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In Photoshop Lightroom 3 Essential Training, author Chris Orwig provides a comprehensive look at Adobe Photoshop Lightroom 3, the popular photo-asset management, enhancement, and publishing program. The course covers indispensable techniques such as importing, processing, and organizing images in the Library, correcting and adjusting images in the Develop module, and creating slideshows, web galleries, and print picture packages. In addition to exploring all of Lightroom 3's capabilities, this course is rich with creative tips and expert advice on photographic workflow. Exercise files accompany the course.
Now that we've looked at some of the different aspects of the Basic panel, let's take a look at how we can put together these different pieces in an overall workflow. We'll bee working with this file here. It's a photograph of my daughter Annika on Halloween. She is dressed up as Strawberry Shortcake. I just like it. I think it's a fun photograph. One of the first things that you do is you start to evaluate the overall temperature. We can either use the use the White Balance tool. If you are going to use that tool, it's a good idea to have the Navigator open. That way, when you select the tool either by clicking on it or by pressing the W key, when you hover over the image you get an update of the Potential White Balance option.
Now with this particular shirt we don't really know if this was pure white unless we were there. I was there, and it wasn't really white. It had a little bit of a reflective nature to it and a little bit of tone in it. So if I select or click on this shirt, one of the things that's going to happen is it is going to be a little bit over the top. That happens quite often, where we just can't nail it. There's nothing in the image that can give us a perfect white balance with this tool. In those situations what I like to do is I like to press Command+Z on a Mac or Ctrl+Z on a PC and undo that and see what the difference was in regards to color Temperature.
We can see that it went from here all the way over to this point here. So a lot of times what I will do is then increase my color Temperature towards that point and also the Tint, if that was modified. In this case, it wasn't very much. So this case just working with color Temperature until I find something that I think is visually interesting. Next step is to begin to analyze the image. Press the J key to turn on the clipping indicators. Now that those are on I am going to go ahead and increase my Exposure a little bit. As I increase the Exposure, I am going to make sure I don't go too far.
I bring my recovery up just a touch there. Add some Fill Light, also a little bit of Brightness and Contrast. What I'm looking to do as I process this image is just find a sweet spot for it. Again, I am going to modify this back and forth. I am also looking to try to create an image that will print well. So in this case it's a little bit brighter than I am perhaps content with, but I know that once it prints, it's going to print just a shade darker than this. So I am thinking about that as I am moving my sliders around. Next I want to add a little bit of Clarity. So what I am going to do is zoom in a touch here, and I am going to zoom into the photograph, in this case 1-1, so I can see some of the detail that I have.
I am going to increase the Clarity amount. A lot of times what we are looking for here is to try and create something that isn't very drastic. Let's zoom out a little bit further and we can see how Clarity affects the image. Because this one is a real high res file, I am going to need a little bit more rather than less in regards to Clarity. I will go ahead and zoom all the way out. Well, now I want to press the Backslash key. Here is my before and then my after. So far, so good. Down to Vibrance and Saturation. One of the things that we've seen is with Vibrance and Saturation sometimes it's helpful to swing it just a little bit one way or another.
It's also helpful to experiment. What does 100 points of Vibrance actually looks like? Well, it adds a lot of different red in the face. Well, how about then if I just remove a little bit of the red and then bring some of the Saturation up and try to find a nice spot here where the image looks good where we have some good colors in the photograph? Again, I don't want this to look too surreal. I want it to be more of a real natural photograph and so I am modifying these controls until visually again I like the way that it looks. Here's my before and then my after. Pretty subtle, but nonetheless kind of significant image processing.
Maybe a little bit more in my Temperature there just bringing that up, and that looks pretty good. Now the whole point of this movie is just to begin to see how all of these controls work together. Then typically what you do use you bounce around a little bit. You make one adjustment in one place, then another in another place, and that affects something else and you back and forth, back and forth, trying to find the sweet spot for a particular photograph. Well, in this case I have two images that were captured at the same time. Here's another photograph. Well, what I need to do in order to apply these settings to this photograph that looks just like it that was captured the same context, well, let's take a look at how we can do that in the next movie.
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