00:14 |
on the Crop tool icon which is located
right here.
| | 00:17 |
Well, this is a photograph of a world
famous surfer.
| | 00:20 |
You can see there's a train approaching in
the background.
| | 00:22 |
And one of the things you may notice is
that the subject is leaning a little bit
| | 00:26 |
to the right, and what I want to do is
level this out a bit.
| | 00:29 |
To do that, I'll position the cursor near
the outer edge of the crop overlay, and
| | 00:34 |
then drag to the left.
What this will do is it will straighten
| | 00:37 |
the frame out a little bit, and I like
this composition a touch better, then
| | 00:40 |
double-click in order to apply.
Well, after having changed the way that
| | 00:44 |
the image is cropped and rotated what I
want to do next is actually get rid of
| | 00:48 |
some of the top of the image.
I want to change the aspect ratio.
| | 00:52 |
To do that, press the R key again or click
on the Crop tool icon.
| | 00:56 |
You'll notice that there is a lock icon.
This icon locks or unlocks the aspect ratio.
| | 01:02 |
If we click on it to unlock the aspect
ration.
| | 01:05 |
What you can do is position your cursor
over any of the edges or corners and you
| | 01:09 |
can click and drag.
And this way you can see that you can
| | 01:12 |
completely customize or change the aspect
ration again by clicking and dragging from
| | 01:17 |
any of these edges.
Or, also from any of these corners in
| | 01:20 |
order to be able to change the area that
you're cropping.
| | 01:22 |
And in this case, what I want to do is
just click and drag this down a little bit
| | 01:26 |
so that I'll have a little bit more of a
crop which is closer to a square.
| | 01:30 |
It isn't quite a square.
And then, to apply that, we'll
| | 01:33 |
double-click in order to apply that crop
to the photograph.
| | 01:37 |
Now, this really changes the overall
characteristics or the mood of the image.
| | 01:41 |
And, you know, you can also change your
aspect ratio to a particular preset aspect
| | 01:46 |
ratios as well.
To do that, click on the Crop tool icon,
| | 01:49 |
and then click on this Custom pull down
menu here.
| | 01:52 |
And here we can choose options like a 1 to
1, if we wanted to crop to a true square.
| | 01:57 |
We could also chose a particular aspect
ratio of 4x3 or 16x9, in here it's going
| | 02:02 |
to show us the pixel dimensions as well.
Well, let's say, for example, we want to
| | 02:06 |
try out a square crop, to do so, we'll
click on that option.
| | 02:10 |
And this will then constrain the aspect
ratio to this 1 by 1 aspect ratio.
| | 02:15 |
Notice that the lock icon is now locked.
So that as we click and drag this, it will
| | 02:20 |
always maintain that aspect ratio of
making sure that this is a square.
| | 02:25 |
Well, once we've cropped an image, perhaps
we've decided that we actually don't like this.
| | 02:29 |
Well, how can we reset the crop to its
default settings?
| | 02:33 |
We have two techniques we've learned so
far.
| | 02:35 |
We can either click on the Crop tool icon
and press the Reset button or you can also
| | 02:39 |
tap Option + Cmd + R in a Mac or Alt +
Ctrl + R on Windows.
| | 02:44 |
That will allow us to reset this to the
default settings.
| | 02:47 |
And that's what I want to do here because
what I want to do is I want to go back to
| | 02:50 |
where I have a little bit of a rotation
there by clicking and dragging to the left.
| | 02:54 |
I then want to unlock this and just apply
a free form aspect ratio, rather than a
| | 02:59 |
preset one which I selected from that pull
down menu.
| | 03:03 |
Here, I'll go ahead and change my overall
crop, and then double-click in the crop
| | 03:06 |
area in order to apply that to the
photograph.
| | 03:09 |
And in this way, we're starting to see how
we can have some fun with changing the
| | 03:13 |
overall aspect ratio.
And that we can do that either by simply
| | 03:17 |
unlocking this.
And then, clicking and dragging over any
| | 03:20 |
of these edges or corners.
Or also, how we can take advantage of some
| | 03:23 |
of the preset aspect ratios that we have
listed here, inside of the Crop Tool dialogue.
| | 03:29 |
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| Straightening with the Crop tool| 00:00 |
Another way that we can use the Crop tool
is we can use it in combination with a
| | 00:04 |
keyboard shortcut in order to level our
photograph.
| | 00:08 |
So here in this movie, let's take a look
at how we can do this on 3 separate photographs.
| | 00:13 |
We'll begin with this picture here which
is a portrait of Russell Brown.
| | 00:17 |
He's the senior creative director at
Adobe.
| | 00:19 |
And Russell is someone who is a ton of
fun.
| | 00:22 |
And in this photograph, one of the things
that you may notice is that these letters
| | 00:26 |
here are not level or straight.
Well I want to fix that.
| | 00:29 |
In order to do that, tap the R key or
click on the Crop tool icon in order to
| | 00:33 |
select the Crop tool.
Now when you position your cursor over the
| | 00:37 |
image, what you can do, is you can hold
down the Cmd key on a Mac or Ctrl key on Windows.
| | 00:42 |
And the cursor icon will change to what
looks like a Level icon.
| | 00:46 |
And what this allows you to do is you can
then click and drag across something in
| | 00:50 |
your photograph that you think should be
straight.
| | 00:53 |
In this case, I think that these letters
here should all be on a straight line.
| | 00:57 |
Then let go and what it will do is, it
will crop and rotate your photograph so
| | 01:02 |
that wherever you clicked and dragged is
now level or straight.
| | 01:06 |
In order to apply this, just double click
in to the crop area.
| | 01:09 |
If you need to customize this further, you
can always tap the R key to reactivate the
| | 01:13 |
Crop tool.
And then you can just click and drag if
| | 01:16 |
you want to tweak this a little bit one
way or another.
| | 01:18 |
And then again double click in that area
in order to apply that new crop and
| | 01:23 |
rotation to your photograph.
Let's take a look at a few more scenarios
| | 01:26 |
where we can use this technique.
We'll click on this next image here.
| | 01:30 |
This is a photograph of a surfer and a
surfboard that I captured for one of my
| | 01:34 |
commercial clients.
And I like the composition of the image
| | 01:37 |
but obviously it isn't very straight.
I want this train track here to be level
| | 01:42 |
or straight.
To do that, I'll click on the Crop tool
| | 01:44 |
icon, then hold down the Cmd key on the
Mac or Ctrl on Windows.
| | 01:48 |
And click and drag across something that
we want to be level and then let go this
| | 01:53 |
will then straighten that.
In this case I'm going to tighten up my
| | 01:56 |
crop a little bit more and just rotate it
just a touch this way so it has a little
| | 02:00 |
bit of an angle to it.
Then double click inside of the crop area.
| | 02:04 |
And this is actually how I delivered the
photograph to the client.
| | 02:08 |
And in this case you can see we are really
quickly able to straighten this photograph out.
| | 02:12 |
And this works in so many different
situations.
| | 02:15 |
And so far we've looked at how we can
level things out when we're looking at
| | 02:19 |
these horizontal lines.
We can also level out vertical lines as
| | 02:22 |
well, like with this photograph that I
captured in London.
| | 02:26 |
You'll notice that the wall is leaning to
the left.
| | 02:29 |
To fix that, again, we'll select the Crop
tool and hold down the Cmd key on a Mac or
| | 02:34 |
Ctrl key on Windows.
And then we'll click and drag across an
| | 02:37 |
area in our photograph that we think
should be level in this case this line or
| | 02:41 |
that edge or that wall.
That will then level that out and then
| | 02:45 |
once again press Enter on Windows or
Return on a Mac in order to apply that.
| | 02:50 |
So keep in mind that while I've showed you
a few different examples, this particular
| | 02:54 |
technique will work in so many different
scenarios.
| | 02:56 |
Where you have those landscape
photographs.
| | 02:58 |
Where the horizon line isn't level or you
have a building which isn't standing up
| | 03:02 |
straight or tall.
Or in other situations like we looked at
| | 03:06 |
here in this movie.
Again, in order to work with this
| | 03:09 |
technique, you select the Crop tool, press
Cmd on a Mac, Ctrl on Windows.
| | 03:14 |
And then click and drag across something
that you think should be level and then
| | 03:17 |
let go.
And it will crop and rotate your
| | 03:20 |
photograph in order to level off the
image.
| | 03:23 |
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| Drawing out a crop area| 00:00 |
One of the ways that all of us
photographers are bound together, is that
| | 00:04 |
we all make mistakes.
And this photograph is a mistake.
| | 00:08 |
I like the overall mood and expression.
Yet, the composition isn't very good, at all.
| | 00:13 |
And so, what I want to do is I want to
change the composition by cropping the image.
| | 00:17 |
But rather than clicking and dragging from
one of the corner points, I want to show
| | 00:20 |
you how you can click and draw out your
own crop for your photograph.
| | 00:25 |
To do so, tap the R key to select the Crop
tool or click on the Crop tool icon.
| | 00:30 |
Now, you can either do this with the
particular aspect ratio, you can have the
| | 00:33 |
aspect ratio locked or unmarked, it
doesn't really matter.
| | 00:36 |
In this case I'll lock it down just to
keep this the same.
| | 00:39 |
And because the composition is so far off.
All that I am going to do is position my
| | 00:44 |
cursor over the image.
Notice that the icon changes into that
| | 00:48 |
Crop tool icon.
Then here I'll just click and drag over
| | 00:51 |
the photograph in order to recompose this
image.
| | 00:53 |
And then I'll click and drag to
re-position this around a little bit and
| | 00:57 |
perhaps tighten that up just a touch more.
And then double-click in order to apply that.
| | 01:02 |
Now, I think the composition is much
stronger.
| | 01:04 |
It isn't perfect, but it's getting closer.
Tap the R key again to access the Crop
| | 01:09 |
tool, and then I'll click and drag to move
this over a little bit more.
| | 01:12 |
And then I'll just finesse this.
Lot of times when it comes to composition,
| | 01:16 |
I like to get it just right.
And I'll double click in order to apply that.
| | 01:20 |
And here really, all I wanted to highlight
is how you can use that tool in order to
| | 01:24 |
draw over your image.
And sometimes that's helpful, especially
| | 01:28 |
with photographs like this where you make
a mistake, and you just want to get into
| | 01:32 |
an area really quickly.
Sometimes it's helpful to draw over those
| | 01:36 |
areas in order to crop or recompose your
photograph in a significant way.
| | 01:40 |
| | Collapse this transcript |
| Changing your crop orientation| 00:00 |
In this movie, I want to highlight a few
techniques that you can use, which will
| | 00:04 |
allow you to change your crop orientation.
In the previous movie, we cropped this
| | 00:08 |
photograph and its current orientation is
vertical.
| | 00:11 |
Yet let's say that we want to change it,
so that we have a horizontal orientation
| | 00:15 |
so that we can crop the image in a
completely different way.
| | 00:18 |
Well, first we want to activate the Crop
tool by pressing the R key, or by clicking
| | 00:22 |
on the Crop tool icon.
Now this works whether or not you've
| | 00:26 |
cropped your photograph before.
And what you can do, is simply click to
| | 00:29 |
drag out how you want to crop the image
here and then if you want to change it,
| | 00:33 |
you sort of have to push it.
Here I'm pushing it up and notice how it
| | 00:36 |
snapped, so that I now have a horizontal
orientation.
| | 00:40 |
Here I'll click and drag in order to
extend this out, and I'll create a much
| | 00:43 |
closer crop here on the face.
And then double-click that in order to
| | 00:47 |
apply this particular crop to the
photograph.
| | 00:49 |
Now, after having seen this, let's say
that we've decided that we actually want
| | 00:53 |
it to go back to the vertical orientation
rather than what we're seeing here, which
| | 00:57 |
is a horizontal image.
Well to do that, again tap the R key to
| | 01:01 |
activate the Crop tool or click on the
Crop tool icon.
| | 01:03 |
And rather then clicking or dragging in
order to change your aspect ratio, you can
| | 01:08 |
use a really handy short cut ,you can
press the X key.
| | 01:11 |
When you press the X key, notice how its
changing between it's particular orientation.
| | 01:16 |
Here I'll go back to this vertical
orientation which I think worked a little
| | 01:19 |
bit better for this photograph, and then
I'll double click that in order to apply
| | 01:23 |
that to the image.
And then I'll double click inside of the
| | 01:26 |
crop area, in order to apply that crop to
the photograph.
| | 01:30 |
| | Collapse this transcript |
| Working with the crop overlay| 00:00 |
In this movie, I want to focus in on how
we can work with what's called the crop overlay.
| | 00:05 |
Here you can see in this demo file, I have
some screen grabs of some of the most
| | 00:09 |
common crop overlays that we'll work with
as we start to recompose our photograph.
| | 00:14 |
If we select an image like this one here,
what we can do is we can activate the Crop
| | 00:19 |
tool by pressing the R key or clicking on
this icon here.
| | 00:22 |
And we'll see an overlay which shows up on
top of the image.
| | 00:26 |
Now, we can scroll through and change that
overlay by tapping the O key.
| | 00:30 |
This allows us to go through a number of
different overlays.
| | 00:34 |
And sometimes, we can arrive at any
overlay which will give us insight into
| | 00:38 |
how we might want to recompose our
photograph.
| | 00:40 |
Like with this portrait here, this is a
world champion surfer, one of the things
| | 00:45 |
that I noticed is that he only takes up 2
3rds of the frame.
| | 00:48 |
The top third up here is mostly sky.
So, this overlay is informing me that I
| | 00:53 |
might want to bring this down, so that the
crop focuses a bit more in on the subject.
| | 00:58 |
Now, as you tap the overlays, you'll also
notice that certain overlays will have a
| | 01:02 |
particular orientation, like this one
here.
| | 01:05 |
You can flip flop that, by pressing
Shift+O, and here you can see how I can
| | 01:09 |
toggle this into different views.
I'll go ahead and tap the O key in order
| | 01:14 |
to toggle threw different overlays, until
I get back to the default overlay, the
| | 01:17 |
rule of thirds here.
Sometimes what you may want to do, is
| | 01:21 |
include important subjects on the
intersecting lines of these particular overlays.
| | 01:25 |
And again, you can simply use these as
guides.
| | 01:28 |
Yet sometimes these guides can be a bit
distracting.
| | 01:32 |
Well, you can turn the visibility of these
on and off, by working with the Tool
| | 01:35 |
Overlay options in the toolbar below.
If we click on the option of Never, this
| | 01:40 |
will turn the overlay off so that you
won't ever see any of those overlays.
| | 01:44 |
If we choose the option of auto what this
will do, is it will disable the overlay,
| | 01:48 |
until we click and drag one of these
corner points in order to recompose the
| | 01:53 |
photograph then let go, and the overlay
will disappear.
| | 01:56 |
I find that this is kind of a helpful
perspective, because we have to keep in
| | 02:00 |
mind that the viewer will never see the
overlay.
| | 02:02 |
It's only a guide for us to help us to
figure out how we might want to compose or
| | 02:07 |
crop our photograph.
We can also leave this on, Always if we
| | 02:10 |
prefer to see that, because it is a pretty
subtle overlay as well.
| | 02:15 |
Then, there's also another overlay that I
want to highlight, you may have noticed
| | 02:18 |
this as we're going through these.
If you tap the O key multiple times, one
| | 02:22 |
of the overlays allows you to crop to
particular aspect ratios.
| | 02:26 |
Now you can change what aspect ratios are
visible here, if you navigate to the Tools
| | 02:31 |
pull down menu.
Here after selecting Tools, you want to
| | 02:34 |
navigate to the menu item which is, Crop
Guide Overlay, where you can see the
| | 02:38 |
various overlay options that we can work
with.
| | 02:41 |
And there's also an option to choose
aspect ratios, which will be displayed
| | 02:45 |
when we're on this aspect ratios option
here.
| | 02:48 |
So, go ahead and click on that menu item.
When you click on that, it will open up
| | 02:52 |
this dialog and here we can choose to
display different types of aspect ratios.
| | 02:57 |
Sometimes this can clutter the screen, so
what you might want to do is just choose
| | 03:01 |
one or two.
Or just select the particular aspect ratio
| | 03:05 |
that you want to work with for example,
like four by five or maybe it's one by one.
| | 03:09 |
Now with that turned on, what you can then
do is click OK.
| | 03:13 |
Then in order to change the aspect ratio
here, I need to unlock the crop area so,
| | 03:19 |
we'll go ahead and click on the Lock icon
to do so.
| | 03:21 |
And then I can click and drag this down
until I have this one by one crop.
| | 03:25 |
Here I can also extend this, and you can
see how I can follow those guides, in
| | 03:29 |
order to create a crop which matches that
particular aspect ratio.
| | 03:32 |
In this case, a one by one square.
So, sometimes when it comes to customizing
| | 03:37 |
your aspect ratio, you may find that
overlay to be a little bit helpful.
| | 03:42 |
So again, to reiterate a few shortcuts
here, after you selected the Crop tool,
| | 03:46 |
tap the O key in order to toggle through
your various overlays.
| | 03:50 |
If ever you have an overlay which has a
particular orientation, press Shift+O in
| | 03:55 |
order to flip flop or change how that
particular crop overlay shows up on top of
| | 04:00 |
your photograph.
And then I also want to highlight that if
| | 04:03 |
ever you want to customize the overlay for
aspect ratio, you navigate to Tools > Crop
| | 04:08 |
Guide Overlay.
And then choose Aspect Ratios in order to
| | 04:12 |
select which aspect ratios you want to
have appear in that particular overlay option.
| | 04:17 |
| | Collapse this transcript |
| Synchronizing crop settings| 00:00 |
Your last stop in gaining some advanced
expertise in working with the Crop tool
| | 00:05 |
involves taking a look at how we can
synchronize crop settings across multiple photographs.
| | 00:10 |
And here we'll be working with two
pictures.
| | 00:12 |
The first is a photograph of my daughter
Sophie with her brand new puppy.
| | 00:17 |
The second photograph is of her older
sister, my daughter Annie, carrying her
| | 00:21 |
new puppy home from one of our neighbor's
houses.
| | 00:24 |
Well, let's say that what we want to do is
crop both of these images to the same
| | 00:28 |
aspect ratio.
We're going to crop both of the images to
| | 00:31 |
a square.
Well, to do that, first select the
| | 00:33 |
photograph, then access the Crop tool by
tapping the R key, or by clicking on the
| | 00:38 |
Crop tool icon.
Next, from the As Shot pull down menu,
| | 00:41 |
we'll change this to the aspect ratio of 1
by 1.
| | 00:44 |
This will create a 1 by 1 crop which we
can then use for this part of the photograph.
| | 00:50 |
Next, I'll go ahead and click and drag
this down so I can really bring in the
| | 00:53 |
focus to Sophie and her new puppy there,
her new companion and friend.
| | 00:58 |
And then, I'll double-click in order to
apply that.
| | 01:00 |
Well, after having applied that crop, I
realize I also want to crop out the grass
| | 01:04 |
that I see up there.
So here, I'll tap the R key to reactivate
| | 01:07 |
the Crop tool.
I'll bring this crop in even tighter
| | 01:10 |
there, and now I'm just capturing this
little moment here, between Sophie and her dog.
| | 01:15 |
Well, you want to synchronize settings
from one image to another.
| | 01:18 |
First, what you need to do is apply
something to one photograph as we've done
| | 01:21 |
here, then hold down the Cmd key on a Mac
or Ctrl on Windows.
| | 01:25 |
And then, click on one or more
photographs.
| | 01:27 |
Next, we want to work with our Sync
options.
| | 01:30 |
If you have Auto Sync turned on, flip that
switch to turn it off.
| | 01:33 |
And then, click on that button which is
Sync dot dot dot.
| | 01:36 |
When you click on this button, it will
open up our Synchronized Settings dialogue.
| | 01:40 |
Here, we'll choose Check None, and then
we'll just select the options for cropping.
| | 01:45 |
We'll go ahead and click Synchronize, and
what this will do is will apply the crop
| | 01:49 |
settings to both of these photographs.
Now, with this second photograph, what I
| | 01:53 |
want to do is I want to change the way
that this image is composed.
| | 01:56 |
So, I need to deselect.
In order to deselect, after you've had
| | 02:00 |
multiple images selected in your
filmstrip, you can use a shortcut.
| | 02:04 |
On the Mac, press Shift+Cmd+D.
On Windows, press Shift+Ctrl+D.
| | 02:08 |
You can also just click off of an image
onto another, in order to deselect as well.
| | 02:14 |
Well, here, at this one, let's tap the R
key to reactivate the Crop tool.
| | 02:18 |
And then, I'll go ahead and click and drag
to reposition this a little bit, and then
| | 02:21 |
double-click to apply it.
And in this way, we are able to quickly
| | 02:25 |
and pretty easily synchronize our crop
settings across multiple photographs.
| | 02:30 |
| | Collapse this transcript |
|
|
2. Retouching ToolsRetouching with the Spot Removal tool: Part one| 00:00 |
Previously all of the retouching that
we'll do on our photographs in order to
| | 00:04 |
reduce or remove blemishes was done in
Photoshop.
| | 00:08 |
That was, of course, until the Spot
Removal tool was introduced to Lightroom.
| | 00:12 |
And you know, there are some advantages to
working with this tool.
| | 00:14 |
It doesn't increase your file size.
You can also work non-destructively so,
| | 00:19 |
you can always edit or modify any
adjustments that you've made.
| | 00:23 |
So here in this movie, I want to introduce
you to how you can begin to work with this
| | 00:27 |
powerful tool.
To select a Spot Removal tool, go ahead
| | 00:30 |
and press the Q key, or click on the tool
icon which is located right here.
| | 00:34 |
Here I'll notice we can brush away by
cloning or healing away blemishes or distractions.
| | 00:40 |
I'll talk more about the differences
between these two later.
| | 00:43 |
For now we are focusing in on cloning,
cloning allows us to sample an area and
| | 00:47 |
then have a nice soft edge so that that
sample area can cover up a blemish or distraction.
| | 00:53 |
We can change our brush size here by
dragging the slider to the left or to the right.
| | 00:57 |
Let's start off with a pretty big brush
size, how about right around 84 or so.
| | 01:02 |
With the opacity, we can decrease the
opacity if we simply want to reduce a
| | 01:06 |
blemish, increase it or crank it all the
way up if we want to get rid of it altogether.
| | 01:11 |
Now next what you want to do is take a
look at your photograph.
| | 01:14 |
In this case, I have a photograph that was
captured in pretty harsh light.
| | 01:17 |
It's a portrait of a photographer friend
of mine.
| | 01:20 |
And there are these elements on the wall
that I want to get rid of.
| | 01:22 |
Well to do that, we can position our
cursor over a distraction and then just click.
| | 01:28 |
If you single-click, what will happen is
Lightroom will try to sample an area which
| | 01:32 |
will cover up the blemish.
In this case, it didn't do a very good job.
| | 01:37 |
Well no big deal.
We can click and drag this over to another
| | 01:39 |
area, and notice that what I need to do is
I need to sample an area which is similar
| | 01:44 |
so that that little line lines up right
there.
| | 01:46 |
So that I can then remove this particular
blemish.
| | 01:49 |
Now what we can do in order to see the
before and after, is we can click on this
| | 01:53 |
little toggle switch to see there's the
before and now here's the after.
| | 01:56 |
You'll also notice that we have an overlay
graphic on top of the area that we've
| | 02:01 |
retouched away.
Now we can change that.
| | 02:03 |
You can click on the tool bar here, and we
can choose Auto.
| | 02:07 |
Auto will hide those overlays until you
position the cursor over the image.
| | 02:11 |
Notice how that is a hiding and showing
there, as I hover over the image.
| | 02:15 |
We can also turn this off altogether to
Never, I don't recommend that option
| | 02:19 |
because sometimes it's helpful to see.
But you can simply choose this option
| | 02:23 |
which is Always, and then tap the H key
that will then allow you to toggle between
| | 02:28 |
Auto and then Never.
Think of the H key as a key which allows
| | 02:32 |
you to hide the overlay.
Well, we removed one blemish, what about
| | 02:37 |
this one here?
It's really too big for a single brush
| | 02:40 |
stroke, well what we can do is click and
drag or paint over a free form space like
| | 02:44 |
this, and it will then auto sample an area
and help us to remove that distraction or blemish.
| | 02:50 |
If we have a smaller area like this little
area here, we want to change the brush
| | 02:54 |
size so, here what I'll do is go ahead and
tap the left bracket key to change my
| | 02:58 |
brush size.
That will make the brush much smaller, or
| | 03:01 |
you can always use the slider right here,
and then I'll just click and drag over
| | 03:05 |
that little distraction, and this one here
and then in this one as well.
| | 03:08 |
We see any other distractions, we can just
paint those away by either clicking or
| | 03:13 |
painting over those problem areas.
And here I'll just go ahead and make a few
| | 03:17 |
corrections on this photograph in order to
clean up some of the background
| | 03:20 |
distractions and textures that we have
here.
| | 03:23 |
As you make these, if ever you want to go
back to an area that you've retouched, for
| | 03:28 |
example, let's say that you've decided one
of these areas doesn't look very good, and
| | 03:32 |
it's this one down here.
The tonality doesn't really match.
| | 03:36 |
So, you can select it by clicking on this.
You could of course try to move the sample
| | 03:41 |
area to something which was a little bit
more aligned in its color and tone or you
| | 03:46 |
can press Delete or Backspace, that will
then delete or remove that particular correction.
| | 03:52 |
The reason why that one didn't work is, my
brush was just too big.
| | 03:56 |
Often, what you want to do is, have a
brush size which is about the same size as
| | 04:00 |
the blemish.
So here, I'll tap the left bracket key,
| | 04:02 |
and I'll make my brush much smaller.
And then I'll paint over this little line
| | 04:06 |
or crack here on the wall, and this will
allow me to choose a nice sample area, and
| | 04:10 |
retouch, or remove that blemish.
In other situations what you may need to
| | 04:15 |
do is to just realign things a little bit.
Here perhaps you need to move an
| | 04:18 |
adjustment up or down, so that the sample
or the source area, which is cloning away
| | 04:23 |
the problem, is aligned so that everything
looks nice, neat, and natural.
| | 04:28 |
Last but not least what you may want to do
is flip this switch here, so that you can
| | 04:31 |
see the before and then flip it again, so
that you can then see the after.
| | 04:36 |
This will just ensure that you are indeed
reducing and removing those blemishes in a
| | 04:40 |
natural way so that it's improving the
overall photograph.
| | 04:43 |
This also might help you to identify other
little problem areas as well.
| | 04:48 |
Well now here with this particular
example, my intent was really just to show
| | 04:53 |
you how you can start to work with this
tool, what we need to do next is take a
| | 04:57 |
look at how we can use this particular
tool with more precision.
| | 05:00 |
So, let's go ahead and continue our
conversation about working with the Spot
| | 05:04 |
Removal tool in the next few movies.
| | 05:06 |
| | Collapse this transcript |
| Retouching with the Spot Removal tool: Part two| 00:00 |
Now that we know a little bit about how
the spot removal tool works.
| | 00:04 |
Let's take a look at how we can use this
tool in order to improve a portrait.
| | 00:08 |
We'll be working with this picture here
that I captured of one of my friends.
| | 00:11 |
And in this case what I want to do is zoom
in a little bit closer so that we can
| | 00:15 |
begin to work on the photograph.
To do so, let's navigate to the Navigator panel.
| | 00:19 |
In here on my screen My resolution, I'll
click on the option that's a 1 to 3 option.
| | 00:24 |
You can select that from the pull down
menu here, so that we can zoom in close
| | 00:28 |
and begin to work on a few skin variations
that we have in the photograph.
| | 00:32 |
You know often what you're doing when
you're retouching a picture is you're
| | 00:35 |
trying to bring something back to the way
you actually experience it.
| | 00:39 |
In real life, you don't really notice skin
variations.
| | 00:41 |
But when you pause time for a moment, and
really focus in on a subject, you may
| | 00:45 |
notice things that you really didn't
notice in real life.
| | 00:48 |
Well what we can do is we can use the spot
removal tool by clicking on it here in
| | 00:52 |
order to reduce or to remove blemishes or
distraction.
| | 00:55 |
Here, how we can begin to work with this
is we can change our brush size so that we
| | 00:59 |
have a nice, small brush size.
Then we want to leave the Opacity all the
| | 01:03 |
way up.
And we'll leave the setting on Clone.
| | 01:05 |
Next, we can simply go ahead and click in
order to sample an area or to remove a
| | 01:10 |
little blemish.
And then we can click and drag this around
| | 01:13 |
in order to sample a tone which is a
little bit more appropriate in order to be
| | 01:16 |
able to retouch a problem away.
Here I'll go ahead and make a few clicks
| | 01:20 |
through the photograph.
And often, why you're doing this really is
| | 01:22 |
to try to just make the image a little bit
more subtle so you can really focus in on
| | 01:26 |
the subject's character.
In other situations, perhaps what you may
| | 01:29 |
need to do is to remove certain
distractions or blemishes in order to try
| | 01:33 |
to create a particular look in a
photograph.
| | 01:35 |
And in this image, I'm just clicking
through a few little areas, and I'm
| | 01:38 |
allowing Lightroom to automatically sample
the areas that I want to retouch away.
| | 01:43 |
Or to sample the good areas, I should say,
in order to cover up the areas that I
| | 01:47 |
want to retouch away.
Now, currently the photograph looks really
| | 01:50 |
strange because we have all of these
circles everywhere.
| | 01:53 |
I find these circle overlays a bit
distracting especially on a photograph
| | 01:57 |
like this, so tap the H key, that will
allow you to hide those.
| | 02:01 |
Now, one of the things that you can do
next to view a before and after is to tap
| | 02:05 |
the Backslash key.
When you tap the backslash key, that's a
| | 02:08 |
slash which leans to the left, it will
show you the before.
| | 02:11 |
And then tap again and then you can see
the after.
| | 02:14 |
When you feel like you've arrived at a
point where this looks pretty good.
| | 02:17 |
In order to commit to these adjustments,
simply click Done and that will then apply
| | 02:22 |
all of those corrections to the
photograph.
| | 02:24 |
I want to highlight another way that we
can use this tool by clicking on another photograph.
| | 02:28 |
This is a beauty portrait and in this case
let's say that the client wants the skin
| | 02:33 |
to be absolutely porcelain and perfect or
more than perfect.
| | 02:38 |
We can clean that up again by looking at
the photograph and then selecting the spot
| | 02:42 |
removal tool.
Now, in the toolbar below you'll notice
| | 02:45 |
there is an option which is called
visualize Spots.
| | 02:47 |
We can turn this on in order to be able to
identify little variations or issues that
| | 02:54 |
we might want to retouch away.
Here are you drag the slider, you can show
| | 02:58 |
or hide more texture or less texture.
You also should note that as you zoom in,
| | 03:03 |
for example let's zoom in to a 1 to 1
perspective.
| | 03:06 |
Here we're going to see that we have more
texture showing up.
| | 03:09 |
So we may need to change the slider value
so that we can really focus in on the
| | 03:13 |
blemishes, or the skin variations which
are more prominent.
| | 03:16 |
You know, you can actually retouch with
this particular view turned on.
| | 03:20 |
And keep in mind, this is just a view to
try to help you to find the problems or issues.
| | 03:25 |
It's really helpful in a number of
situations and I'll show you another file
| | 03:29 |
later where this will help us out in order
to find some areas that we want to work on.
| | 03:32 |
Well anyway, back to this project.
Here what we can do is just start to click
| | 03:36 |
and drag over these little blemishes.
If you want to tap the H key, that will
| | 03:40 |
bring back all of the various overlay
icons and also the little circles.
| | 03:44 |
Press the Space bar key and we can click
and drag around.
| | 03:47 |
And here what we can do is just start to
click and drag around until we are able to
| | 03:51 |
really focus in on any little skin
variation that we want to retouch away.
| | 03:55 |
Now sometimes, it isn't really fair to
look at the image in this way because we
| | 03:59 |
don't know how it's blending together.
So, you may want to turn off visualize
| | 04:03 |
spots, or you may want to turn it on and
off quite frequently.
| | 04:06 |
To do so, you can either click on the
checkbox, or you can tap the A key.
| | 04:10 |
The A key allows you to toggle the
visibility of the visualize spots option
| | 04:15 |
on and then off.
Alright, well next, let's press the Space
| | 04:19 |
bar key and I will go ahead and click and
drag around.
| | 04:21 |
And then I will just click through this in
order to remove a few more skin variations here.
| | 04:25 |
Press the Space bar key and click and drag
up to the top part of the image.
| | 04:29 |
Whenever you're retouching a photograph,
you want to make sure you're retouching it
| | 04:32 |
in a balanced way.
So that you're retouching it consistently
| | 04:35 |
throughout the entire picture.
And here we're just going off the clients
| | 04:39 |
needs of trying to retouch away any little
skin variation.
| | 04:43 |
I think we've done a pretty good job.
I'll click on the 1 to 3 perspective.
| | 04:47 |
This will allow us to zoom out.
We can see more of the photograph.
| | 04:51 |
Here I realized I missed a few things.
If we turn on Visualize Spots, I can see
| | 04:55 |
the spots right away.
There's one on the shoulder and also one
| | 04:58 |
on the ear.
Though in seeing that, sometimes you have
| | 05:01 |
to step back in order to really see what
you've done or what you may need to do.
| | 05:05 |
In this case, I think we cleaned up this
photograph pretty well here.
| | 05:09 |
Let's hide all of the overlays.
Then next what we want to do is view the
| | 05:13 |
before and after.
Here's the before and then you can see the after.
| | 05:17 |
Let me zoom in a little bit closer here so
you can actually see this better.
| | 05:21 |
Here's our before and after, again just
some subtle retouching there.
| | 05:24 |
But nonetheless sometimes it's the subtle,
yet significant retouching which makes all
| | 05:29 |
the difference in the world.
Well, after having viewed the before and
| | 05:32 |
after and evaluated our progress with the
picture, next what we want to do is apply
| | 05:37 |
all of these corrections.
To do so simply click the Done button and
| | 05:42 |
that will then apply all of those
adjustments that we've made with the Spot
| | 05:45 |
Removal tool.
| | 05:46 |
| | Collapse this transcript |
| Spot removal: Clone versus Heal| 00:00 |
So, that we can better understand how we
can use the Spot Removal tool.
| | 00:04 |
In this movie, I want to do two things.
First, I want to highlight the difference
| | 00:08 |
between using the Spot Removal tool on
Clone versus Heal.
| | 00:12 |
And then second, I want to take a look at
how we can reduce some shadows in this
| | 00:16 |
portrait in order to improve it.
Now first what I want to do is zoom in on
| | 00:19 |
the picture, so let's go ahead to the
navigator panel.
| | 00:22 |
And then let's click on the option for
'fill', which will give us a closer view
| | 00:26 |
of this photograph.
Next press the Q key, or click on the Spot
| | 00:30 |
Removal tool, which is located right here
and let's begin by working with the Clone option.
| | 00:35 |
Now, what I'm going to do here is going to
seem or appear a little bit silly, yet
| | 00:39 |
stick with me.
Because I'm going to do something in order
| | 00:42 |
to demonstrate the distinct difference
between Clone and Heal.
| | 00:46 |
I'm going to go ahead and single click on
the cheek with a relatively large brush size.
| | 00:51 |
Then what I want to do is click and drag
and move this around.
| | 00:54 |
Here you can see that I'm choosing a
sample area which has this background
| | 00:58 |
color of this painted wall here, which is
bringing that color over to the cheek.
| | 01:03 |
Now, obviously this isn't improving the
photograph, yet I wanted to do this to
| | 01:07 |
highlight something which is really
important about how clone versus heal
| | 01:11 |
actually works.
So next I'm going to zoom in even closer.
| | 01:14 |
Here I'll click on the One to One option
in the Navigator panel so we can really
| | 01:19 |
focus in on what we have here.
Well, you can see that it's bringing over
| | 01:23 |
some of that content from the sample area.
In this case, it contains a color.
| | 01:27 |
We're noticing it's bringing over the
color and the brightness, and it also has
| | 01:31 |
a really nice, soft edge.
Now we can increase or decrease the size
| | 01:35 |
of this by clicking and dragging on this,
here.
| | 01:37 |
And you can see that we can create a
larger area that we're working on, or we
| | 01:41 |
can re-position this as well.
As we re-position this, it's still
| | 01:44 |
going to bring over this content in the
way that it's bringing this color and
| | 01:48 |
brightness, into that area.
Typically cloning works really well, but
| | 01:52 |
in certain situations it just doesn't.
In certain situations you'll have to reach
| | 01:57 |
for the healing option.
When we change this to heal, all of the
| | 02:00 |
sudden, the color is gone.
As I click and drag and reposition this
| | 02:04 |
around, what you're seeing is it sampling
a relative brightness and color from the
| | 02:09 |
underlying area.
Notice how it's darker over here.
| | 02:11 |
And then it's a bit brighter over here,
because what healing does is some advanced blending.
| | 02:17 |
And sometimes, healing really is the
option which will save the day.
| | 02:21 |
Yet you'll also notice that with healing,
the edges aren't quite as soft.
| | 02:26 |
Sometimes what you have to do with
healing, at least in my own experience, is
| | 02:29 |
you have to decrease the opacity so it's
not quite so intense.
| | 02:32 |
And that can help you especially when
you're working with shadows like we're
| | 02:36 |
going to do here with this photograph.
Alright, well let's go ahead and delete
| | 02:39 |
this area.
To do so, let's click reset.
| | 02:42 |
Then, what I want you to do is to press
the Space bar key to access the Hand tool.
| | 02:46 |
And click and drag to reposition so that
we can view this part of this portrait
| | 02:50 |
here that I captured.
Well I captured this portrait in natural
| | 02:53 |
or available light.
And whenever you do that, when you have a
| | 02:56 |
bit of overhang or maybe when you have a
cloudy day, you'll tend to get some
| | 03:00 |
shadows underneath the eyes.
Well, I want to reduce those shadows.
| | 03:04 |
To do that, we'll use the Spot Removal
tool, and we'll use it on the option for
| | 03:08 |
healing here let's take the opacity up for
starters, eventually we'll lower it.
| | 03:12 |
But I'm going to leave it high, so we can
see how this works.
| | 03:15 |
Next I'll decrease the brush size, so I
have a relatively small brush here.
| | 03:19 |
And then what we want to do is we just
want to paint over the shadow area.
| | 03:22 |
So, here I'm going to go ahead and paint
over those shadows.
| | 03:25 |
We also will need to be careful to paint
over a few other areas as well, like these
| | 03:30 |
wrinkles, because you can't remove shadows
in one area and then not another.
| | 03:34 |
Well currently we've painted over this
area.
| | 03:37 |
Next what I need to do is decrease the
opacity.
| | 03:40 |
As we decrease it all the way you can see
that that shadow will come all the way back.
| | 03:44 |
Now I'm not interested in removing that
all together because that will remove the
| | 03:48 |
character or the character lines or
qualities of this portrait.
| | 03:51 |
But I do want to soften the shadow.
So here on an opacity maybe around 40, we
| | 03:56 |
can see how this looks.
Press the h key in order to hide the overlays.
| | 04:00 |
Then tap the backslash key and you can see
here's the before and then now here's the after.
| | 04:04 |
It's pretty subtle and pretty nice, and
advanced retouching that we've done here.
| | 04:08 |
Well, let's press the 'h' key to bring
back that overlay.
| | 04:11 |
Next I'm going to work on this other area
over here, so again I'll just paint over
| | 04:15 |
this eye, this will retouch this at a low
opacity.
| | 04:19 |
want to go ahead and select this.
I don't necessarily like the sample area
| | 04:22 |
that it chose, so I'm going to bring this
over here to this other side of the cheek.
| | 04:25 |
I want that skin tone to match up.
Then I'll go ahead and decrease my brush
| | 04:29 |
size I'm going to decrease the brush size
have a nice small and I'll press the right
| | 04:35 |
bracket key perhaps to make it a little
bit bigger.
| | 04:37 |
I just want to work on these wrinkles here
and you want to do this again just as that
| | 04:41 |
you have consistency as you're working on
these different areas.
| | 04:45 |
Looks like that sampled in other wrinkles
I'm just going to make sure to go ahead
| | 04:48 |
and paint over these.
Now, all of these overlays are starting to
| | 04:51 |
get really distracting here, so I'm
going to go ahead and turn those off by
| | 04:55 |
selecting never.
That will then hide the overlays, so that
| | 04:58 |
as I start to work with this, I can then
paint over these little wrinkles here.
| | 05:02 |
And just nicely remove or soften all of
the shadows that we have in that part of
| | 05:07 |
the photograph.
Alright, well now that we've done that,
| | 05:09 |
let me just go ahead and take a look at a
few more little areas here, where I'm
| | 05:13 |
noticing some shadows.
I want to have this nice and consistent.
| | 05:16 |
Press the Hand tool and click and paint
over a couple other areas as well.
| | 05:19 |
I'm just going to go ahead, and click, and
paint over theses spots, and a couple
| | 05:23 |
other little spots, and blemishes that I
am noticing, as well.
| | 05:26 |
This will just reduce those, it won't
remove them all together.
| | 05:29 |
Rather, this is about reduction, here.
We're doing some healing on lower opacity.
| | 05:34 |
Let's take a look at how this image looks.
If we tap the back slash key then you can
| | 05:39 |
see the before, and then tap it again, and
then you can see the after.
| | 05:44 |
If we zoom out a little bit more, say to
the perspective which allows us to fill
| | 05:48 |
the frame with this photograph.
And then tap the backslash key, you can
| | 05:51 |
see that this looks really nice and
natural.
| | 05:53 |
Here's the before and then click again and
here's the after.
| | 05:57 |
Now in this case I just wanted to subtly
reduce those shadows.
| | 06:01 |
If we needed to reduce them even further
of course what we could do is we could go
| | 06:05 |
back to showing the overlays here.
Go ahead and turn this on to always, then
| | 06:09 |
we could select one of those overlays.
And here we could crank the opacity up,
| | 06:13 |
that would reduce more of the shadow.
Or we could find just the right spot for
| | 06:17 |
getting rid of that.
Again, if we wanted to go for more intense
| | 06:20 |
shadow removal, we might increase the
opacity values of that area.
| | 06:24 |
Then what I like to do is to tap the H key
to hide those overlays, and then evaluate
| | 06:29 |
by tapping the \ key, that will show us
the before perspective, and then the after.
| | 06:35 |
Let me zoom in even closer so you can
actually see this, because I think it's
| | 06:38 |
difficult when these movies become small.
Here it is.
| | 06:40 |
Our overall before, and then now the
after.
| | 06:44 |
| | Collapse this transcript |
| Cleaning up distractions in the background| 00:00 |
Another way that we can use the Spot
Removal tool, is to clean up larger areas
| | 00:05 |
in our photographs.
For example, we can use it to clean up
| | 00:08 |
distracting background elements, and we'll
look at two different photographs and two
| | 00:11 |
different examples of how we can do that,
here.
| | 00:14 |
Let's begin by evaluating this photograph.
This is a studio image, and here we can
| | 00:19 |
see the studio backdrop, we can see the
top roll of paper and also a bit of a
| | 00:24 |
wrinkle over here.
Now, if we zoom in by clicking the Fill
| | 00:27 |
button, you can see that this element
doesn't look very good, we need to get rid
| | 00:31 |
of that.
Well, to that, we'll click on the Fit
| | 00:34 |
view, so we can view the entire image,
then press the Q key or click on the icon
| | 00:39 |
to select the Spot Removal tool.
Now let's begin by working with the Clone
| | 00:43 |
option, we'll crank the Opacity all the
way up and we want a relatively small
| | 00:47 |
brush size.
And you can change your brush size if you
| | 00:50 |
hover over the image, if it's too big tap
the left bracket key to make it smaller or
| | 00:55 |
tap the right bracket key to make it
bigger.
| | 00:57 |
And typically what you want is a brush
size which is just a little bit bigger
| | 01:01 |
than the blemish that you're working on.
You can also always go back and forth over
| | 01:06 |
across the area that you're retouching
away.
| | 01:08 |
And that's what I'm going to do here just
to make sure I have some nice, good
| | 01:11 |
coverage of that area, and then let go and
what it will do is it will retouch away
| | 01:16 |
that area.
Now in this particular view, it looks fine.
| | 01:19 |
Let's go into this Fill view and it still
looks okay.
| | 01:22 |
Yet, if we turn the tool overlay option
off for example, here I'll turn this off
| | 01:27 |
to, Never.
What we'll discover is that there's a
| | 01:30 |
distinct brightness difference between
these two areas.
| | 01:33 |
Well, we can minimize that by changing
from Clone to Heal.
| | 01:37 |
When we use Heal, what this will allow us
to do is to blend that in much more effectively.
| | 01:42 |
And we wouldn't have that difference,
unless we had changed that overlay.
| | 01:46 |
Sometimes when you have the overlay on,
you can't really tell how good of a job
| | 01:51 |
it's doing.
What I like to do is to tap the H key, in
| | 01:54 |
order to toggle the visibility of that
overlay on and then off.
| | 01:58 |
Alright, well let's go ahead and change
this view to Fit In view.
| | 02:01 |
And then next what I want to do, is paint
over this wrinkle over here.
| | 02:05 |
And what you want to do is just make sure
that you cover it up.
| | 02:08 |
So, here I'm just clicking and dragging
over this area of the photograph.
| | 02:11 |
And then let go, and that will allow us to
retouch away that area.
| | 02:14 |
There are a few other little distracting
elements in the background, this backdrop
| | 02:18 |
wasn't perfectly clean, we'll go ahead and
click over those areas or click and drag
| | 02:22 |
if I need to.
To decrease the brush size, tap the left
| | 02:25 |
bracket key, and then I'll click on that
smaller little blemish right there.
| | 02:28 |
Alright, we'll we did a pretty good job,
pretty good job in cleaning this image up,
| | 02:32 |
without a lot of effort.
If you tap the backslash key, you can see
| | 02:36 |
here is the before and then now here is
the after.
| | 02:39 |
Let's commit to these changes and we can
do so by clicking Done.
| | 02:42 |
Next we'll navigate to another photograph,
this one here.
| | 02:46 |
This is the picture from one of my other
training courses, this was on bridal portraiture.
| | 02:51 |
And, you can see that there's a mic
showing up in the frame.
| | 02:53 |
What I want to do is retouch away the mic
and also the lamp, and also this bright
| | 02:58 |
area of the wall.
