Introduction| Welcome | Using the exercise files| 00:00 | If you're a Premium Member to the lynda
.com Online Training Library, or if you
| | 00:04 | are watching this movie on a disc,
you have access to the exercise files.
| | 00:08 | You will find the Exercise Files folder,
and if you double-click it, and open it
| | 00:12 | up, you will notice that the
exercise files are organized into folders.
| | 00:16 | There will be some subfolders, which
will describe to you what files you will
| | 00:19 | find in those various folders.
| | 00:20 | Now, later in the course, I will
actually talk about how we can import these
| | 00:24 | files into Lightroom.
| | 00:26 | Yet, for now, all that I wanted to do
was just to highlight these exercise
| | 00:29 | files, let you know they are there,
and also talk to you a little bit about
| | 00:32 | how they are organized.
| | 00:34 | Now, if you don't have access to the
exercise files, no big deal. You can always
| | 00:38 | simply follow along, or of course,
you can always use your own files.
| | 00:40 | All right! Well, on that note, let's begin.
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1. Getting Started with the Develop ModuleDevelop module overview and essential shortcuts| 00:00 | All right! Let's get familiar with the
Develop module, and let's do this by talking about
| | 00:05 | just a few tips and techniques that we
can use to navigate to the Develop module,
| | 00:09 | and start to view and work
on our photographs there.
| | 00:12 | Well, for starters in Lightroom,
typically, we start off in the Library module.
| | 00:17 | We do all of our work there, and then
we are ready to go to the Develop module.
| | 00:20 | Well, to do that, we can navigate to
the Develop module by clicking on the
| | 00:24 | Develop button up here in the Module
picker, or we can press the shortcut key.
| | 00:30 | The shortcut key for the
Develop module is the D key.
| | 00:32 | Well either way, let's go ahead
and navigate to the Develop module.
| | 00:36 | Now, once you are in the Develop
module, it's almost like a little bit of a
| | 00:40 | paradigm shift, because here, this
is really where the magic happens.
| | 00:44 | Just between you and I, this is my
favorite part of Lightroom, because this is
| | 00:48 | where the art and craft
of photography takes place.
| | 00:51 | This is where we correct
and enhance our photographs.
| | 00:54 | This is where our images really come to
life. And the Develop module is just that:
| | 00:59 | it's a place where we process our photographs.
| | 01:02 | Here, you can see I have a photograph up.
| | 01:04 | This was a recent portrait of Lynda,
who co-founded lynda.com with her husband
| | 01:09 | Bruce, and I just love the sparkle in her
eyes. One of the things that we will
| | 01:13 | start to do in the Develop module
is we will evaluate our photographs;
| | 01:17 | let's say that sparkle in the eyes.
| | 01:19 | So often, when we view our
photographs when they are small, we can't really
| | 01:23 | determine if everything is sharp,
or even if it's a good picture.
| | 01:27 | Well, in the Develop module, you can move
over to the Navigator panel on the left.
| | 01:31 | The Navigator panel allows
us to change our Zoom rate.
| | 01:34 | For example, we can click
on one of these options.
| | 01:38 | I will go ahead and click on 1:1.
| | 01:40 | This takes us into this 1 to 1 view.
| | 01:42 | We can see all of the details of the picture.
| | 01:45 | In this case, I can now see
that the eye is indeed sharp.
| | 01:49 | It has a really shallow depth of field,
and I was fortunate to have gotten that,
| | 01:52 | so that this eye is sharp.
| | 01:54 | Well, if I want to move around the image,
I can move this icon here in order to
| | 01:58 | change what I'm viewing, or I can
position my cursor on the image, and
| | 02:01 | click-and-drag it one way or another.
| | 02:03 | Okay, well what about zooming out?
| | 02:06 | Well, to zoom out, we can either
simply click on the image, or we can use the
| | 02:10 | Navigator buttons up here as well;
| | 02:12 | zoom in to 1:1, or zoom back to fit in view.
| | 02:15 | All right! Well now that we are talking
about our view, you can see that the image is
| | 02:20 | surrounded by this gray tone.
| | 02:22 | Well, you can change that, and you can
change that by right-clicking, or Control+Clicking.
| | 02:27 | This gives you a dialog where you can
choose different colors for the background.
| | 02:31 | I will go ahead and change this back to
Medium Gray, because typically, that's best.
| | 02:35 | Typically, that allows you to evaluate
your photograph in a little bit more of a
| | 02:39 | neutral environment.
| | 02:41 | Yet, there may be times when you might
want to change that background color.
| | 02:44 | All right! Well, as we are getting started, what
else do we need to know about the Develop module?
| | 02:50 | Well, obviously we have these panels on
the left, and we have the panels on the right.
| | 02:54 | Now, when you compare those two panels,
you'll notice there are many more panels
| | 02:58 | on the right-hand side.
| | 02:59 | That's because these panels -- this is
really the engine of the Develop module.
| | 03:03 | This is where everything is going to
take place in regards to processing, and
| | 03:07 | working on our photographs.
| | 03:09 | These panels on the right;
they are really important.
| | 03:11 | Now, that's not to say the panels on the
left aren't important, but they are just
| | 03:15 | not as important as the panels on the right.
| | 03:17 | Now, to access information in these
panels -- we already know how to do this, right?
| | 03:21 | We can simple click to open them,
and then we can make a change.
| | 03:24 | For example, I could increase the
Contrast of this photograph, or I could
| | 03:27 | decrease the Contrast.
| | 03:29 | Again, simply clicking-and-dragging one
way or another allows us to make a change.
| | 03:33 | Well, let's say that after we make
one change, we want to make another.
| | 03:38 | Well, to do that, you simply click-and-
drag on the scrollbar; that takes you
| | 03:42 | down to the other panels.
| | 03:43 | Let's go to the Detail panel,
and perhaps add some Sharpening.
| | 03:46 | Now, the trick with this is that
we have to do a lot of scrolling.
| | 03:49 | Here I am in Detail. To go back to the
Basic, well, I have to click-and-drag up.
| | 03:52 | Well, there has to be a
better way, right? Well, there is.
| | 03:56 | There is a much better way to navigate
with these panels, and because I think
| | 04:00 | these panels are so important, well,
learning how to navigate with them is
| | 04:04 | something that we really need to know how to do.
| | 04:06 | Let's take a look at how we can
navigate with these panels a little bit more
| | 04:09 | effectively, and let's
do that in the next movie.
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| Panel navigation tips| 00:00 | Throughout the entirety of your
Lightroom workflow, and especially in the
| | 00:03 | Develop module, you'll be spending a
lot of time navigating to the various
| | 00:07 | panels on the right-hand side.
| | 00:09 | Because of that, I want to share a few
tips with you, which I think will help
| | 00:12 | you optimize the way you work with those panels.
| | 00:15 | Now, we've already talked about how
we can click on a panel name, or on the
| | 00:18 | triangle icon in order to expand the panel.
| | 00:22 | Next, we know that we can click on the
scrollbar in order to scroll up and down.
| | 00:26 | This is especially helpful if we have
multiple panels open; we can scroll
| | 00:31 | between the settings in those two panels.
| | 00:33 | Yet another way to scroll, rather than
simply clicking-and-dragging, is if you
| | 00:38 | have a three-button mouse, you can
hover over the panel area, and then use that
| | 00:42 | third button: the scroll wheel.
| | 00:44 | Here, we can simply move the scroll
wheel up or down in order to scroll.
| | 00:47 | All right. Well, scrolling is fine, but again,
there has to be a better way. Well, there is.
| | 00:53 | Let's go ahead and close all of these
panels for a moment, and talk a little bit
| | 00:57 | about how we can change the
functionality of how these panels actually work.
| | 01:01 | Have you ever seen one of those file
cabinets which has a lot of file drawers,
| | 01:05 | and it only allows you to open one
drawer at a time, so the entire file
| | 01:09 | cabinet doesn't tip over?
| | 01:11 | Well, there's something
similar to that in Lightroom.
| | 01:14 | It's called Solo mode.
| | 01:15 | Solo mode changes the functionality of
the panels, so that only one panel can
| | 01:20 | be open at a time.
| | 01:21 | There are two different ways
to turn on or off Solo mode.
| | 01:25 | Let me show you what those are.
| | 01:26 | You can go ahead and hover over the panel
area, and then right-click, or Control+Click.
| | 01:32 | This will open up a contextual menu.
| | 01:35 | About halfway down in that menu, you'll
see something which is called Solo mode.
| | 01:39 | If you select that option, you notice
that the icon for each panel -- the little
| | 01:44 | triangle button here --- well it's
changed; it's now made out of dots.
| | 01:48 | If you click to open up a panel, what
will happen is that panel will be open.
| | 01:53 | If you open another, well, it
will close the other one by default.
| | 01:57 | In other words, only one panel can be open
at a time, and this can be really helpful.
| | 02:03 | It can prevent you from having to scroll
up and down in order to view all of the
| | 02:07 | different panel contents;
| | 02:08 | rather, you can just
focus on one panel at a time.
| | 02:11 | All right! Well, so far so good.
| | 02:14 | We've learned how we can scroll, how
we can change the functionality of those
| | 02:17 | panels, but of course, there
has to be more, and there is.
| | 02:20 | The next thing I want to share with
you is a really valuable shortcut.
| | 02:24 | This shortcut will actually help you
to open and close these different panels
| | 02:28 | without even clicking or scrolling.
| | 02:31 | In order to talk about this
shortcut, I want to pull up a slide.
| | 02:34 | So here I'm going to go ahead and
navigate to my slide, and talk about the module
| | 02:38 | navigation shortcuts.
| | 02:39 | Now these shortcuts, well,
they're not for the faint of heart.
| | 02:43 | They're going to be a little bit
difficult to remember, but if you can remember
| | 02:46 | them, it will be well worth it.
| | 02:48 | All right. Well, what these shortcuts
allow us to do is to open or close the various
| | 02:52 | panels one at a time.
| | 02:54 | Let me pull up the shortcut, and
then really focus in and talk about it.
| | 02:58 | What you can do is, on a Mac, press
Command, on Windows, press Control, and
| | 03:03 | then press a number.
| | 03:04 | Each panel from the top down
is associated with a number.
| | 03:07 | If we were to press Command or Control+4, it
would open or close the Split Toning panel.
| | 03:14 | Let me show you how this
works inside of Lightroom.
| | 03:17 | What I'm going to do here is press my
shortcut key -- Command on Mac; Control on
| | 03:22 | Windows -- and then I'll press the 1 key.
| | 03:24 | That will open the Basic panel. Press it
again; that will close the Basic panel.
| | 03:29 | As you can see here, what you can do is
press this shortcut in order to open or
| | 03:34 | close the various panels.
| | 03:35 | Now, you may be thinking, oh man!
| | 03:38 | This is going to be impossible to remember.
| | 03:40 | How am I going to remember all those numbers?
| | 03:42 | Well, here's the good news.
| | 03:44 | All that you need to remember is
Command on Mac, Control on Windows, and numbers,
| | 03:49 | and then you can start to just guess.
| | 03:51 | You can press a number and if you
didn't get it right, well press it again to
| | 03:54 | close that panel, and then try another,
and you can just kind of go through
| | 03:57 | these one at a time trying to figure
out what it is until you get it right, and
| | 04:02 | until you teach yourself these shortcuts.
| | 04:04 | You also might be thinking, you know
what? I don't like shortcuts at all.
| | 04:08 | I just simply want to click.
Well, that's fine.
| | 04:10 | If you prefer to click, and just click,
and then scroll, that is a really valid
| | 04:14 | and good way to navigate as well.
| | 04:17 | All that I want to do here is just show
you what your options are, so that you
| | 04:20 | can start to work more
effectively with these various panels.
| | 04:23 | All right. Well, before we wrap up this
movie, I'm just going to navigate to Library
| | 04:28 | module, and I want to highlight a
Resource file that I've included with the
| | 04:31 | exercise files here for you.
| | 04:33 | This is one which might help you
memorize these different shortcuts.
| | 04:36 | Here, you can see it; it just has all
of these shortcuts written out. And again,
| | 04:41 | all that you need to remember is that
shortcut modifier key, plus the numbers.
| | 04:45 | This particular shortcut; it works
in every module, but I think you'll find
| | 04:50 | it to be most helpful in the Develop module.
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| Using the Develop module presets| 00:00 | In order to further improve our
understanding of how to work with the Develop
| | 00:04 | module, let's continue to talk about
panels, and in this and the next few
| | 00:08 | movies, let's focus in
on the panels on the left.
| | 00:12 | We've already talked a little
bit about the Navigator panel,
| | 00:15 | so next, let's focus in on
Presets, and then Snapshots, and History.
| | 00:18 | Now, we're going to skip our
conversation about Collections, because I've
| | 00:22 | already covered that in the part of
this course where we talked about the
| | 00:25 | Library module, and Collections in the
Library module are identical to those in
| | 00:30 | the Develop module.
| | 00:31 | All right. Well here, let's focus in on Presets.
| | 00:35 | Before you open up the Presets panel,
you want to make sure to have the
| | 00:38 | Navigator panel visible.
| | 00:39 | Next, click to open or expand the Presets.
| | 00:42 | Well, here you can see we have
Presets grouped into a number of
| | 00:46 | different categories:
| | 00:47 | everything from black and white, to
color, effects, split toning, et cetera.
| | 00:50 | Well, let's say we want to
convert this image to black and white.
| | 00:55 | Rather than starting on our panels
on the right, we may decide to start
| | 00:58 | over here on the left.
| | 01:00 | We can expand these options, and
hover over the various options, and get a
| | 01:04 | preview up above here in the Navigator panel.
| | 01:07 | Once we come to a preset that we like,
say Green Filter, click on it to apply
| | 01:12 | that to the photograph.
| | 01:13 | If you're not quite sure, well keep
going down the list until you find
| | 01:16 | another you might like, and then
click on that one, and it will update the
| | 01:20 | image with those settings.
| | 01:22 | Now, this preset contains settings that have
been predefined in the panels on the right.
| | 01:27 | We just don't have to dial them in
ourselves. If ever you get to a preset
| | 01:32 | that you're not quite sure about, or
you want to go back, you can always simply
| | 01:36 | click on another preset
in order to go back to it.
| | 01:39 | These presets, they can be kind of like
a launching pad for trying to figure out
| | 01:43 | how you might want to process your photograph.
| | 01:46 | We also have other types of presets as well.
| | 01:48 | Let's take a look, say, at some Color Presets.
| | 01:51 | Here, we can go ahead and choose
something like a cross-processing type of a
| | 01:55 | look for our picture, and again, this
is kind of interesting and creative.
| | 01:59 | What's unique about Presets is that,
because it's dialed in the settings for us --
| | 02:04 | again, all those settings in the right
panel -- is we can take advantage of this.
| | 02:08 | Say, for example, we have another
photograph, like this picture here: another
| | 02:12 | portrait of Lynda, taken in a
different lighting scenario.
| | 02:16 | Well, with this image, I want to apply
the same settings that I applied to that
| | 02:20 | previous photograph.
| | 02:21 | Well, all that I need to do is to simply go
back to those presets here, then I can apply those.
| | 02:26 | So now both of these
images have the same exact look.
| | 02:30 | So again, these presets can really help
us out as we start to process our images.
| | 02:36 | Yet, here's a little word of warning.
| | 02:37 | Sometimes what can happen is we can
think of presets kind of as the ending
| | 02:42 | point in our processing.
| | 02:43 | Rather than thinking of it that way, I
think of it more as a starting point.
| | 02:47 | It's where you begin; it's where
you start to process your pictures;
| | 02:50 | how you start to think
about them in creative ways.
| | 02:54 | Because if you finish with Presets, if that's
all you do, then everyone is going to know, oh,
| | 02:58 | you used that one cross-process preset, ha, ha!
| | 03:01 | I get it. And that preset is
going to kind of get in the way.
| | 03:05 | In other words, you want to have a
vision for your image, and see if you can use
| | 03:09 | these presets to help you actualize that vision.
| | 03:11 | All right! Well now that we've been
introduced to this whole topic of working with presets,
| | 03:17 | let's say we want to take this even further.
| | 03:19 | We want to customize these presets,
or we want to create some of our own.
| | 03:23 | Well, how can we do that?
| | 03:24 | Well, let's take a look at how we can
start to customize, and create our own
| | 03:28 | presets, and let's do that in the next movie.
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| Creating your own presets| 00:00 | In the previous movie, we looked a
little bit at how we could start to work with
| | 00:03 | presets, and a lot of times what
happens is that presets sometimes can get us
| | 00:07 | into a little bit of trouble.
Let's say like with this picture here;
| | 00:11 | we like the preset, but we've decided, you know
what? We like the original image even better.
| | 00:16 | Well, how can I reset everything back to normal?
| | 00:18 | Well, to reset an image back to its
original settings, all that you need to
| | 00:23 | do is to navigate to your Settings pulldown
menu, and then to choose Reset All Settings.
| | 00:28 | I'm going to go ahead and do
this with both of these images.
| | 00:31 | I'll go to Settings, and then
click on Reset All Settings.
| | 00:33 | All right! Well, another thing that you might
want to do with Presets is perhaps create your own.
| | 00:39 | Let's say that what we want to do is
we want to have a cross process effect, but
| | 00:43 | we want to have it, perhaps, even more saturated.
| | 00:46 | Well, how could we create a preset like that?
| | 00:48 | Well, we could go back to our Presets
panel, and select the option that we like.
| | 00:53 | Let's say it was Cross Process 2.
We like this, but
| | 00:57 | we want to take it even further, to
kind of have this surreal saturation.
| | 01:02 | Well, next we would go to one of our
panels, say like the Basic panel, and here,
| | 01:06 | just to keep things simple, I'll scroll
down to the Saturation control here, and
| | 01:11 | I'm going to crank this up a little
bit, adding even more color saturation.
| | 01:16 | So now that I have this preset with even
more color saturation, I want to save this out.
| | 01:22 | And keep in mind, of course, you can do
whatever you want with all these panels
| | 01:26 | on the right-hand side in
order to create your own presets.
| | 01:29 | I'm just keeping things
simple for demo purposes.
| | 01:32 | So make an adjustment with
any or all of these controls.
| | 01:36 | The next step will be to
navigate back to the Presets panel.
| | 01:40 | Here, we'll go ahead and collapse the
Presets that we have open, and then we'll
| | 01:44 | click on the Plus icon.
| | 01:46 | This will open up a dialog, which will
allow us to save this as our own preset,
| | 01:51 | and I'm going to call this one
Cross Process - Increased Saturation.
| | 01:57 | You want to give your presets a name which
will help you remember what type of preset it is.
| | 02:03 | Next, you want to determine what settings
you want to have applicable to this preset.
| | 02:07 | Typically, you'll want to check all.
| | 02:09 | Of course, you want to check the
options which are relevant to the type of
| | 02:13 | preset that you're creating.
| | 02:15 | Here, I'm going to leave Check All
turned on, and then simply click on Create.
| | 02:19 | Well now that I have this preset, what
I can then do is take advantage of it,
| | 02:23 | just like I take advantage of my other presets.
| | 02:26 | Again, simply click on a photograph
that you want to apply the preset to, and
| | 02:30 | then click on the preset name, in this
case, the one that I've created, and it
| | 02:34 | will apply that to the photograph.
| | 02:36 | Now, of course, if ever you want to
undo this, you can always do that by
| | 02:41 | navigating to the Settings pulldown
menu, and I want to mention that here in
| | 02:46 | order to highlight the shortcut
that allows you to reset your pictures.
| | 02:50 | Let's go back to the Settings menu.
| | 02:52 | When you do that, you notice it says,
Reset All Settings, and then you have this
| | 02:57 | valuable and really helpful shortcut.
| | 03:00 | Now, I know some people don't like
shortcuts, and that's fine, but this is one
| | 03:04 | that I find myself using quite frequently,
| | 03:06 | so I at least wanted to point it out,
and point out where you can find it.
| | 03:10 | It's Shift+Command+R on a
Mac, Shift+Control+R on Windows.
| | 03:14 | Well, either way, with this image, I
want to reset the picture, so I'm going to
| | 03:17 | go ahead and reset those settings, and as
well with this one, I'll go to Settings,
| | 03:22 | and then choose Reset All
Settings to take this back to normal.
| | 03:26 | Now, before we wrap up this movie,
I do need to point one thing out.
| | 03:30 | I've been using presets
which were pretty dramatic.
| | 03:33 | Now, you're not always going to use
presets like this with some dramatic,
| | 03:37 | crazy cross processing effect.
Sometimes you'll have a preset which just allows
| | 03:42 | you to add a little bit of clarity,
or contrast, or perhaps sharpen the
| | 03:45 | image, or reduce the noise.
| | 03:48 | So keep in mind that presets are
something that you'll want to start to develop.
| | 03:52 | You'll want to develop a set of your own
custom presets, which will really help you
| | 03:56 | speed up your overall
creative and corrective workflow.
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| Using the Snapshot and History panels| 00:00 | Let's continue to talk about the
panels on the left, in particular, the
| | 00:04 | Snapshots and History panel.
| | 00:06 | In order to focus in on these two panels,
let's collapse, or close the Navigator
| | 00:11 | panel, and then let's open
up Snapshots and History.
| | 00:15 | Well, currently both of these panels are blank.
| | 00:18 | How do these work, and what are these about?
| | 00:20 | Well, both of these allow us to save
some information about our photographs, or
| | 00:24 | access different view states of our
images in different ways. Let's take a look.
| | 00:29 | Well here, I have this picture.
| | 00:31 | One of the things that I want to do is I
want to change the way this image looks.
| | 00:35 | So in my Basic panel on the right, I
am going to increase the Contrast by
| | 00:39 | clicking-and-dragging the
Contrast slider to the right.
| | 00:41 | I am also going to increase the Shadows
by clicking-and-dragging that to the right.
| | 00:46 | Next, I will go ahead and scroll down a
little bit, and I am going to increase
| | 00:51 | the Color Saturation.
| | 00:52 | Well here, I have another version of this image.
| | 00:56 | You can see the History has taken
note of each step that I have taken;
| | 01:00 | adding Contrast, adding some Shadow detail,
and then increasing the Color Saturation.
| | 01:05 | So History will remember the steps
that you have taken with your pictures.
| | 01:09 | Well, what about Snapshots?
