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In this course, Chris Orwig navigates through several real-world photography assignment scenarios and introduces his workflow recommendations in Adobe Photoshop Lightroom for each one, whether on-site, in the field, or back at the office. For a wedding or other event, Chris shows how to import images quickly, batch process the pictures, and create a slideshow to display during the event or import to Facebook. Back at the office, Chris demonstrates how the images can be reprocessed and exported for printing at a lab or burning to DVD.
The second workflow covers location shoots for travel photography. Chris shows how to label photos with travel-specific keywords and add locations to photos with the Lightroom Map module. At home the images can be added to catalogs, laid out in a book format, or printed on multi-image sheets.
The final two methodologies cover the editorial or commercial process and a more personal and creative one. Whatever the shooting scenario, this course offers an organized and comprehensive workflow for taking photographs through the editing process in Lightroom.
When you are doing client work--whether it is editorial or commercial--you have something very particular in mind. What you typically want to do is capture images which satisfy your own visual aesthetic. Capture images that you like, but you are also thinking about the client, the editor. You want to capture those images in a way that makes sense to them-- that's going to work for the article or for the particular product or for whatever you are doing. Well, here I have a set of pictures, these are editorial portraits, and I know that I need to convert all of these to black and white. That's what the client wants.
They also want a similar mood. They want really deep, rich black, so a lot of contrast, bright whites. So, what I'm going to do in this first step is just take a look at how we can process these pictures. So first we'll go ahead and select all of them. We can do that by clicking on one picture and then pressing command or Ctrl+A. Next, navigate to the develop module by clicking on the button in the module picker. Well, here we are going to start off with is the Basic panel. Up in the Basic panel we want to convert these to black and white. Before we do that, though, we want to turn on Auto Sync.
So day onto the sync button. If you click on that, you'll open up your Synchronize settings. Let's synchronize all, so we'll click Check All and then Cancel, and then we'll flip the switch to turn on Auto Sync. Now that, that is on when we click on our color treatment of black and white. This will apply this color treatment to all these photographs. The next thing that I like to do here-- even before I start adding the Magic or making these images come alive--is just to scroll through them. You can do that by pressing your arrow key and just getting a feel for what images you have here.
All right. Well, now that I have a sense of these photographs, I'm going to go ahead and start off--I want to deselect what I have selected. To deselect, press Shift+Command+D. Next, I will go to my first image. The first image and the second image, well, they're pretty similar, so I click on one, hold down Command or Ctrl-click on the other. And leave Auto Sync turned on. We know what we need to do here, right? We're going to increase our contrast, deepen those blacks, bring up some clarity. We're really looking to try to create a tone or look here that the client is going to like, those deep rich blacks, also nice bright whites. And here, I am just modifying my sliders until I get to that look.
Press the Backslash key. There is the before in color, and now here is the after. The reason why I wanted to show you that is important, when you are shooting your images you are also thinking about that final output. If they want black and white, a lot of times I would like to increase my exposure just a little bit more because that helps me create that punchy look, especially when shooting in lighting situations like this. All right. Well, I processed these first two images, and let's press our right arrow key so we can see the second image. That looks fine. Next, I'll go to this next image here. This one kind of stands by itself.
There aren't any other images like this, so quickly I'll go through this routine here of adding my contrast, deepening my blacks, and working on my overall exposure. As I do that, and as I get a nice tone here, I notice I need some detail in the face. I need to brighten up that face, because again, the client likes those brighter tones, especially on skin. So I'll click on my adjustment brush. With the adjustment brush, we will increase our exposure. Go ahead and reset saturation, just a little bit of exposure there. We have a nice small brush size, and the flow will bring this somewhere below 50.
Here, all that we have to do is to paint across the face, and this will paint in this effect to this area, the picture. I'm just painting back and forth to try to even this out a little bit, so I can bring a little bit more brightness to that area. Also, a little bit to the arm over here and over here, and then a touch to the shoe, just trying to add some visual interest. To see the before and after of the adjustment brush work, we'll flip this switch. Here it is before, and now after. And the point of doing this is trying to illustrate how when you're doing work for a client, you want to show that you can be consistent.
Of course, these pictures, well, I need to meet the needs of the client. Editorially, they're going to match the story, they need to have the certain type of depth but they also need to have this aesthetic. When you are shooting them with different lenses and lighting situations, your processing, or your workflow, well, it's all about trying to bring those different elements together, again, to show consistency. Let's look at a few more images here really quickly. This next set, here we can see these are all pretty similar. So I'll click on one, hold down the Shift key, then click on the others.
Next, we will go to our Basic panel, and the Basic panel--again we're going to look at our contrast, perhaps work on those blacks, maybe a little bit of shadows and try to come up with this really bright white, vivid type of a look for these photographs. As I do that with these pictures, I notice that it darkens the edges. There was a shadow on the background, and over here I do not want that. The client does not like vignetting. Well, this vignetting, for me it kind of works. I'm going to let go of that. I am going to trust the client here or try to create or process this image in a way that the client will like.
So we will go and close the Basic panel, open the Lens Corrections panel in manual we can crank this up in order to brighten up the edges of the image, and I'll just do this in a way so that this is nice and subtle, bringing in some brightening there as I do that, I'm just looking around the image. Next thing I need to do is to darken back my blacks a little more. So we go back to the Basic panel, deepen those up a little bit more here. All right. Well, the whole intent of this movie isn't to show you this again and again. I think we've seen enough. But it's to get you into this whole sense of a workflow, when you are working for a client that you have these two worlds, these two considerations. You are considering what do I like? How do I want to process these images? But you are also considering the client, and you are making really critical decisions based on the client's needs so that you can deliver to them exactly what they want.
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