To do so, reach for the Spot Removal tool.
| | 03:02 |
You can click on it, position your cursor
over this area.
| | 03:06 |
Tap the right bracket key to make your
brush bigger and then again we'll click
| | 03:09 |
and drag over this.
Ideally what you want to do is just click
| | 03:12 |
and drag over the area that you want to
remove.
| | 03:15 |
You don't necessarily want to remove more
than you need.
| | 03:17 |
Now in this case, healing did a good job.
Yet you almost always want to compare the
| | 03:22 |
two, especially when you're working on a
new image.
| | 03:24 |
If we choose cloning, what we'll see is it
will give us a brighter option of this
| | 03:29 |
particular tonality.
Notice that it's bringing in the
| | 03:31 |
brightness that we have here.
Or of course we could sample a different
| | 03:34 |
area, if we want a little bit of a
different tone in this case, I could bring
| | 03:37 |
over some darker tones into that area as
well.
| | 03:40 |
Now, if I was working with Clone, I would
want to retouch out this part of the image
| | 03:44 |
here too, just so that I have those areas
so that they match up nicely.
| | 03:48 |
So, it isn't necessarily that one option
is better than another, it's just that
| | 03:52 |
they give us different ways to able to
retouch or clean up our photographs.
| | 03:57 |
Here I will go ahead and retouch the way
this part of the wall as well.
| | 03:59 |
So, click and drag over that area, and
again we can compare the two differences,
| | 04:03 |
here's the healing option and here is the
cloning option.
| | 04:06 |
In this case, I think the healing option
looks a little bit better.
| | 04:10 |
While we're at it, we can always go over
the wall and we can always clean up other
| | 04:14 |
little areas or try to minimize any
repeating patterns that we might see as we
| | 04:18 |
are retouching these areas away.
If ever you notice a repeating pattern
| | 04:22 |
what you can do, is you can actually click
into that area and you can then move the
| | 04:27 |
sample area, and you can retouch on top of
a retouched area.
| | 04:30 |
What this will allow you to do is to make
that retouching even better and also, it
| | 04:35 |
allows you to add more variety to that
area, so that it isn't looking like it's
| | 04:39 |
repeating a pattern, from some part of
your photograph.
| | 04:42 |
Well once again, let's tap the H key to
hide those overlays.
| | 04:46 |
Then, tap the backslash key, that's the
slash which leans to the left.
| | 04:50 |
That allows us to see the before and then
tap it again, and we can see the after.
| | 04:54 |
The image is now much simpler and it looks
stronger.
| | 04:57 |
And again, we're able to accomplish this
without a lot of effort.
| | 05:01 |
And here, we're really discovering the
advantage of working with this tool, is
| | 05:04 |
that it allows us to work really quickly,
it isn't increasing our file size.
| | 05:08 |
We can make these adjustments
non-destructively, so we can always edit
| | 05:12 |
or undo them after the fact.
And this is one of the reasons why this is
| | 05:16 |
a tool that you'll be using quite
frequently, as you start to work more with Lightroom.
| | 05:20 |
Alright, to wrap up this product lets go
ahead and click the Done button, in order
| | 05:25 |
to commit to those adjustments.
| | 05:27 |
| | Collapse this transcript |
| Retouching away linear issues| 00:00 |
In this movie, I want to go through a bit
of a workflow, which will involve using
| | 00:04 |
the Spot Removal tool in order to clean up
this photograph.
| | 00:08 |
And I also want to talk about how we can
retouch away areas where we have a linear
| | 00:12 |
issue that we want to get rid of.
And last but not least, I want to
| | 00:15 |
highlight how we can use a shortcut, which
will inform the Spot Removal tool to auto
| | 00:20 |
select a different source area.
Which often can lead to retouching in
| | 00:24 |
better ways.
Alright.
| | 00:25 |
Well, lets begin by selecting the Spot
Removal tool.
| | 00:28 |
Press the Q key in order to do so.
Before we actually start to work on this
| | 00:32 |
image, let's tap the A key to turn on
Visualize Spots.
| | 00:36 |
Or you can just click on the check box
here, as well, if you forget the shortcut.
| | 00:40 |
As we click and drag the slider, one of
the things that you'll notice is that we
| | 00:43 |
have a lot of little dots or blemishes on
the sky.
| | 00:46 |
This often happens in landscape
photographs, especially if you don't clean
| | 00:50 |
your lens as I didn't here.
So, I need to remove all of those little details.
| | 00:55 |
To do so, we can leave this perspective
on.
| | 00:57 |
And here I'm working with clone with a
relatively small brush size.
| | 01:01 |
I will turn this to Always so we can those
little circles sort of these areas that we
| | 01:04 |
are retouching.
And here, we can click and drag over the
| | 01:07 |
small blemishes and we can do this
retouching either with this Visualize
| | 01:11 |
Spots view turned on or we can also turn
it up.
| | 01:15 |
Tap the A key in order to turn that up and
then we can go ahead and click and drag
| | 01:18 |
across the image in order to retouch away
any little blemishes or distractions that
| | 01:22 |
we encounter.
Well, what about this particular area here?
| | 01:26 |
In this case, you'll notice that we have
an exhaust line from an airplane.
| | 01:30 |
It's a straight line, and I want to get
rid of that straight line.
| | 01:33 |
Often you'll have straight line blemishes,
which are perhaps power lines in the back
| | 01:38 |
of a photograph or something, which is
linear.
| | 01:40 |
Well, to get rid of it, you click at the
beginning of the line, hold down the Shift
| | 01:45 |
key and then click at the end of the line.
What Lightroom will do is it will connect
| | 01:49 |
the dots, and it will allow you to retouch
this away here in a linear form.
| | 01:53 |
And this is phenomenal when it comes to
retouching away exhaust lines like this,
| | 01:58 |
or power lines that you have in the
background of your photograph.
| | 02:01 |
Let's take a look at one more example of
how we could use this, here I'll click on
| | 02:05 |
the One to One view so that we can zoom on
in this photograph.
| | 02:08 |
You'll notice that in the water we have
this floating line here.
| | 02:11 |
Well, we can get rid of that by tapping
the left bracket key to make our brush smaller.
| | 02:15 |
And then we can go ahead and click once at
the beginning of the issue, and then
| | 02:20 |
Shift+click again at the end of that
issue.
| | 02:22 |
Then of course, we'll want to move this
around so that we can blend that in, so
| | 02:26 |
that we can best remove that particular
distracting element.
| | 02:29 |
If ever there's an area we need to clean
up, we can always go into those edges.
| | 02:33 |
And we can work on those areas.
In this case, I need to work on a few
| | 02:36 |
areas here.
Tap the right bracket key to make the
| | 02:39 |
brush bigger, to get rid of that little
float there.
| | 02:41 |
I'll just make sure that that line on the
edge of the water is lined up nicely.
| | 02:45 |
While we're zoomed in close, another thing
that let's say I want to do, is I want to
| | 02:49 |
get rid of this cleat here, on the pier.
So, I'll tap the right bracket key to make
| | 02:53 |
my brush a little bit bigger and I'll
click once.
| | 02:56 |
In doing that, you can see that what
Lightroom tried to do is that it tried to
| | 02:59 |
auto sample an area in order to retouch
away this problem.
| | 03:03 |
Well, if it didn't do a good job when it
was doing that, well, if it didn't sample
| | 03:07 |
the right area.
What you can do is tap the forward slash
| | 03:10 |
key, that's the slash, which leans to the
right.
| | 03:13 |
Here, I just tapped it three times and now
you can see it sampled a much better area
| | 03:17 |
and this works where ever your working in
Lightroom.
| | 03:20 |
So, for example, to illustrate this
perhaps even further I'll go ahead and
| | 03:24 |
zoom out.
To do so, I'll click on the fit and view perspective.
| | 03:28 |
Then I'll make my brush bigger by pressing
the right bracket key.
| | 03:31 |
Now, go ahead and click once.
Here, you can see it's sampling this area.
| | 03:34 |
I'll go ahead and drag this over to a
completely different area.
| | 03:38 |
Well now, when I press forward slash, you
can see that Lightroom intelligently is
| | 03:43 |
trying to find a similar area of tonality
in order to select the sample area to
| | 03:49 |
retouch the blemish of the problem that I
have in the photograph.
| | 03:52 |
And as you tap that forward slash key it
will keep working to try to find an area,
| | 03:57 |
which will help you out in retouching that
problem area.
| | 04:00 |
Well, in this case, this area isn't an
actual problem area.
| | 04:03 |
I was just showing that for demo purposes.
So, here I want to go ahead and delete
| | 04:07 |
this retouched spot that I've done here.
To do so, tap the Delete key on a Mac or a
| | 04:13 |
Backspace on Windows.
In doing that, it will remove that spot
| | 04:16 |
from the photograph.
Alright.
| | 04:17 |
Well, there you have it, a few more tips
that you can use when working with the
| | 04:20 |
Spot Removal tool.
And again, those two tips, just to
| | 04:24 |
reiterate are to click and then Shift
click in order to retouch away areas in a
| | 04:29 |
straight line.
Or if you're single clicking and allowing
| | 04:32 |
Lightroom to auto-sample an area, which
it's going to use to retouch or correct
| | 04:37 |
the problem.
You can always have it select a different
| | 04:40 |
area by tapping the forward slash key and
that's the slash, which leans to the right.
| | 04:45 |
| | Collapse this transcript |
| Removing dust spots on a lens| 00:00 |
Occasionally, what will happen is you'll
notice that you have a set of photographs
| | 00:04 |
which have similar blemishes or
distractions which you'll need to remove.
| | 00:08 |
And that is the case with these three
photographs here.
| | 00:10 |
I captured these images all with the same
camera and lens.
| | 00:14 |
And as I scroll through these photographs,
one of the things I notice is these little
| | 00:18 |
spots are in the same exact location.
That's because I had some dust on my lens
| | 00:23 |
which I had neglected to clean up.
Well, fortunately, we can use the Spot
| | 00:27 |
Removal tool in order to clean these up
and to synchronize the settings across
| | 00:31 |
multiple files.
Go ahead and click on the tool, or press
| | 00:34 |
the Q key to select it.
Then, tap the A key or click on this icon
| | 00:38 |
here in order to visualize the spot.
Now, we can use the slider, and we can
| | 00:42 |
crank this up in order to see these
problem areas.
| | 00:46 |
And here, all of a sudden, we can notice
all of these little problems.
| | 00:49 |
And these are kind of embarrassing because
obviously I should have cleaned off my
| | 00:52 |
lens but I didn't.
I made a mistake.
| | 00:54 |
Let's see if we can't fix this mistake in
post-production using Lightroom.
| | 00:58 |
Now, because these blemishes really blend
into the sky, what I'm going to do is
| | 01:03 |
leave Visualize Spots turned on.
Next, I'm going to decrease my brush size
| | 01:07 |
by tapping the left bracket key or by
dragging the size slider to the left.
| | 01:11 |
And then, I'll go ahead and just click
over these little areas.
| | 01:13 |
And what I want to do is click and drag or
click and paint over these areas in order
| | 01:17 |
to remove all of these little blemishes.
I want to make sure that this is looking good.
| | 01:21 |
So, eventually, we'll turn off this view
and we'll hide those overlays.
| | 01:25 |
And then, we'll look at our before and
after.
| | 01:27 |
So again, here, we'll just make our way
through this photograph.
| | 01:30 |
Next, we'll tap off the A key to turn off
that visualization.
| | 01:34 |
Then we'll hide the overlays by pressing
the H key.
| | 01:37 |
And last but not least, we'll tap the
backslash key.
| | 01:39 |
Here's before and then here's after.
Imagine this will be difficult to see, so
| | 01:43 |
go to a 1 to 1 perspective and press the
spacebar key.
| | 01:47 |
And then, click and drag.
And here, you can see we have these little overlays.
| | 01:51 |
And then, when I tap the backslash key,
you can see how I'm removing these little
| | 01:54 |
dots which we have in the photograph.
All right, well after having retouched one
| | 01:58 |
image, what I want to do is synchronize
those settings across these other two.
| | 02:03 |
To do that, we'll go ahead and click Done
to commit to those adjustments.
| | 02:07 |
Next, hold down the Cmd key on a Mac, or
Ctrl key on Windows, and then click on the
| | 02:11 |
other photographs that you want to
synchronize those settings across.
| | 02:15 |
Now, we want to work with Sync versus Auto
Sync, so turn Auto Sync off.
| | 02:19 |
And just click on the Sync button.
When you click on the Sync button, we'll
| | 02:23 |
choose check none, which will turn off all
of the synchronized options.
| | 02:27 |
And the only thing that we want to
synchronize is the Spot Removal.
| | 02:30 |
That option is located right here, so
click on that checkbox, and then click Synchronize.
| | 02:35 |
What this will do is it will synchronize
the settings across all three of these images.
| | 02:41 |
Well, in order to work on an individual
photograph or to check its status, we
| | 02:44 |
probably want to deselect the photographs
that we've selected.
| | 02:47 |
We can do so by pressing Shift+Cmd+D on
the mac or Shift+Ctrl+D on windows or you
| | 02:52 |
can always just click on another
photograph.
| | 02:54 |
And then, click back to these images in
order to evaluate how we've done.
| | 02:58 |
In this case, let's press the H key to
turn on the Visualize Spots, after we've
| | 03:02 |
clicked the Spot Removal tool.
So, click on the Spot Removal tool.
| | 03:06 |
Then tap the H key, and here you can see
all of the little overlays.
| | 03:09 |
Well, I noticed that there's one little
blemish that I missed.
| | 03:11 |
Okay, no big deal.
That photograph is now done.
| | 03:15 |
I'll move to my next photograph here with
the Spot Removal tool selected.
| | 03:19 |
In this case again, there's one little
blemish right there.
| | 03:21 |
And then, I also notice all of these
birds.
| | 03:24 |
Well, let's say that I not only want to
remove the blemishes from the dust, but
| | 03:29 |
the client has requested a photograph
without the birds in it.
| | 03:32 |
Well, no big deal.
Here, what we can do is use our Spot
| | 03:35 |
Removal tool.
We just are going to paint over all of
| | 03:37 |
these areas, even if we paint over an area
that we've already worked on, that's okay.
| | 03:42 |
We'll go ahead and, and paint over the
birds there.
| | 03:44 |
And then, I'll work on these birds in this
area.
| | 03:46 |
I almost always like to work with a
smaller brush versus a larger brush.
| | 03:51 |
Although, you could work with a larger
brush, perhaps more quickly, by having a
| | 03:54 |
smaller brush it will just ensure that
you're maintaining the integrity of most
| | 03:59 |
of the texture of that area.
That being said, there are certain
| | 04:02 |
situations where I've found that it is
helpful to work with larger brushes.
| | 04:06 |
Well, either way, you can see that we've
now retouched or cleaned up that photograph.
| | 04:10 |
Here, we'll click Done in order to commit
to those adjustments.
| | 04:13 |
And then, tap the backslash key to look at
the before, and then to look at the after.
| | 04:17 |
And one of the things that I wanted to
highlight here most importantly was how we
| | 04:21 |
could adjust one photograph, this image
here.
| | 04:24 |
And then, synchronize those settings to
other photographs.
| | 04:27 |
And either other photographs with
different exposure settings in order to
| | 04:31 |
speed up our workflow when we have issues
or distractions or blemishes which are
| | 04:35 |
consistent through a group of photographs.
| | 04:37 |
| | Collapse this transcript |
| Fixing red-eye| 00:00 |
Before we wrap up our conversation about
retouching our photographs, let's take a
| | 00:04 |
look at how we can remove or reduce
redeye.
| | 00:07 |
This is a photograph that a friend
captured the day my youngest daughter was
| | 00:11 |
born, Elsie here.
She was just born that day, and then my
| | 00:15 |
oldest daughter, Annie, is holding her.
And I like this moment that my friend
| | 00:19 |
captured, but I don't like the redeye.
So, let's go ahead and zoom in on the picture.
| | 00:23 |
We can do so by clicking on the one to one
button so that we can view this a little
| | 00:26 |
bit closer here.
Next, what I want to do is take a look at
| | 00:29 |
how we can remove the redeye that we have
that often happens when we're using
| | 00:33 |
compact cameras which have a flash.
We can select the Redeye Reduction tool by
| | 00:38 |
clicking on it here in the Tool Strip.
There isn't a shortcut for this tool
| | 00:42 |
because, frankly, it isn't a tool that
you'll be using that frequently.
| | 00:45 |
Well, next what you can do is you can
click over the eye.
| | 00:49 |
You want to position the cursor in the
middle of the eye and then drag out so
| | 00:53 |
that that circle covers up the entire eye.
Now, if it doesn't get all of the red out,
| | 00:58 |
what we can do is either hover over the
edge of that circle and click and drag to
| | 01:02 |
increase it.
Or, you can also increase the pupil size
| | 01:05 |
by using this slider here.
You'll notice that that will darken or
| | 01:08 |
change the color of a larger area.
After you've worked on one eye, you can
| | 01:13 |
reposition the cursor over another and
just click.
| | 01:15 |
And what it will then do is it will sample
that area, and it will try to remove that redeye.
| | 01:20 |
Here, I'll go ahead and click over these
eyes in order to try to remove the redeye.
| | 01:24 |
Again, if it didn't reach all the way in,
we'll just click and drag that to extend it.
| | 01:29 |
And also, if you notice that the pupil is
too dark, well you can drag this to the
| | 01:33 |
right, that will lighten the pupil.
Drag it to the left and that will darken it.
| | 01:37 |
You can click on different adjustments
like this one here, on my daughter, Annie.
| | 01:41 |
The left will darken it, the right will
make that a little bit brighter.
| | 01:44 |
What you want to do is just make sure that
you're consistent across your photographs.
| | 01:48 |
So, if you lighten that a little bit on
one eye, make sure you do the same on the
| | 01:52 |
other eye as well.
Now, if the overlays are distracting.
| | 01:56 |
Well, in this picture, I think they look
kind of funny actually.
| | 01:58 |
But if they're distracting to you, we'll
just tap the H key that allows you to
| | 02:02 |
toggle the visibility of those overlays on
and then off.
| | 02:06 |
Once you're ready to commit to those
adjustments, go ahead and click Done and
| | 02:10 |
that will then apply or commit those
adjustments to your photograph.
| | 02:13 |
| | Collapse this transcript |
|
|
3. Using the Graduated FilterIntroducing the Graduated filter| 00:00 |
In this movie, I want to introduce you to
how you can begin to work with the
| | 00:04 |
Graduated filter.
And how you can use this tool to modify or
| | 00:08 |
adjust a larger area of a photograph.
Now, I'll begin by demonstrating how this
| | 00:12 |
tool works.
And then next we'll take a look at how we
| | 00:15 |
can use this tool in order to darken or
correct the exposure here, of the sky in
| | 00:19 |
this photograph.
Well, we can select the Graduated filter
| | 00:22 |
by tapping the M key on the keyboard, or
by clicking on the Tool icon, which is
| | 00:26 |
located right here in the tool strip.
Next, let's go ahead and close the
| | 00:30 |
Histogram panel, so that we can focus in
on the controls that we have access to
| | 00:34 |
when working with the Graduated filter.
Now, what you want to do first is you
| | 00:37 |
want to dial in a particular effect.
And just for demonstration purposes, what
| | 00:41 |
I'm going to do is decrease the color
temperature here, so that it will take on
| | 00:45 |
a blue tint.
I also want to change my exposure.
| | 00:48 |
So, I'll go ahead and click and drag that
to the left as well.
| | 00:51 |
Now, what you can do, is that you can then
position your cursor over the image and
| | 00:55 |
then click and drag.
If you click and drag a short area, notice
| | 00:58 |
how the transition area will be really
harsh.
| | 01:01 |
If you drag further away, notice how the
transition area becomes more scuttle or soft.
| | 01:07 |
We can increase or decrease that
transition area.
| | 01:09 |
We can also rotate this effect so that
it's effecting a different portion of the
| | 01:13 |
image, then this way you can see how we
can change the area that's being affected.
| | 01:17 |
Once you let go of your Mouse button, you
can always change this after the fact as well.
| | 01:22 |
If you hover over this pin, notice how the
cursor changes, this is allowing us to
| | 01:26 |
click and drag this adjustment around.
Or we can simply click and drag these
| | 01:30 |
lines so that we have a greater distance
between the lines, that in turn will
| | 01:34 |
soften that transition area.
If you need to rotate the adjustment, just
| | 01:38 |
position the cursor near the pen, and then
click and drag in order to rotate the adjustment.
| | 01:43 |
Now, in this case, this adjustment is
overdone and kind of silly and I wanted to
| | 01:47 |
do something, which was really visual, so
that you can understand how this tool works.
| | 01:52 |
Now, if ever you want to change the values
of an adjustment, you can always do so.
| | 01:56 |
And we can go ahead and brighten up this
area if we wanted to by working with the
| | 01:59 |
Exposure slider.
Or we could increase the contrast or do
| | 02:02 |
whatever we need to do with these various
sliders.
| | 02:05 |
Now, if ever you want to reset this back
to the default settings and get rid of the
| | 02:09 |
adjustments, you can just click on the
Reset button.
| | 02:12 |
Or you can also just click on the pin and
press the Delete key on Mac or Backspace
| | 02:16 |
on Windows.
Now that we've looked at how this tool
| | 02:19 |
works, let's apply a correction that's a
little bit more realistic or something
| | 02:23 |
that we might actually do.
With this photograph here, the exposure
| | 02:26 |
for the truck and the foreground is good.
The sky is a bit overexposed.
| | 02:30 |
So, what I want to do is darken the sky
and also change the color temperature.
| | 02:34 |
Now, often what will happen is when you
open up this tool, you'll notice that your
| | 02:38 |
sliders may be a bit all over the place
from the last time that you used the tool.
| | 02:43 |
Well, to reset a single slider, just
double click the Slider tab, and it will
| | 02:47 |
take it to its default setting.
Or you can also reset all of the sliders
| | 02:51 |
except for one by clicking on the Effect
pull down menu.
| | 02:54 |
Here, if we choose the option for
Exposure, notice how we'll reset all of
| | 02:58 |
our sliders and then we can work on our
exposure here by darkening the exposure in
| | 03:02 |
a certain area.
In this case, I want to darken the
| | 03:04 |
exposure and also bring down my
highlights, maybe bring in a little
| | 03:07 |
contrast and clarity into the sky part of
the picture.
| | 03:10 |
I also want to cool that off so I'll add a
little bit of a cool tone as well.
| | 03:14 |
So again, Temperature slider to the left,
Exposure to the left, Contrast to the
| | 03:19 |
right, Highlights way down, and then
Clarity I brought up a little bit.
| | 03:23 |
Next, we'll go ahead and position this
over the image.
| | 03:26 |
And I'll click and drag down in order to
add this adjustment to this part of the photograph.
| | 03:30 |
In doing this we can control the area the
image, which is affected, and in this case
| | 03:35 |
we'll want a nice soft transition here, so
it softly fades away into this part of the photograph.
| | 03:40 |
Then we may need to further customize
this.
| | 03:42 |
If we brought in too much blue, we can
always modify that with these sliders.
| | 03:46 |
If the contrast is too strong as well, or
if we want more we can dial in that amount
| | 03:50 |
here as well.
And in this case, really what I want to do
| | 03:53 |
is customize this a little bit further and
change the overall characteristics that we
| | 03:57 |
have here in this portion of the
photograph.
| | 04:00 |
Here, I'm just changing the color a little
bit.
| | 04:02 |
And also changing how I'm bringing down
the highlight in this area of the photograph.
| | 04:06 |
Well, after having dialed in all of those
various sliders, next what you want to do
| | 04:11 |
is evaluate.
One way you may want to evaluate your
| | 04:14 |
progress is by tapping the H key.
The H key allows you to toggle the
| | 04:19 |
visibility of the overlay on and off as it
does with all of the tools here in the ToolStrip.
| | 04:24 |
Next, once you tap the H key to hide the
overlays, we'll press the back slash key
| | 04:28 |
that will show us the before.
Then press it again.
| | 04:31 |
Now, we can see the after.
And now, we can see that the exposure in
| | 04:34 |
this part of the image looks a little bit
better.
| | 04:37 |
Feel like I've darkened it just a touch
too much, so I'll go ahead and brighten
| | 04:40 |
that exposure up a little bit more and tap
the backslash key there it is.
| | 04:43 |
Our before, and now the after.
In order to apply the adjustment, simply
| | 04:48 |
press the Done button, and that will then
apply the adjustment to the photograph.
| | 04:52 |
| | Collapse this transcript |
| Darkening the sky with the Graduated filter| 00:00 |
Now that we know a little bit about how
the Graduated Filter tool works.
| | 00:04 |
Let's take a look at another scenario
where we can use this tool in order to
| | 00:07 |
improve a photograph.
In this case, I want to improve this
| | 00:11 |
action photograph.
What I want to do is brighten up the
| | 00:13 |
foreground and the subject and change the
color and contrast and clarity there.
| | 00:17 |
I also want to change the way that the
background looks as well.
| | 00:20 |
Well to begin, let's tap the M key.
Or click on the Graduated Filter tool icon
| | 00:25 |
which is located in the tool strip.
Now what you may want to do first is
| | 00:29 |
select one of these options from this pull
down menu.
| | 00:32 |
You may want to choose Exposure in order
to reset all of your sliders back to their
| | 00:35 |
default settings.
And then here, I'm going to go ahead and
| | 00:37 |
click and drag my Exposure slider way over
to the right.
| | 00:41 |
This is going to over expose the area that
I'm going to work on.
| | 00:44 |
Yet sometimes, what I find I'll do is
rather than worrying about finessing over
| | 00:48 |
these controls.
I'll exaggerate a control and then click
| | 00:51 |
and drag over the image.
This will then show me exactly where I
| | 00:55 |
want to position this adjustment.
In this case, I realize that I need a long
| | 00:58 |
transition area, so I'm going to click and
drag that out.
| | 01:01 |
And then I'm going to click and drag this
around so that I can brighten up all this
| | 01:04 |
portion of the photograph.
Now this is obviously overdone.
| | 01:07 |
So I'll bring this back to its default
setting.
| | 01:09 |
What I want to do is brighten up my
exposure, increase the contrast here.
| | 01:13 |
I'll bring down the highlights so that
those aren't overexposed.
| | 01:16 |
Bring in a little bit of light into the
shadows.
| | 01:19 |
Bring up some clarity.
I also want to bring up some saturation.
| | 01:22 |
And I'll go back and brighten this up
perhaps, even a little bit more.
| | 01:25 |
And now, if we want to customize the
color, we can do so by working with our
| | 01:29 |
temperature and tint sliders.
Here, I'll drag my temperature slider a
| | 01:33 |
little bit to the right, which'll create
more of a green kind of yellow look on the wave.
| | 01:37 |
Now if this isn't in the right position,
we can always click and drag this around
| | 01:41 |
so we have them exactly where we want
them.
| | 01:43 |
And in this way, you can see that by
starting out with a little bit of an
| | 01:46 |
exaggerated amount.
It allowed me to position the adjustment
| | 01:49 |
exactly where I wanted it, and then I went
in to further customize those controls.
| | 01:54 |
Well, this is the first adjustment for our
photograph.
| | 01:57 |
The second one that I want to make is on
the background.
| | 01:59 |
You can create a new adjustment by
clicking on the New icon, which is located
| | 02:03 |
right here.
After having done that, let's go ahead and
| | 02:05 |
choose an option from this pull down menu,
like Exposure, to reset those other sliders.
| | 02:09 |
And here what I want to do is rather than
modify the exposure that drastically, I'm
| | 02:13 |
going to go ahead and make this just a
subtle adjustment.
| | 02:16 |
And I'm going to change the color
temperature here a touch.
| | 02:18 |
And then I'll click and drag over this
area, because what I want to do is change
| | 02:22 |
that color temperature so that that blue
color really comes out a little bit more.
| | 02:26 |
So that this image has a bit more of a
high energy feel.
| | 02:29 |
Well now, next let's hide the overlays.
Tap the H key in order to hide those overlays.
| | 02:34 |
Then press your Backslash key, that will
allow you to view the before, here's the
| | 02:39 |
original image as it was captured straight
out of the camera.
| | 02:42 |
And then tap the Backslash key again and
then now we can see the after, after we've
| | 02:46 |
applied two different graduated filter
adjustments.
| | 02:50 |
One to the lower portion of the image here
and another to the upper portion, or the
| | 02:54 |
background of the photograph here.
In order to apply these adjustments and
| | 02:58 |
commit to them, simply click the Done
button.
| | 03:01 |
And now we have finished our work with the
Graduated Filter on this photograph.
| | 03:06 |
| | Collapse this transcript |
| Balancing exposure with multiple Graduated filter adjustments| 00:00 |
Here I want to take a look at, another
example of how we can use the Graduated
| | 00:04 |
Filter to improve our photographs.
And in this case what I want to do is
| | 00:07 |
balance out the Exposure.
You can see that the subject of this
| | 00:10 |
portrait was lit by a window, which was
located over here.
| | 00:14 |
So that this side of the image is bright
and this side of the image is a bit too dark.
| | 00:17 |
Well, again, I want to equalize the
exposure out by darkening the left side of
| | 00:21 |
the photograph and brightening the right
side.
| | 00:23 |
And to do so, let's use the Graduated
Filter.
| | 00:26 |
Go ahead and tap the M key to select the
tool or click on the tool icon which is
| | 00:30 |
located right here.
Next we'll go ahead and click on our
| | 00:33 |
Effect pull-down menu and choose Exposure.
And here I'm just going to drag my
| | 00:36 |
exposure slider a little bit to the left.
I also want to darken those highlights up,
| | 00:40 |
so I'll drag that to the left as well.
After you've made a few slight
| | 00:44 |
adjustments, you want to go ahead and
Click and Drag across the photograph.
| | 00:48 |
And in this case, what I'm looking to do
is to have a nice transition area here,
| | 00:51 |
just to darken up this side of the image,
and I think that looks pretty good.
| | 00:55 |
You can tap the \ key to see the before,
and then tap it again to see the after.
| | 01:00 |
Now in the previous movie, I talked about
how we could create another adjustment by
| | 01:04 |
clicking on the New button.
Yet we can also do this another way.
| | 01:07 |
You can always just simply Click and Drag
in another area to create another adjustment.
| | 01:12 |
In this case I have a second adjustment
here, yet the settings are all wrong.
| | 01:16 |
Rather than brightening this area it's
actually darkening it.
| | 01:19 |
Well, no big deal.
We can just modify these sliders here to
| | 01:22 |
increase the Exposure and also the Shadows
perhaps a little bit, to bring in a touch
| | 01:26 |
of light into that area.
And here we can go ahead and just modify
| | 01:29 |
some of those settings to customize the
way that this appears.
| | 01:33 |
Well now that we have these two
adjustments and we equalize things out a
| | 01:36 |
little bit.
Lets tap the H key in order to hide the
| | 01:39 |
overlays and then press the \ key and here
you can see the before and then press \
| | 01:44 |
key again and now you can see the after.
So in this case one of the things that you
| | 01:48 |
are noticing is that I have these
adjustments which are overlapping.
| | 01:51 |
And you know what that's okay, and you can
take this even further.
| | 01:55 |
For example, if we wanted to make another
adjustment up here in the top portion of
| | 01:59 |
the image, what we might want to do is
click New just to create a new adjustment.
| | 02:03 |
And then here rather than modifying the
Highlights or Exposure, I'm going to
| | 02:06 |
change my overall color Temperature.
To remove a little bit of the yellow that
| | 02:10 |
I'm seeing up in this part of the image.
I'll go ahead and Click and Drag down over
| | 02:13 |
this area.
That will then just create a little bit
| | 02:16 |
more of a uniform color palate in this
area.
| | 02:18 |
I'm going to exaggerate this adjustment,
you can see how I'm affecting the color up there.
| | 02:21 |
And again we had a little bit of yellow
that was up there.
| | 02:24 |
I want to change that to a bit more blue,
and then maybe just darken it.
| | 02:28 |
Just a touch there as well, this will
bring some more focus in onto the subject.
| | 02:32 |
And this way, you can see that we have
these three distinct adjustments which are
| | 02:35 |
all overlapping.
Which are allowing us to create the
| | 02:38 |
desired effect that we have in this
photograph.
| | 02:41 |
Again, let's tap the H key in order to
hide those adjustments, then press the \
| | 02:46 |
key and here you can see the overall
before, and then now the after.
| | 02:50 |
| | Collapse this transcript |
| Enhancing a sunrise with the Graduated filter| 00:00 |
Sometimes you'll discover that you'll
reach for the Graduated Filter tool in
| | 00:04 |
order to make corrections to your
photographs, and in other situations you
| | 00:08 |
may use it to make some enhancements.
With this photograph let's take a look at
| | 00:12 |
how we can enhance the color.
And have some fun with processing or
| | 00:16 |
changing the overall colors that we have
in this picture.
| | 00:18 |
Well the first thing that I want to do is
close the panels on the left.
| | 00:22 |
To do so, I'll click on this icon here.
Just so we can focus more in on this photograph.
| | 00:26 |
And this is a picture that I captured up
in Washington, up in the Cascades.
| | 00:30 |
What I want to do is bring out more colors
in the sky and also here in the foreground.
| | 00:34 |
On the mountains.
To do so we'll click on the Graduated
| | 00:37 |
Filter icon or press the m key in order to
select this tool.
| | 00:41 |
Next I want to go and make an adjustment
and the first adjustment is going to be to
| | 00:45 |
cool the image off.
Often when you have mountains and when you
| | 00:49 |
have colors like this it's nice to have.
Cool and warm tones together.
| | 00:52 |
Here I'll go ahead and click and drag over
the mountains here, and what I want to do
| | 00:56 |
is create a nice transition to have some
nice cool tones in this part of the image.
| | 01:00 |
I'm also going to decrease my exposure a
little bit and add some contrast and
| | 01:04 |
clarity and a little bit of color
saturation.
| | 01:07 |
Next, I'll make a new adjustment, so I'll
click on the New button.
| | 01:10 |
And with the same exact settings here I'm
going to go ahead and click and drag
| | 01:13 |
across the sky.
Now these settings don't work very well
| | 01:17 |
for the skies, so go ahead and customize
them.
| | 01:19 |
The blue is a little bit too strong, I
need to increase my saturation there and
| | 01:23 |
perhaps add.
Even a little bit more yellow, and maybe
| | 01:26 |
some magenta, in order to just warm up or
change the characteristics of the sunset
| | 01:30 |
colors that we have here, in this part of
the photograph.
| | 01:33 |
We'll increase our contrast, increase the
visual interest and boost those shadows
| | 01:37 |
here, a little bit of clarity as well.
Just to add a little more punch or snap to
| | 01:41 |
this portion of the photograph.
Well, now that I've made these changes, I
| | 01:45 |
feel like this area here is a little bit
too cool, so I'll go ahead and click on
| | 01:49 |
this pen or node here to make the changes
to this one.
| | 01:52 |
I'll change my color temperature just a
little bit there alright, well that's a
| | 01:56 |
little bit closer to the way that I
experienced the sunset, and also, I just
| | 02:00 |
wanted to have some fun making these
colors more vivid and alive.
| | 02:04 |
Well next, in order to preview what we've
done, we'll press the h key, then I'll go
| | 02:09 |
ahead and tap backslash key.
Here is the original image, the before,
| | 02:13 |
and then tap the backslash key again, and
now here is the after.
| | 02:16 |
And in this last movie, I simply wanted to
highlight how we can start to get creative
| | 02:21 |
with all of these controls.
And really we're just scratching the surface.
| | 02:24 |
There's so much more that we can do here
as well.
| | 02:26 |
For example, if we want to sharpen up the
mountains, we can click on that adjustment.
| | 02:30 |
We can increase the sharpness, there.
If we want to reduce the noise in the sky,
| | 02:34 |
click on that adjustment, and then we can
decrease the noise that we have in that
| | 02:38 |
portion of the image in order to soften
that.
| | 02:40 |
We could also reduce the clarity, which'll
create a softer look, as well.
| | 02:44 |
So as you start to work with these various
controls and adjustments keep in mind that
| | 02:48 |
sometimes you'll use these adjustments to
make corrections and other times you'll
| | 02:52 |
use the adjustments or use this tool in
order to make some enhancements.
| | 02:55 |
And so if you haven't experimented much
with this tools what I recommend you do
| | 02:59 |
now is that you open up one of your
photographs and you apply a few
| | 03:02 |
adjustments and just have some fun with
this tool.
| | 03:05 |
So that you can get to know how it works
so that you can then start to integrate it
| | 03:09 |
into your overall workflow.
| | 03:12 |
| | Collapse this transcript |
|
|
4. Painting in Localized AdjustmentsAdjustment Brush overview| 00:00 |
The Adjustment Brush is one of the most
powerful and useful tools inside of Lightroom.
| | 00:05 |
Because it allows us to paint in
adjustments into specific areas of our photographs.
| | 00:10 |
And because this is a tool that you'll be
using quite frequently, what I want to do
| | 00:14 |
is take a few minutes to introduce you to
how you can start to work with this tool.
| | 00:18 |
And here I want to begin by showing you a
few shortcuts, and also talking about a
| | 00:22 |
few settings that you can use, so that we
can really understand how this tool
| | 00:25 |
actually works.
Let's begin with the slide that I have
| | 00:28 |
visible here and here I want to highlight
the shortcut key to access the tool.
| | 00:32 |
It's the K key.
Go ahead and tap the K key on your
| | 00:35 |
keyboard, or click on the Adjustment tool
icon, which is located in the toolbar.
| | 00:40 |
Next, you'll notice we have a number of
different controls and settings that we
| | 00:43 |
can use when working with the this tool.
We also have the ability to customize the
| | 00:47 |
way that this brush actually works.
Let's begin by focusing in on brush size
| | 00:52 |
and also brush feather.
Now when I position the cursor over the
| | 00:55 |
image, you'll notice that it's made up of
a few concentric circles.
| | 00:59 |
We can change the overall brush size here
by using this slider dragged to the right
| | 01:03 |
to increase our brush size, dragged to the
left to decrease it.
| | 01:07 |
Or we can also use the shortcuts which
I've listed right here, there are the
| | 01:10 |
bracket keys.
Tap the right bracket key to make the
| | 01:13 |
brush bigger, tap the left bracket key
multiple times to make the brush smaller.
| | 01:17 |
In this way we can quickly increase or
decrease the size of the brush.
| | 01:21 |
Well, whenever you use this tool what
you'll want to do is dial in a few
| | 01:25 |
settings for example, just for demo
purposes, I'll decrease the exposure here
| | 01:30 |
and I'll go ahead and I'll paint a brush
stroke.
| | 01:32 |
In doing that you can see that this
particular brush stroke has a really nice,
| | 01:36 |
soft edge.
That's because I have a very high feather amount.
| | 01:39 |
If I decrease the feather amount and then
go ahead and click and paint a similar
| | 01:44 |
brush stroke, you'll notice that the edge
here is much more defined.
| | 01:47 |
So the feather value, it allows us to
control the softness or the hardness of
| | 01:52 |
this brush stroke.
And here, I'll go ahead and delete this
| | 01:55 |
adjustment by selecting it, and then by
pressing Delete on a Mac or Backspace on Windows.
| | 02:01 |
We can change the feather amount by using
the slider, here, or we can also use the
| | 02:06 |
shortcut, which I've listed right here.
Press Shift+right bracket in order to
| | 02:10 |
increase the feather, or Shift+left
bracket in order to decrease it.
| | 02:14 |
Well next, let's talk about how we can
customize the overall flow.
| | 02:18 |
The flow is actually really interesting.
With a high flow value, if I click and
| | 02:22 |
paint over the image, you'll see that this
effect, a decrease in exposure, is painted
| | 02:27 |
in at pretty much full intensity, yet if
we decrease the flow amount to something
| | 02:32 |
much lower, when I paint one time it's
only showing me a little bit of the effect.
| | 02:37 |
Then if I paint again and again and again,
you can see that we can subtly and slowly
| | 02:42 |
build up this effect.
So, the great thing about flow is that it
| | 02:45 |
allows you to slowly paint in the desired
effect that you want to achieve.
| | 02:50 |
We can change the flow amount by using the
number keys on the keyboard.
| | 02:53 |
If we tap the 5 key on the keyboard, it
will take the flow amount to 50.
| | 02:57 |
Tap the 9 key, and it will go to 90.
And in this way, you can change our flow
| | 03:01 |
amount as your working with the tool, to
increase or decrease that value.
| | 03:06 |
Let's bring the flow back up, and let's
delete this adjustment.
| | 03:09 |
And then, we can do so by pressing Delete
on a Mac, or Backspace on Windows.
| | 03:13 |
Next I want to talk about density.
Density is kind of interesting, what this
| | 03:18 |
allows us to do is to control the overall
intensity of this particular fact.
| | 03:23 |
If we take this down say to about 40 or
so, somewhere in there, and then paint,
| | 03:28 |
you can see that this is only allowing me
to darken the exposure.
| | 03:32 |
In this case, the adjustment that I've
made, to this level, which is a level of
| | 03:35 |
about 40.
If I decrease my flow amount and paint
| | 03:39 |
back and forth, still it doesn't matter
how many times I paint, I'll never be able
| | 03:43 |
to go above this density value of 40.
So, in a sense you can think of density as
| | 03:49 |
intensity, at least, that's how I think of
it in my mind.
| | 03:53 |
This controls the overall intensity of the
overall effect.
| | 03:57 |
Well now that we've been introduced to
some of the characteristics that we can
| | 04:00 |
change in regards to our brush
characteristics, and also a few shortcuts
| | 04:04 |
that we might want to use when working
with this tool.
| | 04:06 |
Let's go ahead and put all of this
knowledge into action and let's start to
| | 04:10 |
work on some photographs with the
Adjustment Brush in the next few movies.
| | 04:14 |
| | Collapse this transcript |
| Improving exposure and color with the Adjustment Brush| 00:00 |
Now that we know a little bit about how
the adjustment brush works.
| | 00:03 |
Let's take a look at how we can put into
practice what we've learned, and also pick
| | 00:07 |
up a few tips and techniques as well.
In particular, I want to look at how we
| | 00:11 |
can customize the overall intensity of the
effect as well, after we've applied some
| | 00:16 |
adjustments to a photograph.
Well here in this picture, what I want to
| | 00:19 |
do is I want to change the brightness
value and the exposure on the subjects of
| | 00:24 |
this photograph.
And this is a picture of my sister and
| | 00:26 |
brother-in-law and their kids.
And I like the color temperature and the
| | 00:30 |
brightness of the background, but what I
want to do is brighten up the subjects and
| | 00:33 |
I want to warm up that area as well.
Well, to do that, let's use the adjustment brush.
| | 00:38 |
Press the k key to select the adjustment
brush.
| | 00:40 |
Or click on the Adjustment brush tool
icon.
| | 00:43 |
Next, what we want to do is click from
this pull-down menu and choose the option
| | 00:47 |
for Temperature.
This will allow us to just have a little
| | 00:50 |
bit of a slight increase in our color
temperature and to zero out the other
| | 00:53 |
sliders there.
I also want to bring up my exposure just a touch.
| | 00:57 |
Here, I'll bring up some detail in the
shadows and maybe increase the contrast
| | 01:01 |
here a little bit as well.
Now you never really know what values will
| | 01:05 |
be right as you start to work with this.
Yet you don't need to worry about that too
| | 01:08 |
much because you can always customize
those values later.
| | 01:12 |
What you do really want to focus in on are
your brush characteristics, which are
| | 01:16 |
located down here.
Here when I position the cursor over the
| | 01:19 |
image I can see right away that the brush
is way too big.
| | 01:22 |
So tap the left bracket key to make it
smaller, or just click and drag this
| | 01:26 |
slider so that you have a much smaller
brush.
| | 01:28 |
Now the feather amount is too high as well
I'll go ahead and decrease that.
| | 01:32 |
And the reason why it's too high is I
don't want this adjustment to spill over
| | 01:36 |
too far into the background.
Next with the flow we'll go ahead and
| | 01:39 |
decrease that a little bit.
It's almost always a nice idea to have a
| | 01:42 |
little bit of a lower flow amount so you
can settle (UNKNOWN) in the adjustment.
| | 01:47 |
Next we'll go ahead and just start to
paint over the subjects here.
| | 01:49 |
And what I want to do is I want to
brighten up their faces, add a little bit
| | 01:53 |
of warmth to this part of the photograph.
And here so far you can see I'm just
| | 01:56 |
painting across these pictures or this
part of the picture I should say in a way
| | 02:00 |
to try and brighten this up.
I'm just painting back and forth here.
| | 02:03 |
And often what you'll do is you'll make
some brush strokes as I'm doing here, and
| | 02:06 |
you won't actually be sure if you've
covered the entire area that you want to.
| | 02:11 |
Well one of the ways that you can see that
is by hovering over the pin.
| | 02:15 |
When you hover over the pin it showing us
this particular overlay, in this case it's
| | 02:20 |
showing me that I did a pretty good job.
This is the area that I painted over and I
| | 02:24 |
missed a few areas, perhaps the shoulder
over here, and maybe the pant leg and a
| | 02:28 |
little bit more of the hair right up in
here.
| | 02:31 |
Well after having made those adjustments
we may want to warm them up a little bit
| | 02:35 |
more by increasing our color temperature
and also our tint.
| | 02:39 |
We also could work on the contrast that we
have in that area.
| | 02:42 |
And then maybe a little bit of color
saturation here as well.
| | 02:45 |
I'll brighten this up too again I'm just
looking at the image and I'm trying to
| | 02:49 |
make some adjustments which I think will
improve the overall photograph.
| | 02:53 |
Now, obviously the little pin right here
is a bit distracting.
| | 02:56 |
So, you can tap the h key in order to hide
that.
| | 03:00 |
Then, press the back slash key that will
show you the before and then, press it
| | 03:04 |
again and now, here we can see the after.
You need to make a little bit more of an
| | 03:08 |
adjustment, we'll just go through and
paint over those areas that you want to
| | 03:11 |
work on.
Even more.
| | 03:12 |
Here there are a few areas I'm just going
to click and drag over these in order to
| | 03:16 |
brighten up this part of the picture even
more.
| | 03:18 |
Now with a few simple brush strokes and
some customization of our settings we've
| | 03:23 |
improved this picture.
Here is the overall before.
| | 03:26 |
And then now here is the after.
And here we're starting to discover why
| | 03:29 |
this tool is so helpful, because it allows
us to make selective adjustments to local
| | 03:34 |
or specific areas of our photographs.