What's that about?
| | 01:12 | Well, if I click on this icon to add a
Snapshot, I can create a new snapshot,
| | 01:17 | either by the date and the
time, or simply by naming this.
| | 01:20 | I will just call this one v1, for
version 1, and then I will click Create.
| | 01:24 | There is one snapshot.
| | 01:26 | Then I want to see, what would this
image look like in black and white?
| | 01:30 | Back to the Basic panel;
| | 01:31 | in the Basic panel, I'll simply desaturate this.
| | 01:34 | I will remove all of the color.
| | 01:36 | Well, there you have it!
| | 01:38 | I am going to create another
snapshot by clicking on the Plus icon.
| | 01:41 | This one, I am going to call v2,
for version 2, and then click Create.
| | 01:47 | Well now, all of a sudden, I have some
pretty valuable and interesting data over
| | 01:50 | here in these two panels.
| | 01:52 | How does it work, or how can
we work with this information?
| | 01:55 | Well, one of the things that we could do
is we can click through the History panel.
| | 02:00 | We could click on one of these areas,
and it will take us back through time to
| | 02:03 | the way that we process that image.
| | 02:06 | As I go back through time,
I may decide, you know what?
| | 02:09 | It was really best just with
a little added extra contrast.
| | 02:12 | I didn't need all of these other steps here.
| | 02:14 | I like that a lot. Or, I can
also go to the various snapshots.
| | 02:19 | I can click on v1; it will take me to
those settings. I can click on v2, and
| | 02:24 | it will take me to the v2 settings,
and it's going to remember everything I
| | 02:28 | have done along the way.
| | 02:30 | Now, if ever you reset an image, say
you go to Settings, and Reset All the
| | 02:34 | Settings, well, that's also
going to be part of your history.
| | 02:38 | In other words, you can
still access what you did.
| | 02:41 | If you want to add the exact amount of
contrast you added initially, well just
| | 02:45 | click on that History step, and that
amount of contrast has been added. Or, on
| | 02:50 | the other hand, if you want to go to
one of those snapshots, you can always
| | 02:54 | click on one of those snapshots
in order to apply those settings.
| | 02:57 | Well, as you can see, Snapshots
have kind of this built-in memory.
| | 03:02 | It's almost like a layer in Photoshop,
so to speak. Not quite, but again, it just
| | 03:06 | remembers the state of your file at one point.
| | 03:09 | History, well it's a little
bit more fluid and more flexible.
| | 03:13 | Sometimes what will happen with your
History panel is it will get a bit cluttered.
| | 03:17 | There may be some steps here
you just don't want to remember.
| | 03:20 | Well, in order to remove the history,
you can click on this icon to clear all
| | 03:25 | the history away from that
panel, and that will be gone.
| | 03:28 | Also, in your Snapshots, if you want to
get rid of a snapshot, like this one; I
| | 03:33 | don't really like it. I can go ahead
and click on the Minus icon in order to
| | 03:37 | remove that snapshot.
| | Collapse this transcript |
| Working with the tool strip| 00:00 | Because this first chapter is all
about getting familiar with the Develop
| | 00:03 | module, here what I want to do is
talk briefly about the tool strip.
| | 00:07 | Now, you may have noticed the tool strip;
it's sitting here above all of our panels;
| | 00:11 | right above the panels,
underneath the Histogram.
| | 00:14 | So what is the tool strip?
| | 00:16 | Well, we'll be talking about all of
these individual tools later; we'll look at
| | 00:19 | how we can work with those.
| | 00:21 | But for now, I just want to point it
out, and I want to pull up a slide which
| | 00:25 | will help us build up some familiarity
with the tools that are located here.
| | 00:29 | Let's navigate to the Library module,
and in the Library module, go to the
| | 00:34 | Resource Files folder.
| | 00:36 | Inside of this folder, you'll see a
number of different Resource files.
| | 00:40 | One of them is this one here,
which is titled toolstrip.jpg.
| | 00:43 | All right. Well, once you have that
selected, navigate back to the Develop module, and
| | 00:49 | again, this just gives us the ability to
kind of talk about what we're seeing here.
| | 00:53 | Well, in this tool strip, we
have a few different tools.
| | 00:56 | One which allows us to crop;
another one which allows us to clean up
| | 01:00 | blemishes and small details. Yet
another to remove or correct red eye, and
| | 01:05 | there's another one which allows us to
make kind of these linear adjustments on
| | 01:09 | broader areas of our photograph.
| | 01:11 | We can darken, or brighten, or
change tones of our pictures in a really
| | 01:15 | fascinating way. And then last but
not least, we have the ever popular
| | 01:18 | Adjustment brush, which allows us to
paint in adjustments into specific areas
| | 01:23 | of our photographs.
| | 01:25 | Now, as I mentioned, we will be
covering all of these tools later.
| | 01:29 | Yet here, I just wanted to point those
out, so that as you're seeing those up
| | 01:33 | here in the panels on the
right, you know what they are.
| | 01:36 | And eventually, you'll know how to
access those different tools as we talk more
| | 01:40 | about those in further detail in
some of the subsequent chapters.
| | Collapse this transcript |
|
|
2. Develop Module Workflow TipsWorking with legacy Lightroom files| 00:00 | Here, we're going to take a look at
how we can start to think about and
| | 00:03 | work with legacy files.
| | 00:05 | In other words, how can we work with
those files which have been processed by a
| | 00:10 | previous version of Lightroom?
| | 00:12 | In the grand scheme of things, Lightroom,
it's a pretty young application, and
| | 00:17 | if you've been using Lightroom or Adobe
Camera RAW for any amount of time, you
| | 00:21 | know what's happened, right?
| | 00:22 | They have improved the process engine;
the process version, and this in turn has
| | 00:27 | changed the way that we are able to
process and work on our photographs.
| | 00:31 | Now, in Lightroom, when we're viewing
our pictures, say, here in the Library
| | 00:36 | module, it doesn't really matter. The
process version doesn't matter; it doesn't
| | 00:40 | matter if it's a legacy file.
| | 00:41 | Yet, the moment that we navigate to
the Develop module, all of a sudden,
| | 00:46 | something interesting happens.
| | 00:48 | For starters, you may notice that in
the Basic panel, we have some controls, or
| | 00:53 | some sliders, which look like the
controls or sliders from Lightroom 3.
| | 00:58 | We also have this little warning icon.
| | 01:01 | Well, what is all of this about?
| | 01:03 | Well, in order to talk a little bit
more about what's happening here, I want
| | 01:06 | to pull up a slide.
| | 01:07 | In this slide, I want to talk a little
bit about the basic controls in Lightroom
| | 01:11 | 3, and compare those to Lightroom 4.
| | 01:13 | Now, if I pull up the basic controls
in Lightroom 4, you may notice that the
| | 01:18 | sliders are a little bit different.
| | 01:20 | I want to highlight a few differences here.
| | 01:23 | You will notice that there are
three new sliders, and these are
| | 01:26 | completely different:
| | 01:27 | Highlights, Shadows, and Whites.
| | 01:29 | You also may have noticed that the
Contrast slider, well it's up top, versus down
| | 01:33 | below where it was before, and these
sliders actually work in different ways.
| | 01:38 | Now, the latest process version
in Lightroom 4 is much different.
| | 01:41 | It goes beyond the basics to things like
working with noise, and detail, and sharpness.
| | 01:47 | I think this illustrates an interesting point.
| | 01:50 | Let's jump back to Lightroom.
| | 01:51 | Well, back in Lightroom, because this
file was processed on a previous version
| | 01:55 | of Lightroom -- Lightroom 3 -- it shows me the
controls for that process version; interesting.
| | 02:01 | Well, what about this little warning icon?
| | 02:04 | Well, if I click on this warning icon,
it's going to open a dialog, and give
| | 02:08 | me some information about how I can update
this file to the latest processing version.
| | 02:14 | Let's click on that, and see what it says.
| | 02:15 | Well, here in this dialog, it
basically says, there is some new technology
| | 02:19 | available for this image -- a new process
version -- and if you update this, you may
| | 02:24 | see some different changes, because
this new process version, it allows
| | 02:28 | Lightroom to get into the data more
effectively in order to work with noise, and
| | 02:32 | recover highlights, and deal with shadows.
| | 02:34 | So you may see some changes.
| | 02:37 | Therefore, it recommends that you
only do one image at a time until you're
| | 02:41 | familiar with what these changes are like.
| | 02:43 | You can also just save the
image as is by clicking Cancel.
| | 02:47 | Well, what do we want to do here?
| | 02:49 | What would be the best bet,
say, with an image like this?
| | 02:52 | Well, it really depends on your workflow.
| | 02:55 | Let's say that you spent hundreds and
hundreds of hours working on your images,
| | 02:58 | and getting them perfect.
| | 03:00 | Well, maybe you don't want to
update all of those photographs.
| | 03:03 | Maybe you want them to stay as they are,
or on the other hand, perhaps you want
| | 03:08 | to update them in order to take
advantage of the latest and greatest technology,
| | 03:12 | in order to be able to process
those images more effectively.
| | 03:15 | Well, let's take a look at how
we could update a photograph.
| | 03:19 | Well, here what we could do is
we could choose a few options.
| | 03:22 | I am going to turn Review Changes via
Before/After off, because there is actually
| | 03:26 | a better way to do that than this checkbox.
| | 03:29 | Next, what I am going to do
is to simply click Update.
| | 03:32 | Now, once I click Update, watch these panels
over here, or these sliders in the Basic panel.
| | 03:37 | Okay, I am clicking Update.
| | 03:39 | What we're going to see over here is
that these controls, well, they've changed.
| | 03:43 | You also may have noticed
that the image changed slightly.
| | 03:47 | Well, how did it change?
| | 03:48 | Well, a great way to see the before and
after here is to press the Backslash key.
| | 03:54 | That Backslash key shows us the before,
press it again, and then the after.
| | 03:59 | Another way to access this before and
after type of view is to press the Y key.
| | 04:04 | The Y key allows us to compare
images in an interesting way.
| | 04:08 | You can also click on the icon in your
toolbar to change this split kind of a
| | 04:13 | view of your photograph,
| | 04:15 | and sometimes a split view can help you see
some of the differences with the processing.
| | 04:19 | Now, in order to turn this off, I am
going to go ahead and press the Y key again
| | 04:24 | to exit out of that Before/After view.
| | 04:27 | So in this case, I have
successfully updated this image to the latest
| | 04:31 | processing version.
| | 04:32 | Well, let's say that I select another image.
| | 04:34 | I click on another one in the filmstrip.
| | 04:36 | I want to update this photograph as well.
| | 04:39 | How could I do that?
| | 04:40 | Well, you can also update a picture
by navigating to the Settings pulldown
| | 04:44 | menu, and then by selecting Update to the
Current Process version. Here it is; 2012.
| | 04:51 | So again, that would do the
same thing that we just did.
| | 04:54 | Another way to do the same exact
thing is to scroll all the way down to the
| | 04:59 | Camera Calibration panel.
| | 05:01 | In the Camera Calibration panel,
we have the Process version.
| | 05:05 | I can change this by simply clicking
here on this menu, and choosing 2012.
| | 05:11 | And again, all of these do the same
exact thing; there are just three different
| | 05:14 | ways to work with this in order
to update the process version.
| | 05:18 | Well, let's say that after we have
updated a few images, we've decided we want
| | 05:22 | to update the whole folder.
| | 05:24 | We want all of these pictures to be up to
date; to be using the latest process version.
| | 05:29 | Well, you can always click on one
image, whatever folder you're inside of.
| | 05:33 | For that matter, you could be
inside of the main folder for your entire
| | 05:37 | catalog and do this.
| | 05:38 | It could be a small folder,
or a big folder; either way.
| | 05:41 | Whatever pictures you see in the
filmstrip, you can update at one time.
| | 05:45 | To do that, click on the warning icon,
and then simply click on the button,
| | 05:49 | Update All Filmstrip Photos. It's
going to then take all of those photographs,
| | 05:53 | and it's going to update those
to the latest processing version.
| | 05:57 | And again, this is a great way
to update a group of pictures.
| | 06:01 | So now back to you.
| | 06:03 | What are you going to do in your own workflow?
| | 06:05 | Well again, that really depends.
| | 06:07 | It depends on how you process your
photographs, and what you want to do with them.
| | 06:11 | For most people in typical scenarios,
you are going to leave your older images
| | 06:16 | as is, and then only update those
pictures as needed, as you're working on them,
| | 06:21 | if you want to see if you
can process them in new ways.
| | 06:24 | And then moving forward, of course, all
of your images coming into Lightroom by
| | 06:28 | default, they will have
that latest process version on.
| | 06:32 | Now, of course all of these decisions
in regards to how to work with legacy
| | 06:36 | files, well it's completely up to you.
| | 06:37 | It's completely up to your own workflow,
and your own preference. And my hope
| | 06:41 | is that this brief movie has given you
some information, and insight which will
| | 06:46 | help you make the correct decision as
you evaluate how to work with your own
| | 06:51 | legacy files.
| | Collapse this transcript |
| Viewing the before and after| 00:00 | Here, we are going to take a few minutes
to formally talk about a topic which has
| | 00:04 | already been introduced, and that's the
topic of viewing before and after views
| | 00:08 | of our photographs.
| | 00:10 | You know, typically what happens is, in
the Develop Module, we get pretty excited.
| | 00:14 | We start to process our photographs.
| | 00:16 | We make adjustments, but then we
are not quite certain, are those
| | 00:20 | adjustments actually good?
| | 00:22 | And you know, it's easy to fool yourself.
| | 00:25 | Let me exaggerate this for a moment.
| | 00:27 | Let's say that what happens is, we
add a little bit of a temperature here;
| | 00:31 | we make the image much more warm.
| | 00:33 | Well, eventually what happens is, we don't
see the adjustment as strong as it really is.
| | 00:38 | The same thing happens
when you go skiing, right?
| | 00:40 | You put on those goggles with that
blue tint; well after five minutes the
| | 00:44 | snow doesn't look blue.
| | 00:46 | Or perhaps your goggles have a
yellow tint, after five minutes, the snow
| | 00:50 | doesn't look yellow.
| | 00:51 | The eye accommodates for what it's looking at.
| | 00:54 | The same thing happens inside of
Lightroom, in the Develop Module.
| | 00:57 | We make an adjustment -- whatever type of
adjustment; contrast, saturation, color,
| | 01:02 | temperature, who knows -- yet we
are not quite sure if it's right.
| | 01:06 | So we need some kind of ability to
compare it to its original state.
| | 01:10 | Well, we can do that in a few really
effective ways. Let's take a look.
| | 01:15 | You need to have the toolbar visible.
| | 01:17 | To have it visible, press the T key;
that will either hide or show the toolbar.
| | 01:21 | Next, click on the Triangle icon, and make
sure you have your View modes clicked on.
| | 01:26 | Over here we have our View modes.
| | 01:28 | The first one is Before/After Left/Right.
| | 01:29 | This will show us where the
image was, and where it is now.
| | 01:35 | Here we can really see, it's just
too warm; it doesn't look very good.
| | 01:40 | We can also change this Before/After view.
| | 01:43 | We can do so by using the icon.
| | 01:45 | Let's go to another type of
a Before/After comparison.
| | 01:49 | Let's go to the one which is a Split.
| | 01:51 | This shows us the image split in a half,
| | 01:53 | and this even works as we zoom in.
| | 01:55 | Here, I will go ahead and zoom in a
little bit on this picture, and then click
| | 01:59 | and pan to move, and we can see how it's
affecting the colors here in the photograph.
| | 02:04 | Let's see if I can get this to a good
spot, where we can see we have a really
| | 02:08 | distinct color difference on the photograph.
| | 02:11 | Let's go back to the Fit In View mode,
so that we can see this more zoomed out.
| | 02:15 | Now, this little icon here is really
helpful, but what I think is more helpful is
| | 02:19 | to use the shortcuts.
| | 02:21 | Let's navigate back to the Normal view
here -- we will click on this icon, and
| | 02:26 | let's use the shortcuts to
navigate through these various views.
| | 02:30 | The first one is the Y key.
| | 02:32 | Press the Y key once, you will get
one view; press it again you'll get
| | 02:36 | another, back to Normal.
| | 02:38 | Another way to do this is to press
Shift+Y. When you press Shift+Y, it will
| | 02:43 | toggle back and forth between these two views.
| | 02:46 | You can also change this by holding
down Option on a Mac, Alt on Windows, and
| | 02:52 | having that split go top to
bottom, rather than left to right.
| | 02:55 | All right. Well, what do you need to
write down in regards to this shortcut here?
| | 03:00 | Well, write down the Y key;
that one is really easy.
| | 03:02 | Why did I do this? Is this a good adjustment?
| | 03:05 | And then also write down the Modifier
keys: Shift+Option if you're on a Mac,
| | 03:10 | Shift+Alt if you are on Windows, and
that will give you access to different
| | 03:13 | before and after views.
| | 03:15 | Now, the last shortcut is perhaps the
most powerful, and the most important.
| | 03:20 | This shortcut is the Backslash key.
| | 03:23 | When you press the Backslash key, that
takes the image back to its original state.
| | 03:27 | You can think of this like going back
in time, and the Backslash, that's a slash
| | 03:32 | which leans to the left; it leans backwards.
| | 03:35 | Press it once; here we have our before.
press it again; here we have our after.
| | 03:41 | The reason why I think that one is
the best, at least in my own workflow, is
| | 03:44 | because I don't have a dividing line.
| | 03:46 | I think that line is
sometimes just too distracting.
| | 03:49 | Pressing that key gives me a real
quick glance at before and after; helps me
| | 03:53 | realize, this image is much too warm.
I need to tone that down a little bit.
| | 03:58 | I want a touch of warmth,
but that was just over the top.
| | 04:01 | Now press that key again. It's a
little bit more subtle; a little bit more
| | 04:05 | reasonable, and this
adjustment, I think, is good to go.
| | 04:09 | Now here, of course, I have to point out
that I'm illustrating this concept using
| | 04:13 | just the Temperature
control, or the Temperature slider.
| | 04:16 | This can be valuable with any
adjustment that you make in the Develop module.
| | 04:21 | It's really helpful to be able to see
that before and after comparison in order
| | 04:25 | to evaluate the quality of the adjustment.
| | Collapse this transcript |
| Comparing and surveying images| 00:00 | The next few tips that I'm going to
share with you are a little bit of a
| | 00:02 | repeat from a previous course, when we were
talking about working with the Library module.
| | 00:07 | I want to include those tips here,
because in the Develop module, you don't ever
| | 00:12 | just work in this module alone. Rather,
our work here is connected to the other
| | 00:16 | modules, and in particular, when it
comes to workflow. And when it comes to
| | 00:21 | comparing and working with pictures, a
lot of times in this step what we'll do
| | 00:25 | is we'll jump back to the
Library module temporarily.
| | 00:28 | For example, I have these pictures here.
| | 00:30 | I'll go ahead and click through
them by using my Right Arrow key.
| | 00:33 | I'll just go through,
and view the photographs.
| | 00:36 | As I view the pictures, I like that
they are all processed in similar ways.
| | 00:40 | And we can then see the pictures in
regards to their color and tone, and they
| | 00:45 | kind of belong together, say especially
these last two pictures of my daughter
| | 00:50 | Sophie picking up snow and
then throwing it in the air.
| | 00:53 | So when it comes to comparing the
before and after, or viewing the picture, we
| | 00:57 | already know how to do that.
| | 00:59 | But there is another step that we can
take to see if the processing of the
| | 01:03 | images is cohesive, and what you can
do is click on one image, hold down the
| | 01:08 | Command key on a Mac, Control key on
Windows, click on another, so that you have
| | 01:12 | two images selected.
| | 01:14 | Next, you can press a shortcut to
navigate to the Library module Compare or
| | 01:19 | Survey mode really quickly.
| | 01:22 | To navigate to the Compare
mode, you press the C key.
| | 01:25 | This will take you to the Library module.
| | 01:27 | Here we are in this compare side by side view.
| | 01:31 | We could have also pressed the N key.
| | 01:33 | The N key is kind of nice, because it
gives us a Survey view, without all of those
| | 01:38 | frames, and all of that extra information.
| | 01:41 | Also, if we have Survey mode, we can
hold down Command or Control -- Command on the
| | 01:46 | Mac, Control on Windows -- and actually
add more images to the Survey view.
| | 01:51 | Now, what this Survey view can do for
us is some just kind of fun things; make
| | 01:55 | connections between our photographs.
| | 01:57 | It can also help us determine weaknesses.
| | 02:01 | In other words, let me highlight one.
| | 02:02 | I am going to go ahead and click on
the X in the bottom corner here on a few
| | 02:06 | photographs, just so that I have two left.
| | 02:09 | Now, with these two images visible side
by side, I all of a sudden realize, you know, my
| | 02:15 | processing; it's not that good.
| | 02:17 | My Develop module work,
well, it's a little bit off.
| | 02:21 | This image is kind of bright and yellow.
| | 02:23 | This one is a little bit more subdued,
and needs to be elevated a bit. A little bit
| | 02:28 | of boost in color, color
temperature, and also in brightness.
| | 02:32 | So we can use those shortcuts to
evaluate, or to compare, or to view our work.
| | 02:38 | It's a little bit of a workaround, but
I think it's really helpful, again, to
| | 02:42 | just make sure your photographs are
cohesive, because there is nothing worse
| | 02:46 | than having a set of pictures that you
are giving to a client, or a friend, where
| | 02:50 | they just don't all fit together, especially,
if they are all captured at the same time.
| | 02:55 | Well, after you've viewed your images in the
Survey, or the Compare mode, if you want
| | 03:00 | to go back to Develop module,
it's really quite simple.
| | 03:03 | All that you need to do is to press the
D key, or to click on the Develop module
| | 03:08 | button up here in the module picker.
| | 03:11 | Now, once you navigate back to this
area, what you could do is then make
| | 03:15 | the needed adjustment.
| | 03:16 | Let's say we need a little bit of a
color Temperature increase, perhaps a little
| | 03:20 | bit increase in our Exposure, and then
perhaps a little bit of Contrast as well.
| | 03:25 | Now, once we have made that adjustment,
if we want to compare it with the other
| | 03:29 | image, we can always
click between the two, right?
| | 03:32 | We could click on one image, and then
click on the other and kind of make
| | 03:35 | sure our processing looks good, or we
could use that shortcut to go back to
| | 03:40 | the Library module.
| | 03:42 | You remember the shortcut? It's either
the N key for Survey -- Survey allows you
| | 03:47 | to view two or more images --
or it's the C key for compare.
| | 03:51 | And, well, in my own workflow, I tend to
use Survey a bit more, just because it's a
| | 03:56 | little bit more flexible.
| | Collapse this transcript |
|
|
3. Working with Color Temperature and White BalanceUnderstanding white balance and color temperature| 00:00 | Lightroom is a photographic workflow
tool that was designed with a certain
| | 00:03 | rhythm or flow in mind.
| | 00:05 | In other words, it was designed so
that we would typically work from left to
| | 00:09 | right, or top to bottom.
| | 00:12 | And that's definitely true in the
Develop module. And here in the Develop
| | 00:15 | module, we typically start off in the
Basic panel, and at the top of the Basic
| | 00:19 | panel are some controls which allow us
to change and modify Color Temperature.
| | 00:24 | Now, color temperature is
actually kind of a fascinating topic.
| | 00:28 | Because of that, what I want to do is,
before we work with these controls, I
| | 00:32 | want to jump to a slide, and just talk a
little bit about working with color temperature.
| | 00:36 | I am going to go ahead and open this slide, and
let's start to think about color temperature.
| | 00:40 | Well, we all know that there are
warm, and there are cool tones.
| | 00:45 | Sometimes this is because of the time
of day, whether it's sunset, or dusk, or
| | 00:49 | night, in the evening. Or perhaps it's
the middle of the day: light tends to be
| | 00:53 | kind of neutral; kind of white.
| | 00:55 | There also are color temperatures
which are the result of different types of
| | 00:59 | light. Maybe it's a
candle, or an on camera flash.
| | 01:03 | And again, each of these different
types of lights, they give off different
| | 01:07 | color temperatures.
| | 01:09 | If you take a picture next to a candle,
well, the picture will seem warm and yellow.
| | 01:13 | If I use an on camera flash,
sometimes it will seem blue and cool.
| | 01:18 | So we have all of these
different reasons for why we have various
| | 01:21 | color temperatures.
| | 01:23 | Now sometimes, we are really in tune
with these different color temperatures,
| | 01:26 | like in the morning at sunrise, the
colors are warm and inviting, or maybe at
| | 01:31 | the end of the day, there is that evening
chill, and those blue tones; they just work, right?
| | 01:36 | And, you know, sometimes when we are
creating pictures, we embrace the various
| | 01:41 | color temperatures.
| | 01:42 | What makes this picture on top
beautiful are the cool tones.
| | 01:46 | The warm tones in this sunrise
shot are what make it so inviting.
| | 01:51 | In other situations, we really need neutrality.
| | 01:54 | We need to capture neutral color.
| | 01:56 | We don't want a color shift
one way or another; cool or warm.
| | 02:00 | So in those situations, what we are
going to look to do is to try to white
| | 02:03 | balance, or color correct our photographs.
| | 02:07 | So why I'm talking about all of this
here is just to illustrate this whole idea
| | 02:11 | that we have various color temperatures.
| | 02:14 | And sometimes, we are interested in
maybe objective, color correct color. Other
| | 02:18 | times, we embrace these different
types of colors and tones; we may be even
| | 02:24 | enhance them in order to
further our vision for our pictures.
| | 02:28 | Well, now that we have this working
understanding of color temperature, let's
| | 02:33 | take a look at how we can start to
work with the Color Temperature and White
| | 02:36 | Balance controls in Lightroom in order
to improve and modify our photographs.
| | Collapse this transcript |
| Using the White Balance Selector tool| 00:00 | Here I want to introduce you to working
with the White Balance tool in order to
| | 00:04 | color correct, and modify the
color temperature of your photographs.
| | 00:08 | You can find the White
Balance tool in the Basic panel.
| | 00:10 | It's located up near the top, and there
is a great shortcut key you can use to
| | 00:14 | access this tool: it's the W key.
Think W for White Balance, or you can
| | 00:20 | simply click on it.
| | 00:21 | Now, once you click on this tool, you'll
notice that the toolbar changes down below.
| | 00:26 | Well, we have a few options.
| | 00:27 | We can use this White Balance
tool with Auto Dismiss turned on.
| | 00:32 | What that means is, when you hover over
your image, and click on your image, it
| | 00:36 | will then automatically put
this tool back in its little dock.
| | 00:40 | We also have the option to show a
loupe, and to change the scale of the loupe.
| | 00:44 | Well what this loupe is, is it
shows us what we are hovering over right
| | 00:49 | underneath our cursor.
| | 00:51 | We can change the scale by
dragging the slider one way or another.
| | 00:55 | Now, it's especially helpful to have
a more detailed scale when you have a
| | 00:59 | higher resolution image.
| | 01:01 | And what this allows you to do is to
kind of average out what you're seeing
| | 01:04 | underneath your cursor, and again, here
you can see we have a much smaller grid
| | 01:08 | there on that loupe.
| | 01:10 | If you have a three button mouse, you
can also change the loupe size by simply
| | 01:15 | using your third button on your mouse --
the scroll wheel -- and here you can see I
| | 01:18 | am changing it with that shortcut.
| | 01:20 | All right. Well this particular
image was captured at the end of the day.
| | 01:24 | It's captured of two of my really
close friends; they are wonderful people.
| | 01:28 | You can just see it in their smiles
and their faces, yet the trick with
| | 01:31 | photographing near the end of the day,
especially up in the mountains, is that
| | 01:35 | it's a little bit too cool.
| | 01:37 | And I know that just because
of that time of day, right?
| | 01:40 | I also know that the woman here,
Holly; she was wearing a black jacket.
| | 01:44 | Well what you can do is you can use this
White Balance tool in order to measure color.
| | 01:50 | Let's hover over the jacket.
| | 01:52 | When I do that, at the base of the loupe,
do you see those little numbers? R, G, B?
| | 01:57 | well those numbers, they are telling me
there is some kind of a color shift, and
| | 02:01 | I know that because in digital imaging,
we know that neutral tones, like black,
| | 02:06 | like this jacket, they should have
equal amounts of red, green, and blue.
| | 02:10 | They definitely don't, so again,
there is some sort of an issue here.
| | 02:15 | So what you can do, then, is you can
simply click on something in your image
| | 02:19 | which you think should be neutral, and
it will color correct that photograph.
| | 02:23 | Yet, before we do that, I
want to point something out.
| | 02:26 | Take a look at my Temperature, and Tint.
| | 02:28 | You'll notice they are
currently at 0 and 0.
| | 02:31 | Well what I'm going to then do is turn
off Auto Dismiss, and then I'm going to
| | 02:35 | hover over this jacket, and click.
| | 02:37 | The reason why I am turning Auto
Dismiss off is so that this will leave the
| | 02:41 | White Balance tool up, so we can
look at the new numbers we have here.
| | 02:45 | Well once I click in that area, the
numbers at the base of the loupe -- R, G, B --
| | 02:51 | well, now they're close to equal: 32, 32, and 32.
| | 02:55 | And take a look at my
Temperature and Tint sliders.
| | 02:57 | Well, it increased the Temperature and
the Tint values, and it did that in order
| | 03:02 | to color correct this image, and
now this image is really good to go.
| | 03:06 | Well, at this point, I need to put
away this tool, because I didn't have
| | 03:10 | Auto Dismiss turned on.
| | 03:11 | One way to do that is to simply click Done.
Another way is to press the shortcut key.
| | 03:17 | You can present W to access the tool,
press W again to put the tool away.
| | 03:23 | Now, in most workflows, it's going to
make most sense to have Auto Dismiss
| | 03:27 | turned on, because typically you are
going to sample or click on an area, color
| | 03:31 | correct the image, and then move on to another
step; move on to another aspect of your workflow.
| | 03:37 | So again, typically, I recommend you
leave this preference on, as well as Show
| | 03:41 | Loupe, and you keep the
loupe scale up really high.
| | 03:43 | All right. Well now that we have color
corrected this image, let's take a look at
| | 03:48 | our before and after.
| | 03:50 | Let's see if this image indeed is better.
| | 03:52 | Do you remember the before and after shortcut?
| | 03:54 | Well it's the Backslash key.
| | 03:56 | You think of going back in time.
| | 03:58 | Here it is; here is that
before, and then here is the after.
| | 04:02 | And again, the color and tones are much better.
| | 04:05 | The image is much more inviting and warm.
| | 04:08 | That jacket color, well, that's neutral,
and it kind of color corrected and took
| | 04:12 | care of everything else as well.
| | 04:14 | So as you can see, if you have something
neutral in your image, this can help you
| | 04:18 | to create images which
will have more accurate color.
| | Collapse this transcript |
| Correcting white balance with a color checker| 00:00 | One of the ways that you can expedite
your overall white balance and color
| | 00:03 | correction workflow is by including
something neutral in one of your initial frames.
| | 00:09 | In other words, you can include
something like this colorchecker passport,
| | 00:13 | or maybe a gray card, or some sort
of a colorchecker card which has some
| | 00:17 | neutral qualities to it.
| | 00:19 | In this case, I objectively know
that there are few patches here on the
| | 00:23 | right-hand side of this
chart which are neutral.
| | 00:26 | I can sample or select those in order
to objectively white balance this image.
| | 00:31 | Then I can apply that white balance to
the other photographs which are captured
| | 00:36 | in this same lighting situation.
| | 00:38 | Now this strategy works really
well when you're shooting in the studio, or
| | 00:42 | even if you're shooting outdoors.
| | 00:43 | Let's say you are shooting in open
shade light, well again, in the initial frame,
| | 00:47 | have a colorchecker chart, white
balance it, and apply it to the other images
| | 00:51 | which were also captured in open shade.
| | 00:52 | All right. Well let's take a look at
how we can do this; it's really simple.
| | 00:56 | We choose the White Balance tool, and
then we will go ahead and hover over
| | 01:00 | this little color chip here that we know
should be neutral, and we will click on that.
| | 01:04 | That will then color correct that chip.
| | 01:07 | The next step, of course, will be to
select the other photographs that we
| | 01:10 | want to white balance.
| | 01:12 | Click on your first one, hold down the
Shift key, click on the last image, and
| | 01:17 | then at the base of the Basic panel
over here, or the panels on the right, I
| | 01:20 | should say, you will see there's
a Sync button. It says Sync...
| | 01:25 | Whenever you see dots in Lightroom, it
tells you, if you click on this, you're
| | 01:28 | about to see a menu.
| | 01:29 | Here, we can synchronize settings.
| | 01:32 | We can choose Check All to apply all of
the different settings we have inside of
| | 01:36 | the Basic panels, and the panels on the
right, or we can check None, and then
| | 01:41 | just determine one option.
| | 01:42 | In this case, all we need
is White Balance, right?
| | 01:44 | So we will check on that option
there, and then click Synchronize.
| | 01:48 | This will then white balance all
three of these images, so that they're now
| | 01:52 | all color correct, and have the same exact
temperature, and tint, and color white balance.
| | 01:58 | What's great about this is it just
takes out so much of the guesswork.
| | 02:02 | Typically, this is all that you'll need to
do in order to color correct your images.
| | 02:07 | Yet, I don't want to stop there, and I
don't want to stop there because sometimes
| | 02:11 | what you want is objective color.
| | 02:14 | Other times, you may want to
tweak it just a little bit.
| | 02:17 | In order to tweak the color, in order
to make a subjective change, you can use
| | 02:22 | these Temperature and Tint
sliders, and just drag and change them.
| | 02:25 | For example, I'm going to take my
Temperature slider down a little bit.
| | 02:29 | This is going to make
the image a bit more cool.
| | 02:31 | Let's say for this shoot, rather than
having it neutral, I want it just a little
| | 02:35 | bit cooler than neutral.
| | 02:37 | Well, again, I can determine what that is
here, and I can set that up in this way.
| | 02:41 | Now, I do have to point out that this
can be a little bit of a slippery slope,
| | 02:46 | because when you're making those
subjective adjustments, it really depends on
| | 02:50 | how well your monitor is calibrated;
how well you can see that color.
| | 02:55 | Yet, that being said, there still will be
times where you will want to make those
| | 02:59 | adjustments, and you can use those
sliders in order to make adjustments to
| | 03:03 | correct, or to even modify
the color in your photographs.
| | 03:07 | Why I point all of this out is because
sometimes, you know, neutral color isn't
| | 03:11 | necessarily the best color.
| | 03:14 | Sometimes, as we've talked about before,
you may be embracing having a little bit
| | 03:18 | of a warmer tone, or maybe a
little bit of a cooler tone.
| | 03:22 | And again, that's part of the art of
photography, the art of scene, the art of
| | 03:26 | working on your images, and I just need
to highlight that here to point out that
| | 03:29 | you can make those adjustments on
your own, working with these sliders.
| | 03:32 | All right. Well, that being said, typically
what you'll do is just sample the point on the
| | 03:38 | card, and then apply that to other
images, and you'll be good to go. Yet again, I
| | 03:41 | just want to point out kind of this
whole process, so that you have all of this
| | 03:45 | information, and all of these
techniques, so that you can arrive at the best
| | 03:49 | color correction for your photographs.
| | Collapse this transcript |
| Working with white balance presets and fine-tuning white balance| 00:00 | In order to further our understanding
of working with white balance and color
| | 00:03 | temperature, for this movie, we are
going to exit out of our white balance
| | 00:07 | folder, and we are going to navigate to
the main folder here in Exercise Files.
| | 00:12 | What we are going to do is
just scroll down a little bit.
| | 00:14 | I'm going to work
with two different images.
| | 00:16 | The first one is this one here;
| | 00:18 | it's titled SantaBarbara_Harbor_01.dng.
| | 00:20 | What's interesting about this
image is there's a big color shift.
| | 00:25 | We can see that this image isn't neutral.
| | 00:28 | Let's take this image to the Develop
module. We can do so by clicking on the
| | 00:31 | Develop button in the module picker.
| | 00:33 | Here, what I want to highlight is
the white balance options that we have
| | 00:37 | here in the Basic panel.
| | 00:39 | Currently, the White Balance is set to As Shot.
| | 00:42 | Now, why do we have this blue color
temperature shift if it's set to As Shot?
| | 00:48 | Well, this particular image, I changed
the white balance setting on my camera,
| | 00:52 | because I wanted to capture this look.
| | 00:54 | I wanted to have all of these really
cool blue tones, but we can also change
| | 01:00 | this after the fact.
| | 01:01 | So after the fact, we could
change this to something, say, like Auto.
| | 01:05 | And as I scroll through these different
options, you are going to see it's going
| | 01:08 | to change the color
temperature; here is Daylight.
| | 01:11 | We are going to see that it's going to
remove a lot of those blue colors, and
| | 01:14 | give us a different look.
| | 01:16 | So what these white balance options
are doing for me is they are changing my
| | 01:20 | temperature and tint.
| | 01:22 | Watch as I make a selection here to
the Temperature and Tint sliders; you can
| | 01:26 | see that it's trying to color correct
for those lighting situations in order
| | 01:31 | to try to create what's called neutral color, right?
To try to neutralize the color temperature shift.
| | 01:38 | So here, as we go through these options,
you can see that some of the options
| | 01:42 | kind of work; some of them don't.
| | 01:45 | And a lot of times what you'll do when
you're working with color is you will
| | 01:48 | experiment, perhaps, with this pulldown menu.
| | 01:51 | Other times, you may just work with the
color temperature you get on the camera,
| | 01:56 | and then take it even further.
| | 01:58 | In this case, I'm going to make things
even perhaps a little bit more blue, or
| | 02:01 | maybe I'll remove some of that tint,
which we can see there, that magenta tint, and
| | 02:06 | bring that down a little bit more
so that it's a touch more green.
| | 02:10 | And again, you can modify these
controls in order to come up with a different
| | 02:14 | look, and there's quite a bit of
different types of looks that we could
| | 02:17 | accomplish with an image like this.
| | 02:20 | So here, with this White Balance pulldown
menu, it gives us the ability to come
| | 02:25 | up with different looks for a photograph.
| | 02:28 | Let's take a look at a different picture.
| | 02:29 | I will go ahead and click on
this one; it's titled christian.dng.
| | 02:34 | This is a photograph of a couple of guys
on this adventure sailing trip, way out
| | 02:38 | in the ocean, on the Pacific
Ocean, in this small little boat.
| | 02:41 | Well here, the White Balance As Shot;
well, it looks pretty neutral, and this
| | 02:46 | is the image just as captured.
| | 02:48 | Let's go through the options.
| | 02:50 | We will take this to a Daylight balance.
| | 02:52 | Now, when we take this to a Daylight balance, we
will see that it will give us a different look.
| | 02:56 | What about a little bit of a cloudy day?
| | 02:59 | What Cloudy will do for us
is give us a bit more warmth.
| | 03:03 | Because remember, when it's cloudy, or
when there is shade, the color temperature,
| | 03:06 | it's much more cool.
| | 03:08 | Well, I kind of like that.
| | 03:10 | I kind of like the warmth that it added.
| | 03:13 | Let's compare the Cloudy,
and the As Shot view.
| | 03:17 | Here is As Shot; let's let that render in.
| | 03:20 | It looks a little bit more cool.
| | 03:22 | Look at the color temperature, and
let's change that to, then, Cloudy:
| | 03:26 | you are going to see that's just boosting
that color temperature and that tint up.
| | 03:30 | So again, sometimes you will choose
these options, and see something you might
| | 03:33 | like, and then even enhance
it a little bit further.
| | 03:36 | Let's make this even a little bit
more warm, and then perhaps even a little
| | 03:41 | bit more of a tint.
| | 03:42 | Now I've changed the color pretty drastically;
pretty dramatically. Let's take a look.
| | 03:48 | Press the Backslash key; here is our
before, and then here is the after.
| | 03:53 | So again, we have the ability
to change the color temperature.
| | 03:56 | And a lot of times, when you get
to these types of subjective color
| | 04:00 | adjustments, well, it's just kind of
fun, because you can bring the image to
| | 04:04 | life in some interesting ways.
| | 04:07 | You know, other times what you'll
do is you will use this to correct
| | 04:10 | something which is wrong.
| | 04:13 | Rather than just kind of enhancing an
image, or finding the right look, you can
| | 04:17 | correct some sort of a color problem.
| | 04:20 | Well, let's take a look at how
we can do that in the next movie.
| | Collapse this transcript |
| Color correcting multiple images at once| 00:00 | Here we're going to take a look at how
we can color correct a group of images
| | 00:03 | which were captured in the same
lighting situation, and how we can use that
| | 00:07 | pulldown menu in order to
color correct this group of images.
| | 00:12 | Let's go ahead and select these images;
they're inside of the daisy folder.
| | 00:16 | You can see all the photographs.
| | 00:18 | Let's navigate to the Develop module,
and then I'll press the arrow key, just to
| | 00:22 | scroll through these pictures.
| | 00:24 | Now, these partiicular photographs
were captured when we went to pick up our
| | 00:27 | little puppy there, Daisy;
very sweet, wonderful dog.
| | 00:31 | And the problem with these
pictures, of course, is that the color
| | 00:34 | temperature, it's off. It's too cool.
| | 00:37 | You can kind of see the clue here;
| | 00:39 | my daughter and her new
dog are sitting in the shade.
| | 00:43 | Because of that, the color
temperature, well, it's just really cool.
| | 00:47 | So what you can do is you can select one
of the images, hold down the Shift key,
| | 00:52 | and then select the last one in that set;
| | 00:55 | the last one which was
captured in that lighting environment.
| | 00:58 | Next you can go to the Basic module,
and use the White Balance control here to
| | 01:04 | select the type of light under
which these photographs were captured.
| | 01:08 | I already pointed out it was Shade, so
we'll go ahead and select that option.
| | 01:13 | That will then white balance this image.
| | 01:15 | Now, if we want to synchronize this to
the other images, we've already seen that
| | 01:20 | we can click Synchronize, and then
apply this in the Synchronize dialog here.
| | 01:24 | Or, another way that we can do this is we can
flip on this switch; this turns on Auto Sync.
| | 01:32 | What we can then do is go back to the
White Balance pulldown menu, and choose
| | 01:36 | an option like As Shot, and then go back
and choose Shade again, and by choosing
| | 01:41 | this that second time, it will then
apply that white balance -- which is a really
| | 01:45 | good starting point for these images
here -- to all the photographs in this set.
| | 01:50 | And by this way, what we can do is
we can white balance images which were
| | 01:56 | captured in similar lighting scenarios.
| | 01:59 | Now, whenever you're working with white
balance, you also have to keep in mind
| | 02:02 | that you are never going to get it 100%
perfect by simply using these controls.
| | 02:08 | So often, what you'll have to do is to make
little micro-adjustments to get it just right.
| | 02:13 | Yet then, as you work with your other
controls, you may discover that that shifts
| | 02:18 | the color a little bit as well.
| | 02:20 | After you make some more adjustments,
you may have to go back up, and change this
| | 02:24 | just a little bit one way or another.
| | 02:27 | Either way, here what you can see, though,
is that you can use this pulldown menu
| | 02:32 | to really give yourself a little bit
of a jumpstart in order to white balance
| | 02:36 | images which were captured in a
similar, or in the same lighting scenario.
| | Collapse this transcript |
| Creativity and white balance| 00:00 | For this movie, we are going to
navigate back to our white balance folder.
| | 00:03 | We're going to select this image here,
dandelion-1, and take it to the Develop
| | 00:07 | module; talk a little bit about
white balance, and color creativity.
| | 00:12 | This particular image was captured
simply by holding up this dandelion flower
| | 00:16 | underneath one of the lights on my
kitchen stove, and the light which was
| | 00:20 | coming off of that, or the color
temperature of that light, was really warm.
| | 00:24 | Now, that looks great in a kitchen;
it doesn't look so good in a photograph.
| | 00:29 | Well here, what I want to do is
just get a little bit creative.
| | 00:31 | I want to bring some of these colors out.
| | 00:34 | I set this blue or teal
color card behind the dandelion.
| | 00:38 | I want to bring some of
those vibrant colors out.
| | 00:40 | Well, in this case, we're just
going to make some subjective edits.
| | 00:43 | Let's say we change the Color
Temperature by bringing it down, and then perhaps
| | 00:48 | we change the overall Tint, as well,
making that a little bit more green. Again,
| | 00:53 | just making something that
I think looks interesting.
| | 00:56 | This is completely
subjective; completely creative.
| | 00:59 | Next, I'm going to add a little bit of
Contrast here, a little bit of Clarity,
| | 01:03 | also some Vibrance in that, and scroll
down, and crank up the Color Saturation.
| | 01:09 | Now, this is just a completely different image.
| | 01:13 | Nonetheless, it's kind of fascinating, isn't it?
| | 01:16 | Let's take a look at the before and after.
| | 01:18 | Well, here's the before,
and then here's the after.
| | 01:22 | So as you can see, white balance, and
color correction, and color temperature;
| | 01:27 | well, it can lead you to
some fascinating results.
| | 01:30 | Sometimes those results are about
getting things neutral. Other times it's about
| | 01:34 | coming up with a fascinating
look, like we've created here.
| | Collapse this transcript |
|
|
4. Masking Basic Tonal AdjustmentsGetting familiar with the tone controls| 00:00 | Some of the most important and
powerful controls that we have in Lightroom,
| | 00:04 | well, they're located in the Develop
module, in the basic panel, and they are the
| | 00:08 | Tone controls. And these Tone controls,
they allow us to correct and enhance our
| | 00:13 | photographs in some incredibly powerful ways.
| | 00:16 | Because of that, I find it helpful
to develop a really strong working
| | 00:20 | understanding of these controls, so
that we actually know what they do, so that
| | 00:24 | we can know how to use them in order
to correct and enhance our pictures.
| | 00:29 | Therefore, what I want to do here is
jump to a few slides, which will help
| | 00:33 | develop or understand of these
controls, so that we can kind of reverse
| | 00:37 | engineer how they work, and so that
we can then apply all of that knowledge
| | 00:41 | to our work on our photographs.
| | 00:43 | Okay, well for starters,
let's pull up this initial slide.
| | 00:46 | I've already talked about this before,
but the basic tone controls, well,
| | 00:50 | they've changed from
Lightroom 3 over here to Lightroom 4.
| | 00:54 | I've pointed out that some
of the main changes are that we have
| | 00:58 | different controls.
| | 00:59 | Now, the controls that we had before,
they're now part of this new setup,
| | 01:03 | yet we can access these in a
little bit of a different way.
| | 01:07 | You'll also notice that these controls,
by default, well, they're zeroed out.
| | 01:12 | So there's a little bit of a
paradigm shift in regards to how we'll work
| | 01:16 | with these controls.
| | 01:17 | There's also something
happening behind the scenes.
| | 01:21 | What's happening is the latest
process version, and all of these controls,
| | 01:25 | well, it allows us to tap into our RAW
files, and to extract data from those
| | 01:30 | files that we couldn't have previously.
| | 01:32 | Let me show you a slide in order to
illustrate that. And here's the same image
| | 01:36 | in Lightroom 3, and Lightroom 4.
| | 01:39 | There's a feature in Lightroom
which allows you to show clipping; this
| | 01:43 | allows you to show where
you have a loss of detail.
| | 01:46 | Now, I used to use this image in
previous versions of Lightroom training titles
| | 01:50 | to illustrate that this image, well, it had
clipping on the front of it, and we could
| | 01:54 | recover the clipping there.