Now let's say though that we've decided
| | 03:39 |
that we want to scale all of these
adjustments back Well there are two ways
| | 03:43 |
that we can do this.
The first technique that you can use is to
| | 03:46 |
click on this icon here to collapse all of
our controls.
| | 03:49 |
Notice that all of the various controls
have disappeared, and we simply have an
| | 03:54 |
amount slider.
Now we can change the overall amount, or
| | 03:57 |
intensity of this by dragging this to the
left to reduce or remove the effect that
| | 04:01 |
we've painted in.
Or we can drag this to the right to
| | 04:04 |
increase those values even more.
And in doing this, sometimes it can help
| | 04:08 |
us to find just the right spot for how we
want to adjust that area of the photograph.
| | 04:13 |
Another way that we can do the same thing
is by leaving this open.
| | 04:17 |
And that's by pressing the H key to turn
back the pin which we have right here.
| | 04:21 |
When you hover over the pin notice the
cursor changes, well that's telling you
| | 04:26 |
that I can then click and drag to the left
or the right, to increase or decrease
| | 04:31 |
those values.
If you take a look at the values over
| | 04:33 |
here, one of things that you'll notice is
that it's bringing all of those values
| | 04:37 |
back to their default setting of zero.
And this is true whether you have a
| | 04:41 |
positive or negative amount on a
particular slider.
| | 04:45 |
So again, you can use either of those
techniques in order to customize the
| | 04:48 |
overall adjustments which you've applied
to your photograph.
| | 04:52 |
To commit to those adjustments, click the
Done button in order to commit and apply
| | 04:56 |
those adjustments to your photograph.
| | 04:59 |
| | Collapse this transcript |
| Using Auto Mask to limit an adjustment to a specific area| 00:00 |
In this movie I want to highlight a
feature that you can use with the
| | 00:03 |
adjustment brush, which will allow you to
limit your adjustment to a specific area.
| | 00:08 |
It's called auto mask.
Let's take a look at how we can use that
| | 00:11 |
with this photograph here.
Let's begin by selecting the adjustment
| | 00:14 |
brush by pressing the k key, in order to
select this tool, or by clicking on the
| | 00:19 |
tool icon which is located right here.
Next, from the Effect pull-down menu, what
| | 00:23 |
I want you to do is to go ahead and choose
the option for Dodge, this will allow you
| | 00:27 |
to create a slight brightening or
lightening effect.
| | 00:30 |
Then go ahead and increase the exposure
here a little bit more.
| | 00:34 |
So that we have a bit higher exposure, so
we can really see how this works.
| | 00:37 |
Well, what I want to do is, I want to
brighten up this path.
| | 00:41 |
So here, let's go ahead and change our
overall feather, I'll decrease my feather
| | 00:45 |
a little bit.
And I'll leave my brush size, actually,
| | 00:47 |
right where it is, at about a size 14.
For the flow I'm going to crank this up a
| | 00:52 |
little bit higher.
I'll bring it up to about 80.
| | 00:55 |
Well next I'll go ahead and paint over
this part of the picture.
| | 00:58 |
In doing this you can see how this is
brightening up the path.
| | 01:01 |
Yet if we were to look at the mask
overlay, which you can toggle on and off
| | 01:05 |
by pressing the o key or by clicking on
this icon here you can see that this
| | 01:10 |
adjustment is affecting more than the
desired area.
| | 01:13 |
If you go to the Navigator panel and click
on one of the options to zoom in closer,
| | 01:17 |
you can see that even better.
It's affecting too much of this part of
| | 01:21 |
the image.
Well, if we change the way that this tool
| | 01:24 |
works by turning on auto mask by pressing
the a key, or by clicking on this icon
| | 01:28 |
here, and then if I paint over this side
of the path, what you'll notice is that
| | 01:32 |
this is limiting the adjustment just to
the path itself.
| | 01:36 |
In this way, as you see these two
comparisons, what you're noticing is that
| | 01:40 |
auto mask limits it to specific areas.
The brush looks for areas of contrast and
| | 01:45 |
then it bumps up against those and it
stops making the adjustment.
| | 01:48 |
Whatever the cross-hair touch is, it's
really prioritizing that and then it's
| | 01:52 |
trying to not reach into those other
areas.
| | 01:55 |
Well, with this particular example,
obviously auto mask will work better.
| | 02:00 |
So, let's go ahead and delete this
adjustment.
| | 02:02 |
To do so press Delete on Mac or backspace
on Windows.
| | 02:06 |
Let's turn the Show Selected Mask Overlay
off, we don't need that on right now, and
| | 02:11 |
let's make sure auto mask is turned on.
Well now with auto mask turned on what I'm
| | 02:16 |
going to do is go ahead and paint over the
path, so I can just brighten up this area here.
| | 02:21 |
And I'll do the same thing over here on
this side of the photograph.
| | 02:24 |
Because in this photograph I really
want to lead the viewer into this image.
| | 02:28 |
As I get further down the path I'll tap
the left bracket key to make my brush
| | 02:32 |
smaller so I can brighten up the smaller
area of the path as well.
| | 02:36 |
Now, sometimes what you'll want to do is
you'll want to brighten up a specific area
| | 02:40 |
like we've done here with auto mask turned
on.
| | 02:42 |
But then you may also want to soften the
edges just a bit.
| | 02:46 |
Well, to do that, we'll just turn auto
mask off by tapping the a key or by
| | 02:50 |
clicking on this check box.
Here I'll press the right bracket key to
| | 02:53 |
make my brush a little bigger and I'll
also decrease the flow amount.
| | 02:57 |
And this way, I just want to soften up the
transition of these edges.
| | 03:00 |
Because sometimes, when you have a really
distinct edge, especially with a
| | 03:04 |
photograph like this, it can appear a
little bit too unnatural.
| | 03:08 |
So in this case, we're using the best of
both worlds.
| | 03:10 |
We're taking advantage of using auto mask
and we're also turning that off and then
| | 03:15 |
painting over those edges to have a really
nice and natural looking adjustment.
| | 03:19 |
Now, if we zoom back out by clicking on
the option to fit in view, we can see the
| | 03:24 |
overall adjustment, which we painted in
here.
| | 03:26 |
Just going to paint over that area a
little bit more.
| | 03:29 |
Let's scroll down to the base of the
adjustment brush here and flip on the
| | 03:32 |
toggle switch that will show us the
overall before and then now the after with
| | 03:37 |
this adjustment.
And you know that adjustment's looking
| | 03:39 |
pretty good except I think it's a bit too
bright, a bit too exaggerated.
| | 03:43 |
Though here I'll bring back my exposure
just a little bit.
| | 03:45 |
Also increase the contrast.
I want to draw the viewer into the road,
| | 03:49 |
yet I don't want to overdo it.
So now when we go ahead and go down to
| | 03:53 |
that area where we can toggle this view on
and off, you can see here's our before and
| | 03:57 |
then now here is the after.
So as you can see from this particular
| | 04:01 |
example, working with automask can really
help you out because it can help you to
| | 04:06 |
limit your adjustment to a few specific
areas.
| | 04:09 |
And because I introduced a few shortcuts
here, let me reiterate those.
| | 04:13 |
If ever you want to show or hide the mask
overlay, well you tap the o key, it allows
| | 04:18 |
you to show and hide that particular mask
overlay to see the area that you've affected.
| | 04:23 |
If you want to turn on and off auto mask,
you can tap the a key, that allows you to
| | 04:27 |
turn that on and off, so that you can work
with or without that particular feature.
| | 04:32 |
| | Collapse this transcript |
| Erasing an adjustment if you make a mistake| 00:00 |
So far, we've talked about how we can use
the Adjustment Brush in order to paint in
| | 00:04 |
adjustments to our photographs.
Yet, what about the situations where you
| | 00:08 |
paint in an adjustment which is a mistake?
How can you erase or undo adjustments?
| | 00:14 |
Let's take a look at how we can do that
here with this photograph.
| | 00:17 |
We'll go ahead and press the K key, or
click on the icon to select the adjustment brush.
| | 00:21 |
Then what I want you to do is to
exaggerate your overall exposure, and I
| | 00:25 |
want to do this for demo purposes, so that
we can see how we can make an adjustment
| | 00:30 |
and then modify the adjustment after the
fact.
| | 00:32 |
Let's say for example that I want to
brighten up the hills here, so I go ahead
| | 00:35 |
and paint over this area.
So, I'm working on the hills and then I
| | 00:39 |
accidentally brighten up some of the sky
as well.
| | 00:42 |
Well, how can we undo this portion of the
adjustment?
| | 00:45 |
Well, there's a brush option, which is
titled Erase.
| | 00:48 |
If you click on the Erase option, you'll
notice that you have different settings
| | 00:52 |
for your brush, and here you have the
size, feather, and flow.
| | 00:56 |
If we increase the brush size a little
bit, and then decrease our feather just a
| | 01:00 |
touch, you can see we can customize this
brush and then we can paint over the area
| | 01:05 |
that we've adjusted.
In this case you can see that I'm painting
| | 01:08 |
over this area in order to erase this
effect.
| | 01:11 |
If we want to erase it a little bit more
slowly, here we can go ahead and decrease
| | 01:16 |
the flow amount and I'll just paint back
and forth over this, let me actually
| | 01:19 |
increase that a little more so you can
actually see the adjustment.
| | 01:22 |
But here what you should start to see is
that I'm subtly painting this away, so
| | 01:26 |
that this particular adjustment looks a
little bit more natural.
| | 01:29 |
And so by erasing just a little bit of
this adjustment, you can see how we
| | 01:33 |
brighten up this part of the image.
And here I'll go ahead and paint over this
| | 01:37 |
side and also this side so I have a little
bit more of a natural adjustment.
| | 01:42 |
Well, after having made that adjustment
here by erasing.
| | 01:45 |
Let's say that we want to go back to add a
little bit more brightening to the photograph.
| | 01:49 |
To do that just click back to your brush
A, and both A and B brushes are brushes
| | 01:55 |
which allow you to add to the adjustment.
Here with this A adjustment, my flow is
| | 02:00 |
much too high.
So, I'll decrease the flow amount and then
| | 02:03 |
I'll paint over this part of the hill here
in order to brighten that up as well and
| | 02:06 |
also paint a little bit over here too.
In doing that you can see how we've added
| | 02:10 |
a brightening effect to this part of the
image.
| | 02:13 |
Now the overall effect is obviously too
strong, and I wanted to make it strong so
| | 02:17 |
you could really see how you can erase or
modify an area that you've adjusted.
| | 02:23 |
To make this a bit more realistic, I'll go
ahead and decrease my exposure because I
| | 02:27 |
don't want those hills to be that bright,
but I would like a little bit of subtle
| | 02:31 |
brightening on that part of the image to
add some dimension or depth to the overall photograph.
| | 02:36 |
Well, now that we've done that, we've seen
how we can work with these different
| | 02:40 |
variations on our brush tool, either by
adding to the adjustment using A or B or
| | 02:45 |
by erasing by clicking on that option
here.
| | 02:47 |
Now you may also be wondering, well what's
the difference between brush A and brush B.
| | 02:52 |
Well, these are just two brushes which you
can customize.
| | 02:55 |
You can customize the size and also the
feather amount and the flow for example
| | 02:59 |
if, you had a brush with the really low
flow, you could set brush B up to be the tool.
| | 03:04 |
If you wanted another brush, with a higher
flow value, that could be your A brush,
| | 03:09 |
and then you can toggle back and forth
between these two tools with these various
| | 03:13 |
settings, in order to paint the effect in,
in different ways.
| | 03:16 |
In a sense, A and B are just presets for
two different brushes that you can use
| | 03:21 |
when wanting to add or to paint in a
particular effect.
| | 03:26 |
| | Collapse this transcript |
| Creating a color-reduction effect| 00:00 |
In order to further understand how we can
use the Adjustment brush in order to
| | 00:04 |
modify our images, we're going to do a
small project here.
| | 00:07 |
And in this project, what I want to do is
remove all of the color in the photograph
| | 00:11 |
except for the color of this vintage car.
In order to do that, let's begin by
| | 00:16 |
pressing the K key in order to select the
Adjustment brush.
| | 00:19 |
Next, we'll go to the Effect pull down
menu and here's we'll select the Saturation.
| | 00:23 |
What I want you to do is decrease the
Saturation amount all the way down to
| | 00:28 |
negative 100.
After we've done that, we'll change our
| | 00:31 |
brush size.
We're going to use a really huge or
| | 00:34 |
gigantic brush.
We're going to take the flow amount all
| | 00:37 |
the way up to 100.
Make sure that Auto Mask is turned off and
| | 00:41 |
Density is also up to 100 as well.
Now, if we paint across the image with
| | 00:46 |
negative 100 Saturation.
With a large or high flow amount and high
| | 00:50 |
density, what this will allow us to do is
to remove the color really quickly from
| | 00:55 |
the entire image.
Well, next, what I want to do is bring
| | 00:58 |
back some of the Saturation.
And I want to bring it back just on the car.
| | 01:01 |
To do that, we'll navigate to our Erase
Brush.
| | 01:05 |
With the Erase brush, we want to use a
brush which is much smaller, perhaps a
| | 01:08 |
brush about this size.
I'm right at about 16 or so.
| | 01:12 |
Now, with our feather amount, we want to
decrease that a little bit more here.
| | 01:16 |
And for the Flow, we'll go ahead and crank
this up, all the way up to 100.
| | 01:20 |
Now, whenever you're working on a
particular area, in this case, the car,
| | 01:23 |
you want to turn on Auto Mask.
To do so, tap the A key or click on this
| | 01:28 |
icon right here, which allows us to turn
Auto Mask on and off.
| | 01:32 |
Now, in this case, as we go ahead and
click and paint over the car, what we
| | 01:36 |
want to pay attention to is to make sure
that the center circle there, the one
| | 01:40 |
which has the minus icon in it, is just
touching or covering an area of the car,
| | 01:45 |
or we want to bring back in some of the
color.
| | 01:47 |
If those circles go past the edge of the
car, that's okay.
| | 01:51 |
Again, we're just really paying attention
to that center circle.
| | 01:54 |
And that allows us to bring back in the
color, into these different areas of the car.
| | 01:58 |
If ever we make a mistake, and perhaps
bring back some color in the background,
| | 02:02 |
we can always undo that as well.
Here, I'll go ahead and tap the left
| | 02:06 |
bracket key to make my brush a little bit
smaller, just to work on some of the
| | 02:09 |
details here of this roof.
And then, I'll go ahead and tap that a few
| | 02:13 |
more times, so I have a nice small brush,
in order to bring back some more of the
| | 02:17 |
color that we have here in this part of
the car.
| | 02:19 |
Well, so far so good.
We now have this particular project close
| | 02:23 |
to completion.
We've brought back all of the color here
| | 02:26 |
on the car.
We still have most of the color in the
| | 02:28 |
background removed.
I have a little area right here where I
| | 02:31 |
brought back some color.
So, I need to go back to my A brush.
| | 02:35 |
Remember, the A brush is the one which
desaturates the photograph.
| | 02:38 |
Here, I want to decrease the brush size
really significantly, so I have a nice and
| | 02:41 |
small brush.
And then, I'll just desaturate this
| | 02:44 |
background area here.
You may not even have been able to see
| | 02:47 |
that, but there was a little area where it
had some color in it.
| | 02:49 |
All right, well now that we've done that,
we were able to create this effect really easily.
| | 02:54 |
And sometimes what we'll do is we'll use a
particular technique like this, where
| | 02:58 |
we'll remove something and then bring it
back in a certain area, in order to
| | 03:02 |
isolate or to bring out a certain tone, or
texture, or color.
| | 03:05 |
Like we brought out here.
And most importantly, what I hope that
| | 03:08 |
this little project helped you to realize
is that you can work back and forth
| | 03:12 |
between the Erase brush and also the
brushes which allow you to add effect.
| | 03:16 |
In order to come up with some creative
results as your looking to use the
| | 03:20 |
Adjustment Brush with your photographs.
| | 03:23 |
| | Collapse this transcript |
| Selective sharpening| 00:00 |
As you're starting to discover there are
so many reasons why the Adjustment Brush,
| | 00:04 |
is a helpful tool.
In this movie I want to look at how we can
| | 00:07 |
use this tool in order to selectively
sharpen our photographs.
| | 00:12 |
Often in our photographs there'll be areas
of the picture we want to sharpen and
| | 00:15 |
other areas we don't want to sharpen.
Like with this photograph here, I'm
| | 00:20 |
shooting with a really shallow depth of
field and the area that's really in focus
| | 00:24 |
is the face.
Therefore I'm not really interested in
| | 00:27 |
sharpening everything.
Rather I just want to sharpen this portion
| | 00:30 |
of the image.
To do so, click on the Adjustment tool
| | 00:33 |
icon in the tool strip, and then navigate
down to the Sharpness slider.
| | 00:37 |
Here we'll go ahead and Click and Drag the
Sharpness slider to the right.
| | 00:40 |
Then next we want to choose our overall
Brush Size.
| | 00:43 |
Here I'll increase the brush Size a little
bit and also increase the overall Feather
| | 00:47 |
amount, and then decrease the flow.
Now when it comes to sharpening, we want
| | 00:51 |
to make sure that Auto Mask is turned off,
and then we can go ahead and paint over
| | 00:55 |
the photograph.
Now as you start to paint over the
| | 00:57 |
photograph, one of the things that you'll
eventually want to do is zoom into the picture.
| | 01:01 |
To do that, I'll go ahead and zoom into
this one to one perspective.
| | 01:05 |
And I'm going to make sure that the
sharpening that I'm applying is actually
| | 01:08 |
looking good.
Sometimes it can be difficult to zoom in
| | 01:11 |
that close so you may need to zoom out a
little bit or perhaps even further.
| | 01:15 |
And in doing that we can then paint over
these areas of the image in order to
| | 01:18 |
sharpen this part of the photograph.
Now, next I'll go back to this Fit In
| | 01:23 |
View, and in the fit in view if we click
on the option which will show us the mass overlay.
| | 01:28 |
This'll then show us the areas which are
being sharpened.
| | 01:31 |
I want to make sure that the eyes and the
lips are sharpened.
| | 01:33 |
And also, a little bit of the hair.
Now, if we want to make sure to keep the
| | 01:37 |
skin soft so that we don't sharpen that
area.
| | 01:40 |
Well, what we can do is, we can use the
Erase Brush.
| | 01:42 |
When we click on the Erase Brush, we can
determine the size, and then here, I can
| | 01:46 |
go ahead and paint different areas away.
In this case, it won't sharpen those
| | 01:51 |
areas, and that's the advantage of working
with the Mask Overlay.
| | 01:54 |
So in this case I'm just selectively
sharpening a few different areas of the photograph.
| | 01:59 |
And really we're only able to do that in
Lightroom by using the Adjustment Brush.
| | 02:04 |
Now, as you dial in the sharpness amount,
you may also want to experiment with your
| | 02:08 |
overall intensity of this effect.
How high you bring this will really depend
| | 02:12 |
upon your own photograph.
Now these movies can get pretty small once
| | 02:16 |
they're compressed and you're watching
them.
| | 02:18 |
So what you'll need to do on your own
photographs is zoom in to 100% and
| | 02:22 |
evaluate the picture.
And just make sure that the sharpening
| | 02:25 |
amount that you're dialing in actually
looks good.
| | 02:28 |
On my particular monitor, as I look at the
photograph here at 100%, looks like I have
| | 02:33 |
some nice detail in these areas and it's
looking pretty good.
| | 02:36 |
Of course, what you want to do is navigate
around the photograph and just make sure
| | 02:40 |
all of the areas that you've sharpened do
indeed look good.
| | 02:44 |
After having done that, and after having
evaluated the photograph, the last step is
| | 02:48 |
to click the Done button.
That will allow you to apply those
| | 02:52 |
adjustments to your photograph.
| | 02:54 |
| | Collapse this transcript |
| Correcting exposure| 00:00 |
Let's take a look at how we can use
Adjustment Brush in order to enhance and
| | 00:04 |
correct the exposure in this photograph.
One of the things we can do in the Develop
| | 00:09 |
module is we can navigate to the
histogram, and we can click on these
| | 00:12 |
indicators in order to show us if there's
any clipping or loss of detail in the
| | 00:17 |
highlights or in the shadows.
We can also turn those indicators on and
| | 00:21 |
off by tapping the J key.
Well, with these indicators on, one of the
| | 00:25 |
things that I see here is that I have some
loss of detail in the highlight area in
| | 00:29 |
these windows in the background.
Or what I want to do is I want to paint
| | 00:33 |
that problem away here in these areas.
I also want to darken up the exposure in a
| | 00:37 |
few other areas, as well and then brighten
it on this side of the photograph over here.
| | 00:41 |
Well, to do that we'll need to use the
Adjustment Brush a few different times.
| | 00:45 |
So, let's begin by pressing the K key in
order to select the Adjustment Brush.
| | 00:50 |
Next, what I want to do is close the
histogram, so I can focus in on my Brush
| | 00:54 |
controls here.
With the brush controls I'll go ahead and
| | 00:57 |
take my flow amount down just a little
bit.
| | 00:59 |
I also want to decrease the size
significantly here, so the much smaller brush.
| | 01:03 |
So, I can work on this area over here.
Next, I'll decrease the highlights amount
| | 01:08 |
here and then I'll go ahead and start to
paint over this part of the photograph.
| | 01:12 |
In doing that, you can see how we're
painting away this exposure area, which is
| | 01:16 |
some loss of detail in this part of the
picture.
| | 01:18 |
And we can also paint over other highlight
areas like this area here.
| | 01:21 |
And can go ahead and do that, and in order
to darken up those areas the more that we
| | 01:25 |
paint, because we have a little bit of a
lower flow, the more detail that we can
| | 01:29 |
bring back into that part of the
photograph.
| | 01:32 |
Right, well after having done that I also
want to change the color temperature just
| | 01:36 |
a touch, so I'll warm that up just a
little bit as well.
| | 01:39 |
Now, in order to create another
adjustment, we have a few options.
| | 01:42 |
One option is to click on the New button.
When we click on the New button, we can
| | 01:47 |
then dial in New Settings and paint on the
photograph.
| | 01:51 |
In this case, I want to decrease the
highlights as well.
| | 01:53 |
Just not quite so dramatically.
And I want to use a nice feather amount,
| | 01:57 |
so I'll increase that a little bit more.
And I'll also decrease the flow amount
| | 02:00 |
here a little bit as well.
After having customized that and changed
| | 02:05 |
the overall size of the brush there, I'll
go ahead and just paint over this part of
| | 02:08 |
the photograph.
And what I want to do It's just darken
| | 02:11 |
this side of the image here a little bit,
which is closer to the window, which is
| | 02:14 |
illuminating or lighting the subject.
And in this way what I'm trying to do is
| | 02:18 |
just even out my overall exposure.
After having done that, I want to increase
| | 02:23 |
the contrast too.
When you increase or decrease exposure,
| | 02:27 |
sometimes it can sort of flatten out the
image, and so what I've found is that if I
| | 02:31 |
work with brightening shadows or darkening
highlights, I often need to add a little
| | 02:35 |
bit of contrast.
Or maybe even a touch of clarity, just to
| | 02:38 |
bring back a little snap or punch to that
area.
| | 02:40 |
Well, I have one more adjustment that I
want to make on this photograph.
| | 02:44 |
And that's on this side of the picture.
So I want to create a new adjustment.
| | 02:47 |
And here we can either click on New, or
what I like to do is to press the K key
| | 02:52 |
multiple times.
Press it once to exit the Adjustment Brush
| | 02:55 |
and to apply those settings.
Press it again to re-access the Adjustment
| | 02:59 |
Brush with a new setting.
And it's just a quick way to be able to
| | 03:03 |
select a new Adjustment bBush here so that
we can then dial in some settings.
| | 03:07 |
Rather than a decrease in highlights, I
want to increase my shadows there a little bit.
| | 03:12 |
And again I'll add a touch of contrast as
well.
| | 03:14 |
And then we'll go ahead and just start to
paint over this side of the photograph so
| | 03:17 |
that we can bring in some detail into some
of these shadows, which we have over here.
| | 03:21 |
And again, I'm just making multiple brush
strokes.
| | 03:24 |
We may want to increase our flow amount
here.
| | 03:26 |
That will just allow us to do this a
little bit more quickly so that we can
| | 03:29 |
bring in little bit more detail into the
shadows and if there are any other areas
| | 03:33 |
that we want to bring in some light.
Or we can go ahead and paint across the
| | 03:36 |
photograph or paint across those areas in
order to brighten those areas up and bring
| | 03:41 |
back a little bit of detail.
Here, I'll bring a little bit more
| | 03:44 |
contrast into that part of the photograph
and just a touch of warmth there as well.
| | 03:48 |
Well, now that we've done that.
Let me press the H key, so that we can see
| | 03:52 |
our pins here.
Previously the pins were hidden.
| | 03:56 |
You can show and hide those by tapping the
H key.
| | 03:58 |
Those allow us to show and hide the
overlay showing us the various adjustments
| | 04:03 |
that we've made.
Next, let's tap the backslash key, this
| | 04:06 |
will show us the before, tap it again, and
then now we can the after.
| | 04:10 |
In order to exit and apply these settings,
let's use the shortcut key of the K key,
| | 04:16 |
that will allow us to exit the adjustment
brush, and apply those settings, which we
| | 04:20 |
have just made on the photograph.
| | 04:22 |
| | Collapse this transcript |
| Improving shadows and highlights| 00:00 |
So far, we've seen how we can use the
Adjustment brush in order to affect larger
| | 00:04 |
areas of our photograph.
We can also use it in order to affect
| | 00:07 |
smaller areas as well.
Like with this portrait here, if we click
| | 00:11 |
on it in order to zoom in, one of the
things that you'll notice is that there
| | 00:14 |
are some shadows here around the eyes.
We can brighten those shadows or we can
| | 00:19 |
work on little specific areas using the
Adjustment brush.
| | 00:23 |
So, let's take a look at how we can do
that.
| | 00:24 |
Press the K key in order to select the
Adjustment brush, then with the options
| | 00:29 |
what we want to do is we want to brighten
up our shadows value.
| | 00:32 |
Here we want to decrease the contrast or
double-click that slider to set it back to
| | 00:35 |
the value of zero.
And I also want to slightly brighten the
| | 00:39 |
overall exposure of this area that I'm
going to paint in as well.
| | 00:43 |
Next we want to increase our feather
amount, and then we'll decrease the flow.
| | 00:47 |
You typically want to have a really low
flow amount when you're painting in light.
| | 00:52 |
This way, what you're doing is you're
subtly bringing up the brightness of a
| | 00:56 |
certain area.
Now, you also want to zoom way in.
| | 01:00 |
When you zoom in you'll notice that your
brush size stays consistent, but it just
| | 01:04 |
allows you to work on different areas of
the photograph.
| | 01:06 |
For example, notice that the brush size
fits in this area of the photograph right
| | 01:11 |
now, yet if I zoom out all of the sudden
the brush seems huge.
| | 01:14 |
Well it isn't that the brush size has
changed rather, it's that our zoom rate
| | 01:19 |
has changed.
So, again, you want to zoom in so you're
| | 01:21 |
nice and close, and then change your brush
size.
| | 01:24 |
Here I'll tape the left bracket key in
order to make the brush size a bit smaller.
| | 01:27 |
Next we just want to start to paint over
the shadow area, and what we should start
| | 01:32 |
to see is not a lot.
We should see that it's affecting the
| | 01:35 |
photograph, but we may be asking ourselves
well, am I doing any good at all?
| | 01:40 |
Here, we can see how we are indeed
brightening it a bit, but it's
| | 01:43 |
questionable about how much we're
brightening it.
| | 01:46 |
And that's how you want it to look.
In other words, you want this to be subtle
| | 01:50 |
so that you can slowly build this
particular effect up.
| | 01:53 |
Now, we have that particular pin showing
there, we can hide that by tapping the H
| | 01:58 |
key, then press the backslash key to look
at the before and then now the after.
| | 02:02 |
If it isn't happening quickly enough for
you, go ahead and increase your flow and
| | 02:07 |
also increase the overall effect a little
bit as well.
| | 02:10 |
In this way, we'll be able to work a bit
more quickly, in order to brighten up the
| | 02:13 |
shadows that we have in this portion of
the photograph.
| | 02:16 |
And as we're making these adjustments, we
may see a few other areas we want to work on.
| | 02:21 |
Here I tap in the right bracket key, I
made my brush a little bit bigger.
| | 02:24 |
I'm just going to work on a few other
little shadow areas that I'm noticing here
| | 02:28 |
in this photograph, that I want to subtly
brighten up just a little bit.
| | 02:32 |
And then I'll tap the left bracket key to
make the brush smaller once again, and
| | 02:36 |
I'll work on these shadows.
And often by working on the shadows what
| | 02:39 |
we can do, is we can create a more
flattering look or just a more even
| | 02:43 |
tonality or more balanced exposure in a
photograph.
| | 02:47 |
Well, here we've made some adjustments,
let's tap the backslash key.
| | 02:50 |
There's the before, tap it again and then
now we can see the after.
| | 02:54 |
After having worked on the shadows, I also
want to bring down these highlights a
| | 02:57 |
little bit, so I'll click on the New
button to create a new adjustment.
| | 03:01 |
This time, I will go ahead and bring my
highlights value down and also bring the
| | 03:04 |
exposure down just a bit.
Tap the right bracket key to make the
| | 03:08 |
brush a little bit bigger there, and then
I will just go ahead and paint over a few
| | 03:11 |
of these highlights that we have in order
to darken those up.
| | 03:15 |
Notice that I am painting multiple times
over the highlight, and again it doesn't
| | 03:17 |
look like a lots happening.
And then it shouldn't look like lots
| | 03:20 |
happening, until you get to the end, until
you view your overall before and after.
| | 03:27 |
Here I'll darken those highlights up a
little bit more, and then I'll go ahead
| | 03:30 |
and paint over a few more areas of the
photograph.
| | 03:34 |
Alright, well now that we've done all of
that, let's tap the H key, here you can
| | 03:37 |
see we have two different adjustments, one
here and also one over here.
| | 03:41 |
We can always customize how these areas
are being affected by changing the settings.
| | 03:45 |
For example, if we want to bring in more
detail into the shadows, we can do so here
| | 03:50 |
or we can reduce the contrast or brighten
the overall exposure.
| | 03:53 |
And then last but not least, as we work on
small little details, you want to tap the
| | 03:57 |
H key to hide the overlay.
Then you want to tap the backslash key.
| | 04:01 |
That will show you your overall before and
then tap it again, and then you'll see the after.
| | 04:05 |
After having viewed this up close, you
also want to zoom out.
| | 04:09 |
You want to make sure that these
adjustments fit into the overall
| | 04:13 |
photograph and so that it looks natural
and so that it improves the image in a
| | 04:17 |
really natural and clean way.
Here, we'll look at the before and after,
| | 04:21 |
there's the before and then now here is
the after.
| | 04:24 |
| | Collapse this transcript |
| Whitening teeth| 00:00 |
Let's take a look at how we can use the
Adjustment Brush in order to whiten and
| | 00:04 |
brighten teeth.
We'll be working with this photograph here.
| | 00:07 |
Position your cursor over the image and
then click to zoom in, so that we can
| | 00:11 |
focus in on the teeth.
Next press the K key or click on the
| | 00:15 |
Adjustment Brush tool icon, which is
located in the tool strip right here.
| | 00:20 |
Next, we'll select from the effect pull
down menu, the preset for Teeth Whitening.
| | 00:25 |
What this will do, is it will give us a
negative saturation value, it also will
| | 00:29 |
increase our exposure.
And I like to increase the contrast a
| | 00:32 |
little bit as well, just to bring back
some of the shape or texture to that area
| | 00:36 |
that we're working on.
Then we need to customize our brush size,
| | 00:40 |
feather and flow.
In regards to brush size, we're going to
| | 00:43 |
need a really small brush.
So, let's drag the slider to the left and
| | 00:46 |
then position the cursor over one of the
teeth.
| | 00:49 |
It's still much too big, so I'll tap the
Left Bracket key to make that brush size
| | 00:53 |
much smaller.
The reason why you often want a small
| | 00:56 |
brush size, is just so you can work on the
teeth, and so that you don't affect the
| | 01:00 |
lips or the gums.
If you prefer though, you can use a little
| | 01:03 |
bit of a bigger brush here.
You just want to make sure to take your
| | 01:06 |
feather amount down, and also the flow
amount and then to turn on Auto Mask.
| | 01:11 |
With a bit of a bigger brush, this can
help you to really just target those teeth.
| | 01:15 |
Now before you start to paint, I recommend
that you turn on Show Selected Mask Overlay.
| | 01:21 |
In doing this, as you paint you'll see a
red area which is showing you the area
| | 01:25 |
that you're working on.
Now, initially this will just look a
| | 01:29 |
little bit strange, because here rather
than removing color from the teeth we can
| | 01:33 |
now see this red overlay on top of this
area.
| | 01:36 |
But what I find, is that by having this
overlay, it can ensure that we're actually
| | 01:41 |
working on the teeth rather than the gums
or the lips.
| | 01:44 |
Let's turn the overlay off, by tapping the
O key or by clicking on this icon here.
| | 01:48 |
And let's also hide this little pin by
pressing the H key, that allows us to hide
| | 01:54 |
that pin.
Here, after we've used Auto Mask, what I
| | 01:57 |
like to do is to turn that option off.
And to decrease the brush size even
| | 02:01 |
further and just go near the edges here,
to make sure that we have nice smooth
| | 02:05 |
transitions around the edges.
The advantage of using Auto Mask of
| | 02:09 |
course, is that it gives you precision
but, sometimes the edges can be a bit
| | 02:13 |
choppy or look a bit strange.
In this case, I'm just trying to soften a
| | 02:17 |
few of those edges by clicking a few times
near the edges, so that it looks really
| | 02:21 |
nice and natural.
Well, after having made those adjustments,
| | 02:24 |
we of course want to evaluate our
progress.
| | 02:26 |
One way to do, that is to click on this
flip switch.
| | 02:29 |
Here you can see the before, then click
again and then now we can see the after.
| | 02:34 |
Now, if the before and after results don't
look very good, you can always go back to
| | 02:39 |
these saturation sliders and here we can
customize these further bringing more
| | 02:42 |
color in or removing more as well.
So, you want to find just the right spot.
| | 02:47 |
Keep in mind too, that if you remove too
much color, what will happen is the teeth
| | 02:51 |
will look a little bit gray or lifeless.
So, you want to make sure that you're not
| | 02:55 |
over doing it.
So again, typically when it comes to teeth
| | 02:59 |
whitening or brightening, subtlety is what
will help you to make this look its best.
| | 03:03 |
Because you don't want to draw someone's
attention too much to the teeth, rather
| | 03:07 |
you want them to take in the entire
photograph.
| | 03:10 |
Well, in this case I think this looks
pretty well.
| | 03:12 |
I'll just darken those highlights there
just a touch.
| | 03:14 |
And then again I'll flip this switch so we
can see, there is our overall before and
| | 03:19 |
then now here is our after.
To commit to these adjustments, simply
| | 03:24 |
click the Done button.
That will then commit or apply those
| | 03:27 |
adjustments to your photograph.
| | 03:29 |
| | Collapse this transcript |
| Improving the eyes| 00:00 |
In this movie, we'll be working on two
different photographs and I want to
| | 00:03 |
highlight two different techniques that we
can use in order to enhance eyes.
| | 00:08 |
We'll begin with this photograph of my
daughter, Anika.
| | 00:11 |
Go ahead and click on the image, so that
we can focus in on the eyes.
| | 00:15 |
Now, in order to change the values that we
have there in the eyes or change the way
| | 00:18 |
that that area looks, we'll use the
adjustment brush.
| | 00:21 |
So press the k key in order to select that
tool.
| | 00:24 |
Next, we need to change our brush size,
and feather and flow amount.
| | 00:28 |
And because hopefully, you're getting a
bit more comfortable with this tool, what
| | 00:31 |
I want to recommend you do is you change
those values by way of shortcuts.
| | 00:35 |
Let's tap the left bracket key in order to
make our brush size much smaller.
| | 00:39 |
Typically, we want a really small brush
size, so that we can just be working on
| | 00:43 |
this area of the eye.
Then press shift+left bracket key in order
| | 00:46 |
to decrease the overall feather.
Then let's change the flow amount by
| | 00:51 |
tapping the 5 key.
That will give us a flow value of 50.
| | 00:55 |
If you forget the shortcut, you can always
just use the sliders as well.
| | 00:58 |
Now, the first thing that I want to do, is
I want to brighten up the eyes a little bit.
| | 01:02 |
So, here we'll increase our exposure.
And then we'll also add a little bit of clarity.
| | 01:07 |
This will add some mid tone contrast.
We'll increase some sharpness there,
| | 01:11 |
decrease the noise.
And then we'll change the color just a
| | 01:14 |
touch by dragging the temperature slider
to the left.
| | 01:17 |
After we've modified those settings, we
can go ahead and start to paint over the eyes.
| | 01:21 |
As we paint multiple times over this area,
what we'll see is we'll be painting in a
| | 01:25 |
bit of a brightening effect, which will
also add some contrast and clarity to this
| | 01:29 |
portion of the photograph.
want to make sure that you work on both eyes.
| | 01:33 |
And you want to be consistent.
Also, if you're in a bit of a hurry, you
| | 01:37 |
can always increase your flow value up, so
that this effect takes place a little bit
| | 01:42 |
more quickly or perhaps a bit more
dramatically.
| | 01:45 |
As you make this adjustment, it's going to
be really tempting to go over the top with
| | 01:49 |
how you're affecting the eyes.
And I think I've gone a little bit too far
| | 01:53 |
here, yet not to worry, we'll talk about
how we can scale this back in just a minute.
| | 01:58 |
Well, after having dialed in all of those
settings, what I'm going to do is tap the
| | 02:02 |
backslash key, that will show me the
before, and then tap it again and here we
| | 02:05 |
can see the after.
And you can see that we've really
| | 02:08 |
brightened this up quite significantly.
And in this case I think that's the problem.
| | 02:12 |
So, here I'll decrease my exposure, and
you can see how we can change the
| | 02:15 |
brightness of that area of the photograph.
And another thing that we can do is maybe
| | 02:20 |
bring in a little bit of saturation, as
well.
| | 02:23 |
And then, last but not least, collapse all
of these panels.
| | 02:26 |
This will then bring us back to our amount
slider.
| | 02:29 |
And here, what I like to do is to bring
the amount all the way back to the default setting.
| | 02:33 |
And then slowly, bring it up until we have
just the right look, so it looks natural,
| | 02:38 |
so that the eyes are enhanced but not
overdone.
| | 02:42 |
Because as you work with eyes, again, it's
so easy to really go over the top with how
| | 02:46 |
you adjust that area of your photograph.
And now that being said, of course, you
| | 02:50 |
can bring this up to whatever amount
really fits your own style or vision for
| | 02:54 |
your photographs.
I just wanted to highlight this last step
| | 02:57 |
here, because I think it's an important
one, because it allows us to scale back
| | 03:01 |
all of the adjustments that we've made.
All right, well that's technique number one.
| | 03:05 |
It's all about using a brush and then
increasing exposure, and contrast, and
| | 03:10 |
clarity, saturation and sharpness, and
also reducing some noise.
| | 03:14 |
And then last, but not least modifying the
color if we want to, by using our color
| | 03:18 |
sliders here, which allow us to really
change the overall color characteristics
| | 03:22 |
that we have there in the eyes.
Well, next I want to look at another
| | 03:25 |
technique, and to do so, we'll click onto
another photograph here.
| | 03:29 |
We'll look at how we can change the
characteristics of an eye or of the eyes
| | 03:33 |
in this picture.
To do so, we'll go to our effects pull
| | 03:36 |
down menu here with the adjustment tool
selected.
| | 03:39 |
And let's choose an option which is called
Iris Enhance.
| | 03:42 |
This will give us some presets which will
allow us to begin the paint some
| | 03:46 |
adjustment into the iris of the eye.
Notice that we have increased clarity, and
| | 03:51 |
saturation, and a little bit of increased
exposure.
| | 03:54 |
Here I'll increase the flow amount, and
also subtly bring up my brush size just a
| | 03:59 |
touch there.
And then I'll paint over this part of the image.
| | 04:02 |
And what this will allow us to do is to
really make this part of the eye much more interesting.
| | 04:07 |
There I'll go ahead and paint back and
forth a few times.
| | 04:10 |
And then I'll tap the backslash key.
Here's the before and then now here's the after.
| | 04:15 |
We want a more dramatic effect, we'll add
some more brightening.
| | 04:18 |
And maybe a little bit of contrast here.
And in doing that, we can dial up these values.
| | 04:22 |
And I'm going to do that just, so you can
see the before and after difference a
| | 04:26 |
little bit better.
Here now is the before and then here's the after.
| | 04:29 |
If ever you work on one eye, you always
want to work on the other.
| | 04:33 |
So, press the Space bar key to access the
hand tool.
| | 04:36 |
That will allow you to click and drag the
photograph.
| | 04:38 |
And then make your way over to the other
eye, and just make sure you're painting in
| | 04:42 |
the exact same effect, so that the two
eyes are consistent.
| | 04:46 |
And then, last but not least, what I like
to do is, I like to zoom out.
| | 04:49 |
And to click on one of these options,
which will show me the entire photograph.
| | 04:53 |
Because again, I want to make sure that
the adjustments that I'm making really fit
| | 04:57 |
into the overall picture, so here we'll
tap the backslash key.
| | 05:01 |
There's a before, and then the after.
It may be a little bit difficult to see,
| | 05:05 |
so I'll zoom in a little bit better so you
can see that.
| | 05:08 |
Here we have that before, and then once
again the after.
| | 05:11 |
In this case, I think I went a little bit
too far with my saturation, so I'll bring
| | 05:15 |
that back here.
I want the eyes to look natural, not overdone.
| | 05:19 |
And I also just wanted to highlight
another preset that we have here, which
| | 05:23 |
was the Iris Enhance.
Which gives us yet another way to be able
| | 05:27 |
to quickly enhance the eyes in a
photograph when working with the
| | 05:31 |
Adjustment Brush.
| | 05:32 |
| | Collapse this transcript |
| Minimizing moiré patterns| 00:00 |
The adjustment brush can be helpful tool
when it comes to situations where you
| | 00:04 |
want to paint away some sort of problem in
your photograph.
| | 00:07 |
Like where you have noise, or maybe where
you have something which is called Moire pattern.
| | 00:11 |
Now, Moire pattern often happens when
you're photographing textiles, in which
| | 00:15 |
digital capture, this little pattern can
appear on garments.
| | 00:19 |
If we zoom into the image by clicking on
to the one to one perspective, you can see
| | 00:23 |
there are these strange little patterns
across this jacket.
| | 00:26 |
Well, to remove those, what we can do is
we can work with the Adjustment brush.
| | 00:30 |
So, let's select the Adjustment brush, and
then from the Effect Pull-down menu, we'll
| | 00:34 |
chose the option for Moire.
We want to drag the Moire value slider to
| | 00:38 |
the right to increase removal.
Drag it to the left, that will bring it
| | 00:42 |
out a little bit more.
So, again, bring this value out.
| | 00:45 |
Next, we'll increase our brush size here a
little bit, and also want to have a pretty
| | 00:49 |
high flow amount.
And I'll turn on AutoMask.
| | 00:52 |
And I'm going to turn on AutoMask, just so
I can work right to the edge of the photograph.
| | 00:56 |
And then after having worked on the edges,
I'll turn AutoMask off.
| | 01:00 |
I'll go ahead and click and paint over the
other areas.
| | 01:03 |
Let me zoom in a little bit so, you can
actually see how this works.
| | 01:06 |
Here, you can see we have the Moire
pattern, I'll go ahead and click and paint
| | 01:09 |
over this.
And you can see how I'm removing it from
| | 01:11 |
that portion of the image.
In this way, we could make our way through
| | 01:15 |
our photograph, and we could paint all of
that problem away.
| | 01:18 |
If I tap the back slash key, here you can
see the before, where we have this strange pattern.
| | 01:23 |
Tap it again, and then you can see the
after.
| | 01:26 |
| | Collapse this transcript |
| Adjustment Brush and Basic panel workflow| 00:00 |
I wanted to finish up our conversation
about working with the Adjustment Brush by
| | 00:04 |
taking a look at a workflow project so
that we can start to see how we're going
| | 00:08 |
integrate the Adjustment Brush into our
overall workflow.
| | 00:12 |
So, let's begin by cropping this
particular photograph.
| | 00:15 |
Here we can do so by clicking on the Crop
tool, what I want you to do is unlock the
| | 00:20 |
aspect ratio and then go ahead and click
and drag this crop area in.
| | 00:24 |
What I want to do with this photograph is
make it more visually interesting, and I
| | 00:28 |
want to increase the overall drama of this
picture.
| | 00:31 |
One way to do that is to reduce and
simplify, and also to crop the image so
| | 00:36 |
that you can really focus in on what it is
that's visually interesting about the photograph.
| | 00:40 |
In this case, to me it's these balloons.
Let's go ahead and double-click to apply
| | 00:45 |
this crop to the photograph.
These are some balloons that I noticed in
| | 00:48 |
one of my colleagues' office and the
colors and the light were so interesting.
| | 00:53 |
Yet, when I opened the image up in
Lightroom, is a little bit lacking.
| | 00:56 |
So, we're going to try to bring back some
drama into this photograph.
| | 01:00 |
Next, after having cropped the eventual
navigate to the Basic panel.
| | 01:03 |
Here in the Basic panel, we will increase
the overall contrast, let's also bring out
| | 01:08 |
some of the shadow detail, and then darken
the overall black.
| | 01:11 |
This is getting us to a closer place, but
what I want to do is reduce and simplify
| | 01:16 |
even further.
So next, let's reduce and simplify by
| | 01:20 |
removing these two remaining door handles
that we have right here.
| | 01:23 |
To do that, we'll use one of our other
tools in the tool strip.
| | 01:26 |
Or use the Spot Removal tool.
In this case, we can go ahead and click on
| | 01:30 |
one of these blemishes, and then I'll
change the source area, so I can choose a
| | 01:34 |
good clean source area to remove that.
Or we can also just click and paint over
| | 01:38 |
an area as well.
And again, all that I want to do is just
| | 01:40 |
get rid of those details.