| | 01:56 | Well, I opened this image up inside of
Lightroom 4, and almost all of the clipping,
| | 02:01 | which is highlighted by
this red tone here, was gone.
| | 02:05 | In other words, it was the same
image, yet simply by working on it in
| | 02:09 | Lightroom 4, I had to do less,
| | 02:12 | and that's because there's a
lot happening behind the scenes.
| | 02:16 | These controls are not only different by name;
| | 02:18 | they're different by functionality,
and strength.
| | 02:21 | There's also another difference.
| | 02:23 | Here's another slide, which I
think illustrates this difference.
| | 02:27 | These sliders now all work in a similar way.
| | 02:31 | Previously, it was a little bit of a
mismatch, and kind of hard to figure out.
| | 02:34 | Well, now it either goes darker or brighter.
| | 02:38 | In other words, let's say
we're working on our Highlights.
| | 02:41 | Click-and-Drag to the right; well,
those highlights become brighter.
| | 02:45 | Click-and-Drag to the left; those
highlights become darker. Same thing with
| | 02:49 | Shadows, Whites, and Blacks.
| | 02:51 | In other words, it's a
little bit more uniform:
| | 02:53 | moving to the right is brighter or more;
moving to the left is darker or less.
| | 02:58 | All right! Well, now we've been introduced
to the Basic panel, and the Tone controls, and
| | 03:03 | also we've been introduced to a little
bit about how they look, and perhaps
| | 03:07 | function, let's deconstruct this even
further, and let's do that by working on
| | 03:12 | a few example files.
| | 03:14 | So let's go ahead and continue this
conversation, and pick it up in the
| | 03:18 | next movie.
| | Collapse this transcript |
| Deconstructing the tone controls| 00:00 | Let's begin to put some of our
knowledge into practice, and let's further
| | 00:03 | deconstruct, or kind of demystify how
these tone controls work by applying these
| | 00:08 | controls to an image.
| | 00:09 | The photograph we'll be working on,
you can find in the people folder.
| | 00:13 | It's titled shaun.dng.
| | 00:15 | Let's take this image to the Develop module.
| | 00:17 | This is a picture of one of my friends,
Shaun. He was standing in as I was
| | 00:21 | setting up some lights, and he
happened to be holding this lynda.com cup,
| | 00:25 | so I thought it would be kind
of fun to use this picture.
| | 00:28 | Well, here in our Tone controls,
we know that we can change Exposure.
| | 00:32 | I'm going to exaggerate a little bit here,
just to figure out how these controls work.
| | 00:36 | For Exposure, if we drag all the way up,
that becomes too white; drag it all the
| | 00:41 | way down, and it becomes
almost completely black.
| | 00:43 | All right. Well, to reset one slider,
you double-click the slider name.
| | 00:48 | Let's take a look at Contrast;
| | 00:50 | increase the contrast, or decrease the contrast.
| | 00:54 | Now, as I make the Contrast adjustment,
there's something really important to
| | 00:57 | begin to think about.
| | 00:59 | Contrast has a close relationship with color.
| | 01:02 | Take a look at the color of
the coffee mug, or of the shirt.
| | 01:05 | Well, it's much more subdued with a low
contrast, compared to with high contrast;
| | 01:10 | well, it seems much more vibrant.
| | 01:13 | So as we make changes to our
photographs, we're going to see this with the
| | 01:16 | other controls as well.
| | 01:18 | Because of this, eventually, we'll need
to make some adjustments here, and then
| | 01:23 | use some of our other color controls in
order to kind of modify, or make changes,
| | 01:27 | or compensate for some of
these color shifts.
| | 01:30 | Okay, well, I also want to
point out something else here.
| | 01:33 | Let's say that we make two different
types of adjustments: an Exposure, and a
| | 01:37 | Contrast adjustment, or any number of
adjustments here, and we want to reset all
| | 01:42 | of the Tone controls.
| | 01:43 | How can you do that?
| | 01:45 | Well, if you hold down the Option key
on a Mac, Alt key on Windows, this Tone
| | 01:49 | button right here, it changes to Reset Tone.
| | 01:53 | So keep that key pressed, and then click on
that, and it will reset all of your sliders.
| | 01:58 | The reason I point that out here is
just because what I want you to do is to
| | 02:02 | really tinker with these sliders,
really swing them hard one way or another,
| | 02:07 | really try to figure out how they work,
but then of course, reset everything, and
| | 02:11 | try it again, and keep trying until you
kind of teach yourself how these work.
| | 02:14 | Okay, well, what about Highlights?
| | 02:16 | Well, we've talked about Highlights
before; that it works on this tonal region here.
| | 02:22 | We'll click and drag that to the left,
and that makes the image a little bit
| | 02:26 | more even. Interesting.
| | 02:28 | The brighter side, well,
it's a bit more subdued.
| | 02:31 | This darker side over here kind of
stayed as is, and we can see how that works,
| | 02:36 | again, just primarily
working on those brighter tones.
| | 02:39 | Okay, well, let's continue to exaggerate.
| | 02:41 | What if we wanted to work on some of
these shadows here? Not the deep dark
| | 02:46 | shadows, but some of the middle shadows.
| | 02:47 | Well, we could use this Shadow slider,
drag that up, and what's going to happen
| | 02:52 | is the image is going to start to
appear like it's a little bit more evenly lit,
| | 02:56 | versus one side that's
bright and one side that's dark.
| | 02:59 | So again, Shadows can kind of boost
a little bit of light into that area.
| | 03:04 | One of the things that I notice is as
we do this exaggeration here, the whites
| | 03:08 | are still too bright.
| | 03:10 | We need to reach into those brightest tones;
| | 03:12 | we do that with the white slider.
| | 03:14 | Here we can either brighten those up, or
we can darken those down. And again, I'm
| | 03:18 | not saying that the image looks better
here, but what I am trying to do is really
| | 03:22 | get us to think about how we can modify
our photographs using these controls, and
| | 03:27 | I'm doing this by
exaggerating with these controls.
| | 03:29 | All right. Well, what about blacks?
| | 03:32 | Well, here we can bring up the blacks,
or we can bring those back down, darkening
| | 03:36 | those. And again, what this can do for
us is give us just amazing flexibility
| | 03:41 | with how we process the image. And
here, the image is completely overdone.
| | 03:47 | Yet, one of the things that you can
do to kind of save the day with your
| | 03:50 | photographs is to add a little
bit of contrast; kind of expand this
| | 03:54 | histogram back out.
| | 03:55 | You can see how it's almost flattening
it, and pushing it back to where it was.
| | 03:59 | Now, of course, we'll have a little
bit of a color issue, but you can start to
| | 04:03 | see how it can kind of almost just
soften the relationship between the huge pull
| | 04:09 | or push that we did with
these different sliders.
| | 04:12 | Again, keep in mind this is all
little bit of an exaggeration.
| | 04:15 | This image looks overprocessed.
| | 04:18 | Here's our before, and then now our after.
| | 04:21 | Yet, that being said, we still have a
pretty strong amount of flexibility with
| | 04:26 | how we push these sliders.
| | 04:28 | You can also see that this latest
version of Lightroom, even though we make
| | 04:32 | these really drastic and dramatic
adjustments, for the most part, the image, well,
| | 04:38 | it's really holding up under these
huge tonal adjustments or movements.
| | 04:43 | And really, in closing, what I want to
highlight here is just that what I'm
| | 04:46 | hoping that this movie does for you is
that it just starts to help you connect
| | 04:51 | the dots, and realize that, you know what?
Working with these sliders is not
| | 04:55 | really that difficult.
| | 04:56 | It's just thinking about how these
target different areas of the image, and how
| | 05:01 | you can start to target those areas
in order to come up with whatever your
| | 05:05 | desired results, or aesthetic, or look is
for your photograph, and that by using these
| | 05:10 | sliders in combination, it can help you
come up with a way to process your image
| | 05:15 | that really previously was almost
unimaginable. It will give you this new
| | 05:20 | flexibility to, ideally, help you
correct, and also enhance your photographs.
| | 05:26 | Well, here, as you can see, we're
really just scratching the surface.
| | 05:30 | There's obviously more to talk about
in regards to these tonal adjustments.
| | 05:34 | So let's continue this conversation,
and let's do that in the next few movies.
| | Collapse this transcript |
| Using the tone controls to enhance photographs| 00:00 | Let's take a look at how we can start
to use some of the things that we've
| | 00:03 | learned about the Develop module Basic
Tone controls, and let's apply some of
| | 00:07 | that knowledge to a few different
photographs, starting off with this one here.
| | 00:11 | You can find it in the snow folder.
| | 00:14 | It's titled tahoe_03.dng.
| | 00:17 | Let's navigate to the Develop module.
| | 00:19 | In the Develop module, what I want to
do is start to process this image, and
| | 00:23 | let's focus in on the Tone controls.
| | 00:25 | Well, this is a pretty tricky situation
for a photograph, because we have this
| | 00:30 | white snow, and in this white snow
area, I don't really have much detail.
| | 00:35 | I want to try to bring back some of
the texture and shape of the snow.
| | 00:39 | Well, we know that we can use our
Highlights and our Whites controls in order to
| | 00:43 | try to bring down some of those brighter tones.
| | 00:46 | Let's start off with the whites; with
the brightest whites there, and that's
| | 00:49 | going to be the top left-hand
side of the histogram over here.
| | 00:52 | As we bring this down, you'll notice
that what it's doing is it's kind of
| | 00:55 | pushing the histogram over to the left.
| | 00:58 | So that did some nice recovery here,
| | 01:01 | but I need some more in this region.
| | 01:02 | So I'll use my Highlights control.
| | 01:04 | You're going to see that that's
going to push down some of those tones.
| | 01:07 | In a sense, it's kind of pushing
this whole histogram over to the left.
| | 01:11 | Now, in regards to been able to print this
image, it looks a lot better in the snow area.
| | 01:17 | Yet up top, it looks a little bit funny.
| | 01:20 | I need to bring back some of the contrast.
| | 01:23 | So, the Contrast slider, what it will do is
it will kind of stretch this histogram out.
| | 01:27 | Watch this.
| | 01:28 | We'll click and drag it to the right, and
it's kind of redistributing everything.
| | 01:31 | We still have some nice detail down here,
but now we have some wonderful color
| | 01:36 | saturation, and the image just
looks a little bit more alive.
| | 01:40 | We can also add a bit of vibrance
using our Shadow slider; just brightening
| | 01:43 | things up a little bit if we wanted to.
| | 01:45 | So we could brighten that up a touch,
then maybe darken down some of those Blacks.
| | 01:50 | By doing that, it will
increase the color saturation as well.
| | 01:54 | Well now here, with just a few
simple movements, we have a completely
| | 01:59 | different photograph.
| | 02:00 | Let's look at the before and after.
| | 02:02 | You can access the before and after
view by pressing your Backslash key.
| | 02:07 | Here is our before, and then now our
after, and you can see that we have much
| | 02:12 | better detail here in this area of the image.
| | 02:14 | Now, once we've made these changes, as
I've mentioned before, we may need to go
| | 02:18 | back to some of our other controls, like
white balance. Perhaps we want to warm
| | 02:22 | this up just a little bit, to
make this a little bit more vibrant.
| | 02:26 | We could also go down to some
of our other controls as well.
| | 02:29 | Yet here, though, I'm going to stop
doing those kind of adjustments, and really
| | 02:32 | focus on what's been done in this area.
| | 02:36 | Again, with a few sliders, with a few
adjustments, we've really improved this picture.
| | 02:40 | Let's take a look at another.
| | 02:42 | In order to access the other photograph,
let's go back to the Library module,
| | 02:46 | and here in the Library module, what we're
going to do is navigate to the people folder.
| | 02:51 | In the people folder, what I want to
do is access this image here; it's
| | 02:55 | called rincon_surfer.dng.
| | 02:58 | This is a photograph that I used in
a previous training course, and I went
| | 03:02 | through all of these crazy steps in
order to get this image to look good.
| | 03:07 | Yet now here with the latest version
of Lightroom, it's much more simple.
| | 03:10 | Let me show you how this works.
| | 03:12 | We'll click on the Develop module, and
in the Develop module, what I need to do
| | 03:16 | is to bring up some of the shadow detail.
| | 03:18 | This is too dark in this area.
| | 03:20 | So I can work on my shadows.
| | 03:22 | So go ahead and click on that slider, and I'm
going to bring up some of the detail there.
| | 03:25 | Let's exaggerate, so we can really
see how we can bring in detail into
| | 03:29 | those shadow areas.
| | 03:30 | Now, for the blacks, we could also
bring up some of the blacks if we wanted to.
| | 03:34 | In this case, I don't.
| | 03:35 | I still want some nice deep contrast.
| | 03:38 | Now, what about the
highlights we're seeing back over here?
| | 03:41 | Well, we could go ahead and bring down
some of the brighter tones in the image,
| | 03:44 | and you can see how that's really
working on the sky in the background there.
| | 03:48 | The whites, well that's going to
be the brightest tones in that area,
| | 03:51 | so we can bring those down, or bring
them up to have a little snap, and then
| | 03:56 | modify those controls.
| | 03:58 | Next, with Exposure, we can modify the overall
exposure, say, opening things up a little bit.
| | 04:03 | When I do that, I then need to go back
to my other sliders, and then darken up
| | 04:09 | some of those whites, and
perhaps some of those highlights.
| | 04:12 | So, you can kind of see that what you're
going to do a lot of times is move back
| | 04:15 | and forth between all of these controls.
| | 04:18 | What about contrast?
| | 04:19 | Well, let's bring some of that back as well.
| | 04:21 | So now here, we've processed this image
in a pretty strong way, again, just by
| | 04:27 | making our way through these different controls.
| | 04:31 | Now, in watching this, it may
seem a little bit kind of blurry.
| | 04:34 | Well, why did he move that
one, then this one, then that one?
| | 04:37 | Basically, what you're doing is kind of
walking through the different controls,
| | 04:41 | keeping in mind that you're targeting
these different areas, and also keeping in
| | 04:45 | mind that when you make an adjustment in
one area, say, like shadows, well that
| | 04:49 | affects the other areas as well.
| | 04:50 | So you just may need to go back to
another control to then modify that other
| | 04:55 | area that it affected.
| | 04:57 | Okay, with this image, let's look
at our before and after. Here it is
| | 05:00 | before, and then after. A much
more usable and interesting picture.
| | 05:05 | Well, as you can tell, we're just
really starting to scratch the surface in
| | 05:09 | regards to how we can use these controls.
| | 05:12 | Because of that, I think it'll be
valuable to continue our conversation, and to
| | 05:16 | continue looking at a few more examples
in regards to how we can use these Tone
| | 05:20 | controls in order to improve our images.
| | 05:24 | So let's continue this
conversation in the next movie.
| | Collapse this transcript |
| Correcting clipping with the tone controls| 00:00 | Here we are going to take a look at a
common problem in digital capture, which is
| | 00:03 | called clipping, and we are going to
explore how we can correct clipping.
| | 00:08 | Now, what clipping is, is when you
have an area of your picture where you
| | 00:11 | have loss of detail.
| | 00:13 | This happens typically in the
highlights or in the shadows of your photographs.
| | 00:18 | You can turn on clipping indicators in
the Develop module by clicking on the
| | 00:22 | triangle icons here in the Histogram,
that will then turn those on, and show us
| | 00:27 | that we have clipping here
in this area of the image.
| | 00:31 | We can also toggle that indicator on
and off by pressing the J key; that will
| | 00:37 | turn that on and off.
| | 00:39 | So what's the big deal?
| | 00:40 | What's the problem with clipping?
| | 00:42 | Well, this is telling me that I don't
have any detail in this area of the picture.
| | 00:47 | This isn't going to print very well.
| | 00:49 | I'm not going to be able to send this
to the printer and get a very good image.
| | 00:52 | So I want to bring this value down,
so that I have detail in that region.
| | 00:57 | Well in order to do that, we could use
our Highlights, and our Whites controls here.
| | 01:02 | Well you remember that your
Whites, well that's the upper reach.
| | 01:05 | So you maybe thinking, well in the
previous version of Lightroom, what I could
| | 01:08 | do is I could recover the highlights with
that Recovery slider; with the top slider.
| | 01:12 | Well this Whites slider,
it will do a lot of that.
| | 01:15 | It will take down those highlights.
| | 01:17 | We can see how that's working up
there in the Histogram; just really
| | 01:20 | bringing those values down.
| | 01:22 | Yet the problem is, it's not reaching far enough.
| | 01:25 | What we need to do is almost push over this
whole histogram to the left a little bit more.
| | 01:31 | Well, here is where the power of the latest
version of Lightroom really comes into play.
| | 01:36 | We can use this Highlights slider,
and what that will do is it will just
| | 01:39 | push everything over.
| | 01:41 | Notice that as I brought that down, it
completely recovered those highlights, so
| | 01:47 | now those are good to go.
| | 01:48 | But what about the shadow side of things?
| | 01:51 | Well here, let's increase our Contrast a
little bit, so that we have a little bit
| | 01:54 | nicer look with this picture.
| | 01:57 | And let's also increase the
Exposure, and let's watch out for clipping.
| | 02:00 | If we go too far, we will see we will bring
in clipping, so we don't want that to happen.
| | 02:04 | We will just bring it up just a touch there.
| | 02:07 | We have a little bit of clipping on
those edges, which I might want to bring down
| | 02:10 | with the Highlights control.
| | 02:12 | In other words, as you move one
adjustment, you may have to go back to a
| | 02:17 | previous adjustment in order to correct it.
| | 02:20 | Okay, well on to the Shadows.
| | 02:22 | Well, we have these two
controls: Shadows, and Blacks.
| | 02:25 | Let's take a look at what will
happen if we deepen our Blacks.
| | 02:28 | Well, if we deepen those, we will lose
detail in this region of the picture.
| | 02:34 | Let's reset that by double-clicking
it, and taking it back to zero.
| | 02:38 | Well what about Shadows?
| | 02:39 | Well same thing; if I drag this down, you
are going to notice that I will have clipping.
| | 02:43 | Yet, you will notice here that in this
case, it's trying to really focus on this
| | 02:47 | area, and not as dramatically
hit those deeper darker tones.
| | 02:52 | So I do still have detail
in this area of the picture.
| | 02:56 | Hover over it, and you can
read your R, G, B values up here.
| | 03:00 | You notice that I still have about
3% of detail there in that region.
| | 03:04 | So what you can do with your Shadows
and your Blacks is you can bring these
| | 03:09 | values down until you have clipping,
which isn't going to be desirable.
| | 03:13 | What I mean by that is, sometimes it's
okay to clip detail; sometimes it's okay
| | 03:18 | to have no detail in certain types of shadows.
| | 03:22 | There are photographers, for that matter,
who have defined their style by clipping
| | 03:26 | the detail in their shadows.
| | 03:27 | The Highlights, on the other hand, well
those are a little bit more problematic.
| | 03:32 | But you can see that by turning on
these indicators, we can start to make
| | 03:35 | adjustments which have a
little bit of objectivity to them.
| | 03:39 | Rather than just tweaking those
sliders, and making the image look good to our
| | 03:43 | eye, we can kind of watch the clipping
indicators in order to come up with the
| | 03:47 | best adjustment for our photographs.
| | 03:50 | Now here, let's look at the before and after.
| | 03:53 | We can do that by pressing
the good old Backslash key.
| | 03:56 | Here is before, and then here is after.
| | 03:59 | Now if the clipping indicator is a
little bit distracting, you can turn that off.
| | 04:04 | You can do that by simply
clicking on these icons here.
| | 04:07 | Now let's look at before and after again.
Here is before, and then here is after.
| | 04:11 | We have a nicer tonal range, a
little bit more contrast, a little bit more
| | 04:15 | density in this picture;
well it looks pretty good.
| | 04:17 | All right! Well the last thing I want to do
with this picture is, this one needs a little
| | 04:22 | bit of added clarity.
| | 04:23 | This will deal with our color issue,
and just make the image look really nice.
| | 04:28 | Now, we haven't talked about Clarity
yet, and we will be hitting that topic a
| | 04:31 | little bit later, but for here, I think
it suffices to say that it could use a
| | 04:35 | little bit of that clarity.
| | 04:37 | Take a look at this: here is our before,
and then after. It just gives the image
| | 04:41 | that kind of nice, finished look to it.
| | 04:44 | Here in conclusion, what we have been
working with here is looking at how we can
| | 04:47 | use those Tone controls in order
to prevent or to correct clipping.
| | Collapse this transcript |
| Synchronizing tonal adjustments with multiple images| 00:00 | In order to get to know how to work
with the Tone Controls in the Basic panel,
| | 00:04 | we have explored how we can
work with one image at a time.
| | 00:08 | But you and I know that the reality
of it is that we work on one image, and
| | 00:12 | then we apply those settings to other
photographs that were captured in the
| | 00:16 | same lighting situation.
| | 00:18 | Like here, you can see I have this
picture, and then I have others which were
| | 00:21 | captured under the same light.
| | 00:23 | Well, how can we work with the tone
curve, or the Tone controls I should say, in
| | 00:28 | order to process multiple images?
| | 00:30 | Well here with this image, the first
thing I want to do is just increase the
| | 00:33 | Color Temperature just a little bit.
| | 00:35 | Now that I've done that, I am
going to go through my Tone controls.
| | 00:38 | Well my Exposure, it seems pretty good.
| | 00:42 | I'm not quite sure, though, so
I'm going to press the J key.
| | 00:45 | This will turn on the clipping
indicators, as we have seen before.
| | 00:49 | Okay, so far so good.
| | 00:50 | We have decent detail there.
| | 00:52 | I'm going to increase my Contrast,
which will also affect the color.
| | 00:56 | Next, what about those highlights?
| | 00:58 | Wouldn't it be nice to bring
down some of that detail? Sure.
| | 01:01 | We'll go ahead and click and drag this
to the left, as well as click and drag our
| | 01:04 | Whites slider to the left, bringing
in some more detail into that jacket.
| | 01:09 | Shadows; let's boost those up,
adding a little bit of fill there, and then
| | 01:13 | Blacks, we can go ahead and darken
those in order to find just a nice spot for
| | 01:17 | those shadows there.
| | 01:19 | I'm going to increase my
Contrast just a touch.
| | 01:22 | I think this image is pretty
good to go. Let's look at it.
| | 01:25 | Here is our before,
and then now our after.
| | 01:28 | So here, really what I'm trying to do is
simulate a little bit of a workflow in
| | 01:32 | regards to working on an image,
getting that correct using these controls.
| | 01:37 | Well now that we have done that,
all that we need to do is to hold down
| | 01:41 | the Shift key, and then to click on
the last image in the set; in this case,
| | 01:45 | this photograph here.
| | 01:47 | So we have all of these images selected.
| | 01:50 | Next up, of course, is to synchronize this.
| | 01:53 | I'm going to turn this switch off, so
that I can access the Synchronize menu.
| | 01:58 | In order to access that, click Sync...
| | 02:01 | This opens up the Synchronize Settings dialog.
| | 02:03 | Now, what do I want to synchronize?
| | 02:05 | In this case, I want to synchronize
White Balance, and Basic Tone:
| | 02:09 | all of those adjustments that we
just worked on; that looks good.
| | 02:13 | Here we will click Synchronize. That will
then apply those settings to the other images.
| | 02:18 | Here, we can use the Arrow key in order to
navigate through this set of photographs.
| | 02:23 | What's great about this is it allows us to
apply this particular look to these images.
| | 02:28 | They all have this warm tone, and also,
the same amount of contrast and detail.
| | 02:33 | Yet, what's interesting about this type
of a workflow is that sometimes we will
| | 02:37 | come to an image, say like this,
and this one is just too dark.
| | 02:41 | Well, what we can do there is
we can modify the photograph.
| | 02:44 | We can increase the Exposure perhaps a
little bit, in order to give it a bit more
| | 02:48 | of a boost, or we can modify the Blacks,
and also the Shadows, in order to bring
| | 02:52 | those up just a touch.
| | 02:54 | So as you seek to work with these
various images, you will need to kind of make
| | 02:59 | some micro-adjustments in order to get
them just right, because each image, well,
| | 03:04 | it's going to work a little bit
differently. In this case, because the face
| | 03:08 | isn't covered by the hat, well,
it's a little bit of a brighter image.
| | 03:11 | This one, perhaps a little bit darker.
| | 03:14 | So again, here we may need to just
make those adjustments in order to make
| | 03:18 | corrections, so that each
image looks really good.
| | 03:21 | In this way, what I'm trying to
illustrate is how you can start to really
| | 03:25 | expand how you work with these Tone
control settings, so that you're not just
| | 03:29 | working on one image at a time, but
rather, so that you can work on one image,
| | 03:34 | apply those settings to other
photographs captured in similar scenarios, and
| | 03:39 | then make any final fine tune
adjustments in order to help make your images
| | 03:43 | look even better.
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|
|
5. Improving Vibrance, Saturation, and ClarityUnderstanding vibrance and saturation| 00:00 | In order to really understand how the
Vibrance and Saturation controls work in
| | 00:05 | the Develop module, let's
work with this demo file here.
| | 00:08 | You can find it in the Resource
Files folder; it's titled color.jpg.
| | 00:13 | Select that file, and then go ahead
and navigate to the Develop module.
| | 00:17 | Well here in the Develop module, we
are going to focus in on the Basic panel,
| | 00:21 | and in particular, on the controls
for Presence: Vibrance, and Saturation.
| | 00:26 | Now Vibrance, and Saturation; they
work in similar yet different ways.
| | 00:31 | Let's try to reverse engineer, or
deconstruct how these tools, or how these
| | 00:35 | controls actually work.
| | 00:37 | Well Saturation, we are all probably used to.
| | 00:39 | What it does is it either says, okay
we have a certain amount of color; let's
| | 00:44 | then remove or let's add
color to this particular image.
| | 00:49 | Yet what's exactly happening here.
| | 00:51 | Well, what saturation does is it
makes what are called linear adjustments.
| | 00:56 | It says, I want to take this blue, in
this case a faded blue, or a bright blue,
| | 01:00 | wherever that blue is, and I want
to boost it up, or take it down.
| | 01:05 | So in this case, we can see that all
of the blues become a little bit more
| | 01:09 | blue relative to where their saturation
level was, or all of those, in a uniform
| | 01:15 | way, become less blue.
| | 01:17 | So again, it doesn't really pay
attention to the color; it just says, I am going
| | 01:20 | to add more, or I am going to take away.
| | 01:23 | Well Vibrance on the other hand, it
allows us to make nonlinear adjustments.
| | 01:29 | Vibrance is almost a
little bit maybe intelligent.
| | 01:32 | What it does is it says, hey, you know
what? These blues, well, they are not
| | 01:36 | quite as blue as the other ones down over here.
| | 01:39 | I want to help these guys out.
| | 01:41 | So Vibrance focuses in on
color in a fascinating way.
| | 01:45 | As I increase this, you will notice
that the blues on the right are those blues
| | 01:50 | which are more affected
than the blues on the left.
| | 01:53 | Let's look at that before and after.
| | 01:55 | Well here is our before,
and then here is our after.
| | 01:59 | On the other hand, if we decrease the
Vibrance, well, it's going to decrease the
| | 02:03 | colors which are little bit less blue,
and it's going to try to maintain the blue
| | 02:08 | in the colors which were once the most blue.
| | 02:11 | So this is nonlinear.
| | 02:13 | It's paying attention to
color in an interesting way.
| | 02:16 | It works on those weaker colors in a
different way than it does the stronger colors.
| | 02:22 | Okay well, why does this matter,
besides it being kind of interesting?
| | 02:26 | Well it matters because it can help us
process our images in really powerful ways.
| | 02:32 | Let's take a look.
| | 02:33 | Go back to Library module for a moment,
and then go to the folder titled other.
| | 02:37 | Inside of this folder, we have a
photograph which is titled sayulita_door.
| | 02:42 | This is a picture of a painting on
this little shop door down in Mexico.
| | 02:47 | Let's process this image using those
Vibrance, and Saturation controls, and so
| | 02:52 | let's go to the Develop module.
| | 02:54 | Well here in the Develop module,
let's just see what these controls do.
| | 02:58 | Decrease Vibrance; well what happens?
| | 03:00 | Well it primarily targets the blues;
it doesn't affect the Reds as much.
| | 03:05 | Increase this up; what we are going to
see is all of a sudden, we have not just
| | 03:10 | more color, but more color variety, and
that's what's really important here.
| | 03:14 | What Vibrance does is it
actually expands the color palette.
| | 03:19 | Rather than just taking red or blue, and
making more of that, it gives us almost
| | 03:23 | these different shades of blue;
these different shades of red.
| | 03:27 | Take a look: here is our before,
and then now here's our after.
| | 03:31 | All right, well let's
compare that to Saturation.
| | 03:34 | What Saturation will do is
it will boost our colors.
| | 03:37 | In this case, we kind of lose detail on
the reds. There is too much red there.
| | 03:41 | It's not really usable. Decrease;
we know what's going to happen there.
| | 03:46 | Well what we can do is we can use these
sliders together, say, increase Vibrance,
| | 03:50 | and maybe take down the Saturation a
little bit, and a little bit more Vibrance
| | 03:54 | until we come up with a nice color combination.
| | 03:57 | Here is that before, and then now the after.
| | 04:01 | The trick with this, of course, in this
image in particular, is that the reds,
| | 04:06 | well those are going to easily get
blocked up, or they are going to have too
| | 04:09 | much information in them, because the
red channel is the one in digital capture
| | 04:14 | which is most sensitive to light. And
you know what? This happens all the time
| | 04:18 | with people's faces as well.
| | 04:20 | If you increase the Saturation, well
their face becomes too ruddy; too red. You
| | 04:25 | see all those kind of
strange colors in their face.
| | 04:28 | Yet if you use Vibrance, say, with a
people photograph, well it can boost the
| | 04:32 | other colors, but not so much affect the face.
| | 04:35 | In other words, Vibrance helps us bring
other colors out, while the main or the
| | 04:40 | big colors, it doesn't affect as much.
And here, you can see it just gives us kind
| | 04:44 | of a fun way to process this image.
| | 04:46 | We have a little bit of flexibility
with regards to finding the sweet spot; the
| | 04:50 | amount of reds, and blues, and
also all of those vibrant tones.
| | 04:54 | Here it is: our before, and then after.
| | 04:57 | Well now that we have been introduced
to this whole topic of how these sliders
| | 05:01 | work, let's apply what we know, and
let's do that to a few more images.
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| Working with vibrance and saturation| 00:00 | In order to really learn how to work
with Vibrance, and Saturation, here I want
| | 00:03 | to work on three different images.
| | 00:06 | You can find these
photographs in the People folder.
| | 00:08 | The first one is melissa_08.
| | 00:12 | Let's take this image to the Develop
module, and next, let's open up our Basic
| | 00:16 | panel, and then scroll down
to the Presence controls.
| | 00:20 | What I want to do with
this image is zoom in on it.
| | 00:22 | It's a smaller JPEG, so I am going to
zoom in to the 1:1 view, so I have a nice
| | 00:27 | view of the color and
details in this photograph.
| | 00:31 | Well just by way of experimentation,
let's increase the Saturation all the way up.
| | 00:36 | Now, when we do that, we
have these strange problems.
| | 00:39 | This red, it's a little
bit out of control and funky;
| | 00:43 | there is also this discoloration
and yellowing in the face.
| | 00:47 | It's not very flattering.
| | 00:49 | So 100 points of Saturation;
it's not going to work.
| | 00:52 | Compare that to 100 points of Vibrance.
| | 00:55 | Well, while this is still
exaggerated, it's much more manageable.
| | 00:59 | The eyes, they look vibrant and alive.
| | 01:01 | The background, beautiful red; not over the top.
| | 01:05 | So again, this Vibrance slider, it
deals with color a little bit differently,
| | 01:10 | and in this case, what we might want
to do with processing this photograph is
| | 01:14 | perhaps increase the Vibrance a little bit.
| | 01:16 | Get some of that color variety, and
then maybe just a touch of Saturation, and
| | 01:21 | that can help an image come
to life in fascinating ways.
| | 01:25 | In other words, these two sliders,
well they play well together.
| | 01:29 | It's kind of like you want to use one,
and then another, and kind of use them
| | 01:33 | back and forth; they complement each other.
| | 01:35 | While one is linear, the other is nonlinear.
| | 01:39 | Let's take a look at the
results with this image.
| | 01:41 | Here is our overall before;
a little bit lackluster.
| | 01:45 | And now here is after; much
more vibrant and intriguing.
| | 01:49 | Okay, well let's continue the
experiment. Let's work on another image.
| | 01:53 | This time I will select this file,
which is titled chris.dng, and I will zoom
| | 01:58 | out to Fit in View.
| | 02:00 | This is a larger full resolution file,
so I am going to take my Navigator view
| | 02:05 | 1:4, which will give me a
nice close up of the face.
| | 02:10 | Once again, what does 100
points of Saturation look like?
| | 02:13 | Well here you can really see it.
| | 02:17 | The face, or the skin tone, it
looks something like a carrot orange.
| | 02:20 | It's just is unnatural, unreal, uninteresting.
| | 02:24 | Let's compare that to 100 points of Vibrance.
| | 02:27 | Well again, we have an over the top look.
| | 02:30 | Yet the skin tone, well
that looks actually pretty decent.
| | 02:35 | Again, we are exaggerating here, but
you can see that 100 points of Vibrance,
| | 02:39 | well it's a little bit better.
| | 02:41 | So with an image like this, again
what we could do is, of course, perhaps
| | 02:45 | bring up some of that Vibrance there,
and then we could also control the
| | 02:48 | overall color saturation.
| | 02:50 | If you want to have a nice, really
vibrant looking image, you could bring up
| | 02:54 | some of that Saturation.
| | 02:56 | Here it is: our before, a little
bit lackluster, and then after.
| | 03:02 | So, is this always the combo
that you'll use? Not necessarily.
| | 03:06 | There may be times when you'll want to
decrease the Vibrance, and then increase
| | 03:10 | the color Saturation.
| | 03:12 | What this can do is it can kind of
protect certain colors from going over the top.
| | 03:17 | Let me show you what I mean.
| | 03:18 | Well here, I have plus 55 Saturation.
| | 03:22 | Let's remove the Vibrance.
| | 03:24 | When I remove the Vibrance, plus 55
saturation, well the skin, it looks horrible.
| | 03:31 | Well if I decrease the Vibrance,
what it's going to do, then, is kind of
| | 03:35 | protect those skin tones, so now I have
nice color that I am saturating, that I
| | 03:40 | am boosting up, without
overdoing certain colors.
| | 03:44 | Let's press the Backslash key.
| | 03:46 | Here you can see before, and then after.
| | 03:49 | It's pretty subtle;
| | 03:50 | it's pretty natural, and realistic looking.
| | 03:54 | The advantage of using these controls
together, and using them delicately, like
| | 03:58 | we are doing here, is that they can
really make an image look good, versus if you
| | 04:03 | overdo it, it just looks over processed,
and again, it kind of will detract from
| | 04:09 | the power of the photograph.
| | 04:11 | Let's look at one more image, just
to see how we can use this in yet a
| | 04:15 | different lighting scenario.
| | 04:16 | This time, I am going to click on this
photograph here, it's titled elsie.jpg.
| | 04:21 | I'll go to a 1:1 view of this photograph.
| | 04:24 | It's a picture of my oldest daughter
holding our youngest the first day she was
| | 04:29 | brought to our home; the
second day of her life. I love it.
| | 04:32 | Well if we increase the Saturation, we
know what's going to happen; doesn't look good.
| | 04:37 | If we increase the Vibrance,
well, we know it's going to hold up.
| | 04:41 | It's going to work on the weaker colors.
| | 04:44 | What you can do is you can use these
sliders, as we've seen; a little bit of Vibrance.
| | 04:48 | Also, you can take out a little bit of
Saturation, and sometimes what that can
| | 04:53 | do is you can add color variety here
with Vibrance, while not overdoing the
| | 04:59 | colors that are too punchy, and again,
this can give you another type of look; a
| | 05:04 | distinct color palette with your photographs.
| | 05:07 | This will be a little bit more subtle, but I
will press the Backslash key. Here is before,
| | 05:11 | press it again; there's after.
| | 05:14 | It may be hard to see, but my pinks and
my yellows, they just have a little bit
| | 05:18 | more of a snap to them.
| | 05:20 | So as you can see, these controls,
while at first glance, well they are simple,
| | 05:24 | straightforward, no big deal.
| | 05:26 | At second glance, they are actually
kind of fascinating, and really fun, and
| | 05:31 | you can use these controls to really
bring out some beautiful colors in your
| | 05:36 | photographs.
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| Color creativity with temperature, vibrance, and saturation| 00:00 | Now we're going to take a look at how
we can get creative using these Vibrance
| | 00:04 | and Saturation controls, and a few
other controls we have in the Basic panel.
| | 00:09 | We'll start off with this image;
| | 00:10 | it's titled sunrise.jpg.
| | 00:12 | You can find it in the
folder which is titled other.
| | 00:15 | Let's take this image to the Develop module.
| | 00:18 | With this particular photograph, what I
want to do is really bring this image to life.
| | 00:23 | I want to come up with a
different version of this photograph.
| | 00:26 | I want to have a little bit of fun;
| | 00:27 | I'm not going for something realistic
here. Rather, my interest is expression.
| | 00:33 | One of the first things I might do is
use my Temperature and Tint sliders
| | 00:37 | in order to cool this photograph off.
| | 00:40 | Now sometimes it sounds counterintuitive
to cool off a sunrise or a sunset
| | 00:45 | picture, but a lot of times when you have
that blue-yellow combo -- the warm-cool --
| | 00:51 | makes it really interesting. Take a look;
| | 00:53 | here is before, and then after.
| | 00:55 | Next, what about using
Vibrance, and Saturation?
| | 00:59 | Well, Saturation almost always
kills sunrises or sunsets. Take a look;
| | 01:04 | it's just too much, it
doesn't really make sense.
| | 01:08 | Vibrance, on the other hand, it can bring
out all of this interesting color variety
| | 01:12 | that we have in a picture, and then
maybe we can modify the Saturation there,
| | 01:17 | reducing the saturation just a touch,
so we have a nice color palette.
| | 01:22 | And as you can see, by using these controls
together, we started with this -- one
| | 01:28 | version of this image -- and
then we ended up with this;
| | 01:31 | another completely different
expression of this image.
| | 01:35 | Another photograph I
want to have some fun with this.
| | 01:38 | This one here; it's
titled brooklyn_wall_painting.
| | 01:41 | There was this painting on this wall
in Brooklyn, in New York City, that I saw,
| | 01:45 | and I just loved it;
| | 01:46 | I loved all the dripping paint here.
| | 01:48 | Well, in this case, you may think,
well, what about just using Vibrance.
| | 01:52 | That's really what adds
all this color variety.
| | 01:56 | Here's our before, and after.
| | 01:58 | Yeah, that's great, but you know, when
you have colors like this, you probably
| | 02:03 | want to use these two controls in
combination. By adding that Saturation amount,
| | 02:08 | increasing that, and again, just kind of going
over the top, that really brings out those reds.
| | 02:15 | Take a look;
| | 02:15 | here is that before Saturation,
and then here's with that.
| | 02:20 | And for an image like this, it is those
reds which kind of just really make this
| | 02:25 | image super vibrant.
| | 02:28 | We also might want to add some contrast,
which increases the color saturation as well.
| | 02:33 | We could experiment with our overall
exposure, perhaps brightening the image a touch.
| | 02:38 | Maybe use the black slider in
order to deepen those blacks.
| | 02:42 | What I'm trying to do here is just to get
you to kind of think outside of the box.
| | 02:47 | Think how you could use these controls
that we've been talking about in a way
| | 02:51 | that's really creative, and maybe even fun.
| | 02:54 | Let's take a look at the before and
after of this photograph. Here it is before.
| | 02:59 | Remember, when you first saw it, and you
thought, wow, that's beautiful; so colorful.
| | 03:04 | Now it looks kind of like a faint
distant memory compared to the after, which
| | 03:09 | just has this just incredible amount
of vibrance and color variety; deep rich
| | 03:15 | tones, and also saturation.
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| Understanding clarity| 00:00 | You've heard me say before that one of
the ways that you can learn how to use
| | 00:03 | the Lightroom controls is to create
a grayscale, and then to modify that
| | 00:07 | grayscale with the control, you can
kind of get this interesting insight into
| | 00:12 | how that control works, and
that's what we're going to do here.
| | 00:15 | We're going to take a look at how we
can really understand what Clarity is.
| | 00:20 | We'll be working with this file;
it's tone.jpg.
| | 00:23 | You can find this in the
Resource Files folder.
| | 00:25 | Let's go ahead and navigate to the
Develop module, and here in the Develop
| | 00:29 | module, what I want to do first is
compare and contrast Clarity, and Contrast,
| | 00:35 | because Clarity, well, it's a form of Contrast.
| | 00:38 | Let's start with the
Contrast that we already know.
| | 00:40 | Increase this, blacks become blacker,
whites become whiter; decrease this, and the
| | 00:45 | opposite takes place.
| | 00:47 | It's really increasing or
decreasing the overall contrast.
| | 00:50 | Okay, we'll so far so good.
| | 00:52 | How does that then compare to Clarity?
| | 00:55 | Well, Clarity is about midtone Contrast.
| | 00:58 | You notice that as I make these changes,
either positive or negative, primarily,
| | 01:03 | lets say, in this area, you can
see the Contrast is happening here.
| | 01:07 | Let's zoom in; let's go ahead and go to
a one to one view for a moment. And here,
| | 01:12 | I have some different gradients, and
these I have just created in Photoshop in
| | 01:16 | order to have a nice demo file to see Clarity.
| | 01:19 | Well, when we increase that, it's
like the ridges here, well, they're a
| | 01:23 | little bit more bumpy.
| | 01:25 | Decrease it, well, the differences or
the contrast will dissipate, so that the
| | 01:29 | image, it takes on almost this
soft glow; a little bit blurry.
| | 01:35 | So we can use clarity to actually add
softness to a picture, or to increase
| | 01:41 | that midtone contrast.
| | 01:42 | Now that we've seen Clarity, let's go ahead
and compare that to Contrast one more time.
| | 01:46 | Contrast, you notice, it's also changing
the background there, it's changing the
| | 01:50 | entirety of the image; a really big wide reach.
| | 01:54 | On the other hand, our Clarity slider, well
it's a little bit more focused on those midtones.
| | 02:00 | Some people will tell you that Clarity adds
a little bit of that snap to your picture.
| | 02:04 | What's fascinating to me about Clarity
is it does do that, but it also affects
| | 02:09 | color in an interesting way.
| | 02:11 | And what we need to do is to really
learn how we can work with Clarity, and also
| | 02:15 | how it can work with color, in
particular, those Vibrance, and Saturation sliders
| | 02:20 | that are located right next to Clarity.
| | 02:22 | These are grouped together for a reason.
| | 02:25 | Well, let's continue our conversation
about working with Clarity, and let's take
| | 02:29 | a look at how we can work with an
image, and let's do that in the next movie.
| | Collapse this transcript |
| Using clarity in collaboration with vibrance and saturation| 00:00 | This movie is going to be a bit of a journey;
| | 00:02 | a journey into exploring how to
understand and work with the Clarity slider.
| | 00:07 | Let's work with this picture here.
You can find it in the people folder;
| | 00:10 | it's titled rob.tif.
| | 00:13 | And what I'm going to do to make things
simple is I'm going to filter what I'm
| | 00:17 | seeing in this folder, so that I
can just focus in on this photograph.
| | 00:21 | In order to do that, I'm going to add a
red label by clicking on this icon here.
| | 00:26 | Next, you can press your Backslash key;
that's the slash which leans to the left.
| | 00:32 | That opens up your library filtering
options, and click on Attribute to expand
| | 00:37 | that, and then this red color label.
| | 00:39 | So why are we doing all of that?
| | 00:41 | Well, I want to do all of that just to
kind of clear away all the clutter, to
| | 00:45 | really focus in on just one image at a time.
| | 00:48 | Let's go to the Develop module.
| | 00:49 | Here in the Develop module, what we're
going to do is make a comparison between
| | 00:53 | Clarity, and Contrast.
| | 00:56 | We're also going to see how these
adjustments compare to the original file.
| | 01:00 | Therefore, I'm going to
create a couple of virtual copies.
| | 01:04 | On a Mac, you can press Command+
Apostrophe. On Windows, you can press
| | 01:07 | Control+Apostrophe. And go ahead and press
that twice, so that we now have three images.
| | 01:13 | On the second image, let's increase
the contrast all the way up 100 points.
| | 01:19 | On the third image, or third
virtual copy, let's increase the Clarity.
| | 01:23 | Now let's look at the differences.
| | 01:26 | We can look at these simply
by clicking through the images;
| | 01:28 | the original, as compared to
full contrast. Interesting, right?
| | 01:33 | We lose some detail in the blacks.
The yellow, or color saturation on the
| | 01:37 | face and the shirt;
| | 01:38 | well, it's just really over the top.
| | 01:40 | Compare that to, say, Clarity.
| | 01:44 | What happens there is we
have detail in the blacks;
| | 01:47 | it didn't affect those as much.
| | 01:49 | It's really targeting those midtones,
and what's interesting about this as well
| | 01:54 | is we have a little bit of loss
of color saturation. Take a look.
| | 01:59 | Here is the original file, and then
here's the file with 100 points of Clarity.
| | 02:04 | Well, one of the things that you might
need to do when you're working with Clarity
| | 02:08 | is bring back a little bit of the color.
| | 02:11 | One way to do that, of course, is to
increase your Vibrance slider, and you can
| | 02:15 | bring that Vibrance slider up, and
maybe even a little bit of Saturation here.
| | 02:19 | I'm just going to go ahead and see if I
can move these amounts here a little bit
| | 02:23 | to bring back some of that original color.
| | 02:26 | Let's now take a look at this. Here is
our original file, and then here's the
| | 02:30 | file with all of this added extra Clarity.
| | 02:32 | Now it's not perfect;
| | 02:34 | it can't be. It can't be a one to
one perfect color, because we have a
| | 02:38 | different amount of contrast.
| | 02:40 | You can see how you can start to
kind of bring out some of these colors, and
| | 02:44 | you can use these sliders in
order to bring in more or less color.
| | 02:49 | The reason why I'm pointing this out
is just to get you to think about how
| | 02:53 | clarity adds this really
interesting texture. Let's zoom in.
| | 02:56 | We click on 1:1, and we see all
of that texture. Comparing that, say, to
| | 03:01 | the original file, we
have nice wonderful texture.
| | 03:04 | Yet, it also shifts color.
| | 03:07 | So sometimes what we'll do is --
let's go ahead and reset these --
| | 03:10 | we'll do something like this.
| | 03:11 | We'll say, well, let's add some Clarity.