Or what about the other details, like the
| | 01:45 |
darkness of the background and all of
these lines.
| | 01:48 |
Well, to get rid of those, we need to use
the Adjustment Brush.
| | 01:51 |
So, let's go ahead and select the
Adjustment Brush by clicking on that icon.
| | 01:55 |
Here, we'll use a negative exposure value
to darken up the background.
| | 01:59 |
We can also darken the shadows here as
well.
| | 02:02 |
And we want to determine our brush size
that's a bit too big, so I'll decrease
| | 02:06 |
that size there.
With the full amount, I'll leave this
| | 02:09 |
relatively high.
And I want to begin by turning on Auto Mask.
| | 02:13 |
With Auto Mask turned on, what we can do
is, we can begin to darken the background
| | 02:17 |
without being too concerned about how
we're darkening or affecting the balloons.
| | 02:22 |
And in this case, by darkening the
background it will make the image much
| | 02:25 |
more visually interesting.
You know, sometimes in photography if you
| | 02:28 |
can reduce and simplify, you can really
create more intriguing or compelling photographs.
| | 02:34 |
And that's all that I want to do here and
I want to use the Adjustment Brush to help
| | 02:37 |
me out.
Tap the left bracket key to make your
| | 02:40 |
brush a bit smaller to be able to get into
this area because we want the background
| | 02:44 |
to have the same brightness value
throughout.
| | 02:47 |
And already that image is looking a ton
better.
| | 02:50 |
Next, what I want to do is brighten up
these two balloons that we have here in
| | 02:54 |
the background.
So, let's create a new adjustment by
| | 02:56 |
clicking on the New icon.
Rather than darkening the exposure, we'll
| | 03:00 |
go ahead and brighten that up, and we'll
bring up some of the shadow detail there.
| | 03:04 |
Let's leave Auto Mask turned on at least
here in the beginning.
| | 03:06 |
I'll go ahead and click over these
balloons in the background, just to bring
| | 03:11 |
a little bit more brightness to those.
If we go too far with this we can always
| | 03:15 |
change the value that we have there in the
sliders.
| | 03:18 |
And the reason why I want to brighten up
these balloons is just so they aren't lost
| | 03:22 |
in the shadows way back there.
Sometimes when you're working with Auto
| | 03:25 |
Mask what I'll like to do is to go back
and turn Auto Mask off just to soften up
| | 03:30 |
the edges if we need to do so.
Well, here again, let's just paint across
| | 03:34 |
these areas make sure we're getting all
the way to the edge there and then maybe
| | 03:38 |
darken the exposure just a touch.
All I want to do is subtly kind of bring
| | 03:42 |
out those balloons as well.
Alright.
| | 03:44 |
Well, there you have it, a pretty quick
little project.
| | 03:47 |
Yet, this project highlights a really
important point.
| | 03:50 |
And the point is, how can we start to have
a vision for a photograph and then
| | 03:54 |
actualize it by using some other tools
that we have here in the develop module.
| | 03:58 |
And in this case it all started with the
Crop tool.
| | 04:01 |
Then we went to the Basic panel.
In order to make some changes, we cleaned
| | 04:04 |
up a few details using the Spot Removal
tool.
| | 04:07 |
Yet, with this particular project, I
really think it was all about the
| | 04:11 |
Adjustment Brush.
Without our work with the Adjustment
| | 04:14 |
Brush, as you can see here, the image is
interesting but not very interesting.
| | 04:19 |
It was these final touches that we were
able to make with the Adjustment Brush,
| | 04:23 |
which in this photograph, I think, made
all the difference in the world.
| | 04:26 |
Well, let's click Done in order to apply
these settings.
| | 04:29 |
And then next, let's tap the backslash key
that will allow us to see the before.
| | 04:33 |
And then I'll tap it again, so we can now
see the after.
| | 04:37 |
| | Collapse this transcript |
|
|
5. Using the Radial FilterIntroducing the Radial filter| 00:00 |
Another way that you can apply selective
adjustments to your photographs is by
| | 00:04 |
using the radio filter.
The radio filter is a lot of fun to use
| | 00:08 |
because it allows you to create a shape
and then to affect the area, either inside
| | 00:13 |
or outside of that shape.
Let's take a look at how it works.
| | 00:16 |
You can select the radial filter by
pressing Shift +M or by clicking the
| | 00:20 |
radial filter icon, which is located right
here.
| | 00:22 |
Once you select the tool you'll notice
that we have access to a number of
| | 00:26 |
different controls.
These are the same controls or settings
| | 00:29 |
that we have access to with the graduated
filter and also the adjustment brush.
| | 00:34 |
Yeah, you'll also notice below we have two
other controls which allow us to work with
| | 00:39 |
the feather and also to invert the area
that we're working on.
| | 00:42 |
Now for just demo purposes what I want to
do is add a negative saturation amount.
| | 00:47 |
So let's go ahead and bring our saturation
down and then go ahead and click and drag
| | 00:52 |
over this area of the photograph.
And what this will do is it will
| | 00:55 |
desaturate everything except for the area
inside of the shape.
| | 01:00 |
We can click and drag this shape around as
you can see here.
| | 01:03 |
We can also change the overall
characteristics of this shape.
| | 01:07 |
If you hover over the edge, notice how the
cursor changes.
| | 01:10 |
When it changes you can then click and
drag in order to control the shape of the
| | 01:14 |
area that you're affecting.
If you notice that the cursor changes so
| | 01:18 |
that there are two arrows and a bent line,
that's allowing you to rotate the shape.
| | 01:23 |
And in this case, I'm having some fun, and
I'm using this adjustment as a real visual
| | 01:27 |
example to start to see how we might use
this particular tool.
| | 01:31 |
Now with this image I actually don't want
to desaturate everything, so, here I'll
| | 01:35 |
bring back all of my saturation.
What I want to do is, I want to brighten
| | 01:39 |
up this area of the photograph, and also a
few other areas as well.
| | 01:43 |
Well, to do that, I'll go ahead and
increase my overall exposure, and bring up
| | 01:47 |
my temperature slider.
Yet in doing that, I'm realizing it's
| | 01:51 |
affecting everything on the outside,
everything outside of the shape that I've drawn.
| | 01:56 |
Well to flip-flop that or to invert it,
you can go ahead and click on this button here.
| | 02:01 |
And what that will do is it will allow us
to affect the area inside of the shape
| | 02:05 |
that we've created or drawn.
Now we can move this around as you can see
| | 02:09 |
here, so that it can affect different
areas.
| | 02:11 |
We can also click and drag to change the
overall size of the shape so that we're
| | 02:15 |
affecting a larger area.
Now for a moment what I want to do is
| | 02:19 |
exaggerate the adjustment so that I can
show you how the different feather amounts
| | 02:23 |
actually work.
Here I'm going to go ahead and increase
| | 02:26 |
the exposure amount drastically.
I know that this doesn't look good, but
| | 02:30 |
stick with me for a moment.
What I want to do is change the overall
| | 02:33 |
feather amount.
When we drag this to the left, what it
| | 02:36 |
will do is create a really harsh or
distinct edge.
| | 02:40 |
In order to be able to see that, tap the
"h" key that will then hide the overlay.
| | 02:44 |
Here you can see the difference without
any feather.
| | 02:47 |
Or as we increase this you can see that
what started off as something which looked
| | 02:51 |
really over the top now could almost be
usable.
| | 02:54 |
Because we have this feather amount
applied to the edge of this adjustment.
| | 02:59 |
Now obviously that is too high, so I'll go
ahead and bring down my Exposure value.
| | 03:03 |
But you're starting to see how Feather can
really help you to change the
| | 03:06 |
characteristic of the area that you're
modifying or adjusting.
| | 03:10 |
Well, let's press the H key in order to
bring back that overlay.
| | 03:13 |
And let's say that, after having made this
adjustment, we want to make a few others.
| | 03:17 |
To create another adjustment, just click
on the new button, and then here, we'll go
| | 03:21 |
ahead and dial in what we want to create.
In this case, I'm going to warm this up,
| | 03:26 |
increase my exposure there a bit, and then
I'll click and drag over this part of the image.
| | 03:30 |
In doing that, I can see that what's
happened is it's applying this effect to
| | 03:34 |
everwhere except inside of my shape.
This is the exact opposite of what I want.
| | 03:40 |
Well there's a great shortcut that you can
use in order to invert this.
| | 03:44 |
You can of course just click on this check
box here or you can press the apostrophe key.
| | 03:49 |
It's a shortcut that you'll be using quite
often because what I've found is that I
| | 03:53 |
almost always like to invert selections,
especially when I'm adding light, like
| | 03:58 |
we're doing here.
Here I'll bring down my highlights, I'll
| | 04:01 |
just bring down my exposure a little bit
and also just take a look at this overall
| | 04:05 |
shape so I have a nice brightening effect
to this part of the image.
| | 04:09 |
Bring in the focus here to this cute,
little baby.
| | 04:11 |
Well, let's add one more adjustment here
we'll click on the new button.
| | 04:16 |
This time what I'm going to do is click on
invert mask even before I start to work.
| | 04:21 |
That way as I start to click and drag over
this area, I can see that I'm bringing in
| | 04:25 |
the adjustment right from the get go.
So that it looks good and so that it's
| | 04:29 |
brightening up the subject here of this
photograph.
| | 04:32 |
Well now that we've seen how this
particular tool works, what I want to do
| | 04:35 |
next is evaluate how we've done.
To do so, I'll go ahead and click on one
| | 04:39 |
of my zoom options that we can zoom in.
And here I'll zoom in to perhaps a one to
| | 04:43 |
two perspective and then press to space
bar key so we can get up close to this
| | 04:47 |
area of the photograph.
Tap the h key in order to hide those overlays.
| | 04:52 |
Then we'll press the backslash key, that
will show us the before.
| | 04:56 |
Tap it again.
Then we can see the after.
| | 04:59 |
Well, there you have it.
A quick introduction to how we can start
| | 05:02 |
to work with the radial tool in order to
adjust selective areas of our photographs.
| | 05:08 |
| | Collapse this transcript |
| Using the Radial filter to create a vignette| 00:00 |
Let's take a look at how we can use the
Radial Filter, in order to add a vignette
| | 00:04 |
effect to this photograph.
This is a photograph of Angus Stone.
| | 00:08 |
He's a famous Australian musician.
And what I want to do is just darken the
| | 00:11 |
overall edges of the frame.
To do that, tap Shift+M or click on the
| | 00:16 |
Radial Filter icon which is located in the
tool strip.
| | 00:19 |
Next we want to decrease our exposure and
let's go ahead and overdo it so that we
| | 00:24 |
can really see how this works.
And then often as you start to work with
| | 00:28 |
this tool, you'll forget whether or not
you need to invert the mask.
| | 00:32 |
What I like to do is just simply click and
drag to create the shape over the image.
| | 00:35 |
And if it's the opposite of what you need,
no big deal, you can always tap the
| | 00:40 |
Apostrophe key to invert that.
Or you can always just click on this icon, here.
| | 00:44 |
Next, what we need to do, is to reposition
this.
| | 00:47 |
And then click and drag to extend this out
to the outer edges of the frame.
| | 00:51 |
And if you want to do this even more
quickly, what you can do is hold down the
| | 00:56 |
Cmd key on a Mac or Ctrl key on Windows
and then double click on the Radial filter.
| | 01:00 |
What this will do is it will extend that
filter to the outer edge of the frame.
| | 01:06 |
And it just allows you to do that really
quickly.
| | 01:08 |
Well next what I want to do is actually
click and drag this outside of the frame,
| | 01:12 |
as you can see here.
What this will allow me to do is to have
| | 01:15 |
this vignette effect really just affect
these outer edges here.
| | 01:19 |
As we drag the slider around, you can see
how this is affecting different portions
| | 01:24 |
of the image.
You also want to keep in mind that you
| | 01:26 |
want to work with your Feather slider
here.
| | 01:28 |
As you increase the feather slider, notice
how it's reaching further into the frame.
| | 01:32 |
As you reach further into the frame, you
also may want to customize the overall
| | 01:37 |
exposure amount as well.
Well after having done that and, you just
| | 01:41 |
want to move this around and customize
this so it looks exactly how you want it.
| | 01:45 |
I'm just going to bring in these edges
here a little bit so it darkens a little
| | 01:48 |
bit more of that background as well.
After we've done that, we want to hide the
| | 01:53 |
overall overlay graphic there, tap the H
key to do so.
| | 01:56 |
Then you can click on the little toggle
switch, that will show you the before.
| | 02:01 |
Click on it again.
That will the show you the after.
| | 02:03 |
This case I'm just going to brighten this
up a little bit.
| | 02:06 |
I think I was going a little bit too far
with that vignette effect.
| | 02:09 |
I think that looks a little bit better.
You know, sometimes photographers like to
| | 02:12 |
add vignettes to their outer edges because
it can help to bring the focus to the
| | 02:17 |
brighter areas of the frame.
In this case I think it works to add a
| | 02:20 |
little bit of an interesting look.
Yet also keep in mind you can use this
| | 02:24 |
same technique if you have a vignette and
you want to remove it.
| | 02:27 |
All that you'll need to do is to brighten
your exposure value rather than darken it.
| | 02:32 |
Well, there you have it.
There's a quick tip that you can use in
| | 02:35 |
order to be able to add a vignette effect
to the outer edge of a photograph.
| | 02:39 |
| | Collapse this transcript |
| Applying selective sharpening with the Radial filter| 00:00 |
Lets take a look at how we can use the
Radial Filter in order to selectively
| | 00:04 |
sharpen an area of one of our photographs.
In this particular photograph, if you
| | 00:09 |
click on it in order to zoom in, one of
the things that you'll notice is that the
| | 00:13 |
image isn't tack sharp.
So, what I want to do is apply some subtle
| | 00:17 |
Sharpening to this area of the photograph.
Let's go ahead and click on the image in
| | 00:22 |
order to zoom out, then next let's choose
the Radial Filter.
| | 00:25 |
Press Shift+M, or click on the Radial
Filter in order to select it.
| | 00:30 |
Now whenever you choose this tool or the
Graduated Filter or Adjustment Brush, for
| | 00:34 |
that matter.
If you open it up and notice that your
| | 00:37 |
sliders are kind of all over the place,
you can reset all these sliders really
| | 00:41 |
quickly by holding down the Option key on
Mac or Alt on Windows.
| | 00:46 |
That will change the Effect button into
the Reset button.
| | 00:49 |
So on a Mac, Option+click that button, on
Windows Alt+click it.
| | 00:52 |
That will reset all of your values to
their default settings.
| | 00:56 |
Now with this image, what I'm going to do
is increase some contrast and also
| | 00:59 |
clarity, which will make the image appear
sharper.
| | 01:02 |
I also want to increase the overall
Sharpness.
| | 01:04 |
Now whenever you add Sharpness, you almost
always bring out a little bit of extra noise.
| | 01:09 |
So here we'll decrease the Noise just a
touch, as well.
| | 01:12 |
After having made those adjustments, what
we can do is then Click and Drag to create
| | 01:17 |
a shape over the area that we want to
modify.
| | 01:19 |
Now, in this case, one of the tricks with
this is that we can't actually see which
| | 01:24 |
area is being affected.
In other words, we aren't exactly certain
| | 01:27 |
if we should invert the mask or not.
So, what I like to do is to exaggerate one
| | 01:31 |
of my sliders.
To make sure that I'm actually modifying
| | 01:34 |
the correct area.
In this case I am modifying the face.
| | 01:38 |
I'm also going to turn this on to always
just so that we can see this overall shape here.
| | 01:42 |
Because when you're working with
sharpening what you probably want to do is
| | 01:46 |
you want to exaggerate your Feather
amount.
| | 01:48 |
As you exaggerate the feather amount,
notice how it sort of tapers off this effect.
| | 01:52 |
So when it tapers it off, what you then
want to do is increase the overall size of
| | 01:57 |
the area.
So that the Sharpening effect is being
| | 01:59 |
applied consistently to the area that you
want it to be applied to.
| | 02:04 |
Now again, I just increased the Exposure
to try to define those edges.
| | 02:08 |
Now I'm going to reset it by
double-clicking that slider because I
| | 02:11 |
don't want to increase the Exposure in
that area.
| | 02:14 |
After having made those adjustments here
Contrast and Clarity, Sharpness and the
| | 02:19 |
negative amount of Noise let's evaluate.
To do so we'll go to the Navigator panel
| | 02:23 |
and click on our one to one view.
This will show us the image up close here
| | 02:28 |
we can click on the Flip switch here is
the before and then now here is the after.
| | 02:33 |
The image now has a little bit of snap or
punch and it looks pretty good.
| | 02:37 |
You obviously want to be careful that you
don't over sharpen the photograph.
| | 02:41 |
If you over sharpen it it will look a
little bit strange.
| | 02:44 |
Even at that amount it's not very bad but
I think with a picture like this,
| | 02:48 |
somewhere right around here, will look a
little bit better, all right?
| | 02:51 |
Well, once again let's click on the before
and after.
| | 02:53 |
I always like to hide those overlays.
To do so, tap the H key, think H for hide.
| | 02:59 |
And then click on the Flip switch to view
your before and after.
| | 03:03 |
That looks pretty good, so apply this
selective sharpening to this area of the photograph.
| | 03:07 |
Simply click the Done button and that will
then apply those settings to your photograph.
| | 03:13 |
| | Collapse this transcript |
| Improving the light workflow with the Radial filter| 00:00 |
In this movie, I want to go through a bit
of a workflow, and add a few radial
| | 00:04 |
adjustments in order to improve the
lighting in this photograph.
| | 00:07 |
In this particular case, I was using
natural and available light that was open
| | 00:11 |
shade, so that the image appears a little
bit flat.
| | 00:14 |
I want to make it a little bit more
interesting and to do so we'll work with
| | 00:18 |
the Radial Adjustment tool.
Go ahead and click on the tool icon in the
| | 00:21 |
tool strip.
Then next let's reset all of the settings
| | 00:24 |
that we have here by holding down the
Option key on a Mac and Alt on Windows.
| | 00:28 |
And then clicking on the Effects button
which turns into the Reset button when we
| | 00:32 |
press that Short cut key.
Well next what I want to do is increase my
| | 00:36 |
overall exposure, bring up some of the
shadows there, and also warm things up.
| | 00:41 |
I'll make the first adjustment on the
overall subject here of this photograph.
| | 00:45 |
So I'll go ahead and click and drag over
that area.
| | 00:48 |
And in doing that, we can see that we now
have an adjustment which is effect in the
| | 00:52 |
subject here.
I am just going to click and drag this a
| | 00:56 |
little bit outside of the frame.
To do so, I will bring this up a bit and
| | 00:59 |
then I will lower this down in this way.
We have a bit of a glow around the subject.
| | 01:03 |
Next, I want to create another adjustment
to focus in on the face.
| | 01:06 |
To do that, I will click on the new icon
and then just click and drag over the
| | 01:11 |
face, and here really what I am interested
in doing is trying to bring more focus
| | 01:15 |
into the subject.
Now if we tap the h key we'll already see
| | 01:19 |
a pretty interesting change in the way
that we look at this photograph.
| | 01:23 |
If we click on the flip switch you can see
here's the before and then now here's the after.
| | 01:28 |
We've created a different mood or
environment with this fascinating tool.
| | 01:32 |
Now if the edges of these adjustments are
a little bit too noticeable, for example,
| | 01:36 |
what we can do is click on them and then
drag them out a little bit further and
| | 01:41 |
then increase the feather.
As you drag these further out and as you
| | 01:45 |
increase the feather, it will create a
little bit more of a softened look here.
| | 01:48 |
Rather than a defined shape, as we have in
this particular area here.
| | 01:52 |
So I go ahead, and bring this up a little
further, and then I'll feather that out so
| | 01:56 |
that the light looks a bit more natural.
So you can't really tell, what was done.
| | 02:01 |
And next, what I want to do, is I want to
add one more adjustment.
| | 02:05 |
So here, I'll click on the new button.
This time, I'm going to go ahead and reset
| | 02:09 |
these sliders by double-clicking them back
to their default settings.
| | 02:12 |
I'm just going to decrease the overall
exposure value, and just click and drag an
| | 02:16 |
adjustment out.
Now, with this particular adjustment, I
| | 02:19 |
wanted to add a little bit of a Vignette
effect to the photograph.
| | 02:23 |
So it's actually affecting the wrong part
of the picture.
| | 02:26 |
So I need to invert the adjustment,do you
remember the short cut that we can use to
| | 02:30 |
do that?
It's the apostrophe key or you can always
| | 02:33 |
just click on this icon right here.
Next what I want to do is have this extend
| | 02:37 |
out to the outer edges of the frame.
To do that, hold down the Cmd key on a
| | 02:42 |
Mac, Ctrl on Windows and then double click
on the adjustment.
| | 02:45 |
This then snaps this adjustment to the
outer edge which I'll extend even further.
| | 02:50 |
So that we have an adjustment which is
allowing me to darken up my edges.
| | 02:55 |
What this will do is sometimes bring even
more focus into the subject.
| | 02:59 |
After having made a few adjustments here,
let's tap the H key to hide those
| | 03:05 |
distracting overlays.
Then next, let's click on the flip switch
| | 03:08 |
so that we can see our before.
And then now we can see the after.
| | 03:12 |
And really with a few simple adjustments
we're focused into the image at a
| | 03:17 |
completely different way.
And what happens is that we're attractive
| | 03:21 |
to areas of focus and also areas of
brightness.
| | 03:24 |
And by adding a few more areas of
brightness we made this whole image take
| | 03:28 |
on a different mood or ecstatic and also
has changed the way that we look at the
| | 03:32 |
overall picture.
Sometimes it's helpful to click on an icon
| | 03:36 |
which allows us to get a closer view, and
then to click on the flip switch in order
| | 03:39 |
to see the before and the after.
In seeing this a little bit closer, what I
| | 03:43 |
realize is I want to position one of these
adjustments a little bit higher.
| | 03:47 |
So, here I'll tap the h key to bring back
the overlays, and I'll click into this
| | 03:51 |
adjustment here.
And I'm just going to drag this up a
| | 03:54 |
little bit higher and also make this a bit
bigger to bring in a little bit more focus
| | 03:58 |
into this area of the image and I'll also
brighten that up just a touch more.
| | 04:02 |
Well now that we've done that, once again
let's go ahead and press the space bar key
| | 04:06 |
and re-position this so we can see a bit
more of the subject.
| | 04:09 |
Here we'll click on the flip switch so we
can see the overall before and then the
| | 04:13 |
after of our workflow example of how we
can use the Radial filter in order to
| | 04:19 |
improve our photographs.
| | 04:20 |
| | Collapse this transcript |
|
|
6. A Better Way to Access Tools and PanelsReviewing the toolstrip shortcuts| 00:00 |
Now that we've spent some time talking
about the tools, which we can work with in
| | 00:04 |
the Develop Module.
Which are located in the Tool Strip, what
| | 00:07 |
I want to do here is take just a minute to
review a few of the shortcuts to access
| | 00:12 |
these various tools.
What I recommend you do it that you write
| | 00:15 |
these down.
For the Crop Tool you can press the R key.
| | 00:19 |
Next when you want to remove distractions
or blemishes press the Q key to access the
| | 00:23 |
Spot Removal tool.
Now the next tool is the Red Eye Reduction
| | 00:27 |
tool there isn't a shortcut for that one,
and that's okay because you won't be using
| | 00:30 |
that very frequently.
Then the next two are actually pretty easy
| | 00:34 |
to remember, because a Graduated Filter
can be accessed by pressing the M key.
| | 00:38 |
Then press Shift+M when you want to work
with the Radio Filter.
| | 00:41 |
Last but not least, you can tap the K key
in order to select the Adjustment Brush.
| | 00:47 |
Now if you ever forget any of these
shortcuts, what you can do is in the
| | 00:51 |
Develop Module, simply navigate to the
Tools pull-down menu.
| | 00:54 |
And here it will list the various tools
which we have access to.
| | 00:57 |
And you'll also see their shortcuts are
listed off the to right, in this
| | 01:01 |
particular menu.
So again, what I recommend you do, is that
| | 01:05 |
you write down these various shortcut.
Put them on a sticky note, and put that
| | 01:08 |
sticky note next to your computer.
So that you can memorize these shortcuts,
| | 01:12 |
so that you can easily access these tools
when you want to start to work with them.
| | 01:16 |
| | Collapse this transcript |
| Turning on Solo mode| 00:00 |
In this movie, I want to share with you a
couple of tips which will help you to work
| | 00:04 |
more effectively with the panels that we
have here in Lightroom.
| | 00:08 |
In the rest of this course, we'll be
focusing in on the various panels and
| | 00:10 |
controls that we have here in the Develop
module.
| | 00:14 |
And we already know that what we can do,
is we can click on a panel name in order
| | 00:18 |
to open it up.
Now, these panels work in an accordion
| | 00:22 |
fashion, and we can expand this accordion
by clicking on all of these different panels.
| | 00:27 |
Yet, the only downside is, that we'll end
up scrolling quite a bit, up and down in
| | 00:32 |
order to access these various controls.
Or perhaps an even more effective way to
| | 00:36 |
scroll, is if you have a three button
mouse, you can just position your cursor
| | 00:40 |
over the panels.
So, as you're working on the controls, you
| | 00:43 |
can then use that scroll wheel in order to
scroll up or down to view or access the
| | 00:47 |
various controls.
There's also another technique that you
| | 00:51 |
can use which I use in my own workflow
which is called Solo Mode.
| | 00:54 |
What Solo Mode allows you to do is to
enter into a mode where it will only allow
| | 00:59 |
you to have one panel opened at a time.
Let me show you how this works.
| | 01:03 |
If you Right-click or Ctrl+click over the
panel area, and choose the option in this
| | 01:08 |
pop up menu here, which is called Solo
Mode.
| | 01:10 |
You'll notice that it will change the
triangle icon from a solid triangle into
| | 01:14 |
one which is made out of dots.
This is telling you, or informing you,
| | 01:18 |
that you're now in Solo Mode.
So now if I open up a panel, for example
| | 01:22 |
the Basic panel, and then decide to go to
the Tone Curve, what it will do, is it
| | 01:27 |
will close whatever panel is open and only
allow me to have one panel open at a time.
| | 01:32 |
The advantage of this of course is that I
will no longer need to scroll up and down
| | 01:36 |
in order to access all of these controls.
I should also highlight that you can enter
| | 01:41 |
into Solo Mode in any module, and also in
the right or the left hand panels.
| | 01:46 |
On the left hand side, over here, if we
Right-click or Ctrl+click, we can then
| | 01:50 |
choose Solo Mode and that will then give
us access to Solo Mode, so that we can
| | 01:54 |
then only have one panel open at a time,
as you can see here.
| | 01:58 |
So, again what Solo Mode allows you to do
is just to really focus in on one task at
| | 02:03 |
a time.
Another way to toggle Solo Mode on and off
| | 02:06 |
is by pressing the Option key on a Mac, or
Alt key on Windows and then by clicking on
| | 02:11 |
one of these icons.
Here you'll notice we're now in Regular
| | 02:14 |
Mode, and then we'll go ahead and click
again and that will then take us to Solo
| | 02:17 |
Mode, so that we can then work with our
panels more effectively.
| | 02:21 |
| | Collapse this transcript |
| Using shortcuts to open and close panels| 00:00 |
If you're interested in becoming an
advanced Lightroom user and if you're
| | 00:04 |
interested in speeding up your workflow,
you'll appreciate the shortcuts that I
| | 00:07 |
want to highlight here.
Because these shortcuts will allow us to
| | 00:11 |
access and to work with the panels more
effectively now, the previous movie I
| | 00:15 |
talked about how we could turn on Solo
mode.
| | 00:18 |
What Solo mode allows us to do is to open
a panel.
| | 00:21 |
And then when we navigate to another one,
it closes whatever panel is open.
| | 00:25 |
And just opens a new panel, so we can
focus in on that task at hand.
| | 00:29 |
Well, there's actually another way that we
can take advantage of Solo mode and take
| | 00:33 |
advantage of accessing these various
controls.
| | 00:35 |
And that's by way of a shortcut key
combination.
| | 00:39 |
If you're on a Mac, you can press Cmd zero
through eight.
| | 00:42 |
If you're on Windows, you'll press Ctrl
zero through eight, in order to open or
| | 00:47 |
close any of these panels.
Let me demonstrate how this works.
| | 00:51 |
Let's say that we want to begin with this
photograph in the Basic panel.
| | 00:54 |
Here I'll press Cmd one on a Mac, or Ctrl
one on Windows.
| | 00:58 |
And then after having worked in the Basic
panel, I want to jump to the Details panel.
| | 01:03 |
That's the area where you can go to
sharpen your photographs and also to
| | 01:06 |
reduce noise.
In order to access that, we can press the
| | 01:10 |
shortcut key combination of Cmd five on a
Mac or Ctrl five on Windows.
| | 01:15 |
After having worked with the detail, we
could then jump back to any of the other
| | 01:20 |
panels as well.
So there's a number in a keyboard shortcut
| | 01:24 |
associated with each of these panels.
Now you may be thinking, how in the world
| | 01:28 |
am I going to memorize all of these
shortcuts.
| | 01:30 |
Well it actually isn't that difficult it's
Cmd or Ctrl+0 which allows us to open and
| | 01:35 |
close the histogram.
Next it's Cmd or Ctrl+1 to work with the
| | 01:40 |
Basic panel.
And then what you can do is simply guess
| | 01:43 |
in order access the other panels.
In other words let's say that you're
| | 01:47 |
trying to work with the Detail panel, you
can go ahead and press Cmd+4 on a Mac or
| | 01:51 |
Ctrl+4 on Windows.
Well, we got the shortcut wrong.
| | 01:55 |
We were one number off.
Well, no big deal.
| | 01:57 |
You can continue to press the Cmd key on
Mac or Ctrl key on Windows and then just
| | 02:02 |
tap the different numbers until you get to
the right panel that you want to work with.
| | 02:06 |
And what this allows you to do is to
really speed up your work flow.
| | 02:10 |
Now as you start to work in the develop
module, your workflow will be at a
| | 02:14 |
moderate pace, but eventually, when things
really get cranking, when you're really
| | 02:18 |
working on your images and you really
want to create creative and compelling
| | 02:22 |
results often, what I find is that these
shortcuts help out.
| | 02:26 |
So, what I recommend that you do here, is
that you take a moment to jot down these
| | 02:31 |
shortcuts, even if you aren't going to use
them now, perhaps you'll integrate them
| | 02:35 |
into your workflow later.
So here they are once a again.
| | 02:38 |
To access the panels on the right-hand
side here in the Develop module, you'll
| | 02:42 |
press Cmd on a Mac or Ctrl on Windows and
then the numbers zero through eight in
| | 02:47 |
order to be able to open or close any of
those various panels.
| | 02:51 |
| | Collapse this transcript |
|
|
7. Modifying the Tone CurveDemonstrating the Tone Curve controls| 00:00 |
In this movie, I want to take a few
minutes to introduce you to how you can
| | 00:04 |
begin to work with the Tone Curve.
So, let's go ahead and open up the Tone
| | 00:08 |
Curve panel so that we can begin to view
and access a few different controls.
| | 00:13 |
Now the Tone curve panel allows us to
modify the exposure and the color of our photograph.
| | 00:18 |
And in a sense, it gives us the ability to
change the exposure in color in a similar
| | 00:23 |
way to working with the Basic panel.
It's just that the Tone Curve can be a
| | 00:27 |
little bit more advanced.
So, first what I want to do is just give
| | 00:30 |
you a bit of an introduction to how these
various controls work.
| | 00:34 |
Now if you've worked with curves in
Photoshop, you'll recognize this dialogue
| | 00:37 |
because it works in a very similar way.
In a sense what this is, is it's a graph
| | 00:42 |
which represents the tonal values that we
have in our image.
| | 00:45 |
Here you can see all of the brightness
values which are represented in the background.
| | 00:50 |
Then we have a line which represents the
current tone that we have in the image.
| | 00:54 |
Now, we can change these values a number
of different ways.
| | 00:57 |
If we click on this line, we can add a
point, then, we can click and drag up to
| | 01:03 |
brighten the image, or click and drag down
in order to darken the photograph.
| | 01:07 |
We can also add multiple points, for
example, we can have a point here in the
| | 01:12 |
middle or we can also have a point here
for our highlights and we can drag that up
| | 01:16 |
in this area.
Now in doing that, you can see how it
| | 01:19 |
affected the rest of the curve so that the
darker tones are too dark.
| | 01:23 |
Well, no big deal, we can always add a
point there and we can bring up that area,
| | 01:27 |
or we can customize any of these points in
order to change the way that the
| | 01:30 |
photograph works.
If we tap the backslash key, you can see
| | 01:34 |
here is the before and then tap again and
then you can see the after.
| | 01:38 |
Now you can add points to this curve by
simply clicking on the line.
| | 01:41 |
You can move these points by clicking and
dragging to the right.
| | 01:45 |
As I do that, you can see that I'm
removing all of these adjustments on the photograph.
| | 01:49 |
I'll go ahead and remove those from this
particular curve.
| | 01:52 |
Another way to access or work with the
curve is by using the Targeted Adjustment tool.
| | 01:57 |
Click on this tool, and then position your
cursor over an area of the image, say the
| | 02:02 |
brighter tones here, and then you can
click and drag up or down in order to
| | 02:05 |
affect that area.
Again though, you'll notice that it's also
| | 02:09 |
affecting the rest of the curve, so if I
want to brighten up the shadows, or I can
| | 02:13 |
position the cursor over that area, and
then I can click and drag up in order to
| | 02:17 |
control the way that, that area looks.
Now we can control the overall exposure,
| | 02:22 |
or tonality, by working in the composite
RGB channel, or we can also access the
| | 02:29 |
various channels, red, green, and blue.
We'll talk more about how we can do that
| | 02:33 |
later, but what that gives us the ability
to do, is to affect the overall color or
| | 02:38 |
the way that we mix color together in
order to change the color or the look in
| | 02:41 |
the photograph.
Well, if ever you want to reset your image
| | 02:45 |
after you've worked with the Tone Curve,
you can always click the Reset button.
| | 02:48 |
That will reset all of the settings which
you've applied here inside of the Develop module.
| | 02:53 |
Now there's also another curve which we
can use and that's a curve which has a
| | 02:57 |
little bit more of a safety net built in.
If you click on this icon here, you notice
| | 03:02 |
that it will open up some various
controls.
| | 03:05 |
These controls allow us to target certain
areas of our photograph, for example we
| | 03:09 |
can work on the highlights in order to
darken or to brighten those areas.
| | 03:13 |
You'll also notice that up here on the
curve, as you position your cursor over
| | 03:17 |
the different areas, it will highlight the
controls down below and then you can click
| | 03:22 |
and drag in order to brighten or to darken
that range or that area of the photograph.
| | 03:27 |
And when I mentioned that there's a bit of
a safety net, you'll notice that there's
| | 03:30 |
an area which is highlighted here on this
particular graph.
| | 03:34 |
This is showing me that I can't go past
this point.
| | 03:38 |
In other words, when you're working with
the other option, you can make some really
| | 03:42 |
dramatic adjustments.
In this case we can make adjustments, but
| | 03:46 |
there's a little bit more of a safety net,
so that we can't adjust these areas as
| | 03:50 |
dramatically in order to make as
significant of changes.
| | 03:54 |
Now what's the advantage between working
with one option or the other?
| | 03:57 |
Well, this option obviously has some
specific controls which allow us to sort
| | 04:01 |
of access the tone or values that we have
in that area.
| | 04:04 |
In contrast when we're working with just
the straight curve, well it's really up to
| | 04:09 |
us how we're going to push these points
around.
| | 04:11 |
And this gives us more flexibility
sometimes to make corrections or
| | 04:15 |
adjustments to our photographs.
Right, well now that we've been introduced
| | 04:19 |
to the Tone Curve, what we need to do next
is take a look at how we can actually use
| | 04:23 |
the Tone Curve to improve a photograph,
say like this one here.
| | 04:27 |
So, let's go ahead and click on the Reset
button, and then what I want to do in the
| | 04:31 |
next movie is take a look at how we can
use these controls in order to improve
| | 04:35 |
this underwater photograph of a surfer
that was captured in Indonesia.
| | 04:39 |
So, let's go ahead and leave this image
open, as we'll continue to work on it in
| | 04:43 |
the next movie.
| | 04:44 |
| | Collapse this transcript |
| Improving exposure and color with the tone curve| 00:00 |
Let's take a look at how we can use the
Tone Curve controls, in order to improve
| | 00:04 |
the Exposure, or the look in this
photograph.
| | 00:07 |
And also in order to change it's color.
Now this is a photograph that was captured
| | 00:11 |
under water in Indonesia.
You can see there is a surfer ridding
| | 00:14 |
through the barrel right there, and what I
want to do, is I want to add a bit more
| | 00:18 |
Contrast, and Density to this photograph.
I also want to change it's overall color.
| | 00:23 |
Well to do that, let's begin by working
with the Tone Curve.
| | 00:26 |
We'll start off by focusing in on the RGB
channel.
| | 00:29 |
Now if you don't see this option, go ahead
and click on the icon in the lower corner.
| | 00:33 |
To access the option which gives us the
flexibility of working with the RGB channel.
| | 00:38 |
Or the various channels in order to change
the color.
| | 00:40 |
Now the first thing that I want to do is
darken up some of these tones here.
| | 00:44 |
Or we can either simply click and drag on
the curve line or we can use the Targeted
| | 00:50 |
Adjustment tool.
Click on that then position the cursor
| | 00:53 |
over the image.
And then Click and Drag down in order to
| | 00:56 |
darken up that region or that area of the
photograph.
| | 00:59 |
Now that will create a curve line across
the photograph, it's darkened this area.
| | 01:04 |
But also the upper area as well I want to
protect these tones so here I'll go ahead
| | 01:08 |
and Click and Drag this back up in order
to brighten up some of those highlights.
| | 01:12 |
Now with the shadow point which we added
here, we can Click and Drag that up or
| | 01:16 |
down to change those values as well.
Well so far, we've added a little Contrast
| | 01:21 |
and Density to the picture, next what I
want to do is work on the overall color.
| | 01:25 |
So here, let's click on the Channel
pull-down menu and select the Red channel.
| | 01:30 |
Now each of these channels actually allows
you to work with the color red, or the
| | 01:34 |
main color, and then also the
complementary color, in this case Cyan.
| | 01:38 |
So if we Click and Drag up the image
becomes more red.
| | 01:41 |
Click and drag down and the image becomes
more cyan.
| | 01:44 |
Now we can control the color in the
highlights here by working with the
| | 01:48 |
Highlights and then, bringing the rest of
the Curve down.
| | 01:50 |
So that I am primarily effecting the color
in the brighter tones of the image or we
| | 01:54 |
can also add points in the other areas as
well.
| | 01:57 |
In order to remove points let's go ahead
and Click and Drag those off to the side.
| | 02:01 |
When you do that, or then we move those
points or remove that adjustment from the photograph.
| | 02:06 |
Well rather than becoming too complicated
here, I simply want to make an adjustment
| | 02:10 |
which will make this image a little bit
more cyan.
| | 02:12 |
I'll go ahead and Click and Drag down here
in the middle, which in turn will add a
| | 02:16 |
little bit of a color shift to the
photograph.
| | 02:18 |
Next, we'll go to another channel, we'll
navigate to the Green channel.
| | 02:22 |
If we Click and Drag up, the image becomes
more green.
| | 02:25 |
Click and Drag down, and it becomes a bit
more magenta.
| | 02:29 |
Here again we'll just customize this a
little bit.
| | 02:31 |
I'll Click and Drag down to add a little
bit of magenta just to deepen and make
| | 02:35 |
these colors a little bit more
interesting.
| | 02:37 |
Then, last but not least, we'll go to the
Blue channel.
| | 02:40 |
In the blue channel, as you can imagine
when you drag up the image becomes more blue.
| | 02:45 |
Drag down, it becomes more yellow.
And here, basically what we're doing is
| | 02:50 |
we're mixing these different channels
together in order to create a distinct or
| | 02:54 |
unique color look in this photograph.
Now, how you customize the color in your
| | 02:58 |
photographs, obviously it's up to you.
What you'll want to do is navigate through
| | 03:02 |
these different channels and experiment
with the different amounts that you can
| | 03:05 |
add here.
So that you can create a look that you're
| | 03:08 |
interested in, in your photograph.
Now, also keep in mind that we can work on
| | 03:12 |
the color with the three channels, or we
can work on the over all exposure by going
| | 03:17 |
back to the RGB channel.
Now this was the area where we darkened
| | 03:20 |
some of those towns, and I think in this
photograph that really helps out.
| | 03:24 |
We can also bring down the highlights a
little bit as well by working in this area
| | 03:28 |
if we want to darken up those areas as
well.
| | 03:30 |
So as you can see with this photograph,
really it was our combined effort of
| | 03:35 |
working in the RGB composite channel.
And the various channels which allowed us
| | 03:39 |
to create this particular look.
To view the before and after, we'll tap
| | 03:43 |
the Backslash key.
Here's the original image as it was
| | 03:46 |
captured straight out of the camera.
And then tap the back slash key again, and
| | 03:50 |
then here you can see the image after we
worked on it using the Toned Curved controls.
| | 03:55 |
| | Collapse this transcript |
| Using the tone curve to correct and enhance| 00:00 |
In this movie, I want to take a look at a
workflow situation.
| | 00:03 |
And here, I want to highlight how we can
use the Tone Curve in order to correct
| | 00:07 |
exposure, brighten up the photograph, and
change the overall look and color of this picture.
| | 00:12 |
So, let's begin by zooming in on the
photograph.
| | 00:15 |
I'll go to the Navigator panel and click
on the Fill option, which will just give
| | 00:18 |
us a closer view of this photograph.
This is a photograph of some family friends.
| | 00:23 |
And what I want to do is change the look
of this picture.
| | 00:26 |
Well, in the Tone Curve we have access to
two different curves.
| | 00:30 |
I haven't mentioned their names, but this
one is called the Point Curve, or if we
| | 00:34 |
click on this icon here, it gives us
access to what's called the Parametric Curve.
| | 00:38 |
Now, the Parametric Curve has some built
in safety nets.
| | 00:42 |
In other words, we can't modify the
exposure too far.
| | 00:45 |
For example, let's say that we want to
check to see if we have any loss of detail
| | 00:49 |
in this photograph by tapping the J key.
Remember that when you tap the J key it
| | 00:54 |
turns on your clipping indicator.
Well, here this is showing me I have some
| | 00:58 |
loss of detail in a few of these highlight
areas.
| | 01:01 |
That's what the red color is showing me in
that area.
| | 01:04 |
Well, if we work with the Highlight slider
to try to recover that detail, what we'll
| | 01:08 |
discover is we just can't slide this over
far enough in order to recover that detail.
| | 01:13 |
We could brighten up those highlights to
create more of a problem, but we can't go
| | 01:17 |
very far in regards to how we modify that
area.
| | 01:19 |
So, in the Parametric Curve there are some
limits, yet we can still use these
| | 01:24 |
controls in order to modify the
photograph.
| | 01:26 |
Perhaps you want to brighten up the darks
there a little bit and then darken the
| | 01:29 |
shadows to change the overall contrast of
the photograph.
| | 01:32 |
Well, we can use these controls in
combination with the Point Curve controls
| | 01:37 |
as well.
In other words, if we make some
| | 01:40 |
adjustments here, and then click on this
icon to access the Point Curve, it doesn't
| | 01:44 |
delete those adjustments.
Rather, we can build on top of those.
| | 01:48 |
And the same thing is true if we make
adjustments here and then navigate to the
| | 01:51 |
Basic panel.
Again, we can use all of these controls together.
| | 01:54 |
In order to create a combined effect.
Well here, in the Tone Curve, one of the
| | 01:59 |
things that we can do incredibly well is,
we can recover detail in the highlights or shadows.
| | 02:04 |
And we can do so in ways that we can't do
in other areas of Lightroom.
| | 02:09 |
For example, if we want to bring back some
detail here in these highlights, what you
| | 02:13 |
can do is click on your highlight point
and then just click and drag down.
| | 02:16 |
In doing that, you can see that I can
recover the detail in that area.
| | 02:20 |
And it only took just a little bit of an
adjustment in order to correct the detail
| | 02:24 |
that we have there in that photograph.
After having corrected the loss of detail
| | 02:28 |
in that area, I also want to brighten up
the picture a little bit.
| | 02:32 |
And then bring down my shadows, again just
to change the overall look that we have in
| | 02:36 |
the photograph.
After having changed the look that we have
| | 02:39 |
here by adding a few points, working on
the highlights, the midtones, and then the
| | 02:43 |
darker tones here.
Next, I want to change the color.
| | 02:45 |
To do so, we know that we can access the
color by working at the various channels.
| | 02:51 |
If we make our way to the Red Channel, we
can then click and drag up in order to
| | 02:55 |
increase the overall red in the
photograph.
| | 02:57 |
I'll just do this just a little bit there.
And then, I'll navigate to the Blue Channel.
| | 03:02 |
The Blue Channel allows us to increase the
blue or the yellow in the photograph and
| | 03:06 |
that's what I want to do.
I just want to warm this image up in order
| | 03:09 |
to change the overall look that we have in
the photograph.
| | 03:12 |
You know, sometimes when you add a lot of
yellow, and here I'm going to exaggerated
| | 03:15 |
for a moment.
What you'll need to do is go to the Green
| | 03:18 |
Channel and compensate by adding a little
bit of a magenta.
| | 03:21 |
Notice how the image looks a little bit
more natural now.
| | 03:24 |
Now, I know the color is a bit over the
top.
| | 03:26 |
And I did want to highlight that in an
exaggerated way, just to highlight how you
| | 03:30 |
may need to work with multiple channels.
Now, in this case, I'm going to bring back
| | 03:34 |
that effect so it isn't so strong.
And I'll also take out some of that
| | 03:37 |
magenta there.
So, it isn't quite so overpowering.
| | 03:40 |
There you have a new look for the
photograph.
| | 03:43 |
Here, we've corrected the exposure by
recovering some detail, here in their
| | 03:46 |
highlights by working in the composite RGB
channel, here.
| | 03:51 |
We also modified the look subtly here, by
working with a couple of points, and then
| | 03:55 |
we worked on the color.