Not too much, but maybe 20, 30, 40 points.
| | 03:17 | I should point out, too, that Clarity in
the latest version of Lightroom: it's been
| | 03:21 | completely overhauled. It
works completely differently.
| | 03:24 | It doesn't introduce as many
artifacts as it did previously.
| | 03:28 | Previously, you would hear people say,
like myself, only add a little bit of
| | 03:32 | Clarity; too much, and your
image is going to fall apart.
| | 03:35 | Well, not the case with
this version of Lightroom;
| | 03:38 | you can push this pretty high, and
the image will still look pretty good.
| | 03:40 | All right. Well, let's say that we want a
moderate amount; somewhere right around there.
| | 03:45 | What might do next, then, is add a
little bit of that Vibrance, and maybe a touch
| | 03:50 | of Saturation, and you can see that as I
toggle between these two views, we have
| | 03:55 | pretty accurate color.
| | 03:57 | Now, again, it's not perfect, it's not
one to one, but you can see how we can
| | 04:01 | start to kind of play with these
amounts, and come up with some different color
| | 04:05 | combinations, which kind of hearken
back to that original color palette.
| | 04:09 | All right. Well, why all of this conversation,
and why all of this time focusing in on
| | 04:15 | Clarity, and also comparing it to
Contrast, and how it relates to color, and all
| | 04:20 | of these variables?
| | 04:21 | Well, I want to take time to do that,
because what I've noticed is this:
| | 04:25 | very often, photographers go
through their workflow top to bottom.
| | 04:29 | They work on exposure,
| | 04:30 | they add some contrast, they use their
other sliders in any way that they need
| | 04:33 | to, and they do their workflow, and
then at the end, of course, they add a
| | 04:36 | little bit of Clarity.
| | 04:38 | Yet, the trick with that is that what
you're doing, you have to keep in mind, that
| | 04:42 | as you add that Clarity, whatever
amount, you're also tweaking the color.
| | 04:47 | Therefore, when you get to Clarity,
don't stop there, because you know about
| | 04:52 | Vibrance, and Saturation. You've watched
those movies; you know how that works.
| | 04:56 | Well, take advantage of that
knowledge, and as you seek to add your Clarity,
| | 05:00 | whatever amount, just keep in mind, you
may need to go into some of these other
| | 05:03 | controls in order to just customize
the way you want that color to appear.
| | 05:08 | Now, I'm not necessarily saying
you always need to do this every time.
| | 05:12 | You know, sometimes what you'll
discover is that you'll go through your own
| | 05:15 | workflow, and you'll get to that final
Clarity step, and what that will do is
| | 05:19 | it will create kind of a
nice look for your image.
| | 05:22 | Maybe it's a little bit gritty,
and desaturated, and you like it.
| | 05:26 | Well, in that case, live with it; go
for it. I mean, that's a good thing.
| | 05:30 | Yet, there are certain images where
this desaturation, this kind of hip,
| | 05:34 | crunchy type of look; it just doesn't work.
| | 05:38 | Therefore, in those situations, it may
be helpful to tap into using these other
| | 05:43 | sliders in order to really finish the
image off; in order to give it a color
| | 05:47 | palette, a color look, which is a
little bit more appropriate for that
| | 05:51 | photograph that you're working on.
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|
|
6. Basic Panel Workflow ReflectionsBasic panel workflow| 00:00 | As we progress through our work in
the Basic panel in the Develop Module, we
| | 00:04 | started to look at how we can
put together a few of the pieces.
| | 00:08 | Yet, for the most part, we've been
working in an isolated way, focusing in on one
| | 00:12 | set of the controls at a time.
| | 00:13 | Well here what I want to do is just walk
through a few sets of images, and take a
| | 00:17 | look at a workflow that we can use
when working with those controls.
| | 00:21 | Let's start off with this image here;
you can find it inside of the other
| | 00:25 | folder. It's the imadonari_01.
| | 00:28 | We'll navigate to the Develop
module, and open up the Basic panel.
| | 00:31 | Now, you remember that typically what
you will want to do is start at the top.
| | 00:35 | Select the White Balance tool, either by
clicking on it, or by pressing the W key.
| | 00:39 | Next, click on something in the image --
maybe the whites of the eyes there -- that
| | 00:43 | you think should be neutral.
| | 00:45 | This will color correct, or shift the
color temperature of the photograph.
| | 00:49 | Next, you may need to customize this.
| | 00:51 | In this case, subjectively I'm going to
go ahead and cool that off just a bit.
| | 00:55 | Temperature and Tint; well that
looks okay. I'll skip that one.
| | 00:59 | Next, down to Exposure, and Contrast.
| | 01:01 | Exposure, we could increase this a
little bit, knowing that we're going to
| | 01:04 | bring our blacks in by increasing the
contrast there, or possibly darken it a
| | 01:09 | little bit, to have a little bit more of a
dense color palette, or dense look to the image.
| | 01:14 | Highlights, those look
pretty good; I can skip it.
| | 01:17 | In other words, you don't have to use
every slider. Rather, just use the sliders
| | 01:21 | which will help you actualize
your vision for that photograph.
| | 01:25 | In this case, I'm just working with
these two sliders here in order to create a
| | 01:29 | deeper, or a darker look.
| | 01:31 | Next, why not add a little Clarity;
adds a little snap, or midtone punch.
| | 01:36 | When you add that Clarity, typically
it's a good idea to bring in some Vibrance,
| | 01:40 | and also a touch of color Saturation as well.
| | 01:43 | Now, you may need to go back to the top,
decrease the Contrast, or work with the Exposure.
| | 01:49 | You may need to make some fine tune
adjustments after you've gotten all the way
| | 01:53 | through all of these settings,
| | 01:55 | because each time you make an
adjustment, it shifts the color temperature a
| | 01:59 | little bit, or it changes the way
you view contrast. You get the idea.
| | 02:03 | So again, you can kind of see how you
can start to walk through these controls,
| | 02:07 | and then also walk back up, and make
any changes that you'll need to make.
| | 02:11 | The next thing that I want to do is I
want to apply these settings to the two
| | 02:15 | other images which were captured
during that same time, with the same camera.
| | 02:19 | These are all RAW files,
straight out of the camera.
| | 02:22 | This middle file, though; there is
a problem. It needs to be rotated.
| | 02:27 | In order to rotate the image, you can
press the Command key on a Mac, Control key on
| | 02:32 | Windows, and then the Bracket keys.
| | 02:34 | Left Bracket key rotates this to the left,
Right Bracket key rotates that to the right.
| | 02:40 | So again, Command or Control, Left
or Right Bracket in order to change
| | 02:44 | the orientation there.
| | 02:45 | Next, we want to synchronize.
| | 02:47 | So we'll click on the first image,
hold down the Shift key, then click on the
| | 02:51 | last image, and we've seen this before.
| | 02:54 | What we're going to do is turn Auto
Sync off, and open up the Synchronize dialog,
| | 02:59 | and check all that we've done, or we
could just check the Basic tone, and the
| | 03:03 | White Balance if we just
want to apply those settings.
| | 03:06 | In this case, we'll click Synchronize.
| | 03:08 | That will then apply those settings to these
other images, so that now they look much better.
| | 03:13 | Here is that before, and then after.
| | 03:16 | This photograph is really kind of
coming to life, and then with this picture,
| | 03:20 | before, and now after.
| | 03:22 | And so what my hope with this movie is,
is that you can start to see how you
| | 03:26 | can walk through these various controls,
and walk through these various steps in
| | 03:31 | order to put all of the steps
together, and to come up with beautiful and
| | 03:35 | interesting looking photographs.
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| Using Auto Tone| 00:00 | Here I want to share with you a
workflow tip that you can use when working with
| | 00:04 | the Basic panel in the Develop
Module, and it has to do with Auto Tone.
| | 00:08 | We'll be working with this image
here; it's titled Jared_mason_03.
| | 00:14 | Let's take this image to the Develop module;
| | 00:16 | we can do that by
clicking on the Develop button.
| | 00:20 | Next, you may have noticed that there is
a button in the Basic panel which we've
| | 00:23 | been ignoring; it's Auto.
| | 00:25 | What Auto allows you to do is to
apply an Auto Tone adjustment to your
| | 00:29 | photograph, and sometimes this can
really help you kind of jumpstart your
| | 00:34 | processing workflow.
| | 00:36 | You can also access that option by
navigating to the Settings pulldown menu, and
| | 00:40 | then by selecting Auto Tone.
| | 00:42 | Well either way, both options do the same thing.
| | 00:45 | Let's go ahead and click on this, though,
in the Basic panel, and here you can see
| | 00:49 | it's going to apply some adjustments
to our photograph. Let's take a look.
| | 00:53 | Here is the before, and now the after.
| | 00:56 | You can see that what it's done is it's
really moved these sliders in some pretty
| | 01:00 | significant ways, and
sometimes this Auto Tone can help out.
| | 01:04 | From here, what might you do? Maybe
increase the Exposure a little bit, add a
| | 01:08 | little bit of Clarity, and then perhaps
warm the image up a little bit, with some
| | 01:12 | Temperature increase there.
| | 01:14 | All right! Well I think
that's good, and I'm done.
| | 01:17 | And that's it, right?
| | 01:18 | It's pretty simple; here is
our before, and then our after.
| | 01:22 | Now, I do have to point out, of course,
that Auto Tone, it doesn't always work.
| | 01:27 | As you are actually getting familiar
with all of these controls, and as you are
| | 01:30 | trying to figure out your own workflow,
sometimes it couldn't hurt to test that
| | 01:34 | out, and just see what
the results might look like.
| | 01:37 | It can give you a little bit of a
jumpstart, and help you speed up your workflow.
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| Workflow considerations| 00:00 | Before we wrap up our conversation
about working with the Basic controls in the
| | 00:04 | Develop module, I want to share with
you one more workflow movie, because you
| | 00:08 | know, getting good at Lightroom; it's
about more than learning about what the
| | 00:12 | controls or sliders do.
| | 00:14 | It's about learning how to put all of
it together. It's about knowing how, and
| | 00:17 | when, and why to apply certain things.
| | 00:20 | It's about creating a cohesive workflow.
| | 00:23 | I also want to include one more movie to
share with you a few more workflow tips
| | 00:27 | as you're working with the Basic panel.
| | 00:29 | We're going to be working from this
folder; it is titled iphon, and I have a few
| | 00:33 | iPhone pics of my daughters.
| | 00:35 | The first two are of my daughter, Annie;
the second two of Sophie, my middle daughter.
| | 00:39 | Well, let's go ahead and navigate to the
Develop module, and click on the first image.
| | 00:44 | Now, we already know about synchronizing
photographs, but let's do that again here.
| | 00:49 | Click on one, hold down the Shift key, click
on another; make sure Auto Sync is turned on.
| | 00:54 | Now, typically when you start
working on a picture, you think about the
| | 00:57 | color temperature, right?
| | 00:59 | We have heard it said; that's where you
start, that's where you have to start,
| | 01:02 | make an adjustment here,
| | 01:03 | so we go ahead and make an
adjustment one way or another.
| | 01:06 | Yet, sometimes you just don't need to;
sometimes the color that you got on
| | 01:11 | camera, well, it doesn't need to be modified.
| | 01:14 | Like, I think that's the case here. If
we warm this up, it will look a little bit
| | 01:18 | too yellow; if we cool it
off, it won't look very good.
| | 01:21 | I think this color looks just fine.
| | 01:24 | And again, I want to include this picture
in that comment, just to remind you of that.
| | 01:28 | You don't have to use every slider.
| | 01:31 | Next, let's go ahead and take a
look at how we can modify Exposure.
| | 01:35 | Now, we have seen how we can turn that
clipping indicator on, but here I want to
| | 01:40 | share with you one more tip.
| | 01:41 | You can press Option on a Mac, Alt on
Windows, and then click and drag your
| | 01:46 | sliders, and you will see a clipping indicator.
| | 01:49 | Here, it's showing me that I have
clipping in all of these areas.
| | 01:52 | Again, by holding Option or
Alt, I can see that.
| | 01:55 | Let's say I still want to brighten
this up a little bit. I can let go of
| | 01:59 | Option or Alt to see how it looks, press
Option or Alt again to see where the clipping is,
| | 02:03 | and I realize, you know what? I
need to fix this. Down to the
| | 02:07 | Highlights and the Whites.
| | 02:09 | Let's start off with the Whites.
| | 02:11 | Hold down Option or Alt, you can see the
clipping; we can try to push that away.
| | 02:15 | We didn't quite get it.
| | 02:17 | Let's go to Highlights; this will take care
of it here, and we'll get rid of it completely.
| | 02:21 | And again, this shortcut; Gosh,
| | 02:22 | it can be a lifesaver, because it
allows you just to really quickly toggle on
| | 02:28 | these clipping indicators.
| | 02:30 | Next, the other thing that I want to
point out here is that you don't have to
| | 02:33 | use all of the other sliders as well.
| | 02:35 | Maybe you don't need to increase the
Contrast, or work with the Shadows, or the Blacks.
| | 02:40 | Again, making these
adjustments; it's completely up to you.
| | 02:44 | Just because they are there doesn't
mean you have to move those sliders.
| | 02:48 | Okay, well lastly with this image,
maybe a little bit of Clarity, and perhaps a
| | 02:52 | touch of Vibrance, and I think we're good to go.
| | 02:54 | Here it is before and after and then
here is the other image, which has already
| | 02:58 | been synchronized; before and then now after.
| | 03:02 | Okay, we have two more pictures, and
here we have the first one of Sophie, and
| | 03:07 | then the second one. She is at my
parents' house -- her grandparents' house --
| | 03:11 | working on an art project at Christmas time.
| | 03:13 | And I want to process these pictures.
| | 03:15 | So again, I'll select both of them, and
with both of these photographs selected, I
| | 03:20 | have to think about something.
| | 03:21 | I have to ask myself a really
important question, and the question is this: is
| | 03:26 | there a problem with this photograph?
Is this picture a problem, or is it simply
| | 03:32 | something to be embraced?
| | 03:34 | In other words, once we get familiar
with these sliders, we think okay, there
| | 03:38 | are problems; I'm going to go ahead and fix them.
| | 03:40 | But sometimes, you don't need
to, like with the lens flare.
| | 03:44 | In photography so often people will say, don't
shoot into the sun; it creates lens flare.
| | 03:48 | Well sometimes flare, or mistakes, or
issues like that are what make a picture
| | 03:54 | beautiful. Or in other words,
let's say this white area here;
| | 03:57 | if I were being really critical, I
would want to kind of reduce the Highlights
| | 04:01 | and reduce the Whites, and it would end
up making this picture look murky.
| | 04:05 | Take a look; here is before, and after.
| | 04:08 | The whole sunburst effect, well, it's
completely lost by me trying to kind of
| | 04:13 | overthink or overcorrect my photograph.
| | 04:18 | And again, the reason why I want to
highlight this is just to keep in mind
| | 04:21 | that as you're working with these
sliders, it isn't so much about the sliders;
| | 04:26 | it's about your vision.
| | 04:27 | It's about having a vision for a picture.
| | 04:29 | Maybe that means a little Contrast,
perhaps a little boost in our Shadows there
| | 04:34 | to bring in some detail, and a touch of
Clarity, and Vibrance, and that's it. It's
| | 04:38 | just a few small minor adjustments.
| | 04:41 | You know, some pictures, there are photographs
that we should just embrace. On the other
| | 04:45 | hand, sometimes we have to really work
with them, and push them, and pull them,
| | 04:48 | and drag them in order to finish
off our vision for that picture.
| | 04:52 | So as you seek to create your own
photographic workflow, which relates to
| | 04:56 | these particular sliders, my hope is that
you will really learn how those sliders work.
| | 05:02 | And then above and beyond that,
you'll start to really learn how you can
| | 05:06 | put those sliders and those
techniques and tips together in order to
| | 05:10 | create a cohesive workflow, which
will help you create compelling and
| | 05:15 | interesting pictures.
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|
|
7. Cropping and ComposingCropping| 00:00 | Here I want to introduce you
to working with the Crop tool.
| | 00:03 | We're going to work with this image.
| | 00:05 | It's titled christian.jpg, and you'll
notice that it's located in the folder, crop.
| | 00:10 | Here we are in the Library module.
| | 00:12 | We want to navigate to the Crop tool.
| | 00:14 | Well, the easiest way to do that is to
go to the Develop module, and then in the
| | 00:18 | tool strip, we can click on the Crop
icon in order to activate the crop.
| | 00:23 | Underneath the tool strip, you'll
notice there's a little drawer that expands,
| | 00:27 | showing us all of the crop options.
| | 00:30 | So in this case, we have to click
a few times to get to this tool.
| | 00:34 | Well, there must be a quicker
or a better way; well there is.
| | 00:38 | If you want a shortcut for working
with the Crop tool, here's what it is.
| | 00:41 | If you're in the Library module, or any of
the other modules, you can press the R key.
| | 00:47 | What the R key will do for you is, it
will take you to the Develop module,
| | 00:51 | it will activate the Crop tool; it'll open up
the Crop tool drawer with all of these options.
| | 00:57 | Keep in mind, you can navigate to this
tool whichever way is most convenient for
| | 01:01 | you; by the shortcut, or simply by
navigating and then clicking on the tool.
| | 01:05 | Well once we have the Crop tool
activated, we want to take a look at how we can
| | 01:10 | modify the crop of this image.
| | 01:12 | Well, if you hover over the edge of the
crop, you'll notice your cursor will change.
| | 01:17 | You can then click and drag to decrease
or increase the size of this Crop window.
| | 01:22 | Once you let go, you can then position
your cursor, and click and drag the image
| | 01:27 | around to fit inside of this new crop window.
| | 01:31 | Okay, well what about applying
the crop? Let's say we're done.
| | 01:35 | We'll, there are a couple of
different ways you can apply the crop.
| | 01:38 | You can click on the Done button in the
toolbar, you could press Enter or Return
| | 01:43 | on your keyboard, or you could
double-click inside of the crop area.
| | 01:47 | Well let's say that, once you apply the
crop, you decide, you know what? I don't
| | 01:51 | really like it; I what to change it.
| | 01:53 | No big deal. Back to the tool strip.
| | 01:55 | In the tool strip, we'll click on the
Crop icon, and then we can go ahead and
| | 01:59 | again resize this crop, or change this.
| | 02:02 | Well, how else can we modify the crop?
| | 02:04 | If you hover over the corner, or one of
the edges of the crop area, you'll notice
| | 02:09 | your cursor will change.
| | 02:11 | What you can do there is click and drag
to the left, or to the right, in order
| | 02:16 | to rotate this crop area.
| | 02:18 | Now, once you've found the crop area
you like, again, you can apply this by
| | 02:23 | double-clicking, by clicking Done, or
pressing Enter or Return on your keyboard.
| | 02:28 | All right, well let's take a
look at a few more options.
| | 02:31 | Let's go back to the Crop tool.
| | 02:33 | This time, let's use that shortcut that I
shared with you in the beginning of this movie.
| | 02:38 | It's a really valuable shortcut. You
want to remember this one, so I want
| | 02:41 | to reiterate it; it's the R key. R key
reactivates that Crop tool, and there we are.
| | 02:47 | Another way that we can work with this crop
rotation is by working with the Angle slider.
| | 02:54 | Here, I can modify this Angle, and
move it to the left and the right.
| | 02:59 | So as you can see, there are number of
different ways to customize this crop, so
| | 03:04 | that we can get it just right.
| | 03:06 | And the beauty of cropping in
Lightroom is, of course, that this is completely
| | 03:10 | nondestructive, regardless of the type
of photograph you're working on; a JPEG, a
| | 03:15 | TIFF, a PSD, or a DNG, or RAW file.
| | 03:18 | So this type of cropping, it opens up
new types of flexibility for us. We can
| | 03:22 | experiment, we can take some risks,
we can try out different types of crops
| | 03:27 | for our photographs.
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| Changing the crop aspect ratio| 00:00 | Let's take a look at a few techniques
and tips that we can use when we're
| | 00:03 | cropping, and we're thinking about aspect ratio.
| | 00:07 | We'll be working with this same image here.
| | 00:09 | Let's go ahead and click on
the Crop icon in the tool strip.
| | 00:12 | Well by default, the aspect ratio
is locked down. That means that when
| | 00:17 | I click and drag the crop area, well
the aspect ratio, it matches that of
| | 00:22 | the original document.
| | 00:24 | Well I can also unlock this, and I can do
that by simply clicking on the Padlock icon.
| | 00:30 | Now I can create a freeform transformation.
You can see that this aspect ratio
| | 00:36 | has nothing to do with the
original file; it's simply about
| | 00:39 | clicking and dragging, and
it's completely up to me.
| | 00:42 | We also have a few other Aspect Ratio options.
| | 00:46 | Click on this pulldown menu, and you'll
see that you can change your Aspect Ratio
| | 00:49 | to a number of these different settings.
| | 00:52 | Here I'll go ahead and choose 1 to 1.
| | 00:54 | This is a little bit more of a square crop.
| | 00:57 | We also have another tool, which allows
us to kind of draw or create our Aspect
| | 01:02 | Ratio from scratch, and that's this tool here.
| | 01:05 | If you click on this tool, it will
remember what your settings are here, and next,
| | 01:10 | when you click and drag, you can then
create that crop area, let go, and the crop
| | 01:15 | will snap to that particular area.
| | 01:18 | Change this, say, to unlock. Well now I
can click and drag in a different way.
| | 01:22 | When I select this tool, I'll go ahead
and click and drag, and here I have the
| | 01:26 | ability to make much more of
a freeform transformation.
| | 01:30 | Next, I can then grab these points, and
continually modify this until I've come
| | 01:34 | up with a crop that I like
for this particular photograph.
| | 01:38 | All right, well once you find the
crop that you like, simply double-click
| | 01:42 | inside of the crop area, or on
your keyboard, press Enter, or Return.