And the result of this particular effect,
| | 03:58 |
was the combination of working with the
Parametric Curve, and also the Point Curve.
| | 04:04 |
In order to see the before and after, we
can tap the backslash key.
| | 04:07 |
Here it is, the before, and then I'll tap
it again so that we can now see the after.
| | 04:12 |
And you know at this point, you may be
wondering, well, what's the advantage of
| | 04:15 |
using one adjustment versus another?
Or why not just work in the Basic panel?
| | 04:20 |
Well, in a sense what Lightroom is doing
is it's providing us yet another way to be
| | 04:26 |
able to access and to work on the exposure
and the tone and the color in our photograph.
| | 04:31 |
And there isn't necessarily the best way
or there isn't necessarily one way to
| | 04:36 |
process your photographs.
Rather, it's about learning how to use all
| | 04:39 |
of these tools in order to improve your
photographs in the best way.
| | 04:43 |
| | Collapse this transcript |
| Recovering shadow and highlight details with the tone curve| 00:00 |
In this movie, I want to go through a
workflow example which will begin in the
| | 00:04 |
Basic panel, and then we'll finish this
project off using the Tone Curve.
| | 00:08 |
You know, often we start in the Basic
panel.
| | 00:10 |
And what we'll do here is we'll begin at
the top and perhaps we'll click and drag
| | 00:14 |
our temperature slider a little bit to
change the overall color temperature of a photograph.
| | 00:18 |
Then, we walk through the different
controls in order to visually change the
| | 00:22 |
way that the image appears.
Here, I'm going to increase the overall contrast.
| | 00:26 |
I also want to brighten up the whites
here, to brighten up the image, and then
| | 00:30 |
I'll darken the blacks in order to create
more contrast.
| | 00:33 |
After having made those adjustments,
eventually what you want to do is tap the
| | 00:37 |
J key in order to turn on our Clipping
Indicator.
| | 00:40 |
In this case, I can see that I have some
loss of highlights on the dress and also
| | 00:45 |
the background.
And I have some loss of detail or clipping
| | 00:48 |
in the shadow areas as well.
Now, we can try to correct this here in
| | 00:52 |
the Basic panel.
We could use the Highlight slider to try
| | 00:55 |
and recover some of the details in those
areas or we could also modify some of our
| | 00:59 |
other sliders as well.
But sometimes what will happen is you may
| | 01:03 |
want to have a particular look.
And you may just want to get rid of the
| | 01:06 |
loss of detail at it's immediate end.
In other words, you want to bring the
| | 01:10 |
highlights back a little bit or the
shadows back a little bit.
| | 01:14 |
In order to have that type of precise
control, we'll go to the Tone Curve.
| | 01:18 |
In the Tone Curve, we can further
customize the overall tonality of the image.
| | 01:22 |
If we want to recover detail on the
highlights, we go up to our highlight
| | 01:27 |
point up here, and just click and drag
down.
| | 01:29 |
I just needed to click and drag just a
little teeny bit there to recover the
| | 01:33 |
highlights on the dress and also the
background.
| | 01:36 |
To work on the shadows, we can work on our
shadow point.
| | 01:38 |
And here, I'll click and drag up in order
to bring some detail into that area.
| | 01:42 |
We can also customize the overall look by
working with this curve point here in
| | 01:46 |
order to change the way that the
photograph looks.
| | 01:48 |
If we want to finesse the color, well we
can always go into the different color channels.
| | 01:52 |
For example, like the blue channel, here
I'm just going to click and drag that up a
| | 01:56 |
little bit in order to remove just a
little bit of the yellow that we have in
| | 02:00 |
the photograph.
And often what you'll do is you'll use the
| | 02:03 |
Tone Curve just to slightly modify the
image or perhaps make some further
| | 02:07 |
corrections as we've done here.
In other situations, you may just use the
| | 02:11 |
tone curve to work on exposure.
Again, there isn't a right or wrong answer.
| | 02:15 |
Rather, what I wanted to highlight is how
sometimes what you'll do is begin at the
| | 02:20 |
Basic panel.
And then, perhaps you'll make further
| | 02:22 |
adjustments by navigating to the Tone
Curve panel.
| | 02:24 |
And in particular, I wanted to highlight
how we can recover detail by working with
| | 02:29 |
our black point or our white point by
clicking and dragging the white point down.
| | 02:34 |
Or by clicking and dragging the black
point up.
| | 02:36 |
And sometimes by doing that, that can help
us to create a different look in our
| | 02:39 |
photograph or to correct exposure issues
as we had here in this photograph.
| | 02:44 |
| | Collapse this transcript |
|
|
8. Changing HSL and ColorUnderstanding the HSL controls| 00:00 |
One of the best ways to learn how to use
the HSL and the color panel in order to
| | 00:05 |
modify the colors in your photographs, is
to begin with a demo file.
| | 00:09 |
So, go ahead and select this demo file.
Then click on the HSL button, which we
| | 00:13 |
have here located in this panel.
Now, what HSL allows us to do, is to
| | 00:19 |
target a specific color and to change some
of the characteristics of its color.
| | 00:23 |
We can either change its hue, or we can
work on its saturation.
| | 00:27 |
Or we can also modify it's luminance or
its brightness.
| | 00:31 |
And we can view and access these controls
by working with the HSL feature here, or
| | 00:35 |
by clicking on the color option.
Notice that the color option allows us to
| | 00:40 |
work with hue saturation and liminance.
We just have to select the color that we
| | 00:44 |
want to work with, then we can modify
those values by clicking on either of
| | 00:47 |
these sliders.
So again, both of these options allow us
| | 00:50 |
to make the same adjustments.
They're just organizing the controls or
| | 00:54 |
those adjustments in different ways.
Well, let's begin by working with HSL.
| | 00:58 |
Let's start off by working on hue.
And we can change the hue in our demo file.
| | 01:03 |
For example, we can change the
characteristics of the reds by working
| | 01:06 |
with this slider here.
We can make those reds a little bit more
| | 01:09 |
magenta or pink, or we can make those a
little bit more orange.
| | 01:13 |
So, what we can do here, is we can shift
color.
| | 01:16 |
Now, we can't change color in a really
drastic way.
| | 01:18 |
Rather, what we can do, i'ts almost like
we can move a color closer to its
| | 01:22 |
surrounding color.
Here you can see how I can change the
| | 01:25 |
orange to make it a bit more red, or to
make it a little bit more yellow.
| | 01:29 |
The same thing would be true with any of
thee colors.
| | 01:32 |
And we can modify these either by using
the sliders, or by clicking on the
| | 01:36 |
targeted adjustment tool.
Hover over the color you want to change,
| | 01:39 |
and then click and drag up in order to
change the characteristics of those colors.
| | 01:43 |
You'll also notice that as you modify
different colors, as I'm doing here, what
| | 01:47 |
will happen is it will effect that color
and then also the surrounding colors and
| | 01:52 |
different colors the way that their
related, or the way that there created,
| | 01:55 |
are mixed in different ways.
To reset all of these sliders back to
| | 01:59 |
their default settings, press Option on a
Mac or Alt on Windows.
| | 02:03 |
That will change the hue here to Reset
Hue, and then go ahead and click on that,
| | 02:06 |
and we'll bring these back to their
default settings.
| | 02:09 |
Next, let's look at saturation.
Saturation is pretty straightforward.
| | 02:13 |
What we can do is we can reduce the color
in the photograph, and here, I'm just
| | 02:17 |
reducing all of these color values.
And by doing that, we now only have one
| | 02:20 |
color remaining.
That's the reds, which also affects the
| | 02:23 |
oranges a little bit.
Or we can work on other colors as well, as
| | 02:27 |
you can see that I'm doing here.
In doing this, we can target these
| | 02:30 |
different colors, and either increase or
decrease the saturation.
| | 02:34 |
Again, press Option on a Mac, Alt on
Windows, and then reset the saturation
| | 02:39 |
values to their default settings.
Next, lets look at luminance.
| | 02:43 |
Luminance is all about brightness value.
For example, if we want to brighten or
| | 02:48 |
darken a certain color, for example, the
greens, we can click on the slider in
| | 02:52 |
order to darken or brighten that
particular tone.
| | 02:55 |
Again, we have access to the targeted
adjustment tool and here we can select the
| | 02:58 |
tool and then click and drag up or down,
in order to brighten or to darken the
| | 03:02 |
various colors that we have in our
photographs.
| | 03:04 |
And as I mentioned, we can access all of
these controls either by working with the
| | 03:09 |
HSL option or the color option.
Let's reset the luminance values, and take
| | 03:14 |
a look at how we can do some similar
things working with the color option.
| | 03:18 |
So, here we'll down the Option key on a
Mac, Alt on Windows, and click on Reset Luminance.
| | 03:23 |
Next, we'll go to the color panel here,
and this will give us access to working
| | 03:28 |
with different colors.
Let's begin with say, by working with green.
| | 03:31 |
So, we'll click on green, and here we can
shift or modify the color of that green.
| | 03:36 |
We can also change its overall saturation.
Increase or decrease the saturation value
| | 03:41 |
there, or change the way that the green
appears.
| | 03:43 |
And we can also change its overall
brightness as well.
| | 03:47 |
So really, it's a combination of these
three sliders together, which are allowing
| | 03:50 |
us to target this area of a photograph.
Now, so far we've seen how this works on
| | 03:55 |
the demo file.
What we obviously need to do is then
| | 03:58 |
translate all of this information that
we've learned to working with a photograph.
| | 04:03 |
So, let's go ahead and take a look at how
we can use the HSL and the color panel to
| | 04:07 |
work on a number of different photographs.
And we'll do that, of course, in the next
| | 04:11 |
few movies.
| | 04:11 |
| | Collapse this transcript |
| Changing color with the HSL controls| 00:00 |
Let's take a look at how we can use the
HSL panel, in order to have some fun with color.
| | 00:05 |
Here, we'll look at how we can change and
remove color, using this particular panel.
| | 00:10 |
Go ahead and click on the HS panel to open
it up.
| | 00:13 |
Here we can access the various controls by
clicking on any of these tabs.
| | 00:17 |
Or if we wish to view all of these
controls at once, you can always click on
| | 00:21 |
All, and that way, you can then have
access to the various controls.
| | 00:25 |
Yet what I prefer to do is just to click
on one tab, so that I can really focus in
| | 00:30 |
on the task at hand.
Well, let's say that what we want to do is
| | 00:33 |
change the color of the background and
also the dress.
| | 00:36 |
To do so we can click on the targeted
adjustment tool and let's say that the
| | 00:40 |
client prefers a purple background.
Or we can shift that color really easily
| | 00:45 |
because the background is blue we can
either shift this to becoming more aqua or
| | 00:49 |
to becoming more purple.
Position the cursor over the image and
| | 00:53 |
drag up and that will become more purple
Or drag down.
| | 00:57 |
And the background will become more aqua
or more teal.
| | 01:00 |
Here in this case, let's say we want to
bring this to more of a purple color.
| | 01:03 |
We can do that by clicking and dragging
up.
| | 01:06 |
And we can also change the color of the
dress.
| | 01:08 |
Here I'll go ahead and click and drag up
to change that color.
| | 01:11 |
Or click and drag down to change it to
make it more yellow.
| | 01:13 |
This case, I want it to be a little bit
more aqua.
| | 01:16 |
So, I'll click and then drag up.
Now, if we want to increase the color
| | 01:20 |
saturation to even make this more loud or
vibrant, we can navigate to the Saturation tab.
| | 01:25 |
Notice that as you navigate between the
two tabs, the targeted adjustment tool
| | 01:29 |
will still be selected.
So here we'll go ahead and click and drag
| | 01:32 |
up in order to change the overall
saturation that we have of that part of
| | 01:36 |
the photograph.
Now what about removing color?
| | 01:39 |
Well you can also do that by simply
clicking and dragging down.
| | 01:43 |
If we want to remove the color from the
background, we'll click and drag down on that.
| | 01:46 |
Or perhaps on the skin tone here.
Or for any of the other colors we see in
| | 01:50 |
the photograph.
And in doing that you can see how we can
| | 01:53 |
remove almost all of the color in the
picture.
| | 01:56 |
Bring the color back we'll just click on
that area, and then bring that color back
| | 02:00 |
into play here.
Now if you want to change the overall
| | 02:03 |
brightness value of any area, navigate to
the Luminance tab.
| | 02:07 |
Here again to brighten up the dress, we
can click and drag up, to make that a
| | 02:10 |
little bit almost like it's glowing or
it's a little bit of a neon color.
| | 02:14 |
We can also change the characteristic of
the background even though we've already
| | 02:17 |
removed the color from that area.
If ever you change your mind about any of
| | 02:22 |
these controls.
The great thing about this is you just
| | 02:24 |
need to navigate back to tab where you are
working.
| | 02:27 |
And then click and drag in order to change
or to modify that particular part of the photograph.
| | 02:32 |
To apply these adjustments, just click on
the Done button, that will then render or
| | 02:36 |
apply those adjustments to your
photograph.
| | 02:38 |
And it will also allow you to put away the
targeted adjustment tool.
| | 02:42 |
Or you can also deactivate the targeted
adjustment tool just by clicking on the
| | 02:45 |
icon here, that way you can put that tool
away.
| | 02:48 |
In order to view the before and after, you
can tap the \ key.
| | 02:52 |
Here it is before, and then tap the \ key
again in order to view the after.
| | 02:57 |
| | Collapse this transcript |
| Improving color and tone with HSL| 00:00 |
So far, we've looked at how we can use the
HSL and color panel in order to make some
| | 00:05 |
pretty dramatic or exaggerated changes to
the colors in our photographs.
| | 00:09 |
In this movie, what I want to do is shift
our focus to a little bit more of a real
| | 00:13 |
world scenario.
Where we're going to use these controls in
| | 00:16 |
order to nudge the color, rather than to
make some really dramatic or exaggerated
| | 00:20 |
changes to the photograph.
We'll begin by working with this picture
| | 00:23 |
here, which is a photograph I captured
when I was snow camping.
| | 00:27 |
And let's begin by working with the Hue
tab.
| | 00:30 |
Well here in the Hue tab, what I want to
do to change the characteristic of the yellow.
| | 00:33 |
Rather than having this yellow have some
orange in it, I want to brighten it up and
| | 00:38 |
have it be a little bit more yellow.
So therefore, I'll need to work with my
| | 00:42 |
yellow slider.
Drag this to the right to add a little bit
| | 00:44 |
more yellow to it.
And also the orange slider.
| | 00:47 |
Notice how the orange slider allows us to
work with some of those darker tones.
| | 00:50 |
And so, here I'll go ahead, and just click
and drag those sliders to the right.
| | 00:54 |
Next, we'll navigate over to the
Saturation tab.
| | 00:57 |
Here in the Saturation tab, I can work on
those oranges, again the darker tones there.
| | 01:01 |
Bring that up a little bit.
And I'll also bring up the yellows.
| | 01:04 |
Last but not least, we navigate to the
Luminance tab.
| | 01:07 |
And here, I especially want to brighten up
the darker tones.
| | 01:10 |
So, the orange slider is going to give me
the control to be able to work on some of
| | 01:14 |
the darker tones that we have here in the
tent.
| | 01:16 |
And this way, really what I'm doing is
just trying to boost the yellows that I
| | 01:20 |
have in the photograph.
To view the before and after, tap the
| | 01:24 |
backslash key.
Here, you can see, is the before, and then
| | 01:26 |
I'll tap that again and then now we can
see the after.
| | 01:28 |
And sometimes you'll use these controls to
make subtle shifts like we've made here.
| | 01:34 |
In other work flow scenarios, like with
this next photograph, what we might need
| | 01:38 |
to do is to change a specific color.
For example, this is a photograph of a
| | 01:42 |
world famous drummer, and let's say the
client likes this portrait that it kind of
| | 01:46 |
captures his spirit.
But they really wish that the stripes on
| | 01:49 |
this shirt were navy blue In order to
match the color of the packaging of his
| | 01:53 |
latest album.
Well to change that color we'll begin by
| | 01:56 |
working with the hue amount here.
Now, we can of course, begin to target the
| | 02:01 |
different sliders.
We could work with our aqua slider, and
| | 02:03 |
also, our green slider.
Or we could use the targeted adjustment
| | 02:07 |
tool and just position the cursor over
that area and click and drag up or down to
| | 02:11 |
change the color.
Yet notice that this particular color,
| | 02:14 |
it's made up of both of these values, that
is the green and the aqua values.
| | 02:19 |
So, even though it looks blue now, as we
navigate to the other areas like saturation.
| | 02:25 |
We aren't actually going to work with the
blue slider, rather, if we position this
| | 02:29 |
cursor over those colors, you'll notice
that we'll continue to work with the green
| | 02:33 |
or the aqua sliders.
And in this case, I'm going to bring the
| | 02:36 |
aqua up more, the green slider, we don't
necessarily need to bring up as more,.
| | 02:40 |
it's not affecting the color there as
much.
| | 02:43 |
Last but not least, we have our luminance
values.
| | 02:46 |
And here for the luminance values, we'll
work on the brightness that we have.
| | 02:49 |
And I'll just go ahead and darken those
up, so that we have a nice navy blue in
| | 02:53 |
that area.
So, while we change these stripes to blue,
| | 02:57 |
keep in mind that we didn't modify our
blue slider.
| | 03:00 |
And here I wanted to highlight that
because sometimes what you can do, is you
| | 03:04 |
can lose track of the color that you're
actually working with.
| | 03:07 |
Especially, as you start to shift or to
change color.
| | 03:10 |
So often, working with the targeted
adjustment tool can really help out.
| | 03:14 |
Or you can also just use or experiment
with the different sliders in order to
| | 03:18 |
customize the way that the color appears.
With this photograph, to view our before
| | 03:22 |
and after, let's tap the backslash key.
There is the before and then I'll tap the
| | 03:27 |
key again, in order to view the after.
| | 03:29 |
| | Collapse this transcript |
| Using the HSL and Basic panels together| 00:00 |
In this movie, we'll go through a little
bit of a workflow where we'll use the HSL
| | 00:04 |
and the Basic panel together, in order to
modify the colors that we have in the photograph.
| | 00:09 |
Let's begin by navigating to the HSL
panel, and here, let's start off in the
| | 00:14 |
Hue tab, and click on the targeted
adjustment tool.
| | 00:17 |
This is a photograph of my daughter,
Sophie, picking strawberries in Upstate
| | 00:20 |
New York when we were on a trip up there.
What I want to do is change the
| | 00:24 |
characteristics or the color of the little
basket that she's holding.
| | 00:27 |
I just want to brighten up the colors on
the basket and the strawberry.
| | 00:30 |
We can change the color on the basket by
clicking and dragging up or down.
| | 00:34 |
Let's make this one a little bit more blue
or purple may be.
| | 00:38 |
Then next, let's navigate to the
Saturation tab.
| | 00:40 |
On the Saturation tab, we'll go ahead and
click and drag up there to saturate that
| | 00:44 |
and also to saturate those delicious
strawberries.
| | 00:47 |
Then next, navigate to the Luminance tab.
And again here, this is here really simple.
| | 00:52 |
We're just using this tool and clicking
and dragging in order to change the
| | 00:55 |
characteristics of the color in this
portion of the image.
| | 00:58 |
Well, after we've made those changes,
let's say that we've decided to go back to
| | 01:02 |
the Basic panel.
Here, in the Basic panel, we can see how
| | 01:05 |
the photograph was captured straight out
of the camera.
| | 01:08 |
And we realized that it would be really
nice to warm up the image.
| | 01:11 |
So here, I'll go ahead and click and drag
the Temperature slider to the right.
| | 01:14 |
Already, the photograph is looking a ton
better.
| | 01:18 |
Really, this image needs a little bit of
warmth to it to bring out all of these
| | 01:21 |
vibrant colors.
Well, how then does this affect the work
| | 01:25 |
we did with the HSL panel?
Well, if we click on the Flip Switch for
| | 01:29 |
the HSL panel, here you can see the
before, and then now you can see the after.
| | 01:33 |
What this did is it changed some of those
color characteristics and I think it
| | 01:37 |
changed those colors in a pretty
significant way.
| | 01:39 |
In other words, it isn't always just about
working with temperature or tint or the
| | 01:44 |
various controls that we have here.
Sometimes it's combining our work in the
| | 01:48 |
Basic panel with our work in other panels
like the HSL panel in order to help to
| | 01:53 |
make those colors really come to life.
Because in this case, I think these all
| | 01:57 |
became a little bit too yellow.
And by changing their colors, by bringing
| | 02:01 |
in a little bit more blue and by
saturating and brightening a few of those
| | 02:04 |
areas, it just helps to customize the
overall color characteristics that we have
| | 02:09 |
in the overall photograph.
| | 02:10 |
| | Collapse this transcript |
| Making subtle color improvements with HSL| 00:00 |
One of the things that can happen is as
you start to work with the HSL controls,
| | 00:04 |
you can easily get carried away.
And so, here, I want to highlight a few
| | 00:08 |
examples where I will make some subtle
adjustments to a few areas of two
| | 00:12 |
different photographs.
We'll begin by working with this
| | 00:14 |
photograph of my daughter Annie here on
the school playground at the school where
| | 00:18 |
she attends.
We'll click on the HSL tab.
| | 00:21 |
And what I want to do is begin by changing
the color that we have here of her shirt.
| | 00:25 |
So, I'll navigate to the Hue tab, and then
select the Targeted Adjustment tool.
| | 00:30 |
And in this case, I'll go ahead and
position the cursor over the shirt and
| | 00:33 |
just click and drag down a little bit to
change the characteristics of the color.
| | 00:37 |
If we drag down, it becomes blue or
actually what I want to do is drag up to
| | 00:41 |
make this a little bit more purple.
And you know, sometimes all that you need
| | 00:45 |
to do is to make a little slight tweak to
the color.
| | 00:48 |
Like with this photograph, I think we're
done.
| | 00:50 |
Here, I'll tap the backslash key, you can
see here's the before.
| | 00:53 |
And then, now here's the after.
And by just bringing out a little bit more
| | 00:57 |
of the purple, it just adds a little bit
more visual interest to the photograph.
| | 01:01 |
And so, as you start to work with these
controls, yes.
| | 01:04 |
Experiment with all of the different
settings.
| | 01:06 |
And jump between the different tabs.
But also note, just because the controls
| | 01:11 |
are there, you don't necessarily need to
use them.
| | 01:13 |
Let me show you one more photograph.
This one here.
| | 01:16 |
This is a portrait of a really fascinating
person.
| | 01:19 |
And let's say we just want to change the
characteristics of the color of the door.
| | 01:23 |
Here, I'll go ahead and click and drag
down or up to change the way that that
| | 01:26 |
door looks.
And what I want to do is click and drag
| | 01:28 |
down to give this a little big more of a
teal color palette.
| | 01:32 |
Well, after having changed that color,
next what I'm going to do is navigate to
| | 01:36 |
the Basic panel.
Often, we have to think about how these
| | 01:39 |
adjustments connect with our other work
that we do here in other areas.
| | 01:42 |
For example, with this image, if we
increase the clarity, it will desaturate
| | 01:47 |
the overall colors that we have in the
photograph.
| | 01:50 |
And maybe want to reduce the Vibrance and
also the Saturation a little bit to create
| | 01:54 |
a bit more of a muted color palette.
Well, because we modified the door there
| | 01:58 |
just a touch using HSL, you can see how
I'm subtly bringing back some of that color.
| | 02:04 |
And sometimes what you'll do is you'll
work with HSL in order to bring out a
| | 02:09 |
little bit more of the colors that you
have in your photograph.
| | 02:11 |
Here, if we work on the Saturation tab,
you can see how we can bring back a little
| | 02:15 |
bit more of that color so we can have some
vivid colors even if we've reduced color
| | 02:20 |
here in the Basic panel with our Clarity,
Vibrance, and Saturation sliders.
| | 02:25 |
And by using these controls together, in
this case, by modifying the color of the
| | 02:29 |
door or maybe the red that we have there
on the wall.
| | 02:32 |
Sometimes this can help us to create a
unique or really interesting color palette
| | 02:37 |
or aesthetic.
So, keep in mind, that as you start to
| | 02:40 |
work with and experiment with these
controls, that sometimes it's about making
| | 02:44 |
these subtle adjustments.
And it's also about how these adjustments
| | 02:48 |
fit into your overall develop module
workflow.
| | 02:52 |
| | Collapse this transcript |
|
|
9. Creating Better Black-and-White PhotosHow to make compelling black-and-white conversions| 00:00 |
I have always enjoyed black and white
photography.
| | 00:03 |
There is just something about it that
resonates with me.
| | 00:06 |
So here, let's take a look at how we can
use the black and white and Basic panel in
| | 00:10 |
order to begin to create some compelling
black and white photographs.
| | 00:14 |
We'll begin by working with this demo
file, then we'll quickly jump to a photograph.
| | 00:18 |
With this demo file, what I want to do is
convert this image to black and white.
| | 00:21 |
To do so, just click on the Black and
White button which is located right here.
| | 00:25 |
This will remove all of the color in the
image and then give us access to some
| | 00:29 |
pretty interesting controls.
What we can do is we can change the
| | 00:33 |
brightness values of different areas of
our photograph.
| | 00:36 |
For example, if we have green in the
image, perhaps green grass or something
| | 00:40 |
like that, we can then darken or brighten
that area by working with this slider.
| | 00:45 |
If we aren't exactly sure what the color
is you can just use the targeted
| | 00:49 |
Adjustment tool.
And then here we can click and drag aqua
| | 00:51 |
down brighten or darken that area.
And you can see how its modifying those
| | 00:56 |
sliders over here.
Alright, let's take a look at how we can
| | 00:59 |
work with this panel on a photograph.
We'll begin by working with this
| | 01:03 |
photograph here and let's start off by
navigating to the Basic panel.
| | 01:07 |
In the Basic panel we know that one of the
techniques that we can use to convert to
| | 01:10 |
black and white is we can simply
desaturate the photograph.
| | 01:13 |
Yet that often doesn't lead to very
interesting results because this a black
| | 01:18 |
and white conversion based on our color
temperature.
| | 01:20 |
So rather than doing that what were
going to do is click on the Black and
| | 01:24 |
White button.
What this will do is it will disable
| | 01:27 |
vibrant in-saturation and will converter
image to black and white.
| | 01:31 |
We notice that it will then give us access
to these black and white controls.
| | 01:35 |
And we can either click on the Black and
White button or we can simply click on the
| | 01:39 |
Black and White panel to begin to convert
this image to an interesting black and
| | 01:43 |
white photograph, all right.
Well with this photograph I happen to
| | 01:47 |
remember the background did have some
green in it, I want to darken that
| | 01:50 |
background up.
So, here I'll go ahead and click and drag
| | 01:52 |
the slider to the left.
You know, sometimes you'll find that
| | 01:55 |
working with the sliders will work best.
Other times, it's going to be a
| | 01:58 |
combination of using the targeted
Adjustment tool and the sliders.
| | 02:02 |
Let me show you an example of that.
Let's go ahead and click on the tool and
| | 02:06 |
position this over the skin.
What I want to do is brighten up the skin
| | 02:09 |
because I want a really bright, high
contrast black and white photograph.
| | 02:13 |
In this case, you can see how I'm
brightening up a few of these tones It's
| | 02:17 |
really targeting my purples and magentas.
If I want to make the skin look even
| | 02:21 |
better in a portrait, I know that I'm
going to need to work with the red channel
| | 02:25 |
and also the orange channel.
Watch how when I decrease the oranges, the
| | 02:29 |
photograph will actually look pretty
horrible.
| | 02:31 |
You can see how the skin tone doesn't look
very good.
| | 02:33 |
Often there will be a little bit of
variety in skin tone which we can sort of
| | 02:36 |
flatten out or brighten up by increasing
our red and our orange values.
| | 02:41 |
So again, sometimes you'll want to use
this tool, other times you may want to
| | 02:44 |
just target specific colors.
And it's all about just experimenting,
| | 02:48 |
here we can experiment by brightening up
the eyes a little bit, and a little bit of
| | 02:52 |
this shirt as well.
After you've worked in the Black and White
| | 02:55 |
panel, you almost always want to combine
what you're doing with the Basic panel.
| | 03:00 |
So here, let's navigate back to the Basic
panel.
| | 03:03 |
We can do that by tapping Cmd+' on a Mac
or Ctrl +1 on Windows or by clicking on
| | 03:08 |
the Basic panel button.
In the Basic panel, what I want to do is
| | 03:12 |
finish off this conversion.
Here I want to brighten the image up even more.
| | 03:16 |
Remember I want a really bright,
high-contrast photograph.
| | 03:19 |
Then I'm going to increase my contrast
Next, I'll deepen the blacks.
| | 03:23 |
To do that, I'll jump down into the blacks
slider.
| | 03:25 |
Here, this will allow me to create really
deep, rich, dark tones there, in the
| | 03:29 |
background, and then I'm going to brighten
up the shadows.
| | 03:32 |
because I want to make sure that I have
nice even tone in the shadows so that
| | 03:36 |
those are not too dark.
And I'll brighten up my whites here a
| | 03:39 |
little bit as well and then add a touch of
clarity in order to add just a little bit
| | 03:43 |
of snap to the photograph.
And so in this case, as we're seeing here,
| | 03:47 |
it really was a combination of our work in
the Basic panel.
| | 03:51 |
And also the Black and White panel that
allowed us to convert the image with this
| | 03:55 |
particular look.
If you click on the flip switch here for
| | 03:58 |
the Black and White panel here you can see
the before, before we did anything with
| | 04:02 |
that panel.
And then click again and you can see the
| | 04:05 |
results after we worked with those
different sliders and controls in order to
| | 04:08 |
brighten up the reds and the oranges.
And also the blues and then to darken the
| | 04:12 |
greens in the background here.
So again, it was a combination of all of
| | 04:16 |
these adjustments together which allowed
us to accomplish these results.
| | 04:20 |
Let's take a look at the overall before
and after, here it is.
| | 04:23 |
Here is the before, you can view that by
tapping the backslash key and then tap
| | 04:28 |
that again in order to see the after.
| | 04:31 |
| | Collapse this transcript |
| Using the Black and White panel, the Basic panel, and the Adjustment Brush| 00:00 |
Let's take a look at how we can use the
Black and White panel, the Basic panel and
| | 00:04 |
the Adjustment Brush.
In order to create an interesting black
| | 00:07 |
and white conversion of this landscape
photograph.
| | 00:10 |
Here what I want to do so that I can
really focus in on what I'm doing here, is
| | 00:14 |
I want to close the panels on the left.
To do so, I'll click on this icon here,
| | 00:18 |
which in turn will just open up a little
bit more space for the photograph.
| | 00:22 |
Next I'll begin by clicking on the Black
and White option here which will convert
| | 00:26 |
this image to black and white.
Now this initial conversion, at least in
| | 00:31 |
my opinion, is a little bit lackluster.
It's a little bit disappointing.
| | 00:35 |
I want to create a dramatic and engaging
black and white photograph.
| | 00:39 |
To do that we need to begin to work with
our sliders.
| | 00:42 |
One way to do that is to just select a
slider and start to Click and Drag it.
| | 00:46 |
And as you do that you can see how it
affects your photograph and just look to
| | 00:50 |
try to find the right spot for that
slider.
| | 00:52 |
Or of course, you can always use the
targeted Adjustment tool.
| | 00:56 |
And position the tool over an area of the
image, in this case the sky, and Click and
| | 01:00 |
Drag up or down in order to brighten or
darken that area.
| | 01:03 |
You know often, when you work on an area
say like the sky, you want to click around
| | 01:07 |
a little bit.
Here I'm going to go ahead and click down
| | 01:09 |
in this lower area.
Notice that in this lower area here it's
| | 01:13 |
also going to effect my Aqua slider.
That's because the color blue changes as
| | 01:17 |
it gets closer to the horizon.
So again, sometimes you just want to click
| | 01:21 |
around and experiment a little bit with
how this can help you to affect different
| | 01:24 |
parts of the photograph.
Well already, our black and white image is
| | 01:29 |
a ton better.
If we click on the Flip switch, you can
| | 01:32 |
see here's the before with just the
default settings, and then here's the after.
| | 01:36 |
And really what's more interesting about
this is that this has become something
| | 01:40 |
which is kind of leading the viewer in on
this path.
| | 01:43 |
The clouds in the sky are a little bit
more intriguing.
| | 01:45 |
And as we work in the Black and White
panel and create results like this, we
| | 01:49 |
always want to keep in mind.
That this isn't where we end, rather, this
| | 01:53 |
is really just the beginning.
Next what we want to do, is navigate to
| | 01:57 |
the Basic panel, or we may also want to
use some other tools as well, as we'll do
| | 02:01 |
in a moment.
In the Basic panel, I'm going to increase
| | 02:04 |
my Contrast, and also bring up the Clarity
to add a little bit of punch.
| | 02:08 |
Or mid tone Contrast as you can see there
it makes the overall conversion kind of interesting.
| | 02:13 |
If we want to recover some details in the
highlights, we can use the Highlight
| | 02:17 |
slider or the White slider to dial in a
little bit more detail in some of those areas.
| | 02:21 |
We can just control the overall look of
the photograph.
| | 02:24 |
And again, in this case, it's that
combined effect of working here in the
| | 02:27 |
Basic panel.
And the Black and White panel, which
| | 02:30 |
allows us to come up with something
interesting, and often what you will want
| | 02:34 |
to do is then take this one step further.
And in this case we'll take it further by
| | 02:38 |
working with the Adjustment Brush.
We can select the adjustment brush, by
| | 02:42 |
pressing the K key, or by clicking on the
tool, here in the Tool Strip.
| | 02:46 |
And once we select this tool, what we may
want to do is brighten or darken different
| | 02:51 |
areas of our image.
because keep in mind, the tradition of
| | 02:54 |
black and white photography in a lot of
ways is about burning and dodging.
| | 02:58 |
It's about creating drama or visual
interest.
| | 03:00 |
And you have to do that, especially, when
you've removed all the color.
| | 03:04 |
So this is yet another tool that we can
use in order to brighten or darken a
| | 03:08 |
specific area.
Here, I'll go ahead and brighten up the
| | 03:10 |
exposure a bit.
And then I'll change my brush and I'll
| | 03:13 |
decrease my Brush Size here, because I'm
going to be painting on this road.
| | 03:16 |
I'll go ahead and make the Brush a little
bit smaller there.
| | 03:19 |
In regards to the flow I'll bring this up
to about 50 or so, right in there should
| | 03:23 |
work well.
Then next, I'm going to turn on Auto Mask.
| | 03:26 |
If we have Auto Mask turned on, what this
will allow me to do is just to paint over
| | 03:30 |
this area and just to brighten up the
path.
| | 03:33 |
And the reason why I'm doing this is I
want to lead the viewer into the frame.
| | 03:37 |
I want them to feel like they're traveling
down this path, or at least that they want
| | 03:41 |
to travel down this path.
Now what I like to do is when I use Auto
| | 03:45 |
Mask, I like to also turn it off and then
decrease the flow, and just paint over the
| | 03:50 |
edges a little bit.
I find that what that does is it softens
| | 03:53 |
those edges, and I think this is
especially important when we have a
| | 03:56 |
photograph like this, which is a nature
photograph.
| | 03:59 |
Now I know that the road is too bright
right now.
| | 04:02 |
I'm well aware of that.
Yet stick with me, because I'm going to
| | 04:05 |
decrease the Exposure amount here in a
moment.
| | 04:07 |
First though, I'm going to turn Auto Mask
back on, make my Brush much smaller.
| | 04:11 |
I'm just going to paint on this part of
the road, so I can brighten that up as well.
| | 04:15 |
Then I'll go to my Exposure slider and
here I'll Click and Drag this down.
| | 04:19 |
Again, I don't want to overdo that with
the brightness there on the row.
| | 04:22 |
But I do want to add a little visual
interest, so I'll increase that.
| | 04:26 |
Also increase the Clarity, it would be
just a touch of Contrast as well.
| | 04:29 |
And again, I'm looking to add little bit
of visual interest by brightening or
| | 04:33 |
darkening a specific area of the
photograph.
| | 04:36 |
Now to view how this has affected the
image, we can click on the flip switch for
| | 04:41 |
the Adjustment Brush.
Here's our before and then click again,
| | 04:44 |
and here's the after.
I kind of liked the way that that leads
| | 04:47 |
the viewer into the frame.
And again remember that my goal here was
| | 04:50 |
to create something which is dramatic and
engaging, something which makes you almost pause.
| | 04:56 |
Well next, I'll go ahead and click Done to
apply those adjustments, and then I always
| | 05:01 |
like to compare that before and after.
To do so, tap the \ key, that will show
| | 05:05 |
you the before, the original image as it
was captured straight out of the camera.
| | 05:09 |
And then tap the backslash key again in
order to see the after.
| | 05:13 |
| | Collapse this transcript |
| Advanced black-and-white workflow| 00:00 |
Let's take a look at another workflow
example and in this movie, we'll look at
| | 00:04 |
how we can work on this image.
We'll begin in the Black and White panel,
| | 00:07 |
then we'll make our way to the Basic
panel.
| | 00:09 |
Then we'll finish this project off using a
few of our tools, which are located in the
| | 00:14 |
tool strip.
Let's begin by clicking on the Black and
| | 00:17 |
White button, which will convert this
image to black and white.
| | 00:20 |
And here it's applying the default
setting.
| | 00:22 |
Yet you also may have noticed that there
is an Auto button.
| | 00:26 |
If you click on the Auto button, it will
apply an auto black and white conversion.
| | 00:29 |
Now you can set up a preference, so that
it automatically uses this or applies an auto-conversion.
| | 00:36 |
To do that, you can navigate to your
Preferences dialog.
| | 00:39 |
And in the Preferences dialog, if you
navigate to Presets, you have the ability
| | 00:43 |
to turn on this check box, to apply an
auto mix when first converting to black
| | 00:48 |
and white.
I know some photographers that prefer to
| | 00:51 |
have that on.
In my own workflow, I typically leave that
| | 00:54 |
off and then I look at the photograph and
I click on the button, and experiment with
| | 00:59 |
how the auto-conversion works.
And then often, what you'll need to do is
| | 01:02 |
convert the image even further, by
modifying the slider.
| | 01:05 |
Like, with this image here, what I want to
do is go ahead and darken some of the greens.
| | 01:10 |
So, here, I'm going to darken those.
You want to be careful that you don't
| | 01:14 |
overdo it, otherwise it will look really
unnatural and kind of weird.
| | 01:18 |
Next, I'm going to brighten up the skin
tones a little bit.
| | 01:20 |
Here I'll brighten up the reds and the
oranges there.
| | 01:23 |
And I think this is a pretty decent black
and white conversion, except there are a
| | 01:27 |
few problems.
One of the problems is that, this area of
| | 01:31 |
the road is too bright.
It didn't really bother me in the color
| | 01:35 |
version of the image, but now this
brightness is a bit overwhelming.
| | 01:38 |
So, let's go ahead and further work on the
photograph.
| | 01:41 |
Let's do that by navigating to the Basic
panel.
| | 01:43 |
In the Basic panel, I will increase some
contrast here.
| | 01:46 |
I almost always like to add contrast to my
black and white pictures.
| | 01:49 |
I don't know, there's something about
having those deep, rich, dark tones and
| | 01:54 |
also those brighter whites, which is kind
of interesting to me.
| | 01:57 |
Here I'll bring in a little bit of light
into the shadows, I'll darken some of
| | 02:00 |
those blacks.
Then, I'll add some clarity which will add
| | 02:03 |
a little bit of snap or punch to the
photograph, as you can see here as I slide
| | 02:07 |
this slider around.
Well that's about as far as I can get with
| | 02:11 |
the overall look here in the Basic panel.
Next, in order to make some other
| | 02:16 |
adjustments what we need to do, is we need
to reach for a few of our tools.
| | 02:20 |
The first tool I'm going to reach for is a
Graduated Filter.
| | 02:23 |
So here, we can click on that or we can
press the M key to select a Graduated Filter.
| | 02:28 |
Now what I want to do is slightly darken
the road, so I will decrease the exposure
| | 02:33 |
value and also decrease the highlights
value here.
| | 02:36 |
And, what you want to do is just guess at
your values, and then click and drag.
| | 02:40 |
Here I'm going to click and drag across
this area.
| | 02:43 |
And it looks like in my case, I might have
gone a little bit too far.
| | 02:47 |
So, let me just dial these amounts back
just a bit.
| | 02:50 |
I want to make sure that I'm not over
darkening that.
| | 02:53 |
Otherwise, again it will make the image
feel like it's too dense or heavy,
| | 02:57 |
especially in this lower area.
So ,I just want to have a nice subtle
| | 03:01 |
effect here of darkening the tones of that
area.
| | 03:03 |
We can click on the flip switch to see
there's the before, and then now here's
| | 03:08 |
the after.
I think that's a little bit more balanced.
| | 03:11 |
(INAUDIBLE) After having made this
adjustment, the next thing that I want to
| | 03:14 |
do is I want to brighten up the subject a
little bit more as well.
| | 03:18 |
To do that, we can paint in adjustments as
you know, by using the Adjustment brush.
| | 03:22 |
Here we'll click on the Adjustment brush,
this time I'll brighten this up just a
| | 03:27 |
little bit here.
And I'll go ahead and paint over the image.
| | 03:30 |
Let me double check my brush size, make
that smaller and then take the flow down a
| | 03:34 |
little bit.
I'm not looking to really over-do this too
| | 03:37 |
much, but I just want to add a little bit
more brightness to this part of the photograph.
| | 03:40 |
So, I'm just going to paint over the
subject there.
| | 03:43 |
And I'll also increase my contrast a
little bit as well.
| | 03:47 |
Again, when it comes to making black and
white photographs, you want to take some
| | 03:50 |
time to really dial in all of these
different settings.
| | 03:53 |
And use these different tools, in order to
get the exact look that you're going for.
| | 03:57 |
Well next, just to illustrate how we can
use one more tool, let's work on the
| | 04:01 |
Radial Filter.
Now with the Radial Filter, what I want to
| | 04:04 |
do is darken the outer edges of the frame.
So, here we'll click and drag our exposure
| | 04:09 |
slider down.
Now often, as I mentioned before you won't
| | 04:13 |
exactly be sure of whether or not you
should invert the mask, so all that you
| | 04:17 |
need to do is to click and drag over your
photograph.
| | 04:20 |
As you click and drag over the photograph,
if it's the opposite of what you need, all
| | 04:24 |
that you need to do is to click on the
Invert Mask button that will then invert
| | 04:28 |
this effect.
So it's now affecting everything but this
| | 04:31 |
inside area of the shape.
I'm going to go ahead and make this shape
| | 04:35 |
much bigger, because I don't want it to
reach in that far.
| | 04:38 |
I also, I'm going to need to decrease the
amount of this darkening effect.
| | 04:42 |
It's obviously, a little bit too strong,
so here I'll go ahead and bring this back
| | 04:46 |
to the default setting.
Here it is at just zero or approximately
| | 04:49 |
zero and I'm just going to darken this
subtly.
| | 04:51 |
Sometimes, when you darken the edges, it
can help to bring a little bit of focus
| | 04:54 |
here to the subject.
And so, in this workflow example although
| | 04:59 |
we jumped around a little bit, what I was
hoping to illustrate for you is how we can
| | 05:03 |
begin by working in the Black and White
panel.
| | 05:05 |
And then after we did that, we navigated
to the Basic panel.
| | 05:09 |
So, again what started here in the Black
and White panel, these adjustments were
| | 05:13 |
really important.
Here's the before, then here's the after.
| | 05:16 |
Then we went to the Basic panel and in the
basic panel, we were able to customize all
| | 05:20 |
of these settings to change the overall
look and feel of the photograph.
| | 05:24 |
We worked on contrast and a few of the
other sliders, as well.
| | 05:27 |
Then after we made those adjustments, we
worked with three of our tools.
| | 05:31 |
We worked with the Graduated Filter, the
Adjustment brush and also, the Radial Filter.
| | 05:36 |
Well, after having gone through this
pretty involved workflow, let's take a
| | 05:40 |
look at our before and after.
To do so, we can tap the backslash key.
| | 05:44 |
Here is the overall before, or the
original image.
| | 05:47 |
And we'll tap the backslash key again, and
then now we can see the after.
| | 05:51 |
Now keep in mind that as you start to
convert your images to black and white,
| | 05:56 |
you don't always need to go through all of
these steps.
| | 05:59 |
Sometimes, you'll only need to use the
Black and White panel or maybe the Black
| | 06:03 |
and White panel and the Basic panel.
In other situations, you may need to reach
| | 06:07 |
for a few other tools, in order to further
customize the way that the black and white
| | 06:12 |
photograph appears.
| | 06:13 |
| | Collapse this transcript |
| Using presets to convert to black and white| 00:00 |
One of the ways that you can speed up your
overall black and white work flow is by
| | 00:04 |
taking advantage of black and white
presets.
| | 00:07 |
What I want you to do is to select a
photograph and then open up the Basic panel.
| | 00:12 |
Next lets navigate to the Presets panel.
It's located in the left hand side of the
| | 00:16 |
Develop module.
Here, I'll notice the top three options we
| | 00:20 |
have here, allow us to convert our images
to black and white in different ways.
| | 00:24 |
Lets begin by working with our black and
white tone presents.
| | 00:27 |
What we can do is hover over these, and we
can see a preview of these above.
| | 00:31 |
In this case, perhaps we'll find one which
might be interesting.
| | 00:35 |
We can click on it, and it will then
process, or apply those settings to the photograph.
| | 00:40 |
If we don't like this preset, well we can
keep digging around.
| | 00:43 |
Here, I'll go to the black and white
presents.
| | 00:45 |
What I'm going to do is look to try to
find one which might be interesting and
| | 00:48 |
then, I'll click on it in order to apply
those settings.
| | 00:51 |
You'll notice that with these presets,
it's actually changing my sliders here.
| | 00:55 |
It's modifying the highlights, the
shadows, and the whites.
| | 00:58 |
And often, what these presents will do, is
they will customize these settings, which
| | 01:02 |
we have here in our various panels.
Now so far, I haven't really found a
| | 01:06 |
preset that I like.
So I'm going to keep digging.
| | 01:08 |
And I go up to my black and white filter
presets and hover over these until I find
| | 01:13 |
one which is a little bit closer to my
vision for this photograph.
| | 01:16 |
With this photograph, what I want to do is
create an image which has a lot of contrast.
| | 01:21 |
And this one so far is the closest to what
I want to create.
| | 01:25 |
Now the skin tone is a bit too bright yet
I can customize that further.
| | 01:29 |
And I can do that by working with my
sliders.
| | 01:32 |
Here I'll go ahead and drop down the
highlights and the whites.
| | 01:35 |
We can also navigate to the black and
white panel.
| | 01:38 |
And in the black and white panel you can
customize the brightness of the skin tone
| | 01:42 |
by working with our.
Reds and our oranges here, in this case I
| | 01:45 |
just want to darken those up a little bit.
But I want to keep this skin tone nice and even.
| | 01:50 |
Now we can work on the other areas of the
photograph as well like the background we
| | 01:54 |
can bright and darken that.
And the reason why I wanted to show you
| | 01:58 |
presets now is often it's better to have a
good understanding, of how all of these
| | 02:03 |
controls and various panels work before
you use presets because very rarely is a
| | 02:09 |
preset perfect.
Almost in every situation what you'll do
| | 02:12 |
is select a preset as I've done here.
And then you'll further customize your settings.
| | 02:17 |
You'll customize the settings in the black
and white panel and also in the basic panel.
| | 02:22 |
And here we can modify the overall
exposure or perhaps the contrast And, we
| | 02:26 |
can continue modifying these settings
until we have exactly the right look that
| | 02:30 |
we're going for.
And often, what you want to do is ask
| | 02:33 |
yourself, well how can I use these presets
as a starting point, rather than an ending point?
| | 02:38 |
And if you have a good understanding of
how the panels and the sliders and
| | 02:42 |
controls work.
Well, they can really speed up your
| | 02:44 |
workflow because often what they can do is
get you quite a bit closer to how you
| | 02:48 |
might want to process your image.
And they can also give you some creative
| | 02:51 |
ideas or options for different ways that
you might convert your photographs to
| | 02:55 |
black and white.
And then, of course, after having selected
| | 02:58 |
the preset, make your way to your various
panels so that you can then further
| | 03:02 |
customize the results of the photograph,
like we've done here.
| | 03:05 |
So this photograph, let's take a look at
the before and after.
| | 03:08 |
Here I'll tap backslash key, there you can
see the before and then tap the backslash
| | 03:13 |
key again, in order to see the after.
| | 03:15 |
| | Collapse this transcript |
| Creating black-and-white virtual copies| 00:00 |
One technique, that you may want to
consider using when converting your
| | 00:03 |
photographs to black and white, is to use
virtual copies, so that you can have
| | 00:08 |
different black and white versions of your
photograph.
| | 00:10 |
And one of the reasons why you may want to
do this, is because sometimes when you're
| | 00:13 |
converting to black and white.
You just won't be sure about one way to
| | 00:17 |
convert the image to black and white.
So here, let's begin by working with this photograph.
| | 00:22 |
You know, I like the color version of this
image, so I want to keep this, and I want
| | 00:26 |
to create a couple other black and white
versions as well.
| | 00:29 |
To do so, press Cmd+apostrophe on a Mac or
Ctrl+apostrophe on Windows.
| | 00:34 |
Then begin the black and white conversion
process.
| | 00:37 |
Here I'll go ahead and click on black and
white to take this image to black and white.
| | 00:41 |
And we know that we can brighten or darken
the shirt there, by working with the blue
| | 00:45 |
slider here.
What I want to do is just brighten that up
| | 00:47 |
a little bit.
We can also click on the targeted
| | 00:49 |
adjustment tool in order to brighten the
skin tones.
| | 00:52 |
Here you can see how we can customize the
look there in that area.
| | 00:55 |
And then we can also brighten or darken
the yellows as well.
| | 00:58 |
Well, now that I've made this conversion,
what I want to do is make another.
| | 01:03 |
To do so tap Cmd+apostrophe on a Mac,
Ctrl+apostrophe on Windows that will
| | 01:09 |
create yet another virtual copy as you can
see below.
| | 01:12 |
With this photograph, I want to navigate
to the basic panel.
| | 01:15 |
Here in the basic panel, I am going to
crank up the contrast.
| | 01:19 |
I'm also going to darken blacks and
increase the overall clarity.
| | 01:23 |
I want a black and white photograph which
has a little bit more edge to it.
| | 01:26 |
Here I'll darken highlights just a bit as
well, and just bring a little bit of light
| | 01:31 |
there into the shadows.
So in this case you can see that we have
| | 01:34 |
two very distinct images.
Here is the first version, the first black
| | 01:38 |
and white photograph.
Now here is another.
| | 01:41 |
And what you can do is you can keep on
creating virtual copies because it isn't
| | 01:45 |
increasing the overall file size.
Rather, it's just increasing your overall creativity.
| | 01:50 |
For example, I like this version.
I like that it's edgy.
| | 01:53 |
I think it's a little bit too strong.
So again, press Cmd+apostrophe on a Mac,
| | 01:58 |
Ctrl+apostrophe on Windows.
Here with these same settings applied, I'm
| | 02:02 |
going to go ahead and just subtly scale
these back a little bit.
| | 02:06 |
And in doing that, you can see how we have
an image which is a little bit in between
| | 02:10 |
the two.
So now, as we click through these options,
| | 02:13 |
you can see how we have different ways
that we could convert this image to black
| | 02:16 |
and white.
And often what I find, is that it's nice
| | 02:20 |
to have versions, because really as you
make these decisions, like with this first
| | 02:24 |
conversion here, you get excited about it
and you think this is great.
| | 02:28 |
But really, it isn't.
And then perhaps, you make a change like
| | 02:30 |
we did here, which was a little bit
overdone.
| | 02:33 |
And then finally, at least for me, I found
just the right spot for this particular photograph.
| | 02:38 |
And so again, as you start to convert your
images to black and white and work more
| | 02:42 |
with these techniques.
Keep in mind that you can always use
| | 02:45 |
virtual copies in order to create multiple
iterations of one your images, so that you
| | 02:50 |
can then have different ways that you've
converted that image to black and white.
| | 02:54 |
| | Collapse this transcript |
| A conversation about creating better black-and-white photographs| 00:00 |
In this chapter we focused in on creating
black and white photographs in Lightroom.
| | 00:05 |
And here at the end of the chapter, what I
want to do is step back from Lightroom for
| | 00:09 |
a moment, and talk a bit about
photography.
| | 00:11 |
I want to talk about black and white
photography, how can we create better
| | 00:16 |
black and white images?
Well, I think one of the first places that
| | 00:19 |
we can start, is we can start by studying
other black and white images.
| | 00:24 |
Perhaps we'll start off with Ansel Adams,
that's really an easy place to start, right?
| | 00:28 |
And we can study his work or we could look
at the street photography with Henri
| | 00:32 |
Cartier-Bresson or maybe you want to look
at a more modern photographer like Rodney Smith.
| | 00:37 |
You know, we visited Rodney Smith in New
York in one of my previous titles,
| | 00:41 |
Narrative Portraiture, and we sat down
with him and we talked about his photography.
| | 00:45 |
And his black and white images, they are
stunning.
| | 00:47 |
And sometimes what we need to do is almost
to develop a little bit of visual
| | 00:52 |
literacy, when it comes to black and white
photographs.
| | 00:55 |
It's also helpful to think about how those
images were created.
| | 00:59 |
The photographer picked up a film camera,
loaded it with black and white film and
| | 01:04 |
then held it up to their eye.
In other words, they were committed to
| | 01:07 |
black and white throughout the entire
process.
| | 01:10 |
Well, now with digital capture what
typically happens is, we hold up our
| | 01:13 |
camera and we see in color and we think in
color.
| | 01:16 |
And then after the fact, we remove it.
Well, what would happen if we would change
| | 01:21 |
that process?
If we would think a little bit more like a
| | 01:24 |
traditional photographer, why don't you
try it?
| | 01:26 |
The next time you go out and shoot, hold
up your camera and rather than seeing all
| | 01:30 |
those brilliant and vibrant colors,
imagine that those colors didn't exist.
| | 01:36 |
Well, all of a sudden, you would start to
focus in on brightness.
| | 01:39 |
You would focus in on what is bright and
what is dark.
| | 01:42 |
And by looking at that and by thinking
about that, it would help you create even
| | 01:46 |
more powerful black and white photographs.
So, as you seek to create more interesting
| | 01:51 |
and compelling black and white images, I
encourage you to go back to some of the
| | 01:55 |
masters and look at their work.
And then also as you're shooting, start to
| | 01:59 |
think about how you can compose and create
those black and white images, even before
| | 02:04 |
you press the shutter release on your
camera.
| | 02:06 |
| | Collapse this transcript |
|
|
10. Applying a Unique Color Effect with Split ToningSplit-toning essentials| 00:00 |
The Split Toning Panel allows you to add a
color to the highlights in a different
| | 00:05 |
color to the shadows.
So, lets take a look at how we can use
| | 00:08 |
this panel.
And we'll start of by working with the
| | 00:10 |
black and white photographs so that we can
really see how the Split Toning controls
| | 00:14 |
allows us to affect different ares of a
photograph.
| | 00:16 |
With this picture, I'm going to go ahead
and click on it, just to zoom in a little
| | 00:19 |
bit, so that we can see this photograph a
bit better.
| | 00:22 |
And next, what I want to do is exaggerate.
And I'm going to exaggerate so that we can
| | 00:27 |
understand how these two sliders work.
The first thing I'm going to do is go
| | 00:30 |
ahead and increase the saturation of the
shadows.
| | 00:33 |
And I'm going to bring it all the way up
to 100.
| | 00:35 |
Here, you can see we now have red in the
darker areas of the photograph.
| | 00:40 |
You'll notice that the highlights or the
brighter areas aren't affected as directly.
| | 00:44 |
And here, we can change the shadow color
by working with the Hue slider.
| | 00:48 |
I'll go ahead and choose a different color
for example.
| | 00:50 |
Let's choose a nice blue there.
Well, if we want to bring some color into
| | 00:54 |
the highlights, what we can do here is
again increase the Saturation.
| | 00:57 |
And I want to exaggerate, so that we can
really understand how this works.
| | 01:00 |
With Highlights, as well, we can also
customize this, and choose a different color.
| | 01:04 |
So, in this case, you can see that in the
brighter tones I brought in a yellow.
| | 01:08 |
And then, in the shadows, literally in the
darker tones, and these shadows here, you
| | 01:12 |
can see that those are now blue.
And this creates a unique look in our
| | 01:16 |
photograph and adds a split toned effect.
Now, we can further customize the effect
| | 01:21 |
and you can do so by working with the
Balance slider.
| | 01:23 |
If you drag this to the left what this
will do is it will prioritize the shadows
| | 01:27 |
notice how this color is now taking over
the entire look of the photograph.
| | 01:31 |
If we drag this to the right, well that's
going to favor the highlight color, in
| | 01:35 |
this case yellow.
So, sometimes what you'll do is just slide
| | 01:38 |
this a little bit, find just the right
spot so you can have a nice mix of color.
| | 01:42 |
You can also, obviously, reduce the
Saturation.
| | 01:46 |
So, here I'll go ahead and bring my
Saturation levels way down in order to
| | 01:49 |
create a much more subtle effect.
In this case, you can see how I can just
| | 01:53 |
bring in a little bit of color there into
the shadows and a touch of color into the
| | 01:56 |
highlights as well.
Well now, with a more subtle look, it's a
| | 02:00 |
little bit more difficult to identify how
this is actually working.
| | 02:03 |
That's why earlier I exaggerated those
amounts.
| | 02:06 |
Yet, even here, if we tap the backslash
key you can see this is the before and
| | 02:10 |
then tap it again then now you can see the
after.
| | 02:13 |
So, the reason why I wanted to show you a
shadow version of using Split Toning is
| | 02:17 |
also just to highlight that you won't
always use these controls a really
| | 02:21 |
exaggerated and over the top effect.
Sometimes, you'll use these controls in
| | 02:26 |
order to dial an effect which is perhaps a
little bit more subtle.
| | 02:29 |
And often, what you'll do is perhaps
create a unique color look in your
| | 02:33 |
photograph like this.
This case, we have yellows in our
| | 02:35 |
highlights, blues in our shadows, or maybe
you want to do is add a little bit of a
| | 02:40 |
sepia tone look.
Here, I'll look to add some yellows or
| | 02:43 |
maybe oranges there, then decrease the
Saturation.
| | 02:45 |
And in the shadows, I'll look to try to
find the right color here for those shadows.
| | 02:49 |
So, we have a slight toned look to the
photograph.
| | 02:52 |
This isn't necessarily a split tone,
because the highlight and shadow color is
| | 02:57 |
pretty similar.
So, we can use a Split Toning controls in
| | 03:01 |
addition to be able to add slight shifts
in the overall tone in the photograph.
| | 03:06 |
If we want to make it, have a little bit
more of a sepia tone look or maybe cool
| | 03:09 |
the image off or warm it up or whatever it
is.
| | 03:12 |
All right, well, now that we've looked at
how we can begin to work with the Split
| | 03:16 |
Toning controls let's go ahead and
continue to dig a bit deeper into this
| | 03:20 |
dialogue, and let's do that in the next
movie.
| | 03:22 |
| | Collapse this transcript |
| Creating unique color with split toning| 00:00 |
Now, that we know a little bit about how
we can use the split-toning panel.
| | 00:04 |
Let's take a look at the workflow example,
so we can learn even more.
| | 00:07 |
And here, we'll begin by working on the
color in the split-toning panel, and then
| | 00:12 |
we'll finish this project off by working
in the basic panel.
| | 00:15 |
Again, what I'm going to do here is just
click on the image to zoom in a little
| | 00:17 |
bit, so that we can see this portrait a
little bit better.
| | 00:20 |
This is a portrait of one of my friends,
Jeff Lipsky, who is a great photographer.
| | 00:24 |
And in this case, I want to start off by
working in the split-toning panel with
| | 00:27 |
this photograph.
So, let's go ahead and open up the panel.
| | 00:30 |
And what I'm interested in doing with this
picture, is I want to change the overall
| | 00:34 |
feeling of the color in the photograph.
And to do that, I'm going to add a color
| | 00:38 |
to the highlight to different to the
shadow.
| | 00:40 |
And then, of course, work in the basic
panel, as well.
| | 00:43 |
And one of the things that will often
happen, is that you'll often be interested
| | 00:46 |
in a color which is a little more subtle.
For example, where you have a lower saturation.
| | 00:52 |
When you have a lower saturation amount,
and when you go searching for the right
| | 00:55 |
color, it can be difficult to actually
what color will work best.
| | 01:00 |
Well, that is unless you press down the
Option key on a Mac, Alt on Windows and
| | 01:04 |
then click and drag the hue slider.
What this will do is it will show you that
| | 01:08 |
hue value at 100% saturation.
Then when you let go of the Option key, or
| | 01:14 |
the Alt key on Windows, it will then bring
it back to whatever saturation level you have.
| | 01:18 |
And that's just a nice trick to be able to
find just the right color.
| | 01:21 |
And it's especially helpful for example,
if we want to bring in a yellow, we want
| | 01:25 |
to make sure the yellow isn't too green or
it isn't too orange.
| | 01:28 |
This can help us define just the right
spot for that yellow, and then of course,
| | 01:32 |
let go and take a look at it at this
saturation level.
| | 01:35 |
Right.
Well next let's do the same thing with the shadows.
| | 01:38 |
Here again, we're going to be adding just
a subtle change to the shadow color.
| | 01:42 |
Hold down Option on a Mac, Alt on Windows
and then click on the hue slider, and then
| | 01:46 |
drag this around until you find a nice
color for the shadows there.
| | 01:49 |
What I want to do is use a nice a blue,
and so again, I have this yellow in the
| | 01:54 |
highlights and this blue in the shadow
area.
| | 01:56 |
And in this case, I'm looking to try to
create a unique color palette for this
| | 02:00 |
photograph and the split-toning panel has
really helped out in this case.
| | 02:04 |
Now, if you want to change the color
rather than using the slider, you can also
| | 02:08 |
do so by clicking on the color chip.
Notice how it's showing me my shadow color
| | 02:12 |
right here?
Well what I can do is customize that.
| | 02:14 |
We can drag that around to change the
overall characteristic of the color.
| | 02:17 |
We can also control its saturation.
You can see how I can increase or decrease
| | 02:21 |
the saturation, which in turn is affecting
the saturation slider over here as well.
| | 02:26 |
When we're done with that, we can go ahead
and click on that dialogue in order to
| | 02:29 |
close it.
And keep in mind we can do this for
| | 02:31 |
shadows or for the highlight.
All right, well next, let's navigate to
| | 02:35 |
the Basic panel.
To do that, we'll just click on the Basic
| | 02:38 |
panel tab to access these controls.
Now, with this photograph, one of the
| | 02:42 |
things that I'm interested in doing is
actually removing some of the original color.
| | 02:47 |
For example, if we desaturate the image,
by removing the saturation down to
| | 02:51 |
negative 100, we'll see that this is the
split-toning that we're actually adding to
| | 02:55 |
the photograph, and it isn't that
interesting.
| | 02:57 |
So, what I want to do, is have some of the
original color, but not all of it.
| | 03:01 |
So here, I reduce my saturation, or maybe
about negative 15 or so, just a little,
| | 03:05 |
slight, reduction in that original color.
I'm also going to reduce the overall
| | 03:10 |
vibrance a touch as well, which will
reduce some of the more dominant or
| | 03:13 |
prominent colors.
Next, I'll add some clarity, which will
| | 03:17 |
add a little mid tone contrast or snap.
Then I'll customize this, by decreasing my
| | 03:21 |
blacks to darken those up a little bit,
I'll brighten up the shadows just a touch
| | 03:25 |
there, and then I'll add some overall
contrast.
| | 03:28 |
And now, here we have a completely unique
look.
| | 03:31 |
And typically, creating a look like this
would require purchasing a preset or going
| | 03:36 |
through all of these different steps to do
this in other applications like Photoshop.
| | 03:40 |
Yet here really, it's just about using the
Basic panel and the split-toning panel
| | 03:44 |
together and having a vision for the type
of color that we want to create.
| | 03:48 |
Now, often after you dial in your contrast
and exposure and clarity, etcetera, you
| | 03:53 |
may want to navigate back to the split
toning panel.
| | 03:56 |
Because now here in the split-toning
panel, you made decide you want more blue
| | 03:59 |
in the shadows or perhaps you want a
little bit less.
| | 04:02 |
And as you can see we can really change
that overall look of the picture, that we
| | 04:05 |
have here.
In this case, I'm going for this unique
| | 04:08 |
look where I have some blue in the
shadows.
| | 04:10 |
I just want to slide those sliders around
a little bit, just to make sure that we
| | 04:13 |
have exactly the right look that we're
going for.
| | 04:17 |
All right, as I always like to do, I like
to view the before and after so, here
| | 04:20 |
we'll tap the backslash key, there you can
see the before.
| | 04:23 |
And then tap it again, and then now we can
see the after.
| | 04:26 |
Also keep in mind that if this particular
look isn't interesting to you, that isn't
| | 04:31 |
necessarily the point of the movie.
The point isn't that you're always going
| | 04:34 |
to use this look with your photographs.
Rather the point is the workflow.
| | 04:38 |
And the work flow that begins here with
split-toning, which tries to select some
| | 04:42 |
colors for highlights and shadows.
And then, which ends by navigating to the
| | 04:46 |
Basic panel and dialing in all of those
sliders.
| | 04:49 |
And then if we need to we can always go
back and customize the color even further.
| | 04:53 |
| | Collapse this transcript |
| Adding a warm tone with split toning| 00:00 |
This movie, I want to look at another
workflow example where we'll work with the
| | 00:04 |
Split Toning panel and a few other panels
as well.
| | 00:07 |
And in this example, I'm going to take a
look at how we can warm up an image in a
| | 00:11 |
little bit more of a subtle way.
So, rather than creating a creative color
| | 00:14 |
affect where we have different colors in
the highlights and shadows, here's simply
| | 00:18 |
what I want to do is warm this image up.
So here, again, I'm going to go ahead and
| | 00:21 |
click to zoom in on the photograph, so we
can really focus in on this portrait here.
| | 00:25 |
Then I'll open up the Split Toning panel.
In the Split Toning panel, the first thing
| | 00:29 |
that I want to do is change the
highlights.
| | 00:31 |
I know that I'm going to use a really low
saturation amount, so I'll bring my
| | 00:35 |
saturation up, just a bit.
Then hold down the Option key on Mac, Alt
| | 00:39 |
on Windows, and click and drag the hue
slider around until we find just the right hue.
| | 00:43 |
Now the hue that I'm going for here,
again, is a yellow color, and again, I'm
| | 00:47 |
just looking to add a little bit of warmth
there to some of the highlights.
| | 00:51 |
Next, what I want to do is work on the
shadow, again in the shadows, I'll have a
| | 00:55 |
relatively low saturation level.
And what I want to do here is bring some
| | 00:59 |
reds into the shadows.
So, I'll just slide this around, and
| | 01:01 |
actually I think the original spot will do
a pretty good job.
| | 01:04 |
This will allow me to bring some reds into
the shadows, as you can see there.
| | 01:07 |
I'm not going to go that high but just to
kind of highlight that, that's the color
| | 01:11 |
that I'm working with.
And in this case, we now have a little bit
| | 01:14 |
of a different color palette, or look in
the photograph.
| | 01:17 |
Well, after having made those changes, we
can tap the backslash key, here's the
| | 01:21 |
before, it's a little bit more of a
neutral or cool look, and then now here's
| | 01:26 |
after, it's a little bit more warmed up.
After having made those changes, I'll go
| | 01:30 |
to the HSL panel, and in the HSL panel, we
can work, say, with the Saturation and the
| | 01:36 |
Luminance areas.
Here I'll work on saturation and maybe
| | 01:39 |
I'll increase the saturation of the eye
color there.
| | 01:41 |
And then in the Luminance tab, we'll do
the same thing that will just allow us to
| | 01:45 |
brighten up the eyes, there you can see
how we can we can brighten or darken that
| | 01:48 |
part of the photograph.
Often as you start to work with color, you
| | 01:52 |
may notice that there are certain colors
in the photograph that you'll just want to
| | 01:55 |
bring out, perhaps like the red that we
have there in the scarf.
| | 01:58 |
You might be able to see that even better
if I zoom out and you can see how I can
| | 02:02 |
control the brightness value of that area.
Again I'll just knock that over a little
| | 02:07 |
bit to the right in order to warm that up.
Last but not least, let's go to the Basic panel.
| | 02:12 |
Here in the Basic panel, I'm going to
decrease the intensity of the highlights
| | 02:16 |
in order to even the tone out a little
bit.
| | 02:18 |
I'll bring in some light to the shadows,
and then I'll also add a little bit of
| | 02:24 |
contrast and just a touch of clarity and
then a little bit of vibrance as well.
| | 02:25 |
Again, I'm just modifying the way that the
image looks subjectively, trying to make
| | 02:30 |
some decisions on how we might improve
this photograph.
| | 02:32 |
And if we zoom in on this picture and then
tap the backslash key, you can see here's
| | 02:37 |
the original photograph as it appears
straight out of the camera.
| | 02:40 |
And often the color pallete that you get
right out of the camera is often it's just
| | 02:44 |
lacking a little bit of something.
And so here, in this workflow example, I
| | 02:48 |
wanted to show you how we could just warm
this image up in a pretty natural way,
| | 02:52 |
create a different mood or feeling, by
using the Basic panel, the HSL panel, and
| | 02:57 |
of course, the Split Toning panel.
Now if we go back to the Split Toning
| | 03:01 |
panel for a moment, you can see that we
can customize these highlights really significantly.
| | 03:05 |
And sometimes what will happen as you work
with this color is that you'll discover
| | 03:10 |
that you've gone too far.
Like in this case, it just looks a little
| | 03:13 |
bit sort of unnatural or strange.
If you ever notice that just go back and
| | 03:18 |
tinker with this value.
Sometimes you'll be surprised that how low
| | 03:22 |
you can actually bring this and still have
it affect the image in a somewhat
| | 03:26 |
interesting way.
The same thing can be said for those
| | 03:29 |
shadows as well and here we can experiment
with those.
| | 03:31 |
You know, with the shadows though, I
should point out that often you can get
| | 03:35 |
away with having a higher change in the
shadows than you can in the highlights.
| | 03:39 |
And, that's because often, when we have
highlights we typically like to see
| | 03:43 |
highlights which are a little bit closer
to neutral than we do our shadows.
| | 03:48 |
And that's because that's typically the
way that color works, when we're looking
| | 03:51 |
at a scene in real life or when we're
capturing it with our photograph.
| | 03:54 |
So, again, here you can just customize
those sliders and then you want to tinker
| | 03:58 |
with those, in order to get just the right
color for your photograph.
| | 04:01 |
In this case, I think that looks kind of
interesting.
| | 04:03 |
So, here I'll tap the backslash key.
There is our before and then I'll tap it
| | 04:07 |
again, so that we can see the after of
this subtle effect which we've created
| | 04:11 |
using Split Toning, HSL, and the Basic
panels.
| | 04:15 |
| | Collapse this transcript |
| Using split toning to craft a cross-processed look| 00:00 |
Sometimes you'll use the split toning
panel in order to create a bit more of a
| | 00:04 |
subtle effect.
In other situations, you may want to
| | 00:06 |
create something which is a bit more wild
and crazy.
| | 00:09 |
And that's what I want to do here with
this family portrait.
| | 00:12 |
This particular family is really
fascinating, they're all artists and
| | 00:16 |
surfers, and so what I want to do, is I
want to change the color so that it's
| | 00:19 |
pretty wild.
I want to add, kind of a cross processed
| | 00:22 |
look to this photograph.
To do that, we'll begin in the split
| | 00:25 |
toning panel.
And then we'll finish this project off, in
| | 00:28 |
the basic panel.
In the split toning panel, one of the
| | 00:31 |
things that we can do, is we can select a
hue by clicking and dragging the slider here.
| | 00:34 |
And we can bring up the overall
saturation.
| | 00:37 |
Or we can also use the color chip.
Yet, so far, we've only seen how we can
| | 00:41 |
use a color chip by clicking and dragging
these values around.
| | 00:44 |
Well, you can also click in this area, and
then continue to hold down your cursor,
| | 00:48 |
and then position it over the image.
Notice how I can now sample colors from
| | 00:53 |
the photograph.
For example, I could sample say this green
| | 00:56 |
that I'm noticing here in the background.
And sometimes that can be a fun way to try
| | 00:59 |
to find or select different colors.
In this case, I'll go ahead and select
| | 01:03 |
that green and then close this dialogue so
that I now have a green in the highlight.
| | 01:07 |
If we wanted to color in the shadows, and
we wanted a sample from the image, again
| | 01:11 |
here just click and drag and position your
cursor over the image in order to select
| | 01:15 |
the color in that area as well.
In this case, the saturation level of both
| | 01:20 |
of these colors is much too high, so I'll
go ahead and bring those values down.
| | 01:24 |
want to have something which isn't that
overpowered, but still gives me an
| | 01:27 |
interesting look.
Now, as you start to craft or create the
| | 01:31 |
look, keep in mind that typically it's
part of your overall workflow.
| | 01:35 |
So, this is just the beginning.
So, if you don't like the look here, well
| | 01:39 |
just hang tight, stick with the project
and go to the other panels, say like the
| | 01:43 |
basic panel and make some other
adjustments.
| | 01:45 |
Here in the basic panel, what I'm going to
do is just walk through a few sliders.
| | 01:48 |
I'll work with contrast, shadows,
highlights and also our present sliders as well.
| | 01:54 |
Let's increase the contrast, so we'll go
ahead and boost the contrast up significantly.
| | 01:58 |
I'm going to try to darken some of those
brighter highlights there, so I'll drop my
| | 02:02 |
highlights value down.
For the shadows, I'm going to bring in a
| | 02:05 |
lot of detail into those shadows.
I'm going to bring that up pretty high
| | 02:09 |
there, and I'll add a little bit of
clarity, which will create some snap or
| | 02:12 |
midtone contrast.
I'll bring up some vibrance.
| | 02:15 |
Also drop down my saturation, again to
create a little bit more of a
| | 02:19 |
cross-process look as you can see here.
I should also point out that as you're
| | 02:23 |
beginning to work with color, keep in
mind, you can use any of your other color controls.
| | 02:27 |
For example here in the basic panel, we
can work with our temperature sliders.
| | 02:31 |
If we want to cool off the overall image,
we can do so.
| | 02:34 |
Or we can also warm it up, which I think
would be nice, with a photograph like
| | 02:37 |
this, so we'll add a little bit of a
warming effect there by increasing the
| | 02:41 |
color temperature just to change the
characteristics that we have here of this
| | 02:45 |
particular look.
Anyway, I'm just going to customize my
| | 02:48 |
sliders a little bit until I get the look
that I'm going for with this family
| | 02:52 |
portrait of these creative individuals.
Alright, well I think that's kind of interesting.
| | 02:56 |
It's a cross-processed look that we were
able to create using a split toning panel
| | 03:01 |
and a basic panel.
And if we tap the backslash key, here we
| | 03:04 |
can see the before.
And then tap it again, and now we can see
| | 03:08 |
the after.
| | 03:09 |
| | Collapse this transcript |
| Applying and creating split-toning presets| 00:00 |
Let's take a look at how we can work with
split toning presets.
| | 00:03 |
And also how we can create some of our own
presets so that we can take advantage of
| | 00:07 |
those and then be able to apply the
presets to other photographs as well.
| | 00:11 |
Well here what we'll do is we'll begin by
working with this photograph and we'll
| | 00:15 |
navigate to the Presets panel which is
located on the left.
| | 00:18 |
You'll notice that there's an option for
Lightroom Black and White Toned Presets.
| | 00:22 |
If we click to expand that and scroll down
a little bit, you'll notice that we have a
| | 00:26 |
few presets which will allow us to apply a
black and white effect on the photograph
| | 00:30 |
and then some split toning.
Here we can go ahead and click on one of
| | 00:33 |
those options in order to view how that
would look with the photograph.
| | 00:37 |
What I'm going to do is just click through
a few of these options.
| | 00:39 |
And often what you'll do, is you'll find a
particular look that you like, and then
| | 00:43 |
what you may want to do is customize that
even further.
| | 00:46 |
Like with this particular look, I like the
overall feeling of this, but I want to
| | 00:50 |
change some of the values here in the
Basic panel.
| | 00:53 |
So, in the Basic panel, we'll navigate to
that area, and I'm going to increase the contrast.
| | 00:57 |
I'm also going to darken my highlights and
brighten the whites a little bit, bring up
| | 01:01 |
some of the shadow detail, and then add a
touch of clarity detail as well.
| | 01:04 |
Here in this case I'm just customizing the
way that this appears and trying to create
| | 01:09 |
a look which has a little bit more grit,
or edge, to it.
| | 01:12 |
The other thing that we may want to do is
customize the way that this is affecting
| | 01:16 |
the overall image.
To do that, we can go to the Split Toning
| | 01:19 |
area, or I should say customize the way
that the color is affecting the overall image.
| | 01:23 |
And here we can dial in these controls and
we can bring in more or less of this color.
| | 01:27 |
We can also control the overall saturation
of this effect as well.
| | 01:31 |
And here I'm just going to make some
subtle tweaks to the way that the
| | 01:34 |
split-toning controls are modifying the
photograph as well.
| | 01:37 |
After you change all of these settings,
what you may want to do is create one of
| | 01:42 |
your own presets.
To do that, here in the Presets panel, you
| | 01:45 |
just click on the Plus icon, and then you
want to go ahead and give this one a name.
| | 01:49 |
I'll call this one Split Tone- Sepia.
Then next what we can do is choose to
| | 01:54 |
check different areas here.
In this case I want to check my basic tone controls.
| | 01:59 |
I also want to check the split toning
controls as well.
| | 02:02 |
Then here, we'll go ahead and click
Create.
| | 02:04 |
What that will do is that will save that
as one of our user presets.
| | 02:08 |
So then, if we wanted to apply that to
another photograph, we would simply select
| | 02:11 |
the photograph like this one here.
And then we would click on the preset
| | 02:14 |
name, and then we could apply those preset
settings to another picture.
| | 02:19 |
And often, keep in mind that when you are
working with presets, really, these are
| | 02:23 |
often the starting point for how you'll
need to process the image.
| | 02:27 |
Like with this photograph, I think the
preset looks good.
| | 02:29 |
But what I want to do is change the
contrast here.
| | 02:32 |
So I'll go to the Basic panel.
I'm going to deepen the blacks.
| | 02:35 |
I think I need to darken those up, and
increase the contrast, and brighten up the
| | 02:39 |
shadows a little bit.
So again, just to highlight that often,
| | 02:43 |
the way that you'll work with presets Is a
way to be able to speed up your overall workflow.
| | 02:48 |
You'll use those presets as ways to give
you creative ideas on how you might
| | 02:52 |
process your images.
But always tinker with the controls after
| | 02:56 |
you've applied the preset so that you can
customize those settings to look best with
| | 03:00 |
whatever photograph you're working on.
| | 03:02 |
| | Collapse this transcript |
|
|
11. Noise Reduction and SharpeningIntroducing how the Sharpening control works| 00:00 |
Have you ever heard the phrase, good from
far, but far from good?
| | 00:03 |
What the phrase refers to is that
sometimes you see something from a
| | 00:07 |
distance, it looks great, but then when
you get up close, you realize, it isn't
| | 00:11 |
actually that great after all.
That can often happen when we're working
| | 00:14 |
on our digital images.
When we're zoomed out like we are here, we
| | 00:18 |
can think, you know what, this photograph
looks amazing, but then when we get close,
| | 00:21 |
we may realize we need to do some work on
the detail.
| | 00:24 |
Well, here in this chapter we're going to
focus in on the Detail panel, so let's go
| | 00:28 |
ahead and open that panel.
This is a panel, which allows us to work
| | 00:31 |
on the small details of the photograph.
It allows us to sharpen those details, and
| | 00:35 |
also to reduce the noise.
Now, the reason why these groups of
| | 00:38 |
sliders are together in one panel is
because when you sharpen an image,
| | 00:42 |
sometimes what will happen is you'll bring
out unwanted noise.
| | 00:45 |
So, that way you can then reduce the
noise.
| | 00:47 |
Or if you reduce noise, sometimes it will
soften the photograph so you may need to
| | 00:51 |
then sharpen the photograph.
So again, these two groups of sliders work
| | 00:55 |
really well together.
Now, as you start to work on the details,
| | 00:58 |
what you need to do is to zoom in close to
the photograph.
| | 01:01 |
We can do that by going over to the
Navigator panel.
| | 01:04 |
And here, we could zoom into a one to one
perspective.
| | 01:07 |
Or we can also click on this warning
indicator.
| | 01:10 |
If we click on this, what it will do is,
it will zoom our photograph into a One to
| | 01:14 |
One view so that we can actually view and
evaluate the details that we have here, in
| | 01:18 |
this picture.
Now, in doing that, all of the sudden I
| | 01:21 |
realized oh no, there's some work that
needs to be done.
| | 01:24 |
I need to reduce some noise.
I need to sharpen this image.
| | 01:27 |
I need to clean up these details so that
this photograph is stronger.
| | 01:31 |
Well, in order to understand how these
controls work, what I want to do first is
| | 01:35 |
just demonstrate how we can work with the
sliders.
| | 01:37 |
I also want to share with you a shortcut,
which you can use, which will help you
| | 01:41 |
gain some insight, how you can best use a
certain amount with a particular slider.
| | 01:45 |
Then after we've done that, we'll look at
how we can actually use these to improve
| | 01:49 |
the photograph.
So, first what I need to do is to exaggerate.
| | 01:53 |
And let's begin by exaggerating the
sharpening amount.
| | 01:56 |
Here, I will crank up the amount all the
way to 150.
| | 01:58 |
And in this case, it doesn't look very
good.
| | 02:02 |
And I'm exaggerating the amount so we can
start to understand how the other sliders
| | 02:05 |
actually work.
Now, the amount slider is straightforward.
| | 02:08 |
We can use that to increase or decrease
the amount of the sharpening effect.
| | 02:12 |
But then we can further customize it by
working with radius, detail and masking.
| | 02:17 |
Let's begin by focusing in on radius.
As we drag this slider to the left, you'll
| | 02:22 |
notice that the edges, or the way that the
edges glow is a little bit more subtle,
| | 02:27 |
drag this to the right and it's almost
like they're glowing a little bit more intensely.
| | 02:31 |
You'll also notice that the radius only
goes up to a value of three.
| | 02:35 |
It goes between zero and three.
That's because typically, you'll want a
| | 02:39 |
relatively low radius.
Also, the lower the resolution the file,
| | 02:43 |
the lower the radius you'll have.
And you know, you can see the radius
| | 02:46 |
perhaps even better if you hold down the
Option'key on a Mac, or Alt on Windows,
| | 02:51 |
and then click on this icon.
What this will do is it will give you a
| | 02:54 |
grey scale view of the photograph.
As I changed the radius value, notice how
| | 02:59 |
it changes those edges.
So, the edges are a little bit tighter there.
| | 03:02 |
There's less exaggeration of the edge.
Or as I increase this, it's almost like
| | 03:07 |
those edges are glowing more intensely.
Next, we have the Detail slider.
| | 03:11 |
The Detail slider allows us to increase
the sharpening in the detail areas or to
| | 03:16 |
remove it.
For example, if we drag this to the, left
| | 03:19 |
you notice that the details look better,
all those little teeny details I should say.
| | 03:23 |
As we drag this to the right, it's
going to bring out more of that texture,
| | 03:27 |
more of those details.
Again, keep in mind that I know the
| | 03:30 |
photograph looks bad, just trying to show
you how these sliders work here.
| | 03:34 |
Here, we can hold on the Option key on a
Mac, or on Windows I can do the same thing
| | 03:37 |
and sometimes that can help us to find the
appropriate detail amount.
| | 03:41 |
Also keep in mind that if it's a portrait
you want a zero detail amount.
| | 03:45 |
You don't want to bring out all of the
details of the skit and if you want
| | 03:49 |
texture we'll maybe you'll increase the
detail amount a little bit.
| | 03:53 |
Well, next here, in the sharpening area we
have a slider, which allows us to mask in
| | 03:57 |
the sharpening effect to certain areas.
Again the shortcut key is really helpful here.
| | 04:02 |
If you press option on a Mac, Alt on
Windows and click and drag this slider,
| | 04:07 |
what you'll see is that we have this black
and white mask here.
| | 04:11 |
Now, what this is is if you're used to
using Photoshop you may know that in
| | 04:14 |
masking white reveals and black conceals.
In other words, the area that's white,
| | 04:20 |
well, that's the area, which will receive
the sharpening effect.
| | 04:22 |
The area, which is black will not be
affected.
| | 04:25 |
If we let go off the Option key or the Alt
key we can also view this in real time.
| | 04:29 |
Just here, you can see the before and
after.
| | 04:30 |
And as I increase this you'll notice that
the sharpening effect is primarily
| | 04:35 |
effecting the edges rather than these
areas here.
| | 04:38 |
Well, now that we've been introduced to
how we can work with the sharpening
| | 04:42 |
sliders, next we need to take a look at
how we can work with our noise reduction sliders.
| | 04:46 |
So, what I want you to do is to leave this
image open because we'll continue to work
| | 04:51 |
on this photograph.
And we'll look at how we can work with our
| | 04:53 |
noise reduction sliders.
And we'll do that in the next movie.
| | 04:56 |
So, I'll look forward to catching up with
you then.
| | 04:59 |
| | Collapse this transcript |
| Gaining a better understanding of noise reduction| 00:00 |
In the previous movie we looked at how the
sharpening controls worked in the Detail panel.
| | 00:04 |
In this movie, I want to deconstruct and
help you become familiar with the noise
| | 00:08 |
reduction controls.
So here with this photograph, let's go
| | 00:11 |
ahead and click on the Reset Button, to
reset this back to the default setting.
| | 00:15 |
Also, if this is your first time working
with this image, make sure that you click
| | 00:19 |
on this icon here so that you can zoom in
to 100%.
| | 00:23 |
Now this is the way that the photograph
looks when we zoom in.
| | 00:26 |
We notice that there's a lot of noise in
this picture.
| | 00:28 |
As we increase our sharpening amount, what
will invariably happen is we'll bring out
| | 00:32 |
even more noise or texture in the
photograph.
| | 00:35 |
Now we can deal with that noise by working
with the various sliders that we have in
| | 00:39 |
this area.
As we drag the Luminance slider to the
| | 00:42 |
right, what we'll notice is that that will
help us to get rid of all of the
| | 00:45 |
brightness noise that we have in a
picture.
| | 00:47 |
Notice how the texture on this area of the
photograph looks incredibly smooth.
| | 00:51 |
Again, drag that to the left and then we
see all of the texture there, or all of
| | 00:55 |
the brightness noise in that part of the
photograph.
| | 00:57 |
You can also hold down the Option key on a
Mac or Alt on Windows and click and drag
| | 01:01 |
on this slider.
Sometimes a gray scale perspective will
| | 01:04 |
help you to find just the right amount of
noise reduction.
| | 01:06 |
Well next we have our Detail slider.
As we drag this detail slider to the left,
| | 01:11 |
one of the things that you'll notice is
that this will allow us to bring out more
| | 01:15 |
or less detail.
When we drag this to the left, as we did
| | 01:18 |
with our sharpening slider, we see less
detail in this area.
| | 01:22 |
As we bring this to the right, it's
going to bring back more of those details.
| | 01:26 |
And the reason why this detail slider is
here is because as we work with luminance,
| | 01:31 |
what will happen is, we'll lose some of
those details.
| | 01:34 |
We can try to bring some back by working
with this slider here.
| | 01:37 |
Without bringing back too much of it in
order to maintain some of that noise reduction.
| | 01:42 |
Well next what I want to do is look at
contrast.
| | 01:45 |
Contrast is kind of interesting.
This allows us to add some shape to this area.
| | 01:49 |
And here, let me reduce the detail slider
for a moment and then drag this slider around.
| | 01:54 |
As I drag this to the left, notice how
it's almost like the whole image is just
| | 01:58 |
sort of flattened out, almost like it's a
watercolor painting.
| | 02:01 |
Well, as I increase the contrast it brings
back some of that subtle shape.
| | 02:06 |
So, sometimes you may need to reduce a lot
of noise.
| | 02:09 |
You may need to increase the contrast just
to bring back some of the shape or the
| | 02:13 |
contour that you have in your photograph.
Alright, well now that we've seen those
| | 02:17 |
values, let's go ahead and decrease the
luminance noise reduction back to what it was.
| | 02:21 |
Let's talk a little bit about color.
As we increase the Color slider, what this
| | 02:26 |
will do is it will minimize color
variation.
| | 02:29 |
And what we'll need to do is really look
for areas where we have some variation.
| | 02:34 |
What I'm going to do is zoom in even
further just to exaggerate.
| | 02:37 |
And then go ahead and navigate over to
this area so that you can actually see the
| | 02:41 |
difference in how the color slider is
working.
| | 02:43 |
In this case, notice how there's a little
bit of sort of color fringing in this part
| | 02:47 |
of the photograph?
Or we can use this color sider in order to
| | 02:50 |
reduce any of the those color variables.
With this particular image, there isn't a
| | 02:55 |
lot of color noise.
I'll show you another photograph were
| | 02:57 |
there is some more color noise.
We'll take a look at how we can reduce
| | 03:00 |
that in that photograph as well.
Alright let's go ahead and zoom back out.
| | 03:05 |
Now that we've talked about our sharpening
a noise reduction controls, what I want to
| | 03:09 |
do is go ahead and click Reset.
And then in the next movie I want to take
| | 03:13 |
a look at how we can actually learn what
we've used in order to improve this photograph.
| | 03:17 |
So, once again, go ahead and leave this
photograph open because we'll be working
| | 03:22 |
on this image here in the Detail panel in
the next movie.
| | 03:25 |
| | Collapse this transcript |
| Using the Detail panel to improve your photographs| 00:00 |
In this movie, I want to go through a few
workflow examples, where we'll take a look
| | 00:04 |
at how we can use the Detail panel in
order to sharpen the image and also to
| | 00:07 |
reduce the noise.
We'll begin by working with this
| | 00:10 |
photograph here.
Go ahead and click on the Reset button,
| | 00:12 |
just to make sure you're resetting it back
to the default settings.
| | 00:15 |
Then open up the Detail panel and click on
the warning icon which will allow us to
| | 00:19 |
zoom into 100%.
Now in this photograph, one of the things
| | 00:23 |
that I notice is that I have a lot of
noise here in the background.
| | 00:27 |
So, often what you'll do, is you'll try to
tackle the problem which is a little bit
| | 00:31 |
most dominant in this case, the noise is
really the problem.
| | 00:34 |
So, here we'll click and drag our
luminance slider to the right.
| | 00:37 |
In doing that, what it will do is
invariably soften the image.
| | 00:41 |
So, we want to be careful that we're
reducing the noise but, so that we're not
| | 00:44 |
going so far that the image looks
(INAUDIBLE) or just a little bit strange
| | 00:49 |
or non-photographic.
So, here I think right around 40 or so
| | 00:52 |
will do with this picture.
Now as you work with your noise reduction,
| | 00:56 |
you may want to increase the color noise
reduction just a touch as well.
| | 00:59 |
You know, almost every digital image,
needs a certain amount of luminance and
| | 01:03 |
color noise reduction.
With this image there aren't a lot of
| | 01:06 |
color issues, but the next photograph that
we'll work on or the next few actually,
| | 01:10 |
we'll see where this will become more
important here.
| | 01:12 |
So again, just because you have these
sliders doesn't mean you need to use them.
| | 01:17 |
So, you want to watch your image, drag the
slider around and just try to find the
| | 01:20 |
right spot for this value.
Here I just see a little color variation,
| | 01:24 |
so I'm just going to bring this up to
about ten or so.
| | 01:26 |
Next I'm going to bring in some
sharpening.
| | 01:28 |
Here typically what you'll do, is you'll
bring up your amount and you almost
| | 01:32 |
want to look for that spot where you're
over-sharpening the image.
| | 01:35 |
And then drop right back underneath that.
I like to think of this like tuning a
| | 01:39 |
guitar or tuning an instrument where you
make the instrument go sharp and then flat
| | 01:43 |
and then sharp and then flat.
And then you find right when it's just in tune.
| | 01:47 |
In regards to your radius, hold down the
Option key on a Mac, Alt on Windows so you
| | 01:52 |
can pay attention to those edges.