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| Straightening with the Crop tool| 00:00 | Let's take a look at three
techniques that we can use for cropping and
| | 00:03 | straightening our photographs.
| | 00:05 | This first photograph is obviously
leaning to the left, and we can really tell
| | 00:09 | that by this piling here, and
all of these masts on these boats.
| | 00:14 | In order to straighten this
image, let's go to the Crop tool.
| | 00:17 | Here we'll click on the
Crop tool in the tool strip.
| | 00:20 | Next, you'll notice that you
have this Angle slider here.
| | 00:23 | If you click and drag on this,
it shows you a different grid.
| | 00:26 | It shows you some handy guides which you
can use to try to line up your picture,
| | 00:31 | so that everything is straight.
| | 00:32 | Next, if you want to crop this further,
you can do as you've done before, so
| | 00:36 | you could click and drag in one of these
corner points, or reposition this as needed.
| | 00:41 | Next, double-click in that crop
area, or press Enter or Return.
| | 00:45 | Now, if you didn't get it
just right, no big deal.
| | 00:49 | Go back to the Crop tool, and then you
can modify this slider even more one way
| | 00:54 | or the other, depending on how you
need to straighten that image out.
| | 00:58 | Okay, well let's look at another technique.
| | 01:00 | Here we'll go to this next
image; it's titled london.jpg.
| | 01:05 | We can see that this image, well, it's
leaning to the left. We can tell that by
| | 01:09 | the edge of this wall here.
| | 01:11 | We want that line to be straight.
| | 01:14 | In order to do that, we'll go to our Crop tool.
| | 01:17 | This time, rather than using the Angle slider,
we'll click on the Angle tool itself.
| | 01:22 | Click on that tool, and then all that
you need to do, is to click and drag
| | 01:26 | across an area of your image
that you think should be level.
| | 01:30 | Think of this like a level; this
works in horizontal or vertical ways.
| | 01:35 | In this case, it's a vertical line.
| | 01:37 | This line is leaning to the left.
| | 01:39 | I'll drag across that, and then let go.
| | 01:42 | It will rotate the image, so
that that line is straight.
| | 01:45 | Create a crop, which fits that
perfectly, and again press Enter or Return on
| | 01:50 | your keyboard, or double-click in
that crop area, and we've successfully
| | 01:54 | straightened this image.
| | 01:55 | Well there is one more technique for
straightening I want to share with you,
| | 01:58 | and that's a shortcut.
| | 01:59 | Let's do that technique
with this last image; joe.jpg.
| | 02:03 | I like this photograph a lot,
| | 02:05 | but I don't like the lean;
| | 02:07 | the way that this railroad tie here is kind
of leaning off. I want that to be straight.
| | 02:12 | So again we'll select the Crop tool.
| | 02:15 | You can click on it in the tool
strip, or you could press the R key to
| | 02:18 | activate that tool.
| | 02:19 | Next, if you hover your image, you can
press Command on a Mac, Control on Windows,
| | 02:25 | to temporarily toggle to the Angle tool.
| | 02:28 | This allows me to then click and
drag over a line which I think should be
| | 02:32 | straight, right there; perfect!
| | 02:34 | I can then modify the
positioning of the crop if I want to.
| | 02:38 | And then there we have a really nice crop,
which has straightened out this image.
| | 02:42 | Double-click in that area,
in order to apply that,
| | 02:46 | and I think that makes this image much stronger.
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| Working with the crop overlay| 00:00 | You may have noticed that while we've
been using the Crop tool, that there is
| | 00:03 | this grid, or this overlay, or these
lines, which sit on top of the image.
| | 00:07 | There actually are six different overlays,
which you can take advantage of when
| | 00:12 | working to crop and compose your photographs.
| | 00:15 | Here I have a little sample demo file,
which show you these different overlays.
| | 00:19 | Let's take a look at how we can work with
the Crop overlay when using the Crop tool.
| | 00:24 | Here I'll navigate back to the
crop folder, and select a new image.
| | 00:28 | Next, I'm going to go to the Develop
module, and click on the icon for the Crop tool.
| | 00:33 | Well for starters, you'll notice that there is
an overlay; these lines on top of the photograph.
| | 00:37 | You can change those, or toggle through
the six options, by pressing the O key.
| | 00:43 | Think O for Overlay.
| | 00:45 | What's great about this is these
different overlays sometimes give us
| | 00:48 | valuable information.
| | 00:49 | Sometimes one overlay will
work better than another.
| | 00:52 | For example, let's say this one; we'll
go ahead and click and drag our corner
| | 00:56 | points, and it kind of helps us center
things out, so that we have a nice crop, which
| | 01:01 | has equal balance on all sides.
| | 01:04 | And as I do this, I can
just get this just right.
| | 01:07 | I'll continue to press O here to go
through these different crop overlays, and
| | 01:12 | you'll notice that some have
a really distinct orientation.
| | 01:15 | To change that, press Shift+O, and
that'll then cycle this overlay through
| | 01:20 | the various options.
| | 01:22 | And again, sometimes this overlay, well, it
can help us make important crop decisions.
| | 01:27 | So you'll see that there are a few --
especially that one, and then also this one --
| | 01:32 | which allow us to rotate it, or to
alternate the view of the overlay.
| | 01:37 | Now, for some people, this overlay,
it's kind of amazing, they love it, they
| | 01:40 | really like seeing that.
| | 01:41 | For others, it's a little bit distracting.
| | 01:44 | How can we minimize the view of the overlay?
| | 01:47 | Well, in the toolbar down below, you'll
notice that there is a Tool Overlay.
| | 01:50 | You can change this from Always to Never,
| | 01:53 | so that you never ever see that
overlay, or you can change it to the
| | 01:57 | option which is Auto;
| | 01:59 | I tend to find this one works pretty well.
| | 02:02 | In other words, you don't see it until
you click, and start to move the image, or
| | 02:06 | to move the crop area.
| | 02:07 | Now, if ever you want a pull up the
overlays, and you can't see them, just tap
| | 02:12 | the O key. That will turn this back
onto this Always view. And then if you want
| | 02:17 | to turn that back to Auto, you can just
select that here in the Tool Overlay, so
| | 02:22 | that that's only visible when
you're working with that Crop tool.
| | 02:26 | And so what I have found with this crop
overlay is that it's helpful for composing,
| | 02:30 | it's helpful for thinking about cropping;
| | 02:32 | it's also helpful for reflecting on your images.
| | 02:36 | Sometimes if you just go through your
photographs, and turn on that overlay,
| | 02:40 | you can start to realize how you're not
composing in a very interesting or dynamic way.
| | 02:45 | It can actually help you
improve your photography.
| | 02:48 | So I encourage you to experiment with this tool.
| | 02:50 | It's really handy, and it's really easy,
and it can help you, as you think about
| | 02:55 | creating images next time around,
after you go back to shooting.
| | 02:58 | It can also help you in post-production,
as you're making those important
| | 03:02 | crop decisions.
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| Crop creativity and orientation| 00:00 | Sometimes when we're working with the
Crop tool, like with this image, we're
| | 00:03 | making small crop adjustments.
| | 00:05 | Here, we can see the image basically was
a little bit off-center. By cropping it,
| | 00:10 | it makes it much more strong.
| | 00:12 | In other situations, like what I want to
cover here, we have a photograph like this.
| | 00:17 | In this particular picture, I
really like it, but I just don't like the
| | 00:21 | crop really at all.
| | 00:23 | And I know there is potential for this image;
| | 00:25 | even though I made a mistake on camera, I can
somehow improve this photograph by cropping it.
| | 00:30 | So here we're going to go ahead and
access the Crop tool, and once we have the
| | 00:34 | Crop tool, one of the things that I am
thinking as I am processing, how do I
| | 00:37 | crop the image, is how
can I reduce and simplify?
| | 00:41 | With a picture like this, it might
simply be grabbing one of these corner points,
| | 00:45 | and then dragging this up, so that we
have a little bit more of a balanced
| | 00:49 | image, and we use negative space.
| | 00:52 | Now, if I double-click and apply this,
I kind of like it; I like all of the
| | 00:56 | negative space up here.
| | 00:58 | The photograph has a different mood or feel.
| | 01:01 | It's not quite right, so I'll press
the R key, and maybe move this around a
| | 01:05 | little bit, and take this up even a
little bit higher, or tighter, and then
| | 01:09 | double-click to apply that.
| | 01:11 | Again, reducing and simplifying. I
think it's a strong and a good picture,
| | 01:15 | because of the crop, and sometimes
you have to have that vision for what
| | 01:20 | you want to create.
| | 01:21 | Now of course, there always will be
those people who say, well you don't have
| | 01:24 | that much of the image left,
how big can you print it?
| | 01:27 | Well, with this particular file, with
digital capture, this photograph, I could
| | 01:31 | still print it really big.
| | 01:33 | I still have enough info, although
sometimes, you won't. Another thing you
| | 01:38 | might want to do is this:
| | 01:39 | here we'll press the R key in
order to activate the Crop tool.
| | 01:43 | Let's say that what I want to try is to
completely change the crop orientation.
| | 01:49 | Rather than a crop which is
vertical, I want one which is horizontal.
| | 01:53 | Well there is a great shortcut key to do that.
| | 01:56 | It's the X key; think X for exchange.
| | 01:59 | Here, when I choose that new option, I
can then reposition the crop window,
| | 02:03 | double-click to apply that, and
again, I like this one as well,
| | 02:06 | although this one feels a little bit
more typical; more normal, so I want to go
| | 02:10 | back to what I had before.
| | 02:12 | Let's use a few shortcuts to do that.
| | 02:14 | We'll press the R key to
reactivate the Crop tool.
| | 02:18 | Next, to change the crop orientation from
horizontal to vertical, it's the X key.
| | 02:24 | Then here, we can go ahead, and click
and drag, to reposition this to a spot
| | 02:28 | where we think it'll work.
| | 02:29 | And then we can press Enter or Return
on our keyboard, or double-click inside
| | 02:33 | of that crop area.
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| Synchronizing crop settings| 00:00 | You can think of this movie as
a little bit of a bonus movie,
| | 00:03 | and all that I want to do her is share
with you a couple of techniques, and sneak
| | 00:07 | in a little shortcut that can be
helpful for working with the Crop tool.
| | 00:11 | I have this photograph of my
daughter Sophie, and another one of my other
| | 00:15 | daughter Annie, and this was the day
that we adopted; that we brought home our
| | 00:19 | little Golden Retriever puppy.
| | 00:21 | One of the things that I want to do,
is I want to crop these images in a way
| | 00:25 | where the crop on both photographs is the same.
| | 00:28 | Sometimes, when you have the same aspect
ratio, it can kind of add some cohesion
| | 00:33 | to two different pictures.
| | 00:35 | Well what we're going to do is, in the
Develop module, click on one photograph, hold
| | 00:38 | down the Shift key, click on another,
and make sure Auto Sync is turned on.
| | 00:43 | Next, we'll go to the Crop tool.
| | 00:45 | Here at the Crop tool, I
want to use a 1 by 1 crop ratio.
| | 00:49 | This allows me to kind of reduce,
and simplify, and remove some of these
| | 00:52 | distracting elements in the background.
| | 00:54 | And here, I'll go ahead and just
reposition this, to try to create a fun and nice
| | 00:59 | kind of cohesive, tight, simple
little crop for this picture.
| | 01:02 | Well as you can see, it's now
cropped both of these photographs.
| | 01:06 | Well, if I move to the other picture,
it's fun, but the crop just isn't right; I
| | 01:11 | need to change that.
| | 01:12 | Well, to change that we turn off Auto Sync.
| | 01:15 | Next we go back to the Crop tool, and then
here, we'll make this one a little bit bigger.
| | 01:20 | I'll go ahead and increase the size
of that, and then double-click in order
| | 01:25 | to apply that, and now again, we have these
two images that have the same crop ratio.
| | 01:30 | We could maybe put these on our blog, or
on a Web site; have them sit side by side.
| | 01:35 | And sometimes it's that crop ratio
which helps create, kind of, cohesion, or
| | 01:40 | connection between two images.
| | 01:42 | Well as I look at that, I like the
concept, but it didn't really work.
| | 01:46 | With this image, well yeah, it's nice.
| | 01:48 | This is a good crop for this picture.
| | 01:50 | The other one, this one over here, well, I
want to see more; I want to see the rest
| | 01:54 | of the environment.
| | 01:55 | So what I need to do with this
picture is undo what I've done.
| | 01:59 | I want to reset the crop.
| | 02:01 | Now we know that we can reset the
crop by going to the Crop tool, and by
| | 02:05 | clicking the Reset button.
| | 02:07 | Yet, what happens if we're not in the Crop
tool; if we're out of the Crop tool, and we
| | 02:11 | just want to reset that crop really quickly?
| | 02:14 | Well, here's a shortcut
I want to share with you.
| | 02:16 | It's a little bit of an extra.
| | 02:18 | You don't have to use this technique,
but I use it all the time; here it is.
| | 02:21 | On a Mac, press Option+Command+R, on
Windows that's Alt+Control+R, and that allows
| | 02:28 | you to reset the crop to the original
crop. It kind of removes that completely,
| | 02:32 | and it takes off whatever crop you have applied.
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| Exploring how to improve the composition of your photographs| 00:00 | In this chapter we talked about how we can crop
and even compose our pictures using Lightroom.
| | 00:06 | And I mentioned this idea that when we
creatively crop and compose our images
| | 00:09 | using Lightroom, sometimes that can improve
the way that we make pictures with our cameras.
| | 00:15 | Well how can we take that even further?
| | 00:18 | How can we create better
compositions when we are shooting photographs?
| | 00:21 | Well there is a technique that we can
use that was used by Ansel Adams himself,
| | 00:26 | and I think this technique might help.
| | 00:28 | You know what he would do was when he
would go out to make photographs he would
| | 00:31 | bring his large format camera with
him, and rather than setting it up and
| | 00:35 | looking through the camera to compose
the shot, he had a matte board and he
| | 00:40 | would cut a rectangle out of the center of it.
| | 00:42 | He would then hold that up and look
it, and he would compose the shot.
| | 00:46 | Eventually after evaluating different
options, he would commit to an image.
| | 00:51 | Then he would set up his
camera and make that frame.
| | 00:54 | And I think that is one of the reasons why
his photographs are so enduring and strong.
| | 00:59 | And you know, sometimes when we compose
our shots, we are perhaps a little too
| | 01:03 | flippant, we are not really
thinking about composition.
| | 01:06 | So why not cut out a rectangle in a
matte board and then hold it up and
| | 01:10 | experiment a little bit?
| | 01:11 | Sometimes if you experiment, it can
help you come up with different ways to
| | 01:15 | think about how you can compose your shots.
| | 01:18 | And you know, that reminds me of
something one of my teachers once told me, it
| | 01:22 | was my cello teacher.
| | 01:23 | There I was, learning to play the cello,
and when you are learning to play the
| | 01:27 | cello it doesn't sound very good.
| | 01:29 | I was trying to find one particular
note and I just wasn't hitting it.
| | 01:33 | And she said Chris, you
need to make bold mistakes.
| | 01:36 | You need to commit to it.
| | 01:38 | That was the only way that I was able to
find and eventually make and play that note.
| | 01:43 | And I think the same thing can be
said with photographic composition.
| | 01:46 | We need to make bold mistakes.
| | 01:49 | So here is what I want you to do.
| | 01:50 | Get a matte board, cut a rectangle
out of it, and walk around and think
| | 01:53 | about different composition options, and do
this before you even reach for your camera.
| | 01:59 | Then after deciding how you want to
compose a shot, go ahead and grab your
| | 02:03 | camera, and then make that image.
| | Collapse this transcript |
|
|
8. Retouching ToolsRetouching with the Spot Removal tool| 00:00 | Here we're going to take a look at how
we can reduce or remove small blemishes
| | 00:03 | in our picture using the Spot Removal tool.
| | 00:06 | You can find this tool in the tool
strip up above, and you can select this tool
| | 00:11 | either by clicking on the icon,
or by pressing its shortcut key.
| | 00:15 | The shortcut key is the Q key, and I
remember that by thinking of quickly
| | 00:19 | removing small blemishes. So
quick removal; Q for quick.
| | 00:23 | Well, either way, let's go
ahead and click on this tool.
| | 00:27 | When you click on it, you'll notice there's a
drawer of options, which opens up underneath.
| | 00:32 | We have a couple of
different brushes we can use;
| | 00:34 | either Clone or Heal.
| | 00:36 | Now, if you're used to working in
Photoshop, you know that cloning, well, it's a
| | 00:40 | little bit more like taking actual
content from one area, and putting it on top
| | 00:44 | of another; it's kind of literal.
| | 00:47 | Healing, on the other hand, there's a
bit more blending or combining which
| | 00:51 | happens, rather than just something on top
of another area; it kind of merges together.
| | 00:56 | Next, we have Size.
| | 00:58 | Size; this is our brush size.
| | 00:59 | We can change this by using the
slider, or there's a handy shortcut you can
| | 01:04 | use, which is Left Bracket key is smaller
brush, and then Right Bracket key is larger brush.
| | 01:09 | Opacity is all about how strong we
want the retouching to be applied.
| | 01:14 | In other words, do we just want to
kind of softly minimize the blemish? Well,
| | 01:18 | then maybe we'll use a low Opacity.
Or do we want to completely remove it
| | 01:21 | altogether? Crank it all the way up to 100.
| | 01:23 | The other thing you'll notice is that
there are some Tool Overlay options you'll
| | 01:28 | see here in the toolbar.
| | 01:29 | All right. Well let's take a
look at how we can use this tool.
| | 01:33 | This particular photograph was captured
when I had just purchased a brand new
| | 01:37 | lens, and this was one of the first
pictures that I had captured with it.
| | 01:41 | I walked out of the camera shop, I took
this photograph, and it made me realize,
| | 01:45 | gosh, I really like this
lens, and I like this picture.
| | 01:48 | And so often when we look at our
pictures from a distance, zoomed out, they look
| | 01:52 | great, but then we zoom in, and many
times when we zoom in, we notice things that
| | 01:58 | we would have otherwise perhaps overlooked.
| | 02:01 | And a lot of times in still
photography, because an image is still, we
| | 02:04 | notice these small blemishes, so we have to
figure out how to reduce those or remove those.
| | 02:09 | Well here, let's go ahead and zoom in
to this picture, perhaps not to 1:1; that
| | 02:13 | might be a little bit too far. Maybe 1:3
would be a nice view here, so that we
| | 02:17 | can just see this picture.
| | 02:19 | Next, I'll press the Spacebar tool, and
I'll reposition it to see if there might
| | 02:23 | be any small little
blemishes that we want to remove.
| | 02:25 | Well, in this case I see a few, and I'm
going to go ahead and actually just move
| | 02:31 | this a little bit more, and
press the Spacebar to do that.
| | 02:34 | Next, I'm going to press my Left
Bracket key. This will make my brush smaller.
| | 02:38 | You can also just press and hold
that; you can see how the brush size is
| | 02:42 | getting much smaller.
| | 02:43 | Well, I want to remove this
little blemish on the cheek here.
| | 02:46 | Let me zoom in even
farther so that you can see that.
| | 02:50 | And it's just a little teeny blemish,
so typically you want your brush size to
| | 02:53 | be a little bit bigger than that spot.
| | 02:56 | Also keep in mind, this technique works
with any sort of type of blemish. Maybe
| | 03:00 | it's dust that was on your lens, or
your sensor, or maybe it's a nature
| | 03:04 | photograph, and there's a little distracting
element on a sandy beach you want to remove.
| | 03:08 | Again, this works in all sorts of
scenarios; not just with people.
| | 03:13 | Well, I have my brush size, and
what I'm going to do is simply click.
| | 03:16 | Now, when I click, you'll
notice I have two circles;
| | 03:19 | I have the area where I'm correcting,
that I'm removing the blemish, and then I
| | 03:23 | have the sample area.
| | 03:25 | I can click to move this; to change this.
| | 03:27 | In other words, I wouldn't want this
to be, say, over here on top of another
| | 03:32 | blemish, because then it's going to
bring that blemish into this area,
| | 03:35 | so now we have two versions of a blemish, right?
| | 03:37 | You want to make sure your sample area
is on some good clean content, in this
| | 03:42 | case, right next door, and that looks good.
| | 03:44 | Well, how else can we work with this?
| | 03:46 | Well, what we can do is we can go ahead
and just start clicking, and sometimes
| | 03:50 | we can work with this just by clicking,
and hoping for the best; hoping that it
| | 03:53 | samples a good area.
| | 03:55 | If it doesn't, we can go
ahead and move the cursor around.
| | 03:58 | We can also press the Bracket key to
change our brush size if we want to work on
| | 04:01 | smaller blemishes, and I'm just moving
through the image here, just selecting
| | 04:06 | small little blemishes that I
think would be nice to remove.
| | 04:09 | Let's say we get to a bigger one
like this, and we click and, well, that
| | 04:13 | sample size, and the
correction size is just two small.
| | 04:16 | You can change that by hovering over
the circle; you'll notice the cursor
| | 04:20 | changes, and you can increase
the size of your brush there.
| | 04:23 | You can also do that with this Size
over here, so we can change the size of
| | 04:28 | the brush either way.
| | 04:30 | But what if we notice that one of our
previous corrections is too small, say
| | 04:34 | like this one right here?
| | 04:35 | We'll click on it, and then
those same shortcuts work.
| | 04:38 | Again, we can change our brush size
here, or we can go ahead and hover over
| | 04:42 | this, and apply that.
| | 04:44 | Another thing that we can do is we can
hold down the Command key on a Mac;
| | 04:47 | Control key on a Windows.
| | 04:49 | When you do that, you'll notice the
cursor changes. It's now a Plus.
| | 04:53 | Well with this, what I could then do is
click and drag, and you'll notice that it
| | 04:57 | sets a little anchor point from wherever
I clicked, and I can determine or define
| | 05:02 | the brush size right here as I'm
creating that little spot, and again, that's
| | 05:07 | just kind of a handy little trick here.
| | 05:08 | So again, you hold down Command or Control,
set your points, and then click and
| | 05:13 | drag out, and then hopefully
it will correct that problem.
| | 05:17 | Let's zoom out just a little bit here.
| | 05:19 | I'll go back to this 1:3 view.
| | 05:21 | One of the problems, of course, with
retouching like this is that you all of a
| | 05:25 | sudden have all of these little circles,
and a lot of times you'll have a bunch
| | 05:30 | of these; they will be all over the place.
I'll just add a few more to kind of
| | 05:32 | illustrate how we'll clean up a number
of different areas, because you want to
| | 05:36 | be consistent with whatever type of
work you're doing here in regards to
| | 05:40 | removing small blemishes.
| | 05:42 | As you have those circles, that can
be helpful to see where you worked, but
| | 05:46 | it's also a little bit distracting,
right? So we can hide those circles by
| | 05:51 | going to our Tool Overlay.
| | 05:53 | At the Tool Overlay, we
can change this, say, to Never.
| | 05:56 | This will then remove all of the
circles, so they're now hidden.
| | 06:00 | And then we can flip this switch to
see what the Spot Removal looked like
| | 06:04 | before you did any work at all.
| | 06:06 | So this brings back all of our
blemishes; flip it again, and then those
| | 06:10 | blemishes will disappear.
| | 06:11 | Now, here in this movie, that's
going to be a little bit tricky to see,
| | 06:15 | so I'm going to zoom into 100%, press
the Spacebar tool, click and drag to
| | 06:20 | reposition, say, over here on the cheek,
and I want to bring those circles back
| | 06:25 | so we can see them.
| | 06:27 | We have two small blemishes right
there we removed, and one on the nose.
| | 06:31 | Well, let's then turn those circles
off, we'll go back to Never, and then
| | 06:35 | flip that switch, and what you'll be able
to see is that the blemishes will come back.
| | 06:39 | Here they are; one there, and
there, and one over on the nose.
| | 06:43 | And the advantage of doing this is that
sometimes what I find is when you have
| | 06:47 | those circles on, you can't
really see what your edges look like;
| | 06:51 | you can't see if the
blending is actually any good.
| | 06:54 | There's a quicker way to turn off
the visibility of the circles, and
| | 06:57 | that's with the H Key.
| | 06:59 | The H Key will toggle between different
views of those Tool Overlays, and you can
| | 07:04 | see how those are being hidden or
brought back by pressing the H Key.
| | 07:09 | Let's zoom out a little bit more, so we can
see that in the entire image. Here we go.
| | 07:13 | We'll go ahead and press H once, press it again;
| | 07:15 | you can see how it's bringing back the view.
| | 07:17 | We also have another Tool Overlay
mode, which is called Auto, and Auto is
| | 07:21 | kind of interesting.
| | 07:22 | When you hover off of the image, they
disappear, but when you move your cursor on
| | 07:27 | to the image, they show up.
| | 07:28 | So it just gives you kind of a quick
way to be able to show or hide those, and
| | 07:32 | that's a really nice way to use a Tool Overlay.
| | 07:35 | Again, of course, all of these Tool
Overlay preferences, well it's completely
| | 07:39 | up to you which preference you use.
| | 07:41 | I just wanted to share with you a few of
them, so that you know how to work with those.
| | 07:45 | All right. Well, once you've made all those
adjustments, how do you apply or save them?
| | 07:50 | What do you do next?
| | 07:51 | Well, all that you need
to do is to exit this tool.
| | 07:55 | There are a couple of ways to do that.
| | 07:56 | One way is to click on the tool icon.