And very infrequently will you have a high radius.
| | 01:57 |
Typically your radius amount will be
relatively low.
| | 02:00 |
In regards to detail, that's all about the
texture there, so do we want to bring out
| | 02:04 |
some of that texture or keep that pretty
low?
| | 02:06 |
In this case I want to keep that nice and
low and then also, hold down the Option
| | 02:10 |
key on Mac, Alt on Windows and bring up
your masking slider.
| | 02:13 |
There really isn't any need to sharpen the
ocean or the sky, rather I want to sharpen
| | 02:18 |
the edges of this photograph.
Well, now that we've dialed in our radius
| | 02:22 |
detail in masking, we may need to go back
to that amount because now we're really
| | 02:26 |
just sharpening those edges.
In this case it looks like I need to
| | 02:29 |
increase that value a little bit more.
In order to view your before and after,
| | 02:33 |
you can click on the toggle switch here's
before the image looks a little messy.
| | 02:37 |
There's a lot of noise in the photograph
and then here's the after, the image looks
| | 02:40 |
much more clean.
Now, you also want to pan around the
| | 02:43 |
photograph and look at the other details.
Because when you're zooming in to 100%,
| | 02:47 |
you want to make sure the other details in
the picture look good.
| | 02:50 |
So, navigate to another area, then click
on the flip switch and make sure those
| | 02:53 |
areas look good as well.
I think those details look great.
| | 02:56 |
Sometimes what I like to do, is just to
zoom out and then to make sure I'm not
| | 03:00 |
ignoring a certain area.
And then click on that area, in order to
| | 03:03 |
zoom in on it and evaluate how these
results are showing up in that area.
| | 03:07 |
In this case, what we're trying to do is
we're trying to create an image which
| | 03:11 |
looks good but not over the top.
And that's really the goal here, with
| | 03:15 |
working with the Detail panel.
If you over a sharpen a photograph or over
| | 03:19 |
do it or over reduce the noise, it'll just
look a little bit strange.
| | 03:22 |
So, again you're looking for nice, natural
look.
| | 03:25 |
Lets look at one more example.
Here I'll click on this photograph, and
| | 03:28 |
I'll zoom out so that we can see this
image.
| | 03:30 |
This is the beginning of a fashion photo
shoot, and I was shooting with a really
| | 03:34 |
high ISO.
As a result, we'll have a lot of noise and
| | 03:37 |
also, some sharpening that needs to be
done or dealt with here in this photograph.
| | 03:42 |
So, let's click on the icon which allows
us to zoom in to the photograph, and with
| | 03:45 |
this image I'm actually going to zoom in
past this amount.
| | 03:48 |
I'm going to go to a four-to-one
perspective, and I'm going to remove all
| | 03:52 |
of these values here, just to take them to
their default settings.
| | 03:55 |
In doing that, you can see that we have a
lot of texture here in the background and
| | 04:00 |
also a lot of color noise.
Well, we can deal with that by increasing
| | 04:04 |
our color noise slider.
Notice how that just removes the colors
| | 04:08 |
that we have there in that area.
We can also increase our luminance noise slider.
| | 04:12 |
What that will do, is it will deal with
all of those brightness values.
| | 04:15 |
Take a look at the before and then here's
the after.
| | 04:18 |
Well, now I still have all those color
issues, so I'll bring up my color slider
| | 04:21 |
as well.
And all of the sudden, the details that we
| | 04:24 |
have here look amazing.
Take a look at that, here's before and
| | 04:27 |
then now here's after.
As we work with these sliders, of course
| | 04:31 |
we want to think about detail.
Do we nee to bring back some of the detail
| | 04:34 |
in that area, or can we keep this nice and
low?
| | 04:37 |
We need to bring back some contrast or
some dimension.
| | 04:39 |
Or should we keep that a relatively lower
amount?
| | 04:42 |
With this photograph, it looks like right
around here looks good of course, though
| | 04:46 |
what I need to do really, is evaluate this
at a one to one perspective.
| | 04:50 |
There's no need to zoom in past that, I
was just doing that for demo purposes so
| | 04:54 |
that we could see the difference.
Here now is our before and then our after.
| | 04:58 |
Already the photograph I think is looking
a ton better, and this is without even
| | 05:02 |
applying any sharpening.
Well, next of course we want to sharpen
| | 05:05 |
the photograph.
Hold down the Option on Mac, Alt on
| | 05:08 |
Windows and click and drag the sharpening
slider to the right.
| | 05:10 |
As you do that, you'll notice that you can
go too far and bring back some of that
| | 05:14 |
unwanted noise.
You just need to be careful to find the
| | 05:17 |
right spot.
But also keep in mind that you can limit
| | 05:20 |
the sharpening to the edges, by working
with your masking slider.
| | 05:23 |
So, hold down option on a Mac, Alt on
Windows and click and drag that up.
| | 05:27 |
Here you can see if we bring this up to
really high level, this will allow us to
| | 05:31 |
just sharpen these edges, which is what we
want to do.
| | 05:34 |
It's a portrait, so I'll drop the detail
slider all the way down.
| | 05:38 |
For the radius, hold down the Option key
on a Mac, Alt on Windows.
| | 05:42 |
You can see how you can change the edge
detail there or how far out that's glowing.
| | 05:46 |
Typically, you'll want a pretty low radius
amount and again, it will depend upon the photograph.
| | 05:51 |
All right, well now I think our image is
looking much better, carefully click on
| | 05:55 |
the flip switch for the Detail panel.
You can see the before, and then I'll
| | 05:59 |
click again to show you the after.
Let me zoom in to a much closer view, so
| | 06:03 |
you can see this a little bit better.
I know this is tricky to see on these movies.
| | 06:07 |
Here's the before, and then now here is
the after.
| | 06:10 |
In this case, essentially what we've done,
is we've cleaned up this photograph.
| | 06:14 |
And this image from a distance, it looked
great yet when we zoomed in we realized
| | 06:19 |
there were some details we needed to work
on.
| | 06:21 |
We began by working on the noise, and then
later we worked on the sharpening sliders
| | 06:26 |
in order to bring out a little bit of that
edge detail and to just make sure that the
| | 06:30 |
image was really sharp.
And so, as you can see here really, in
| | 06:33 |
order to accomplish some great results,
it's about a combined effort between the
| | 06:38 |
sharpening and the noise reduction
controls which will often lead to the best results.
| | 06:43 |
| | Collapse this transcript |
| Improving the noise and sharpness of an underexposed image| 00:00 |
Sometimes I find that the Detail panel
controls are best understood by taking a
| | 00:05 |
look at a few different examples.
So here, let's take a look at another work
| | 00:09 |
flow example.
We'll be working on this photograph here.
| | 00:11 |
Let's navigate to the Detail panel in
order to open it up.
| | 00:15 |
And in this particular picture, this is a
photograph of a famous athlete.
| | 00:18 |
And a particular major magazine was
interesting in publishing the photograph,
| | 00:22 |
which I was excited about.
Yet when I zoomed in on the image, by
| | 00:26 |
clicking on the warning icon here, all of
a sudden I realized there was a lot of noise.
| | 00:31 |
So here you can see here we have a lot of
color noise in the background, luminous
| | 00:35 |
noise we're going to need to deal with
that.
| | 00:37 |
And we're also going to need to be able to
sharpen the photograph so, that this image
| | 00:40 |
can be printed and published.
What I want to do to exaggerate for a
| | 00:44 |
moment is zoom into this 4 to 1
perspective.
| | 00:47 |
You can do that by clicking on the
pull-down menu in the Navigator panel.
| | 00:51 |
Here, I'll choose 4 to 1.
This will give us a view of the background.
| | 00:54 |
Now I want to show this background here
just to highlight how we can work with the
| | 00:58 |
luminance and the Color sliders.
So you can better understand how these
| | 01:02 |
sliders actually work.
Well when I drag the Luminance slider to
| | 01:05 |
the right you can see that I can get rid
off all of the luminance and variance that
| | 01:09 |
we have here.
All of the brightness value all of that
| | 01:11 |
noise which has to do with brightness is
now starting to disappear.
| | 01:14 |
Yet there is still some remaining well we
can decrease that by decreasing the Detail
| | 01:19 |
slider, notice how it has gone completely.
Or we can bring some of it back by
| | 01:23 |
dragging this to the right.
Well let's say that we decide to remove
| | 01:26 |
all of this.
You'll notice there still are all of these
| | 01:29 |
various color patches.
Now the reason this happened is because
| | 01:32 |
originally this image when I captured it
was underexposed.
| | 01:36 |
So I needed to increase my exposure, I'd
made a mistake.
| | 01:39 |
Yet when you increase the exposure, you
bring out problems like this, like color noise.
| | 01:43 |
Well here with the Color slider, we can
get rid of that completely.
| | 01:46 |
And so now, what we are looking at is a
very smooth and even background.
| | 01:50 |
Well these are, exaggerated amounts, if we
go back to this one to one perspective.
| | 01:54 |
And if we look at the subject what doesn't
even look like a photograph, it looks a
| | 01:58 |
little bit more like a painting.
So what I need to do is to bring these
| | 02:01 |
values back down, so go ahead and drop
those down.
| | 02:04 |
And first what I want to do with this
picture is actually deal with the color
| | 02:07 |
noise because I think that's one of the
biggest problem areas.
| | 02:10 |
I always like to tackle the problem which
stands out the most, in this case it's the color.
| | 02:15 |
So here I'll click and drag that to the
right and then I'll drop my Detail slider
| | 02:19 |
a little bit to the left.
Next of course, we have all of this noise
| | 02:23 |
that we have here which is luminance
noise.
| | 02:25 |
Here I need to delicately bring this up so
I can reduce that without making the image
| | 02:30 |
look soft and strange.
So I want to find just the right spot for that.
| | 02:33 |
Leave the detail value down, there isn't
really a need to bring that up.
| | 02:38 |
Actually, as I say that, I'm going to take
it back.
| | 02:40 |
I'll bring this up just a touch.
I should also point out that some of the
| | 02:43 |
noise that we're seeing here in the
background is raindrops, because it was a
| | 02:46 |
rainy day.
So, some of these little pieces of rain
| | 02:49 |
coming down are okay.
Because with this photograph was part of
| | 02:52 |
the editorial story of this particular
athlete going on this bike ride in the
| | 02:55 |
mountains in the rain.
Next we can increase contrast, that adds a
| | 02:59 |
little bit more dimension or shape, that
is especially helpful as the luminance
| | 03:04 |
amount increases.
We almost always kind of bring up the contrast.
| | 03:07 |
This sort of compensate for that to add
some more shape back to that area.
| | 03:11 |
Well then, what about sharpening?
Well here, we'll bring up some sharpening.
| | 03:15 |
I'll just click to drag up my sharpening
amount.
| | 03:17 |
I'll drop the Detail slider down, because
we've already mentioned that I want to
| | 03:20 |
minimize a lot of those details.
With the radius slider I like to press
| | 03:24 |
Option on a Mac, Alt on Windows and take a
look at the different radius amount.
| | 03:28 |
Again, typically, you have a really low
radius amount.
| | 03:31 |
And then what about masking?
Again, Option click on a Mac, Alt click on
| | 03:35 |
Windows, there's no need to sharpen the
background really we're just interested in
| | 03:39 |
sharpening all of these edges here.
So that we maintain a little bit of that
| | 03:43 |
crisp look to these edges.
Here I'll click on the flip switch for the
| | 03:47 |
Detail panel.
There's the before, and then now here's
| | 03:50 |
the after.
The image has a really nice and natural look.
| | 03:53 |
I think we have a good amount of
sharpening.
| | 03:55 |
Maybe we can go even a little bit higher.
And also, drop our noise reduction down
| | 04:00 |
just a touch.
Sometimes having a little bit of texture
| | 04:03 |
in a photograph is okay and so as you seek
to improve your pictures really it will
| | 04:08 |
depend upon your vision for the
photograph.
| | 04:11 |
And also it will depend upon how it was
captured this one was captured in a way
| | 04:15 |
that the exposure was a mistake.
So because of that I can only go so far in
| | 04:20 |
reducing the noise and sharpening the
image.
| | 04:22 |
There's only so far that I can push the
file.
| | 04:24 |
Yet here, that being said, I think we've
done a good job.
| | 04:27 |
There's our before and now here is the
after
| | 04:30 |
| | Collapse this transcript |
| Enhancing the details for a well-exposed photograph| 00:00 |
So far in this chapter we've taken a look
at how we can work with the detail panel
| | 00:04 |
when we have images which have some
problems.
| | 00:06 |
Yeah, what about those situations where
you have an image which is in good shape.
| | 00:10 |
What is the typical work flow when you're
working on your photographs when you have
| | 00:13 |
good exposure and good sharpness and
detail.
| | 00:15 |
Let's take a look at that here with this
picture.
| | 00:18 |
One of the first things that you may
want to do is use a shortcut to navigate
| | 00:21 |
to the Detail panel.
You can press Cmd+5 on a Mac or Ctrl+5 on
| | 00:25 |
Windows, in order to open up the Detail
panel, or you can always just click on the
| | 00:29 |
Detail panel name to open up the panel.
Next, let's go ahead and click on the
| | 00:34 |
warning indicator, which is reminding us
that we need to zoom in on this photograph.
| | 00:38 |
And in this case, you can see that we have
really good detail and also good sharpness here.
| | 00:42 |
The near eye is in focus, and all that I
want to do is, I want to go through a bit
| | 00:46 |
of a typical workflow with the photograph,
which is in good shape.
| | 00:50 |
There isn't really a problem with the
photograph, so I'll begin by sharpening
| | 00:54 |
the picture.
Typically what you'll do is you'll
| | 00:56 |
increase your amount slider just so that
you can start to see how you can modify
| | 01:00 |
the radius and the detail.
Now because this is a portrait as I
| | 01:04 |
increase the amount what's going to happen
is it's going to bring out all of the
| | 01:07 |
details of the skin.
I am not interested in sharpening the
| | 01:11 |
details so I'll go ahead and drop my
detail to a default value of zero.
| | 01:14 |
And that's almost always the case when I
have a portrait.
| | 01:18 |
So here, my amount is obviously too high,
but I wanted to show you how that was
| | 01:22 |
working on those small little details
there in the skin.
| | 01:24 |
Really what I want to sharpen are sort of
the edges of the eyelashes and the eye,
| | 01:29 |
and some of the other edges that we have
in the photograph.
| | 01:32 |
So next I need to dial in my masking
slider.
| | 01:34 |
Here, we'll hold down the Option key on a
Mac, Alt on Windows, and drag this up.
| | 01:38 |
As we do that, we'll remember that
whatever is white is revealed.
| | 01:43 |
Whatever is black is concealed.
Now, you may be tempted to go all the way,
| | 01:46 |
and just perform some edge sharpening.
Yet, what I find that does is it doesn't
| | 01:50 |
blend in as nicely.
So, often what you'll need to do is drop
| | 01:54 |
this back a little bit so that you're
sharpening the edges, but also a few other
| | 01:58 |
areas, as well.
So that the sharpening effect is kind of
| | 02:01 |
blended into the image, rather than really
standing out on the edges.
| | 02:05 |
Now that being said, if you photographed
an athlete with a ring flash, and it had
| | 02:09 |
that really just sort of edge look to it,
well then, you'd want to increase the
| | 02:13 |
masking slider even more.
Or, if you had a softer light source, well
| | 02:16 |
then maybe you're going to want to
decrease this a little bit as well.
| | 02:20 |
Alright well now that we've dialed that in
next let's take a look at the radius.
| | 02:23 |
The radius with this default setting of
one is probably fine.
| | 02:26 |
If we hold down the Option key on a Mac,
Alt on Windows we can see how we can
| | 02:30 |
increase or decrease that.
And again because we're going for a
| | 02:33 |
natural look I'm just going to leave it
right there on that one setting and of
| | 02:37 |
course you can tinker with this amount but
I think that will look pretty good.
| | 02:40 |
Well what about noise.
Remember I mentioned that almost every
| | 02:44 |
digital image needs a certain amount of
noise reduction, whether it's luminance or
| | 02:49 |
color noise.
Well, in this case with this particular
| | 02:52 |
photograph I was using a high-end camera
with a really good lens so there isn't a
| | 02:56 |
lot of problems that I'm noticing here
with the noise.
| | 02:59 |
That being said, I'm still going to bring
up my luminance reduction here.
| | 03:03 |
What that will do is it smooths out the
noise here in these areas, and especially
| | 03:07 |
in the shadows.
Regards to the detail, I'm going to drop
| | 03:10 |
that down just a little bit, and bring
just a touch of contrast or shape into
| | 03:14 |
that area.
The color noise again here, really I'm not
| | 03:17 |
seeing hardly any color noise at all so I
just bring that up just a little bit there
| | 03:20 |
and then bring down the detail slider as
well.
| | 03:23 |
Well now that I added a bit of noise
reduction, it did soften the image a touch.
| | 03:27 |
So I'm going to increase my sharpening
value here a little bit in order to
| | 03:30 |
compensate for the amount of noise
reduction that I applied.
| | 03:34 |
And here I'm going to drop my noise
reduction down just a little bit more.
| | 03:37 |
And I'm paying really close attention to
this little area that I'm noticing here in
| | 03:41 |
the photograph.
You also may want to pan around the image
| | 03:44 |
and take a look at the areas where the
exposure's changing or the background
| | 03:47 |
where it gets dark.
And just make sure that the details in all
| | 03:50 |
of those areas look good.
Well in this case, this is a pretty
| | 03:53 |
typical work flow.
We've sharpened the image effectively.
| | 03:56 |
We've reduced its noise.
The photograph looks better.
| | 03:59 |
We click on the flip switch here, we can
see the before and then click on it again
| | 04:03 |
and we can see the after.
And in the before and after, we're not
| | 04:06 |
going to see a huge or dramatic difference
in how the photograph appears.
| | 04:10 |
And sometimes what we may want to do after
having seen that is we may want to
| | 04:14 |
customize this a little bit further in
order to bring up these values just a
| | 04:17 |
touch more.
I'm going to bring in little bit more of
| | 04:19 |
the detail there.
And the reason why we're not seeing a huge
| | 04:22 |
difference again, is because the image was
in good shape and there wasn't really a
| | 04:27 |
lot that we needed to do.
Yet that being said, these adjustments
| | 04:30 |
that we did make did help us to improve
the photograph.
| | 04:33 |
In a sense, what they allowed us to do is
to bring this image to an even better place.
| | 04:38 |
So if the photograph started off as an
eight, we've taken it up to a nine.
| | 04:42 |
In other situations, like with some of our
previous photographs, the image started
| | 04:46 |
off as a two and we brought it up to a six
or a seven.
| | 04:49 |
So again it really depends upon where the
image starts, as far as how far you'll
| | 04:53 |
push it, and also the different amounts
that you apply here with the sharpening
| | 04:57 |
and the noise reduction controls.
| | 04:58 |
| | Collapse this transcript |
|
|
12. Making Lens CorrectionsLeveling your photographs with Upright| 00:00 |
In this chapter we'll focus in on how we
can use the Lens Corrections panel in
| | 00:04 |
order to make some important perspective
corrections to our photographs.
| | 00:08 |
And in this first movie I want to focus in
on how we can use some controls which will
| | 00:12 |
allow us to quickly and easily level off
our photographs.
| | 00:16 |
We'll be working with two different images
and we'll start with this portrait here.
| | 00:19 |
Let's go ahead and open up the Lens
Corrections panel by clicking on the name.
| | 00:23 |
Let's begin in the basic area.
In the basic area we have an option which
| | 00:27 |
allows us to enable profile corrections if
we're working with the raw file.
| | 00:31 |
You almost always want to turn that option
on because what that will do is if you
| | 00:36 |
click on the Profile tab, it will show you
that it's detecting the camera and the
| | 00:40 |
lens which was used in order to capture
the image.
| | 00:43 |
And Lightroom is chock full of a database
of different camera and lens combinations.
| | 00:47 |
What this allows us to do is to turn on
this profile to correct any distortion or
| | 00:52 |
any issues which may happen.
With that camera and lens combo.
| | 00:55 |
Now if it isn't selecting this
appropriately, you can always click on
| | 00:58 |
this pull down list and make the selection
yourself here as well.
| | 01:02 |
Well again, you want to begin by turning
on this option in the Basic panel.
| | 01:06 |
And this is true with most of your work
flow when you're using the Lens
| | 01:09 |
Corrections panel.
Now this is a photograph that we saw
| | 01:12 |
earlier in this course, and one of the
things I mentioned is that his image isn't level.
| | 01:16 |
And we looked at how we could use the Crop
tool in order to level it off.
| | 01:20 |
Well, we can also do a very similar thing,
perhaps more quickly, with lens corrections.
| | 01:25 |
Here if we navigate down to our upright
controls.
| | 01:28 |
One of the options is level.
I'll click on that option, and what this
| | 01:32 |
will do is it will allow Lightroom to
analyze the photograph, and then to level
| | 01:36 |
or to straighten out the photograph.
This works really well with all different
| | 01:40 |
types of pictures, whether it's a
landscape photograph or the horizon isn't
| | 01:43 |
level, or a portrait like this where we
have some lines or details in the photograph.
| | 01:48 |
Let's look at one more example.
Here I'll click on this photograph.
| | 01:51 |
This is an image as it appeared straight
out of the camera, and I'm going to zoom
| | 01:55 |
in on it a little bit by clicking on the
Fill button in the Navigator panel, so
| | 01:59 |
that we can focus in on how this image is
leaning off to the right.
| | 02:04 |
Well I want to correct that lean, so in
order to do so I'll click on Enable
| | 02:08 |
Profile Corrections.
What this will do is it will correct any
| | 02:11 |
slight distortion or any vignetting that
we have in the photograph.
| | 02:14 |
And this will also ensure that our upright
controls will work that much better.
| | 02:18 |
So again, the first step is almost always
to turn on Enable Profile Corrections.
| | 02:23 |
Next, I'm going level this image off here.
I'll click on the Level button, and as
| | 02:27 |
we'll see what this will do is it will
level off the image so that everything is
| | 02:31 |
nice and neat and straight.
And if zoom out we'll be able to see the
| | 02:34 |
before and after perhaps even better.
Here I'll tap the backslash key, this
| | 02:38 |
shows the before, and then now we can see
the after.
| | 02:41 |
So again, we can start to work with lens
corrections in order to make some
| | 02:45 |
perspective corrections on our photographs
which are simple like this.
| | 02:50 |
Or we can also take a look at how we can
use these controls in more complicated
| | 02:53 |
situations as well, and we'll do that in
the next few movies.
| | 02:57 |
| | Collapse this transcript |
| Removing distortion with the Basic and Manual controls| 00:00 |
Now that we know a little bit about how
the lens correction controls work, what I
| | 00:04 |
want to do here is dig deeper on into how
we can use these controls in order to
| | 00:08 |
correct perspective issues.
We'll start off by working with the
| | 00:11 |
photograph here.
It's a beautiful concert hall and I
| | 00:14 |
captured this image with a wide angle
lens.
| | 00:16 |
As a result there's some vignetting, or
darkening around the outer edges.
| | 00:20 |
There's a little bit of distortion and
also you'll notice that these columns
| | 00:24 |
aren't standing up straight.
Let's take a look at how we can fix all of
| | 00:28 |
those issues and a few others by working
with lens corrections.
| | 00:31 |
Here we'll click on the lens corrections
panel to open it up.
| | 00:34 |
You almost always will begin here in the
Basic tab.
| | 00:38 |
And then the further customize the
settings, you'll navigate to the Manual tab.
| | 00:41 |
So let's start off in the Basic tab.
You want to click on the option to enable
| | 00:45 |
Profile Corrections, if you have a Raw
file.
| | 00:48 |
If you don't have the ability to do that
cause your working with a jpeg file, well
| | 00:51 |
then just skip to the next step.
Yet if you have the option, you almost
| | 00:55 |
always want to turn on that check box.
Now, I also recommend that you turn on the
| | 00:59 |
check box to constrain the crop.
What this will do, is it will allow you to
| | 01:03 |
make some corrections, but it will make
sure that you're always seeing pixels
| | 01:07 |
rather than negative space around the
edges of the photograph.
| | 01:10 |
You'll see how this will become relevant
in a few minutes, but for now just turn on
| | 01:14 |
that check box.
Next let's use some upright controls.
| | 01:18 |
Now here we have four different options,
Auto, Level, Vertical and Full.
| | 01:22 |
In most situations, Auto will be the save
the day button.
| | 01:27 |
Let me talk about the other buttons just
so that we can become familiar with those.
| | 01:30 |
We've already discussed how we can click
on the Level button to level out the photograph.
| | 01:34 |
This image is already pretty level, so
it's only going to make a slight
| | 01:37 |
adjustment to the picture.
The Vertical button, this though allows us
| | 01:41 |
to correct our vertical lines and here you
can see it's attempting to make these
| | 01:45 |
calms a little bit straighter in the
photograph.
| | 01:48 |
What Full will allow us to do, is to apply
corrections, which are to level the image,
| | 01:53 |
to apply vertical corrections, and a
little bit of a perspective correction as well.
| | 01:58 |
Now Full and Auto work in similar ways,
but in most situations Auto will work better.
| | 02:04 |
I find that Full though, does work better
when you're making dramatic changes to the
| | 02:09 |
overall perspective.
We'll talk about Full with a few other
| | 02:12 |
images a little bit later.
Yet most scenarios, you know Auto is
| | 02:15 |
going to be the button which will really
work best.
| | 02:18 |
In this case, the image looks a little bit
better, but what I want to do is further
| | 02:22 |
customize these improvements.
To do that, we'll navigate over to the
| | 02:26 |
Manual tab.
Here, underneath the Manual tab, we have a
| | 02:29 |
whole set of controls.
And the way that I like to work with these
| | 02:33 |
controls, is to turn the grid on.
You can access the Grid view a few
| | 02:37 |
different ways, but if you go to your
toolbar.
| | 02:39 |
Also, if that's hidden, tap the T key,
that will allow you to show that toolbar.
| | 02:44 |
And you can click on this triangle icon
and choose the option for Grid Overlay.
| | 02:47 |
If you select from this pull down menu
Auto, what this will do is as you change
| | 02:52 |
one of these values here, for example, one
of these sliders, it will turn on the grid
| | 02:56 |
just as you work with the sliders.
And this way, it can help you to correct perspective.
| | 03:00 |
For example, when I go to the Vertical
slider here, I notice that the lines
| | 03:05 |
vertically aren't perfectly straight.
Or we can click and drag this to change
| | 03:09 |
the lean or the vertical orientation here.
We can have it lean backwards as I like to
| | 03:14 |
think of it, or lean forward.
With that grid view on it, helps him to
| | 03:18 |
find just the right spot for this vertical
slider here in order to make that correction.
| | 03:23 |
Now if ever you find that this grid
overlay is distracting, you can always
| | 03:27 |
click on this option to chose never, and
then as you work with these sliders it
| | 03:30 |
would turn of that overlay.
So that you can just eyeball it or make
| | 03:33 |
the adjustment based on what looks best to
your perspective.
| | 03:37 |
Alright, well let's dig in to the various
controls that we have here.
| | 03:40 |
With this photograph, we really don't need
to use many of these controls, let me
| | 03:44 |
highlight how they work.
Distortion allows us to remove or to
| | 03:48 |
increase the distortion that we have in
the photograph.
| | 03:51 |
Sometimes you may need to slightly change
this just to customize it so it looks good
| | 03:56 |
to your eye.
Then we have the ability to work with our
| | 03:59 |
horizontal lines, in this case as we click
and drag, you can see that I can change
| | 04:03 |
the overall lean form the left to the
right.
| | 04:05 |
Notice that, as I make these changes, it's
always making sure that I'm just seeing pixels.
| | 04:10 |
Yet if we turn off the Constrain Crop
button, and then make some dramatic
| | 04:14 |
changes, what we can do is see the edges
of the image.
| | 04:18 |
Sometimes, this is okay if we have a
slight edge showing, because maybe we'll
| | 04:22 |
fill that in in Photoshop later.
Yet in some situations it may work better
| | 04:26 |
just to turn on that Constrain Crop
button.
| | 04:28 |
That way, as we make these changes, we can
see how it will crop or recompose the
| | 04:32 |
photograph so that it looks its best.
Here, I'll double click that slider to
| | 04:36 |
bring it back to the default setting.
Rotation is pretty simple.
| | 04:39 |
It allows us to rotate the image, to the
left or to the right.
| | 04:43 |
And then we have the ability to scale the
photograph, here if you want to crop in,
| | 04:46 |
or if we want to scale back, we can do so.
With Constrained Crop turned off, we can
| | 04:50 |
also scale back, so that we can see all of
the edges of the photograph.
| | 04:54 |
Here.
And again, kind of a helpful view to see
| | 04:57 |
how the image was skewed, or warped, or
changed in order to make those perspective corrections.
| | 05:01 |
Now, that being said, in most scenarios,
you'll want to leave constrained crop
| | 05:06 |
turned on, especially, if you're new to
working with the lens corrections panel.
| | 05:10 |
Now last but not least, we have this
aspect slider.
| | 05:13 |
This one's kind of interesting.
As we drag this, it makes the image tall
| | 05:17 |
and skinny.
As we drag this to the left, it makes it
| | 05:20 |
short and wide.
Here you can see how we can change, the
| | 05:23 |
overall look of the photograph.
And so again, with these other sliders
| | 05:26 |
really there aren't any that I need to
use.
| | 05:28 |
I simply want to highlight how you can
begin to work with those.
| | 05:31 |
Last but not least we have some vignetting
controls.
| | 05:34 |
If we want to darken the corners, we can
drag this to the left here, if we want to
| | 05:38 |
brighten those drag them to the right.
We can also change the reach of the vignetting.
| | 05:43 |
If we desire to have this reach further
into the image, drag to the left.
| | 05:47 |
If we want to limit this to outer edges,
drag it to the right.
| | 05:50 |
And here you can see how far in that
vignetting effect is affecting the photograph.
| | 05:54 |
Often what you may need to do, is to
brighten up those edges or darken them
| | 05:57 |
down to just a bit, and so you can
customize those settings here in this area.
| | 06:02 |
As you make adjustments to your photograph
with the manual controls.
| | 06:05 |
What you want to do, and it's last but not
least, is navigate back to the Basic tab.
| | 06:10 |
In the Basic tab once you've made
adjustments, sometimes what will happen is
| | 06:14 |
the Reanalyze button will light up.
If it lights up, you almost always want to
| | 06:19 |
click on it, because what this will allow
Lightroom to do, is to reanalyze, and
| | 06:24 |
re-correct the photograph based on any
manual adjustments that you've made.
| | 06:28 |
For example, if I go back to Manual and I
change the Distortion value significantly,
| | 06:33 |
and then navigate back to basic, notice
how this turned on once again.
| | 06:37 |
Once again, I would need to click on that
in order to allow Lightroom to reanalyze
| | 06:41 |
the photograph to try to make corrections.
Based on the way that I adjusted the image here.
| | 06:45 |
Now, this is obviously overdone, so I'll
bring this back to something much more subtle.
| | 06:50 |
Then I'll go back to the basic tab, and
click on reanalyze.
| | 06:54 |
Here, I simply wanted to highlight that
work flow, and the work flow, it starts
| | 06:57 |
off here in the Basic tab.
You begin by turning on Enable Profile
| | 07:01 |
Corrections, and in most scenarios,
turning on constraining crop, then, you
| | 07:05 |
click on one of these upright options in
order to correct the prespective in your photograph.
| | 07:10 |
Then, you navigate over to the Manual tab.
In the Manual tab, we can customize our
| | 07:15 |
adjustments, and we can do so by working
with these various sliders.
| | 07:18 |
Here I'm just going to customize these a
little bit more to change the overall look
| | 07:22 |
of the photograph.
Last but not least, we go back to the
| | 07:25 |
Basic tab, we click on Reanalyze in order
to allow Lightroom to Reanalyze the photograph.
| | 07:30 |
Then what I always like to do is look at
the before and after of my progress here
| | 07:35 |
in the Develop module.
One easy way to do that, as you know, is
| | 07:38 |
to tap the backslash key.
Here's the before, and then tap the back
| | 07:41 |
slash key again.
Here is the after.
| | 07:43 |
And perhaps more important than the before
and after, although it is really good with
| | 07:48 |
this photograph, is this overall workflow
or process, of how we can begin to use the
| | 07:53 |
Lens Correction controls here in the Basic
tab.
| | 07:55 |
And also the Manual tab in order to
improve our photographs.
| | 07:59 |
| | Collapse this transcript |
| Improving an environmental portrait with Upright| 00:00 |
The Lens Corrections controls can be
useful in so many different situations.
| | 00:05 |
Including with environmental portraits
like with this photograph here.
| | 00:08 |
This is a portrait of one of my friends
Eric who's a really fascinating artist.
| | 00:12 |
And one of the things that you'll notice
here is there's a bit of a tilt to the frame.
| | 00:16 |
You also may notice that the perspective
is a little bit off.
| | 00:19 |
Well that's because I was using a wider
angle lens.
| | 00:21 |
I want to correct both of those issues
using the Upright controls.
| | 00:25 |
And I also want to talk about how when you
crop your photographs, you'll need to work
| | 00:29 |
with these controls a little bit
differently.
| | 00:32 |
So let's begin by cropping this image.
Tap the R key to select your Crop tool.
| | 00:37 |
Make sure that the aspect ratio is locked
down.
| | 00:39 |
So here I'll go ahead and click on that
little lock icon.
| | 00:41 |
And then next I'm going to just bring in
these corners.
| | 00:44 |
Just to crop this in a little bit more so
we can have a bit more of a tighter composition.
| | 00:49 |
More focused on the subject there, in
order to apply that crop.
| | 00:53 |
You can go ahead and double click inside
of the crop area.
| | 00:56 |
Now whenever you've cropped the
photograph, you want to keep in mind or
| | 00:59 |
you going to remember that you've done
that.
| | 01:00 |
Because next what we're going to do is
navigate to the Lens Corrections panel.
| | 01:04 |
We'll turn on Enable Profile Corrections,
that will remove a little bit of the
| | 01:08 |
distortion and also a touch of the
vignetting around the edges.
| | 01:12 |
And now when it comes to working with
Upright, in this case the Auto button will
| | 01:16 |
really save the day.
That will help us to level out the image
| | 01:19 |
and fix a perspective issue.
Yet if we simply click on Auto without
| | 01:23 |
doing anything else what it will do is it
will reset or remove the crop.
| | 01:27 |
So that isn't what I want to do.
So here I'll press Cmd+Z on a Mac or
| | 01:31 |
Ctrl+Z on Windows.
I want to maintain or keep the crop which
| | 01:35 |
I've just added to this image.
To do so, hold down the Option key on a
| | 01:39 |
Mac or Alt on Windows.
And then click on any of the four upright controls.
| | 01:44 |
When you press Option or Alt first and
then click on that.
| | 01:47 |
What it will do is it will apply the
correction, but it also will maintain that
| | 01:51 |
crop which you've applied.
Here, if we reselect the Crop tool by
| | 01:54 |
clicking on the Crop tool icon, you can
see how that crop is still visible here,
| | 01:58 |
and also how the image is now corrected.
In this case, I'm just going to click and
| | 02:02 |
drag to open this up a little bit more.
I think I want a little bit more space
| | 02:05 |
there around the subject.
And then I'll double click in order to
| | 02:08 |
apply that.
So just keep in mind that as you work with
| | 02:11 |
the develop module and as you crop your
images.
| | 02:14 |
When you get to the Lens corrections, if
you want to maintain that crop, well just
| | 02:18 |
hold down Option on Mac or Alt on Windows
before you press on any of those upright controls.
| | 02:25 |
| | Collapse this transcript |
| Making dramatic perspective improvements| 00:00 |
Sometimes you'll use the Lens Corrections
panel in order to make some subtle
| | 00:04 |
improvements on your photographs.
In other situations, you may need to use
| | 00:08 |
these controls in order to make some more
dramatic changes to your pictures.
| | 00:11 |
Let's take a look at how we can work with
Lens corrections when we have a bit more
| | 00:15 |
of a difficult situation.
Like with this photograph here.
| | 00:18 |
This is a photograph of a critique rack.
This is something we have in the
| | 00:22 |
classrooms at the photography school where
I teach.
| | 00:24 |
And I've placed a number of different
books on this critique rack.
| | 00:28 |
And I took a snapshot of it just to
remember what I had placed there.
| | 00:31 |
Yet in this snapshot the competition isn't
very good.
| | 00:34 |
You'll notice that these lines aren't
straight.
| | 00:37 |
What I want to do is straighten out this
image just so that it looks better.
| | 00:40 |
Now I want to take a look at how we can do
that using the Lens Corrections Panel.
| | 00:44 |
Let's begin in the Basic tab.
You will click on the option to enable our
| | 00:48 |
profile corrections.
And you know, in most situations we'll
| | 00:51 |
next go to the upright controls and we'll
click on the Auto button.
| | 00:55 |
And the Auto button will save the day.
Yet with this photograph, Auto doesn't
| | 00:58 |
really do anything at all.
It's almost like Lightroom is confused by
| | 01:01 |
all of these different lines.
When you need to make really dramatic
| | 01:05 |
corrections, I find that the Full button
works much better.
| | 01:08 |
Here when we click on Full you can see how
the lines in the image now look a lot better.
| | 01:13 |
In this case I've left this option
constrain crop turned off.
| | 01:16 |
I'll crop this image out a little bit
later.
| | 01:18 |
But I also want to highlight that when you
do have areas like this above and below,
| | 01:23 |
you can always fill in those areas in
Photoshop after the fact as well.
| | 01:28 |
So you don't always have to turn on
Constrain Crop.
| | 01:30 |
Well after having made the first
correction here, let's go ahead and crop
| | 01:33 |
this image.
So here we'll click on the Crop icon and
| | 01:36 |
then I'm going to go ahead and click and
drag this in in order to create a closer
| | 01:41 |
crop here around the edges of the
photograph.
| | 01:43 |
I want to make sure I mostly have the
critique rack so that we can really focus
| | 01:47 |
in on that.
If we have any little gaps showing there
| | 01:49 |
in the background again we could always
fill those in and Photoshop later.
| | 01:53 |
Next, we can double-click inside this area
to apply the crop to the photograph.
| | 01:57 |
Well, already the image is looking a ton
better.
| | 02:00 |
Next let's go to the Manual tab.
In the Manual tab we can make any further
| | 02:04 |
adjustments if we need to.
What I like to do is to work with the Grid
| | 02:08 |
option, and to have the option turned to
Auto.
| | 02:10 |
You can find the Grid by clicking on this
icon in the toolbar, and then just choose
| | 02:15 |
Grid Overlay.
Also, if the toolbar isn't visible there,
| | 02:18 |
tap the T key, that allows you to show and
hide that.
| | 02:21 |
Well, when you turn the Show Grid to Auto,
when you click over any of these controls
| | 02:25 |
it shows you the grid.
And that will help you to see if you need
| | 02:28 |
to make any further corrections.
Sometimes what you may need to do is just
| | 02:32 |
to slightly tweak a few of these controls
in order to dial this in so you have just
| | 02:36 |
the right perspective correction.
Especially when you have a really
| | 02:39 |
difficult situation.
In this case though, as I look at the
| | 02:42 |
grid, most of these lines are lined up
pretty well here, so I don't think I
| | 02:46 |
really need to do much of anything here in
the Manual tab.
| | 02:49 |
Well let's look at the before and after.
If we tap the Backslash key, there you can
| | 02:54 |
see is the original image.
And then we'll tap the Backslash key
| | 02:56 |
again, and now we can see after.
After we have applied some upright
| | 03:01 |
corrections in this particular case, using
the Full button which really helped us to
| | 03:06 |
improve this photograph.
| | 03:07 |
| | Collapse this transcript |
| Correcting fish-eye distortion| 00:00 |
Let's take a look at another difficult
situation and how we can correct
| | 00:04 |
perspective, in a photograph like this.
This is a photograph of one of my
| | 00:07 |
neighbor's homes, who really likes to
decorate for the holidays.
| | 00:10 |
And I captured this image with a fisheye
lens, and let's say the client has
| | 00:14 |
requested that we remove all of the
distortion.
| | 00:17 |
We can do that pretty well, using the Lens
Corrections panel.
| | 00:20 |
It all begins in the Basic tab.
Here we want to click on the option to,
| | 00:24 |
enable the profile corrections.
In this case you can see how the profile
| | 00:28 |
here really helps us out.
This gives us a jump start into how we can
| | 00:31 |
correct this image.
If you click on the Profile tab, here you
| | 00:35 |
can see it's determining the camera make
and also the model of that fisheye lens
| | 00:39 |
that was used.
And then the particular camera that was
| | 00:41 |
used to capture that image.
Now, next lets go back to the Basic tab.
| | 00:45 |
What I want to do after having enabled the
profile corrections, is I want to use the
| | 00:50 |
Full button.
Remember how the Full button often works
| | 00:52 |
best when you have really difficult
situations as we have here.
| | 00:56 |
Well now we have a much better perspective
after having changed that, we'll go to the
| | 01:01 |
Manual tab.
In the Manual tab what I like to do is to
| | 01:03 |
turn on the options for showing the grid,
here I'm using the option of Auto, so that
| | 01:08 |
as I position my cursor over any of these
controls, I can see this grid on top of
| | 01:12 |
the image.
This will help me to determine how my
| | 01:15 |
lines are doing and here what we may need
to do, is to modify a few of these
| | 01:19 |
controls, just to get those lines to look
a little bit better.
| | 01:22 |
I'm going to go ahead and drag my vertical
control to the right, I think that will
| | 01:25 |
help out a little bit.
Then in regards to the distortion, we can
| | 01:28 |
either add or remove a bit of the
distortion.
| | 01:31 |
We can also rotate the image just slightly
here, and again these are just small
| | 01:35 |
incremental changes.
But sometimes when you have a difficult
| | 01:38 |
image, it's about making those small
changes, which will lead up really to the
| | 01:42 |
best results.
Now, this is pretty exaggerated here, as
| | 01:45 |
you can see we started off with a fisheye
photograph, and we are able to remove a
| | 01:50 |
lot of that fisheye distortion.
And then create a different version of
| | 01:53 |
this photograph.
And what are the reasons why I wanted to
| | 01:56 |
show this particular movie here, is just
to illustrate that you can work with lens
| | 02:00 |
corrections in so many different ways.
Now, often if you're capturing an image
| | 02:04 |
with a fisheye lens, you actually want the
distortion.
| | 02:07 |
So, you won't necessarily want to remove
it in post production like we've done here.
| | 02:12 |
Yet still, I think this highlights how far
we can actually go with these various controls.
| | 02:17 |
And keep in mind that sometimes you'll go
really far, and you'll make dramatic
| | 02:21 |
improvements like this.
In other situations, you may just have a
| | 02:24 |
touch of distortion that you want to get
rid of, well you could also remove that as well.
| | 02:28 |
And knowing how to work in subtle or in
really dramatic ways, will help you to
| | 02:32 |
better understand how you can use all of
the controls that we have here in the Lens
| | 02:37 |
Corrections panel.
| | 02:38 |
| | Collapse this transcript |
| Making subtle perspective corrections| 00:00 |
I want to take a look at two different
photographs, and I'll explore how we use
| | 00:04 |
the lens correction controls in order to
make some subtle and sometimes some
| | 00:07 |
creative adjustments to our photographs.
We'll begin by working with this portrait
| | 00:11 |
here of this bride and groom.
And often what we'll do is begin in the
| | 00:16 |
Basic panel and click on the option to
enable the profile correction.
| | 00:19 |
And when I click on that option with this
photograph, I don't think it necessarily
| | 00:24 |
looks better.
Here's the before and then here's the after.
| | 00:27 |
I actually liked the perspective before
the profile corrections was actually applied.
| | 00:32 |
So, while in most situations you'll choose
that option, it doesn't necessarily mean
| | 00:36 |
that you'll choose this option in all
situations.
| | 00:39 |
Also in this particular case, there's no
real need to work with our upright
| | 00:43 |
controls, so go ahead and skip those and
navigate straight to the Manual tab.
| | 00:47 |
Underneath the Manual tab, there are a few
sliders that can help out especially when
| | 00:51 |
you have pictures of people.
One of my students likes to call the
| | 00:55 |
Aspects slider the slider, which is, the
one, which you can use in order to be nice
| | 00:59 |
or to be mean.
We're going to turn off my grid for a moment.
| | 01:02 |
I'll choose Never.
And the reason why he says that is, you
| | 01:05 |
can click and drag this to the left to
make the image, sort of, shorter and wider.
| | 01:09 |
Or you can click and drag it to the right
to make the photograph taller and skinnier.
| | 01:13 |
And in certain people photographs, what
you may want to do is just click and drag
| | 01:17 |
it to the right just a touch.
Now, I'm not talking about over doing it
| | 01:20 |
and making this look strange, but you can
use this in order to, sort of, create an
| | 01:24 |
image, which is a little bit taller and
thinner.
| | 01:27 |
And you know, we can also use lenses to do
the same thing as well.
| | 01:31 |
Certain lenses create a look, which is
taller and thinner, and others like wider
| | 01:35 |
angle lenses can make people appear
differently.
| | 01:37 |
So again, what we're looking to do here is
just to use these controls to subtly
| | 01:41 |
change the way the image appears.
We can also use our Vertical and our
| | 01:45 |
Horizontal sliders creatively as well.
Notice how I can change which part of the
| | 01:50 |
photograph we're bringing out.
And in this case, I'm exaggerating it a
| | 01:53 |
little bit, so you can see how we can
change the intensity of the different areas.
| | 01:56 |
But if I drag this to the left a little
bit, it creates a little bit more of a
| | 02:00 |
forward lean so that their heads are
becoming just a touch bigger.
| | 02:04 |
And in this case I kind of like the way
that that looks.
| | 02:07 |
We can also change the lean left to right.
And here I'm just going to drag to the
| | 02:10 |
left just a little bit.
Again, these are all subtle adjustments.
| | 02:14 |
But sometimes it's fun to apply or to work
with these adjustments to change your photographs.
| | 02:19 |
Next, we have the Rotate slider.
This one is a ton of fun.
| | 02:23 |
There isn't necessarily a correct rotation
for a photograph but what we can do is we
| | 02:27 |
can experiment with this slider.
We can just take a look at how our image
| | 02:31 |
might appear if we changed the overall
rotation of the photograph.
| | 02:34 |
I'm going to go ahead and click and drag
this one to the left a little bit.
| | 02:38 |
And then click on the option to constrain
the crop, so that will then crop away any
| | 02:42 |
of those areas where there aren't pixels
in the photograph.
| | 02:46 |
Now, again, these are all subtle changes,
but let's take a look.
| | 02:49 |
I'll tap the backslash key.
Here is the before.
| | 02:51 |
And then I'll tap again.
And then here is the after.
| | 02:53 |
If I remove the rotation for a moment too,
you'll be able to see the difference
| | 02:57 |
perhaps here.
Again, here's the before and after.
| | 03:00 |
And let me click on the Fill button, so we
can zoom in on this beautiful bride and
| | 03:04 |
groom here.
And again you can see the before, here's
| | 03:07 |
the original image.
And now here's the after.
| | 03:09 |
It's a subtle difference, but nonetheless,
sometimes it's the subtle things that make
| | 03:13 |
all the difference in the world.
Here let's click on another photograph.
| | 03:16 |
And in this case, with this picture, again
we can work with these similar controls.
| | 03:21 |
I'll leave the zoom rate at this Fill
option, so that we can focus in on the
| | 03:25 |
face here.
I'm going to begin by working with the
| | 03:28 |
manual controls.
And in the manual controls we can work
| | 03:31 |
with distortion.
Let me exaggerate for a moment.
| | 03:33 |
We can remove distortion.
Makes the face look a little bit different.
| | 03:37 |
Or we can increase the distortion.
Sometimes what this can do is it can
| | 03:41 |
change the look of the image, but also the
overall feeling.
| | 03:44 |
Notice how when I add a little bit of
distortion it feels like the subject if
| | 03:47 |
kind of closer to us.
As we get closer to object, they naturally
| | 03:52 |
sort of take on some of this distortion.
As they're further away well, they look a
| | 03:56 |
little bit more like we can see here.
So again, it isn't necessarily that
| | 04:00 |
there's a right or a wrong but rather it's
about what kind of look you want to create
| | 04:04 |
with your photograph.
Now, as we start to make these changes,
| | 04:07 |
we'll want to be cognizant that what we
might be doing is changing the shape of
| | 04:11 |
the image.
So, we may need to turn on constrain crop
| | 04:14 |
in order to achieve that particular look.
Now, next we have some sliders, which
| | 04:17 |
we've talked about before.
We have our Vertical slider.
| | 04:20 |
This'll make the forehead bigger or if we
want to make the jaw or the chin bigger,
| | 04:24 |
we can drag it this way.
This is nice when you have a portrait, you
| | 04:27 |
want to make it feel a little bit more
masculine.
| | 04:30 |
Just drag it a little bit to the right
there.
| | 04:31 |
And again, it isn't a right or wrong, but
it's just a way to customize the photograph.
| | 04:35 |
The Horizontal slider can change our
overall lean.
| | 04:38 |
So, here might help just to drag this a
little bit to the left.
| | 04:42 |
And if you want to get really subtle with
this, position your cursor over the number.
| | 04:46 |
This allows you to make changes at one
point at a time.
| | 04:50 |
And often when you're making subtle
adjustments, you may want to do that.
| | 04:53 |
Rotation, obviously that's a ton of fun
here.
| | 04:55 |
We can really rotate and change the
overall look and feel of the photograph,
| | 04:59 |
so I'll just apply a subtle change there
to give a little bit of a different look.
| | 05:03 |
And then the Scale slider can be fun as
well.
| | 05:05 |
Here, we can crop the image in a sense by
working with scale, and essentially what
| | 05:09 |
we're doing is we're just cropping in the
photograph.
| | 05:11 |
It can just be a fun way to change the
look of the picture.
| | 05:15 |
Then with the Aspect slider, which we've
already talked about, click and drag that
| | 05:18 |
to the left or to the right to change
those characteristics of the photograph.
| | 05:22 |
Alright, well let's look at our before and
after.
| | 05:25 |
I'll tap the backslash key.
Here's the original.
| | 05:27 |
And then I'll tap it again, and then here
you can see the after.
| | 05:30 |
So again, I wanted to include this movie
just to encourage you to think about how
| | 05:35 |
you can use these controls in sometimes
dramatic ways as we've seen with some of
| | 05:38 |
the previous movies.
And in other situations just to make some
| | 05:42 |
subtle adjustments or improvements to your
photographs.
| | 05:45 |
| | Collapse this transcript |
| Removing color fringing or chromatic aberration| 00:00 |
In this movie I'm going to take a look at
how we can use the Lens Corrections panel
| | 00:04 |
in order to deal with color fringing, or
as its more technically called chromatic aberration.
| | 00:09 |
You know, chromatic aberration often
happens when you're shooting with a
| | 00:12 |
shallow depth of field or if you have a
wider angle lens.
| | 00:15 |
Happens in other situations as well.
Let me show you what it is.
| | 00:18 |
Here with this photograph, what we can do
is zoom in on the picture.
| | 00:21 |
To do so, I'll click on the one to one
option.
| | 00:24 |
This will give me this 100% view, and if
we click and pan around the photograph,
| | 00:28 |
what we'll see is we have some strange
color fringing.
| | 00:30 |
For example, in this area of the hair.
We'll see this show up in another areas,
| | 00:34 |
you can see that green color around the
edge of the jacket or around the hair.
| | 00:38 |
What you wannna do is just look at your
photograph up close as we're doing here.
| | 00:41 |
And as I look up close, I notice a few
areas where we have this strange color fringe.
| | 00:46 |
In this case, some green color there, a
little bit of red in the hat area as well.
| | 00:50 |
Well, we can begin to remove that problem
by working with the Basic tab.
| | 00:54 |
Here, in the Basic tab, what I like to do
with most of my images is turn on Enable
| | 00:58 |
Profile Corrections.
You don't have to do that for dealing with
| | 01:01 |
color fringing, but while I'm here I'm
going to just to correct a little bit of
| | 01:05 |
the distortion, and also to correct some
other tunnel issues as well.
| | 01:09 |
Next, we'll click on the option to remove
the chromatic abberation.
| | 01:12 |
Then you want to navigate to the Color
tab.
| | 01:15 |
Here, in the Color tab, this is where
we're really going to specify what color
| | 01:19 |
we're going to try to get rid of.
You'll notice that we have two different
| | 01:22 |
target colors.
We can work with the color range here and
| | 01:26 |
then remove the fringe, like increasing
the amount value.
| | 01:29 |
And then there's another color range here.
These two sliders show us the color that
| | 01:34 |
we're targeting.
The one above shows us the amount of
| | 01:37 |
removing that particular color.
The way that you can target a specific
| | 01:41 |
color is by working with this tool here.
Simply position the eye dropper over the
| | 01:45 |
color and then click.
What that will do is, it will attempt to
| | 01:49 |
remove that.
Notice how it increased the Amount slider here.
| | 01:52 |
If you didn't quite get it all, well, you
can always click again, in another area,
| | 01:56 |
and you can see how we remove that green
area from this part of our photograph.
| | 02:00 |
Here, if we click on this flip switch, you
can see that's the before.
| | 02:03 |
There's that green color fringe.
Click again, and then you can see the after.
| | 02:08 |
Now, you can also simply try to remove
color fringing.
| | 02:11 |
For example, by working with the slider
here.
| | 02:13 |
We can just click and drag this up.
And try to remove a little bit of the
| | 02:16 |
other color that we have.
If we want to increase the reach of the
| | 02:19 |
color, we can use these sliders.
Watch what will happen as I drag the
| | 02:23 |
slider to the right and as I increase my
overall amount.
| | 02:26 |
One of the things that happen is I reached
into the edge here on the face, if I zoom
| | 02:31 |
up so by clicking may be on a one to two
perspective or something perhaps even more.
| | 02:36 |
Now, I think that will show us pretty well
you can see how I created a problem it did
| | 02:41 |
remove the color fringing.
But to also remove all this other color,
| | 02:44 |
so I now have this strange look, where I
have all of these gray scale or black and
| | 02:48 |
white areas of the photograph.
Well, that's because my amount is so high
| | 02:52 |
and also this color here, is reaching into
that area.
| | 02:56 |
As I decrease that, notice how it deals
with the red color but it doesn't go into
| | 03:00 |
the skin tone, which is a little bit more
of a yellow and an orange.
| | 03:04 |
So, you can always customize these
sliders, the amount and also the color
| | 03:08 |
range sliders in order to remove the issue
as well.
| | 03:11 |
Now, as you work with your photograph, you
want to click and drag around in order to
| | 03:15 |
view the different areas of the image.
You want to make sure that it has done a
| | 03:18 |
good job at dealing with all the color
fringing.
| | 03:20 |
You'll also never be able to remove it
100%, and all together, often what you're
| | 03:26 |
doing here is reducing it.
So, that it isn't as distracting or as prominent.
| | 03:31 |
That being said though, you do want to
experiment with your sliders, just be
| | 03:34 |
careful though if you go too far or if you
increase your range too much, this can
| | 03:39 |
affect other colors in a negative way.
So, you do need to be a little bit careful
| | 03:44 |
as you start to work on these corrections.
Well, now that we've made the corrections
| | 03:48 |
with this particular photograph here,
again let's look at the before and after
| | 03:52 |
by clicking our Flip Switch.
There's the before.
| | 03:54 |
We can see some green and red there in the
hat and the background.
| | 03:58 |
And then we'll click on that switch again,
and we can now see the after.
| | 04:01 |
| | Collapse this transcript |
| Quick and easy color fringing removal| 00:00 |
Sometimes removing color fringing or
chromatic aberration, is complicated and difficult.
| | 00:05 |
In other situations, it's really easy and
straightforward.
| | 00:09 |
So here, let's take a look at another
example.
| | 00:11 |
This is a photograph that I captured of a
tree, which is located in the backyard of
| | 00:15 |
the home where I grew up.
I used to climb that tree all the time.
| | 00:19 |
Well, with wider angle shots like this,
what can happen is, if you zoom in on
| | 00:23 |
small details.
And here, I'm going to go ahead and click
| | 00:25 |
on this area of the photograph.
And if we zoom in close, one of the things
| | 00:28 |
that we'll discover is that often we'll
find some chromatic aberration or color
| | 00:33 |
fringing that appears on the outer edges
of the frame.
| | 00:36 |
If we zoom in even closer by going to the
Navigator Zoom options for example, let's
| | 00:41 |
choose a 4:1 zoom, what this will show us
is that we have some fringing which has a
| | 00:45 |
little bit of a cyan color to it and also
some red, purple or magenta color to it as well.
| | 00:51 |
Well to correct this here I'll go and
click on the option to Remove the
| | 00:54 |
Chromatic Aberration here in the Basic
panel, then next we'll go to the Color tab.
| | 00:59 |
Now when I click on the option for
Removing the Chromatic Aberration, it does
| | 01:03 |
a pretty decent job.
All that I need to do next is to crank up
| | 01:07 |
my amount that will allow me to remove a
little bit of that red color that we have there.
| | 01:11 |
In regards to the cyan, here if we just
increase the amount just a little bit,
| | 01:16 |
we'll really that's all that we need to
do.
| | 01:17 |
I know that I've zoomed in really close
here and I wanted to do this so that you
| | 01:21 |
could actually see the difference.
If I click on this flip switch, here you
| | 01:25 |
can see the before, do you see all the
colors, all the color fringing around all
| | 01:29 |
of these branches and now I'll click again
and you can see the after.
| | 01:33 |
So again sometimes you'll have to use the
Eyedropper tool.
| | 01:36 |
In other situations just turn on this
option and then maybe increase your
| | 01:39 |
amounts a little bit, and if it looks
good, well that's all you'll need to do in
| | 01:43 |
order to improve the photograph.
After you've made these changes up close,
| | 01:47 |
keep in mind you won't need to zoom in to
a 4:1 perspective, often it's just a 1:1
| | 01:52 |
perspective, but, I wanted to zoom in
closer so that I could show you all of
| | 01:55 |
those details.
After you've done that, what you'll
| | 01:57 |
want to do is to go back to your fit in
view and just make sure that the image
| | 02:01 |
looks good.
And you may want to click to zoom in on
| | 02:03 |
other areas, or just pan around to make
sure that the other branches look good.
| | 02:07 |
Here, I'll go ahead and inspect the
photograph and I'll look at a few
| | 02:11 |
different areas.
And I think the picture looks great, and
| | 02:15 |
that wraps up our workflow on this
photograph.
| | 02:17 |
| | Collapse this transcript |
|
|
13. Adding Vignette and Grain EffectsCreating a unique look with the Grain controls| 00:00 |
Let's take a look at how we can use the
effects panel in order to add a film grain
| | 00:04 |
effect to our photographs.
In order to begin to understand how we can
| | 00:07 |
use the various sliders which we have here
in the Effects panel, I'm going to begin
| | 00:11 |
by working with a demo file.
So let's select the demo file and then
| | 00:16 |
next I'm going to zoom in on it to a one
to one perspective.
| | 00:19 |
I'm using this demo file which is just a
shade of gray so that we can kind of
| | 00:23 |
understand how these sliders work and not
be distracted by working on a photograph.
| | 00:28 |
Well as I increase my overall amount, you
can see that we can increase or decrease
| | 00:32 |
the overall effect.
Next we have the size slider.
| | 00:35 |
As you decrease the Size slider you'll
notice that the grain takes an appearance
| | 00:39 |
which has more contrast.
The whites and whiter and the blacks are blacker.
| | 00:43 |
As we increase the size, the grain becomes
bigger.
| | 00:46 |
And also, in a certain way, it becomes
more subtle.
| | 00:49 |
Now, the size of the grain will really
depend upon the photographic.
| | 00:52 |
How much you actually want to notice a
grain.
| | 00:54 |
You can also change the characteristics of
the grain by working with roughness.
| | 00:59 |
As you decrease roughness, well, the grain
will look more uniform.
| | 01:02 |
As you increase it, there's a little bit
more variety in the way that the grain appears.
| | 01:07 |
Let's now apply what we've learned here to
a photograph.
| | 01:10 |
Here I'll click back to my Fit and View
and click on a portrait that I capture.
| | 01:15 |
This is a bridal portrait that I captured
in one of my other training courses.
| | 01:18 |
The course was on bridal portraiture.
And in this case, I like the nice elegant
| | 01:23 |
look of this picture, I like the overall
light.
| | 01:26 |
What I want to do is to make this image
look a little bit more like it was
| | 01:29 |
captured with film.
I want to change this (UNKNOWN) here.
| | 01:32 |
So what we can do is go ahead and click to
zoom in, say to a fill perspective, so
| | 01:36 |
that we can get a little bit closer to the
image.
| | 01:39 |
And then start to add a bit of film grain.
Keep in mind, though that in order to
| | 01:43 |
evaluate the film grain, sometimes what
you need to do is zoom in even further.
| | 01:47 |
It really depends upon how you're going to
display or print the photograph as well.
| | 01:52 |
So let's begin with this perspective here.
I'll go ahead and increase my amount.
| | 01:55 |
I want to keep the amount relatively low.
If we go too high, it will be overpowering.
| | 02:01 |
So here I'm going to keep the grain amount
low.
| | 02:03 |
Because there are skin tones in the
photograph, rather than having a large
| | 02:07 |
grain size, what I'm going to do again is
keep the this really small.
| | 02:10 |
This will give it a nice, even look.
Sometimes this can also help to even out
| | 02:14 |
the tones that you have in your
photographs as well.
| | 02:17 |
And keep in mind too, this works great
with color or black and white photographs.
| | 02:21 |
Now for the roughness, here we can go
ahead and decrease the roughness.
| | 02:24 |
And often you would think that that would
look better, yet what I find is it's just
| | 02:28 |
too consistent.
It's too noticeable.
| | 02:31 |
As you increase the roughness, it almost
helps to make the grain blend in a little bit.
| | 02:36 |
So here in my own workflow, I tend to have
a little bit of a higher roughness versus
| | 02:40 |
a lower roughness.
Again, this depends on each particular photograph.
| | 02:44 |
So I'm going to go ahead and scale these
values back.
| | 02:47 |
And then after I've done that, what you
also may want to do is zoom into a 1 to 1 perspective.
| | 02:52 |
Here we'll click on the 1 to 1 option in
the navigator panel.
| | 02:55 |
Well now when we get this close, we
realize that you know what, the grain is
| | 02:58 |
actually too intense.
Let me show you what I mean.
| | 03:01 |
Well, here I'll click on this flip switch.
There's the before, yet the digital image
| | 03:05 |
here looks a little bit too perfect.
When we add a little bit of grain, it does
| | 03:10 |
add some nice feeling to this but it's a
bit too strong.
| | 03:13 |
Well, the strength of the effect though
really depends upon how you're going to
| | 03:16 |
print the image or display it.
In other words, let's say that I was
| | 03:20 |
going to print this image on my favorite
paper which is Epson Velvet Fine Art.
| | 03:24 |
Well, this amount would be perfect.
That's because that paper is really soft
| | 03:29 |
and the ink actually absorbs into the
paper and there's a bit higher dot gain.
| | 03:33 |
In other words, it just creates a little
bit of a softer look.
| | 03:35 |
Yet, if I was going to print this on a
different paper, what I might want to do
| | 03:38 |
is just reduce my amounts here and also
the size a little bit.
| | 03:41 |
In order to disguise or to hide that
grain.
| | 03:44 |
I should also point out that as you add
film grain, you may want to go back to
| | 03:48 |
some of your other controls which we've
talked about.
| | 03:51 |
The Basic panel or some of your color
controls, and further customize the look
| | 03:55 |
or the color in order to achieve a
particular aesthetic.
| | 03:58 |
Well, either way you can always do that
but here I want to highlight how we can
| | 04:02 |
work with these sliders.
And I'm hoping that this demonstration has
| | 04:05 |
helped you to understand how you can use
these sliders or controls in order to add
| | 04:10 |
a grain effect to your photograph.
Here let's click on the flip switch so
| | 04:13 |
that we can see.
Here is the before and then I'll click
| | 04:16 |
again so that we can now see the after.
| | 04:18 |
| | Collapse this transcript |
| Adding or removing lens vignetting| 00:00 |
In the next few movies, we'll talk about
how we can add a vignetting effect to the
| | 00:04 |
outer edge of our photographs.
And, here in this movie, we'll begin by
| | 00:07 |
working at lens corrections, just so we
can compare the results, and the
| | 00:11 |
differences between working with Lens
Correction, and also the Effects panel.
| | 00:15 |
So go ahead, and open up the Lens
Corrections panel, then click on Manual tab.
| | 00:20 |
At the base of the Manual tab we have some
lens vignetting controls.
| | 00:23 |
The Amount slider allows us to either
darken the outer edges of the frame as you
| | 00:28 |
can see here or brighten those edges.
We can use this in order to correct if
| | 00:32 |
those edges are too dark, we can brighten
those up.
| | 00:34 |
Or if we prefer to add a little bit of a
stylistic look here, we can darken those
| | 00:38 |
by dragging the Amount slider to the left.
The Midpoint slider is kind of interesting.
| | 00:42 |
As we drag this to the left, you'll notice
that this reaches further into the frame.
| | 00:46 |
Drag this to the right and then it
maintains or it keeps this vignetting
| | 00:50 |
effect just to the outer edges of the
photograph.
| | 00:53 |
So, here we can customize the overall
vignette to reset these values we will
| | 00:57 |
just double click this side it will take
it back to the default settings.
| | 01:00 |
One thing to point out here is that these
controls allow us to make moderate
| | 01:04 |
adjustments to the vignette that we can
create here in the photograph.
| | 01:07 |
If you want even more control we can
navigate to the Effects panel, here in the
| | 01:12 |
Effects panel, we have a number of
different controls.
| | 01:14 |
These are called post crop vignetting.
Now we can use these whether or not we've
| | 01:18 |
cropped a photograph.
So let's begin by taking a look at a
| | 01:21 |
photograph which hasn't been cropped, this
one here.
| | 01:24 |
And let's look at how we can use these
various sliders and controls.
| | 01:28 |
First we have the Amount slider, again
this allows us to darken or to brighten
| | 01:32 |
the image.
And in this case you see how it can make a
| | 01:35 |
much more dramatic change to that area of
the photograph.
| | 01:38 |
Again we have a Midpoint slider, this
allows us to change the reach of how far
| | 01:43 |
this is reaching into the photograph.
But then we have a few other sliders which
| | 01:47 |
are kind of interesting.
The Roundness slider allows to change the
| | 01:50 |
overall shape of this effect, and here we
can customize this so it's a little more
| | 01:54 |
like a circle or a bit more like a
rectangle.
| | 01:56 |
To see this even more clearly, go ahead
and decrease the feather amount so that
| | 02:00 |
you have a nice hard edge here.
And as you change the roundness value you
| | 02:04 |
can see how you can customize this shape.
The Feather slider allows us to add more
| | 02:08 |
of a transition, or create a softer edge,
so here we can increase that as well.
| | 02:14 |
Now, we have a few different styles we can
use when working with vignetting.
| | 02:17 |
Keep in mind I know that this is
exaggerated, I'm doing that in order to
| | 02:20 |
demonstrate something here.
So we'll get to making this look good.
| | 02:24 |
For now I just want to talk about how the
sliders actually work.
| | 02:27 |
Well we have the option when we're working
with highlight priority to change the
| | 02:30 |
highlights value.
Notice how I can bring back more of those
| | 02:33 |
highlights which is the sunshine above and
also a little bit of the pier here below.
| | 02:38 |
And this works whether or not we have that
high of an intense effect.
| | 02:42 |
>> Here you can see how I can bring back
more of the sunshine.
| | 02:44 |
Next, let me darken that back up and then
decrease the highlights, and then talk
| | 02:48 |
about a few of the other options.
One option is color priority, what that
| | 02:52 |
will seek to do is to try to maintain the
color that we have here so that the color
| | 02:56 |
doesn't shift as dramatically.
What I've noticed is that very rarely is
| | 03:01 |
there a difference between Highlight and
Color Priority.
| | 03:03 |
These are very similar, but if you do
notice a slight color shift, we'll try
| | 03:07 |
that option, sometimes it works better.
Then we have an option which is called
| | 03:10 |
Paint Overlay.
Paint Overlay disables the highlights feature.
| | 03:14 |
And what this does is it just performs a
uniform effect regardless of the tone
| | 03:20 |
underneath it.
So it's almost like you're in Photoshop
| | 03:22 |
and you just painted a darker or brighter
area in this part of the photograph.
| | 03:27 |
In this case, it obviously doesn't look
very good with the sunshine, because we
| | 03:30 |
have a highlight in that area.
We'd want to choose Highlight Priority,
| | 03:33 |
and then we'd want to bring back more of
that highlight.
| | 03:36 |
So that it looks a little bit more natural
so that the vignette changes when it
| | 03:41 |
touches or when it hits a highlight.
Well obviously this doesn't look very
| | 03:45 |
good, to reset all of the sliders, hold
down Option on a Mac, Alt on Windows, that
| | 03:50 |
will change this control here to a Reset
button.
| | 03:53 |
And go ahead and click on that to reset
those values to their default settings.
| | 03:56 |
Well next let's go ahead and add a little
bit of an effect.
| | 03:59 |
Here I'm going to darken those edges as
far as the midpoint.
| | 04:02 |
I want that to reach in a little bit
further.
| | 04:04 |
Next we can change the overall shape of
this, here what I want to do is have a
| | 04:08 |
nice sort of round shape, maybe a little
bit of an oval there.
| | 04:11 |
In regards to the feathering, typically
unless you want to create an edge or
| | 04:15 |
border you want to have a relatively high
feather amount.
| | 04:17 |
This will almost disguise this vignetting
effect so you aren't actually even really
| | 04:22 |
noticing it or paying attention it as much
or at least the viewer won't be.
| | 04:25 |
They'll be more focused on the overall
photograph.
| | 04:28 |
Here we can then dial this back until we
find just the right spot for it, maybe
| | 04:32 |
right around there.
And then we'll click on the flip switch,
| | 04:34 |
there you can see the before and then now
you can see the after.
| | 04:38 |
Also keep in mind that when you're working
with an effect like this, it is really subjective.
| | 04:42 |
I know certain photographers who
absolutely hate vignettes, they can't
| | 04:46 |
stand them.
And I know other photographers, who's
| | 04:49 |
style really revolves around always having
dark edges around the outer edge of their frames.
| | 04:55 |
So again, this is really stylistic and
also you can have some fun changing the
| | 04:58 |
brightness value of those.
So as you start to work with vignetting,
| | 05:02 |
keep in mind this is just another
interesting way that you can process or
| | 05:06 |
modify your photographs.
| | 05:08 |
| | Collapse this transcript |
| Applying a vignette to a cropped photograph| 00:00 |
So, far we've seen that when we're adding
a vignette effect to our photographs, we
| | 00:04 |
have more flexibility and control when
working with the Effects panel as compared
| | 00:09 |
to working with Lens Corrections.
And you know, another advantage to working
| | 00:12 |
with the Effects panel is that we can crop
our images and the vignette effect will
| | 00:17 |
follow the way that we crop the
photograph.
| | 00:19 |
Let me show you what I mean.
Here go ahead and tap the R key or click
| | 00:22 |
on the Crop Tool icon.
Then we'll go ahead and click and drag
| | 00:25 |
this down in order to crop the photograph.
Now, with this particular crop, if we were
| | 00:29 |
to navigate to the Lens Corrections panel,
and just scroll down to our vignetting controls.
| | 00:34 |
Here, we can darken up those corners or
add a vignette effect, yet you'll notice
| | 00:38 |
that we'll only see it in this portion of
the image.
| | 00:41 |
That's because it's vignetting the
original photograph before it was cropped.
| | 00:45 |
So, the vingette effect isn't actually
happening to the top of the picture once
| | 00:49 |
you crop it.
In order to be able to do that, we need to
| | 00:52 |
work with the other panel, which is called
Effects.
| | 00:55 |
Effects allows us to apply vingette which
will appear inside of the cropped area.
| | 00:59 |
So, let's double click the image in order
to apply the crop.
| | 01:03 |
Next, to work with our vignetting here, I
can go ahead click and drag this down and
| | 01:07 |
just to illustrate.
You can see how we have this vignette
| | 01:09 |
effect, which is affecting the crop area.
If I select the Crop tool and if I re-crop
| | 01:14 |
the photograph to right here and then
double click to apply.
| | 01:16 |
Well, the vignette again, it still follows
this particular area.
| | 01:20 |
So, in this way, we have a little bit more
flexibility especially when we've cropped
| | 01:24 |
our photographs.
Again, we have other controls as well,
| | 01:27 |
which we've talked about.
I'll go ahead and darken those edges.
| | 01:29 |
Often what you'll want to do, is you'll
want to exaggerate your amount.
| | 01:33 |
For example, sometimes it's helpful to
remove the feather so that you can
| | 01:36 |
actually identify the shape that you're
applying here.
| | 01:39 |
If this shape isn't very interesting to
you, you can go ahead and change that.
| | 01:43 |
We can customize this shape or change the
midpoint so that we can then have an area
| | 01:47 |
that we're darkening in this way.
After you've dialed those settings in,
| | 01:51 |
what I like to do is then to bring up the
feather amount.
| | 01:54 |
That way we can start to see how this will
appear in the photograph.
| | 01:57 |
I also like to bring up the amount too, so
it isn't quite so dramatic or strong.
| | 02:01 |
And in this way, really what I'm trying to
do is just add a subtle darkening effect
| | 02:06 |
to these outside edges.
If I want to brighten up the highlights we
| | 02:09 |
can do so.
What this will do is it will limit the
| | 02:11 |
effect in the brighter areas of the
photograph, like up here.
| | 02:14 |
Or we can darken this down too, if we
prefer to have a bit of a darker look.
| | 02:18 |
And then again if ever we change our mind
and decide to change the crop, well, this
| | 02:22 |
will then follow with the way that we do
that.
| | 02:25 |
Here I'll click on the Crop tool icon and
I'll go ahead and extend this crop out
| | 02:28 |
here and then reposition it.
And I'm going to do this just so we have a
| | 02:31 |
little bit more space around the subject
and then double click to apply that.
| | 02:34 |
And again you can see that we have that
vignette effect applied here to the picture.
| | 02:38 |
Often what you'll do is you'll experiment
a little bit with your vignette.
| | 02:41 |
What I discovered is that as I started to
work with this tool, I would almost always
| | 02:46 |
overdo it.
And then eventually I encountered that if
| | 02:48 |
you just apply this subtly sometimes what
it can do is help to keep the viewers eye
| | 02:53 |
in the frame, like with the amount that we
have here.
| | 02:55 |
Here, I'll go ahead and click on the Flip
Switch.
| | 02:57 |
There is the before and then click again
and you can see the after.
| | 03:00 |
And again, more important than the before
and after, is this whole idea that if
| | 03:04 |
you're cropping your photographs and you
want to add a vignette effect or if you
| | 03:08 |
want to either darken or brighten the
edges of the frame.
| | 03:11 |
You'll want to work with the effects panel
because this will then allow you to apply
| | 03:15 |
this effect in a way that it's showing up
inside of the crop area.
| | 03:19 |
| | Collapse this transcript |
| Creating a border effect| 00:00 |
Another way that you can use the Post-Crop
Vignetting controls in the Effects panel,
| | 00:04 |
is to add a border or an edge around your
photographs.
| | 00:07 |
Let's take a look at how we can do this
with two different pictures, we'll begin
| | 00:11 |
with this photograph here.
This image is a composite of a couple of
| | 00:15 |
photographs, in order to make look like
the boat here is floating.
| | 00:18 |
What I want to do, is I want to add a
white edge around the outer edge of this
| | 00:23 |
particular image.
To do so, I'll begin by cranking the
| | 00:26 |
amount slider to the right.
That will then brighten the outer edges here.
| | 00:29 |
Next I want to customize the shape and in
order to do that, we will begin by
| | 00:34 |
lowering the overall feather amount.
Now, as you lower the feather amount, you
| | 00:37 |
start to see a distinct or defined edge.
And next, all that you need to do is
| | 00:41 |
modify the midpoint and the roundness.
And the particular edge that I'm looking
| | 00:45 |
for is one which is pretty distinct.
So, I'll go ahead and lower the midpoint
| | 00:49 |
in roundness, pretty close down to all the
way.
| | 00:51 |
This will allow me to have a little bit of
this border here.
| | 00:54 |
We can further customize the overall shape
of that, and the way that that affects the photograph.
| | 00:58 |
And again, I'm just going to add a little
bit of a white border, around this photograph.
| | 01:02 |
So, we can use this technique to add a
really distinct border or if you want
| | 01:06 |
something which is more subtle, of course
you can always lower the opacity and then
| | 01:10 |
change the feather amount.
If you want something which has a little
| | 01:12 |
bit more of a soft edge to it as well.
Let's look at one more photograph, this
| | 01:16 |
one here.
This time, rather than an edge or border
| | 01:19 |
which is white or bright, I want to darken
it up.
| | 01:22 |
And here, we'll just go ahead and click
and drag down all of our sliders, and in
| | 01:25 |
doing that, we can have a really defined
edge.
| | 01:27 |
If ever you want to soften the edge, just
use your feather slider.
| | 01:30 |
And of course, you can also customize how
far in that goes and in the overall midpoint.
| | 01:36 |
Now, the last thing that I want to
highlight here is that, when you're
| | 01:38 |
working with the Post-Crop Vignette
controls, they obviously allow you to make
| | 01:42 |
some very dramatic changes to your
photographs.
| | 01:44 |
Yet keep in mind, you can use these
controls in combination with other controls.
| | 01:49 |
For example, if we navigate to our Lens
Correction panel and click on the Manual
| | 01:53 |
tab, here if we drag the vignetting slider
down you can see how it's darkening those edges.
| | 01:57 |
And so, in this case it's a combination of
both of these panels together.
| | 02:02 |
Here is the Lens Corrections adjustment,
darkening those outer edges.
| | 02:05 |
I want this to go in further, I can lower
the mid-point there.
| | 02:09 |
And then, in the Effects panel, we have
the actual border or edge so, again if I
| | 02:13 |
press the backslash key, you can see
that's the before, and then here is the after.
| | 02:17 |
And most importantly, I just wanted to
highlight that as you start to work with
| | 02:21 |
the Effects panel, whether to add borders
or just to darken or brighten the edges to
| | 02:25 |
add a vignette.
Keep in mind, you can always work with
| | 02:28 |
these controls in combination with all of
the other panels and controls that you
| | 02:32 |
have here, in the Develop module.
| | 02:34 |
| | Collapse this transcript |
|
|
14. Using the Camera Calibration ControlsImproving color with camera calibration profiles| 00:00 |
The last panel that we have to cover here
in the Develop module is the Camera
| | 00:04 |
Calibration panel.
We'll take a look at how we can use this
| | 00:07 |
panel, in order to customize and change
the colors that we have in our photographs.
| | 00:11 |
We'll begin by working with this picture
here of my wife and two of our daughters.
| | 00:14 |
And this was from a few years ago, when we
were on vacation.
| | 00:17 |
And we're about to go Kayaking and
canoeing, and if we open up the Camera
| | 00:21 |
Calibration panel, one of the things that
we'll discover is that we'll have ability
| | 00:24 |
to change the process version.
Now, often what you'll want to do is
| | 00:27 |
choose the most recent or the most current
process version, whatever it is in your
| | 00:32 |
version of Lightroom.
That will allow you to take advantage of
| | 00:34 |
the latest and greatest technology when it
comes to processing and rendering your photographs.
| | 00:39 |
Well, next, underneath that, you have the
ability to choose a different profile, and
| | 00:43 |
also to customize the colors and the way
that they appear in the photograph.
| | 00:48 |
You know, there isn't necessarily
something as correct color, rather each
| | 00:52 |
camera and each camera sensor renders or
creates colors in different ways.
| | 00:57 |
And when we open up our images in
different types of software, we'll see
| | 01:01 |
different color shifts as well.
Well, in Lightroom this has to do with the
| | 01:05 |
profile that selected.
Here is the Adobe standard profile but if
| | 01:09 |
we click on this Pull Down menu we can
select other profiles as well.
| | 01:12 |
And watch as I click through these how it
changes the overall characteristics of the
| | 01:16 |
colors in the image.
Now, often you think of the profile really
| | 01:20 |
as the starting point for your
photographs.
| | 01:23 |
And out of all of these that I've gone
through, I think I like the Camera
| | 01:26 |
Landscape option the best.
You know, I almost always like vivid
| | 01:30 |
colors and warm tones.
I think this particular profile allows us
| | 01:34 |
to have a bit more vivid colors here and
some warmth to the photograph.
| | 01:38 |
If I tap the backslash key you can see
this was the original, this was with the
| | 01:42 |
Adobe standard.
And now, here's after I applied or worked
| | 01:45 |
with this Camera Landscape option.
You want to keep in mind to that again the
| | 01:49 |
profile really is a starting point for how
you'll start to view, interpret and then
| | 01:54 |
maybe even change the color.
So, after having selected a profile, what
| | 01:57 |
you want to do is navigate to the Basic
panel and go through your typical work flow.
| | 02:01 |
Or what I might want to do is brighten up
the shadows and darken the highlights.
| | 02:05 |
Might decrease the contrast just a little
bit there.
| | 02:08 |
Then I'm going to increase the vibrance
and decrease the saturation just a touch.
| | 02:12 |
And then modify the color temperature.
Again, just some subtle adjustments to try
| | 02:16 |
to work on the way that this photograph
looks.
| | 02:19 |
And the whole point here, is to begin by
selecting a profile and then to further
| | 02:23 |
customize your image by using the
different panels and controls that we have
| | 02:27 |
here in Lightroom in the Develop module.
If I tap the backslash key, you can see
| | 02:31 |
this is the before and then here is the
after.
| | 02:34 |
Now, one of the advantages obviously, of
working with Camera Calibration is it
| | 02:37 |
gives us different ways to interpret the
color as we saw here, that we could choose
| | 02:41 |
these various options.
One of the disadvantages of course is that
| | 02:45 |
this can be a little bit tedious to select
images and then to choose a profile.
| | 02:50 |
Yet, keep in mind that what you can do is
if you have multiple photographs, for
| | 02:54 |
example, we can select this one and then
another.
| | 02:57 |
You can synchronize these settings.
If we wanted to do that, we would turn off
| | 03:01 |
the Flip Switch for Auto Sync, and then
click on Sync.
| | 03:04 |
And here what we could do is we could
choose the option for Calibration.
| | 03:07 |
I could select that option.
That would than allow me to process all of
| | 03:11 |
the files which I've selected with this
particular setting, which we've chosen
| | 03:15 |
here in the Camera Calibration panel.
And this can be a nice way to make sure
| | 03:19 |
that you have a group of images, which
have the same camera profile.
| | 03:23 |
Also I should point out if you haven't
ever experimented with these profiles, I
| | 03:27 |
recommend you do so even after this movie.
Go ahead and open up a few of your images
| | 03:32 |
and just go through those different
profiles to see how those affect or change
| | 03:36 |
the colors that you have in your
photographs.
| | 03:38 |
| | Collapse this transcript |
| Customizing color with the calibration controls| 00:00 |
Next, let's take a look at how we can use
the Camera Calibration panel in order to
| | 00:04 |
customize the colors that are in our
photographs.
| | 00:07 |
This is a photograph that I captured out
in Joshua Tree National Park in California.
| | 00:11 |
What I want to do is change the overall
color characteristics.
| | 00:14 |
To do so, we'll begin to work with these
various sliders.
| | 00:17 |
The first slider allows us to modify the
tint in the shadows.
| | 00:20 |
Here as I drag this to the left, you can
see that the shadows have a little bit
| | 00:23 |
more green in them, so I drag this to the
right, they take on a bit more magenta.
| | 00:27 |
This of course, is also affecting the
darker tones in the image.
| | 00:30 |
You can see how it's affecting the sky
color as well.
| | 00:34 |
So, sometimes what you may want to do is
just customize a little bit the way that
| | 00:37 |
the darker tones are appearing.
Next, we have the ability to work on the
| | 00:40 |
reds, the greens, or the blues.
With the reds what we can do is shift
| | 00:45 |
those colors, we can't change them to
something entirely new.
| | 00:48 |
Rather we can shift that overall color
palette as you see here, and we can also
| | 00:52 |
increase the saturation or decrease the
saturation of that color.
| | 00:56 |
Then we have the same ability to work with
our greens here, you can see how I'm
| | 00:59 |
making those changes, and then the blues
here as well.
| | 01:01 |
You can make the sky more purple, or more
teal.
| | 01:04 |
In this particular slider, we can see the
results a little bit more because this
| | 01:08 |
image has a lot of blue in it.
Well, lets say what I want to do, is I
| | 01:13 |
want to make that sky color a little bit
more of a slate blue.
| | 01:16 |
Well, to do that we can go ahead and
desaturate that sky color.
| | 01:20 |
And I have one photographer friend who
does this with almost all of his images.
| | 01:24 |
He also further customizes his color using
some of these other sliders just to change
| | 01:28 |
the overall look.
I'm just going to drop down some of the
| | 01:30 |
red, so we have a little bit more of the
cinematic look.
| | 01:33 |
It almost looks like a color that you
would see in a movie, because it has these
| | 01:37 |
really interesting tones and muted colors,
and we were able to create that really
| | 01:41 |
easily, using these various controls.
Well, after having dialed in these
| | 01:46 |
settings, often what you'll do is you'll
navigate back to the Basic panel.
| | 01:50 |
In the Basic panel, you'll go through your
work flow, here what I want to do is
| | 01:53 |
increase the overall Clarity and also the
Contrast just a little bit there, and then
| | 01:57 |
I'll work on my Highlights and my Shadows.
I'm just again walking through these
| | 02:01 |
sliders making a few adjustments that look
interesting to my eye.
| | 02:04 |
Well, after you've processed your
photograph using the various controls that
| | 02:08 |
you're interested in using, tap the
backslash key, here you can see is the
| | 02:11 |
before, and then tap it again to see the
after.
| | 02:15 |
Well, once you've arrived at a place where
you like the photograph, what you may
| | 02:18 |
want to do is synchronize those settings
to other pictures as well, for example,
| | 02:22 |
this photograph of some clouds which I
captured just moments after I captured
| | 02:26 |
this picture here.
So, I want to synchronize the settings
| | 02:29 |
across both files.
To do that, click on one photograph, hold
| | 02:33 |
down the Cmd key on a Mac, Ctrl on
Windows, and click on another or on
| | 02:37 |
multiple others for that matter.
And then we want to turn off the flip
| | 02:40 |
switch, so we just work with the Sync
options.
| | 02:43 |
Click on Sync...
And then here I'm going to choose Check
| | 02:47 |
None and then I'm going to select just to
synchronize the Basic Tone and also the
| | 02:52 |
Calibration settings.
This will synchronize the settings that I
| | 02:55 |
applied here on Camera Calibration and the
Basic panel.
| | 02:58 |
I want to make sure that I'm also applying
the Clarity there as well, so I want to go
| | 03:02 |
ahead and add that value.
And then if we made any changes to other
| | 03:05 |
areas, like Color or if we sharpened the
image, again, just check all those options
| | 03:09 |
that you want to synchronize.
And then go ahead and click Synchronize,
| | 03:12 |
and what this will do is, it will
synchronize the settings across both of
| | 03:15 |
these files, so that they have a similar
look.
| | 03:17 |
You know, sometimes like in this case when
you synchronize settings, you may need to
| | 03:21 |
further customize what you've done.
To do that, press Shift+Cmd+D on a Mac,
| | 03:26 |
Shift+Ctrl+D on Windows to deselect,
except for the targeted photograph.
| | 03:31 |
And here in this image I'm going to go
back to the Basic panel.
| | 03:34 |
And just darken this up a little bit more,
it felt like that was a little bit too bright.
| | 03:38 |
I'm also going to increase my Contrast and
my Clarity a little bit more as well, and
| | 03:43 |
then I'll change the color temperature
here.
| | 03:45 |
And doing that will just change the look
just a touch there of this photograph.
| | 03:48 |
And so, sometimes when you synchronize
your pictures, everything will work out perfectly.
| | 03:52 |
Other times, like, with this situation
here, I needed to take a few more steps in
| | 03:56 |
order to further customize this photograph
to change the way that I wanted it to look.
| | 04:00 |
| | Collapse this transcript |
| Creative color with camera calibration| 00:00 |
One of the best ways to learn how to use
the Camera Calibration controls is just to
| | 00:04 |
have fun with modifying the colors in your
photographs.
| | 00:07 |
And so, here let's look at an example
where we'll create some creative color
| | 00:11 |
effects with this image.
Beginning here with camera calibration,
| | 00:14 |
and then using some of our other controls
and panels as well.
| | 00:17 |
I'll use the default profile, Adobe
standard.
| | 00:20 |
What I want to do first is, I want to
reduce the reds that we have hear in the
| | 00:24 |
swim suit, and also the sand.
This is a photograph that I captured in
| | 00:27 |
Mexico of one of my friends high above the
ocean below.
| | 00:30 |
And we can desaturate the reds by clicking
the and dragging the saturation slider to
| | 00:35 |
the left.
Next, what I want to do is work with the
| | 00:37 |
greens here.
I'll go ahead and click and drag the
| | 00:39 |
saturation up a little bit, and we can
change the characteristics of those greens.
| | 00:43 |
Notice how that's also affecting the other
colors.
| | 00:46 |
So, as you make these changes, keep in
mind that it will affect the other areas,
| | 00:49 |
and you may need to jump back and forth
between the various sliders in order to
| | 00:53 |
create the right color mix.
Here, if we press the backslash key, you
| | 00:56 |
can see this is the before and then now
here is the after.
| | 01:00 |
I'll leave the blues as is for now, and
I'm going to jump to a few other controls,
| | 01:04 |
I'll begin by navigating to Split Toning.
In Split Toning, what we can do is add a
| | 01:08 |
color to the highlights.
I'll add a yellow color there.
| | 01:11 |
We'll bring in some saturation to that
area.
| | 01:13 |
And a color to the shadows, I'll bring in
some blue to my shadows.
| | 01:17 |
In here, we'll just cool off those shadows
there a touch.
| | 01:20 |
Next, after having done that I'll go to
the Basic panel.
| | 01:24 |
In the Basic panel we can modify color.
Here I'm going to warm the overall image
| | 01:27 |
up a bit, and then I'll increase the
clarity which will add a little snap.
| | 01:32 |
And I'm also going to reduce my vibrance
and my saturation a little bit as well.
| | 01:36 |
Again, just to change the look of the
color that we have there.
| | 01:39 |
As we start to work with these various
controls, you may be wondering, well,
| | 01:43 |
what's the best way to work with color.
Well, that's one of the interesting things.
| | 01:47 |
It isn't necessarily the best to work with
the Basic or HSL or Split Toning or Camera Calibration.
| | 01:54 |
Rather, these are just all different ways
in order to be able to modify color.
| | 01:58 |
And sometimes, what I find is that when I
use different tools, it allows me to
| | 02:03 |
achieve different results.
Just because I get out of my normal way of
| | 02:06 |
thinking, I start to modify the sliders
and it just can help you to come up with
| | 02:10 |
different ways to work with your images.
And also, if you experiment a little bit
| | 02:14 |
with these sliders, what you'll do is
you'll eventually learn how they actually
| | 02:17 |
work and how the affect different parts of
your photograph.
| | 02:20 |
And this will teach you how you can use
them.
| | 02:22 |
Now, these are sliders that you probably
won't be using all the time.
| | 02:25 |
Yet still I find it's helpful to
understand how they work.
| | 02:27 |
So, in those situations where they could
help you out, you could reach for those
| | 02:31 |
tools in order to change the colors in
your photographs, like we've done here.
| | 02:34 |
Well, let's look at the before and after.
Here I'll tap the backslash key.
| | 02:38 |
This is the before.
Then I'll press it again, so that we can
| | 02:41 |
see the after.
| | 02:42 |
| | Collapse this transcript |
|
|
ConclusionNext steps| 00:00 |
Congratulations on making it through this
course.
| | 00:03 |
You are now equipped to be able to process
your images in some pretty advanced ways.
| | 00:08 |
As you may know, this course is part of
our larger series which focuses in on Lightroom.
| | 00:13 |
So, what comes next?
Well, the next course in our series takes
| | 00:17 |
a look at how we can use the Print and the
Book module in order to create compelling
| | 00:21 |
books and interesting book projects.
So if you're interested in digging into
| | 00:25 |
those topics, I hope that you join me in
that next course.
| | 00:29 |
Well, thanks for joining me in this one.
Bye for now.
| | 00:32 |
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