Another, to press the Q key in order to
| | 08:01 | deselect the Spot Removal tool. And
then the third way is to press the Done
| | 08:06 | button in the toolbar down here.
| | 08:08 | Well, it may be a good idea to use the
Q key, just so you start to integrate
| | 08:12 | that shortcut into your workflow,
| | 08:14 | so that's what I'll do here.
| | 08:16 | I'll press the Q key in order to exit
out of that Spot Removal tool, and now we
| | 08:21 | have successfully cleaned up some
small blemishes in our photograph.
| | Collapse this transcript |
| The Spot Removal tool: Clone versus Heal| 00:00 | Here we're going to be taking a look at
the difference between working with the
| | 00:03 | Spot Removal tool on Clone, and Healing.
| | 00:06 | We'll be working with this file here: daisy_05.
| | 00:10 | You can find this in the subfolder, daisy,
and here we are in the Library module.
| | 00:14 | And one of the things that we may do in
the Library module is review our picture.
| | 00:19 | This is a photograph of my
daughter with her brand new puppy.
| | 00:22 | I'm going to go ahead and zoom in on
this image in order to evaluate it, and let's
| | 00:26 | zoom to, say, 1:3 zoom ratio.
| | 00:28 | Now, when we do that, and we get close
to the dog's face, you'll notice there is
| | 00:32 | a little fly that landed on the dog's
forehead. A little blemish; a little
| | 00:37 | problem with the picture
that we want to correct.
| | 00:38 | Well the Spot Removal tool
would be perfect for this.
| | 00:42 | So let's go ahead and navigate to that tool,
| | 00:45 | but let's do this by way of our shortcut.
| | 00:48 | Do you remember the shortcut? It's the Q key.
| | 00:51 | Press the Q key. That will take you to the
Develop module; we'll activate this tool.
| | 00:56 | Now, if you forget the shortcut, you
can just click on Develop, and then select
| | 00:59 | the tool, or click on the tool there.
| | 01:02 | Before we actually remove this
small little blemish, the fly, I want to
| | 01:06 | illustrate how Clone and Heal work.
| | 01:08 | And I am going to do this in a way
that may seem a little bit goofy.
| | 01:12 | It won't make sense, it's not going to
be an improvement, but it will help us
| | 01:16 | understand how the tool works.
| | 01:18 | Okay, well let's say that what I
want to do is click on a part of my
| | 01:23 | daughter's skirt here, and then I'm
going to bring my sample area up to some of
| | 01:27 | the fur on the dog.
| | 01:29 | Let's make this, perhaps, a little bit
bigger, or why don't we just zoom in, so we
| | 01:33 | can see that a little more clearly.
| | 01:34 | What we can see here is
something really interesting.
| | 01:37 | Well healing, what it's doing is it's
actually bringing this texture over, but
| | 01:43 | it's removing the color.
| | 01:44 | It's really trying hard
to blend that content in.
| | 01:48 | Well how would this differ from, say, cloning?
| | 01:51 | If we go to cloning, for example, what
we'll be able to see is that it's going
| | 01:54 | to be a different type of effect.
| | 01:57 | And here you can see that it's
bringing that content over in a little bit
| | 02:01 | more of a literal way.
| | 02:02 | We can see the actual color of the
fur there, coming over into this area.
| | 02:07 | So in this case, it doesn't do as good of a
job when there is a real strong difference.
| | 02:13 | In other words, when you have a lot of
variation, cloning, well it's just not going to cut it.
| | 02:19 | Healing, on the other hand, does a
good job of blending things together.
| | 02:22 | Okay, well I obviously don't want
this type of spot removal on my image.
| | 02:27 | This doesn't look good.
| | 02:28 | Well how do you delete one of these points
that you've created, that you don't like?
| | 02:33 | That's really simple; just press
Delete or Backspace, and it will remove that.
| | 02:38 | Okay, well now onto working on the
area of the picture that we want to focus
| | 02:42 | on; this small little fly here.
| | 02:43 | We'll hover over it, press the Left
Bracket key to change our brush size, and
| | 02:48 | then here, we can simply click.
| | 02:50 | Now when we click, we can then
reposition the sample area, and the problem with
| | 02:55 | this is, if you could get really close,
is that the little fur on the dog's
| | 02:59 | forehead there; it doesn't work, because
it's kind of recreating these lines, but
| | 03:04 | these lines don't line up.
| | 03:06 | In other words, the content has
too much variety in it to use Clone.
| | 03:10 | Therefore, what we want is Heal.
| | 03:12 | So we'll go ahead and choose Heal, and
then you may want to just change your
| | 03:15 | brush size here. Kind of experiment a little
bit with how small of a brush size you can get.
| | 03:20 | Because ideally, you want as small a
size as possible, and remove the blemish
| | 03:24 | successfully without
having to do too much there.
| | 03:28 | Okay, well next we need to see
how it looks without the circles.
| | 03:32 | Press the H key, that will hide those
circles, and see if it's looking good.
| | 03:35 | You may want to move these once you
see how that appears, and again, we can
| | 03:39 | move this one way, or another, just
trying to find the right spot, kind of
| | 03:43 | lining everything up there as far as the
different little pieces of fur on the dog's face.
| | 03:48 | You also may want to try Clone out
here at this point too, where you have
| | 03:51 | those circles turned off.
| | 03:53 | Clone, in this case, well,
it doesn't look as good.
| | 03:55 | We can see a little bit
too much of that in there.
| | 03:59 | I'm going to go back to Heal.
| | 04:00 | I think Heal is going to be the one
which will really work well in this scenario.
| | 04:04 | Next, perhaps lower the Opacity a little bit.
| | 04:07 | This sometimes just softens up that
effect, and you can see how we're bringing
| | 04:10 | back more of that detail.
| | 04:11 | We want to have the Opacity high
enough so that that blemish is gone,
| | 04:15 | but we don't necessarily
always need this at 100%.
| | 04:19 | So again, find the sweet spot for your
improvement, and then of course, you
| | 04:23 | almost always want to zoom out.
| | 04:25 | You kind of want to see
the image in its entirety.
| | 04:28 | You know, whenever you're retouching,
you get in really close, and work on the
| | 04:31 | small blemishes, and
sometimes you're almost too close.
| | 04:35 | Sometimes you're looking at the
image, and kind of overanalyzing it.
| | 04:39 | Every once in a while, it's helpful to just
step back, and say, hey, how does this look?
| | 04:43 | And then zoom back in, of course, and get
both of those perspectives in order to
| | 04:47 | evaluate your progress.
| | 04:49 | And in this case, I think it looks good,
| | 04:51 | so here I'll go ahead and press
the Q key to exit out of this tool.
| | Collapse this transcript |
| Fixing red-eye| 00:00 | Here we'll take a look at how we
can use the Red Eye Removal tool.
| | 00:04 | We'll be working with this photograph,
which was captured by a friend.
| | 00:07 | It's a photograph of myself, my oldest daughter
Annie, and the newest addition to our family.
| | 00:13 | After a long night, she was
born, and there we all are.
| | 00:16 | And we were so excited, and they
captured this picture, and it kind of is a nice
| | 00:21 | just document of this moment in time.
| | 00:24 | Yet the problem is, of course,
that we have horrible red eye.
| | 00:27 | So let's say that we want to correct that.
| | 00:29 | Well with this picture, I'm
going to go ahead and zoom in.
| | 00:32 | It's a low-resolution file, so this
won't zoom in very far, but just get us a
| | 00:36 | little bit closer, so we can
focus on what we're going to do.
| | 00:39 | And in the tool strip,
we can click on this icon.
| | 00:42 | Now, there isn't a shortcut for this tool,
and I think that's because this isn't
| | 00:46 | something you're going to use that frequently.
| | 00:48 | All that you do is you hover over the
image, and then you click and drag from
| | 00:53 | the center of the problem.
| | 00:55 | So I go ahead and position this
over the eye, then click and drag out.
| | 00:59 | This will then sample that area,
and seek to try to correct it.
| | 01:02 | Now, if it didn't get the entirety of
the eye -- you may notice there is a little
| | 01:06 | bit of red on the edges there --
| | 01:08 | you can change the Pupil Size. In other
words, it can darken or remove the red
| | 01:12 | area to a greater or lesser degree.
| | 01:15 | In this case, I need to
crank it up a little bit.
| | 01:16 | As far as the Darkening slider goes, you
can make that more black or less black,
| | 01:21 | and that's just going to be kind of
trying to match the light in the image.
| | 01:26 | We can go ahead and click and drag over
another eye, again, didn't quite get all
| | 01:30 | the pupil there, so I'm going to go
ahead are click and drag that to the right.
| | 01:34 | And then we'll do this with the other eye;
this time I'm just going to click once.
| | 01:37 | You notice that that time it just
sampled for me, and it figured it out.
| | 01:41 | Again here, I'll click again, and
that just is using that size that we
| | 01:45 | had used previously.
| | 01:47 | If ever you need to go back to another
selection, well, just click on it, and
| | 01:51 | then you can increase the pupil
size there, or you can darken it.
| | 01:54 | You can also hover over it, and click
and drag to increase the size, simply by
| | 01:59 | changing the size of the sample area.
| | 02:02 | Now this looks kind of funny, right?
| | 02:04 | We have all of these little circles on
our eyes; it's hard to evaluate if this
| | 02:08 | is a good adjustment,
| | 02:10 | so we need to hide those overlay circles.
| | 02:13 | You may remember the shortcut for doing this.
| | 02:15 | Think H for Hide. Those are now hidden,
and then we can review the progress by
| | 02:20 | flipping the switch here.
| | 02:21 | Here is the before, and then
the after with this adjustment.
| | 02:26 | In this case, I think it looks good.
| | 02:27 | We've kind of successfully removed
that red eye issue in this photograph.
| | Collapse this transcript |
|
|
9. Using the Graduated FilterIntroducing the Graduated Filter| 00:00 | Here we're going to take a look at
how we can use the Graduated Filter tool
| | 00:03 | inside of Lightroom.
| | 00:05 | I have a photograph that I've
selected from our people folder, and it's a
| | 00:08 | black and white image.
| | 00:10 | In this image, we have a
bright sky, and a dark foreground.
| | 00:13 | Well, we could use the Graduated Filter
tool on this photograph, and let's just do
| | 00:17 | that to really see how this tool works.
| | 00:20 | We'll go to the Develop module, and
then we can select the tool by clicking on
| | 00:24 | it, or by pressing its shortcut key.
| | 00:26 | The shortcut key is the M key.
| | 00:28 | Well, either way, let's select this tool.
| | 00:31 | Now, when we select the tool, all of
a sudden you'll notice that we have a
| | 00:34 | wide range of options; many more
options than we've had in the previous
| | 00:38 | version of Lightroom.
| | 00:40 | We can modify the Exposure, Contrast,
Highlights, and you can see the rest of the list.
| | 00:45 | This is actually an incredibly powerful tool.
| | 00:48 | The way that you use it is you hover
over the image, and then you click, and drag.
| | 00:53 | Now, you can see that when I click and
drag here, I have these different lines.
| | 00:57 | Let me bring that up to the sky,
just so you can see what we have.
| | 01:00 | Well, what this is showing us is where
the adjustment is going to be modified
| | 01:05 | towards, towards that center circle, and
then how it's going to transition out.
| | 01:09 | Let's take a look at how
this would look, say, down here.
| | 01:13 | Let's say I want to modify the
Color Temperature of the foreground.
| | 01:16 | Again, I'm just exaggerating here, and
let's also perhaps add in some Contrast
| | 01:20 | so we can really see that.
| | 01:21 | Well, what we can see is that this
adjustment is taking place up to this
| | 01:26 | point, and then it slowly kind of diffuses,
or softens, or backs off up to this other line.
| | 01:32 | So the full intensity of this effect is
up to here, and then it slowly drifts off.
| | 01:37 | Well, we can change that drift by
dragging this out, so that we have a longer or
| | 01:43 | a wider area where it's affecting.
| | 01:45 | Again, full intensity here, and then
slowly it tapers off up until this point.
| | 01:50 | And you can use this taper in different
ways, simply by clicking and dragging in
| | 01:54 | order to expand or collapse that adjustment.
| | 01:58 | You can also change the adjustment
angle by positioning your cursor off to the
| | 02:02 | right or left, and you can see how
I can twist that one way or another.
| | 02:06 | And again, in this case, we're just doing
this to kind of see how this tool works.
| | 02:11 | Okay.
| | 02:11 | Well, so far we have one adjustment.
What if we wanted to make another?
| | 02:15 | Well, here what I could is click and
drag, and I click and drag again. I
| | 02:19 | can define that transition point
here, and I'll go ahead and create a
| | 02:22 | transition like this.
| | 02:23 | Well, once you create that adjustment,
you can add any of these options to it.
| | 02:28 | For example, we could go ahead and add
a color by clicking on Color here, and
| | 02:32 | I'll just add a color, say for example,
red, and again, I'm just doing this
| | 02:36 | because it's a really strong kind
of visual impact; not that this is
| | 02:40 | improving the image just yet.
| | 02:42 | We can move this point, and you can see
how it's blending or transitioning in
| | 02:46 | with that other color adjustment,
and we can increase or decrease that
| | 02:50 | transition area by clicking and dragging this.
| | 02:53 | We can also modify the other controls,
say like Contrast, or Exposure, and in
| | 02:58 | this case, you can see we can do this in order
to come up with, perhaps, some creative results.
| | 03:04 | What about making this tool functional?
| | 03:06 | Well, let's remove these points.
| | 03:08 | We can remove them by clicking on them,
hitting the Delete key, click on this
| | 03:12 | one, and Delete; it's gone.
| | 03:14 | Let's say that all I want to do is just
work on the foreground here, and I know
| | 03:18 | that I want to add a little bit of
Contrast, a little bit of Clarity, and also
| | 03:22 | perhaps a boost in Exposure.
| | 03:24 | Once I've dialed in those settings,
either before or after, for that matter, I go
| | 03:28 | ahead and click and drag, and then I
click and drag in order to bring this
| | 03:32 | adjustment into the photograph.
| | 03:33 | Well, now that I have that there, I can
then make further adjustments, changing
| | 03:38 | the overall brightness of this, or the
amount of contrast that I'm bringing into
| | 03:41 | this part of the picture.
| | 03:44 | Next, I want to darken the sky a little bit.
| | 03:46 | Well, here, go ahead and click and
drag where the sky is up top, and in this
| | 03:51 | case, I'm just going to modify my Highlights.
| | 03:53 | You can see how I can work with those
brighter tones up there, and I'll go ahead
| | 03:57 | and darken those Highlights a little
bit, darkening the sky, and then perhaps
| | 04:01 | boosting up my Shadows, so I'm not
darkening up the subject's face too much, and
| | 04:05 | using some Clarity, and Contrast as well.
| | 04:08 | So here you can see what I've done is
I've kind of created these linear type of
| | 04:12 | adjustments on the picture.
| | 04:14 | Well, you may be thinking, okay, that's
kind of interesting. I kind of get it;
| | 04:17 | not very hard. Yet, these lines
and circles; they're distracting.
| | 04:22 | Well, like with our other
tools, we can hide all of this.
| | 04:25 | We can do that by using this
menu here, or by using our shortcut.
| | 04:29 | Remember the shortcut;
| | 04:30 | it's the H key. The H key
toggles that view on and off.
| | 04:35 | We'll go ahead and hide those by
pressing the H key, and then flip the switch.
| | 04:39 | This will help you evaluate if you
like the adjustments that you've made.
| | 04:43 | Here they are; our before, and then after.
| | 04:46 | Well, with this image, I like the foreground;
| | 04:49 | I don't really like what's happened to
the sky here, so I want to remove that.
| | 04:53 | Press the H key, brings back your
adjustment pins here, click on one, and then
| | 04:58 | press the Delete key in order to remove it.
| | 05:00 | In this case, now we just have this
adjustment on this area -- on the foreground
| | 05:05 | of the picture -- adding in a bit of
Contrast, and Clarity, and really just dialing
| | 05:10 | in this linear type of
adjustment to this portion of the image.
| | Collapse this transcript |
| Darkening the sky with the Graduated Filter| 00:00 | One of the most common situations where
a graduated filter will be helpful is a
| | 00:04 | situation like this, where you have
this bright sun, we have a little bit of a
| | 00:09 | darker foreground, and the sky, because
we have these white clouds in it, because
| | 00:13 | of the time of day, well,
it's just really bright.
| | 00:16 | A lot of times what we'll try to do
is correct this, say, in the Basic panel.
| | 00:20 | We'll work with our controls, maybe
we'll add a little bit of Contrast, we can
| | 00:24 | try to bring down those Highlights a
little bit to darken those up, we can work
| | 00:27 | with the Whites as well, and these can
help us get to a little bit of a better
| | 00:31 | spot in regards to how
we're processing the image.
| | 00:34 | Already it's looking a touch better;
| | 00:36 | here's the before, now after,
| | 00:38 | but we just need more control of the sky.
| | 00:41 | We need to be able to bring that down really
in a way that's separate from the foreground.
| | 00:46 | So in this case, a graduated
filter really is the answer.
| | 00:49 | Well, in order to select the tool, we
can press the M key, or you can click on
| | 00:53 | it in the tool strip.
| | 00:55 | Next, what you'll want to do
is simply click and drag out.
| | 00:58 | A lot of times before you click and
drag out, what you may want to do is just
| | 01:02 | make an adjustment which isn't going to
be good, but which will help you see the
| | 01:06 | parameters of the tool, or the area
where the tool is going to affect the image.
| | 01:11 | So here I'll go ahead and decrease my
Exposure, and then I'm going to click and
| | 01:15 | drag, and I know that this isn't good, right?
| | 01:18 | This isn't a good adjustment.
| | 01:20 | But again, by having an exaggerated
adjustment like this, it kind of shows me;
| | 01:24 | okay, yeah, I get it.
| | 01:25 | It's going to come down to this
point here, and then slowly taper off.
| | 01:29 | This can sometimes help you get it just
right in regards to the angle, getting
| | 01:33 | the angle of the adjustment exactly
where you want it, or getting that
| | 01:37 | transition edge to be something that's
going to work for you, as far as how big
| | 01:41 | that transition edge is, and then
to try to find the right spot for it.
| | 01:45 | Now, this isn't always going
to be the best way to do it.
| | 01:48 | Meaning, sometimes you'll do this, and
you'll need to make changes later, but at
| | 01:53 | least it's a good kind of starting point.
| | 01:54 | All right. Well, now that we've done that, I
don't want this Exposure adjustment, so just
| | 01:59 | double-click the slider.
| | 02:00 | All that, that did for me was just clue me
in to the area of the image that would be affected.
| | 02:05 | Well, what I do want is I
want to work on my Highlights.
| | 02:08 | So I'm going to go ahead and bring those
down, darkening the Highlights up there.
| | 02:12 | Already that's much better.
| | 02:14 | I'm also going to increase the Contrast.
| | 02:16 | I want a little bit more, kind of, visual
interest up there; perhaps a touch of Exposure.
| | 02:22 | And I think this is looking kind of interesting.
| | 02:25 | The blue color doesn't look that
good; it looks a little unnatural.
| | 02:29 | I could try to add a little yellow to
it to kind of soften it, or I could also
| | 02:33 | try to desaturate that.
| | 02:35 | I'm just going to desaturate it a
little bit there, add a little bit of
| | 02:39 | Sharpness up there, little bit of Clarity,
it will give that some texture, and I
| | 02:43 | think that looks pretty good.
| | 02:45 | To view the before and after, well, we already
have the pins on Auto mode, so they're hidden.
| | 02:49 | In other words, when you hover off of them,
they disappear; hover back they show up.
| | 02:54 | You can select that over here by choosing
your Overlay mode, or you can press the H key.
| | 02:59 | Remember, it shows or hides those pins.
| | 03:02 | Well, either way, you want to hide
the pins, and all of the details of the
| | 03:06 | control, and then flip the
switch, right? Take a look at it;
| | 03:09 | here's our before, without the
adjustment, and then here's our after.
| | 03:14 | Another thing that might be helpful
to do is to press the Backslash key.
| | 03:19 | The Backslash key will show you your
overall before, and then your overall after.
| | 03:24 | And here you can see our solution, well, it
really was a combination of things, right?
| | 03:28 | It was starting off using our basic
controls, and then after we did a few minor
| | 03:33 | adjustments, we then went to this tool --
let's go ahead and bring back our point
| | 03:37 | there -- we made a few adjustments, which
really helped us come up with a nice way
| | 03:42 | to process and work on this image.
| | 03:44 | What's interesting about this, too, is,
after we worked on the sky, we may be
| | 03:49 | thinking, well, what if we did something
with the foreground here? Yeah, why not?
| | 03:52 | Click and drag in order to create
an adjustment on the foreground.
| | 03:56 | In this case, it's darkening it up, and
here with all of my settings, you notice
| | 04:00 | that it remembered this
Exposure setting; don't want that.
| | 04:03 | But what I do want in this foreground area
is I want to add a little bit of contrast.
| | 04:08 | So go ahead and increase the Contrast there.
| | 04:11 | Maybe a little bit of warm; just
warming up the tones and the colors with that.
| | 04:16 | Just a touch of Saturation, again,
trying to kind of make this image a bit more
| | 04:21 | vibrant and visually interesting.
| | 04:23 | And then some Clarity; that
texture will look really good there.
| | 04:27 | I think my color Temperature was a
little bit too warm for my liking.
| | 04:31 | All right, that looks kind of good!
| | 04:33 | We could bring down the Highlights
at a different level, and you can see,
| | 04:37 | really what I'm trying to do is just
finesse, or fine tune, or process this image
| | 04:42 | in an interesting way.
| | 04:43 | Well, after we've made all these
adjustments, you want to kind of round trip
| | 04:47 | back to the Basic module.
| | 04:49 | So to exit out of the tool, press the
M key. That closes it; gets rid of it.
| | 04:54 | Finally, you want to go into your
Basic control, make any overall global
| | 04:58 | adjustments, perhaps to the Clarity
here, or we could work on the overall
| | 05:02 | Vibrance, or Color Saturation, and we
can work to say kind of minimize the Color
| | 05:07 | palette; gives it a little bit more of
this gritty type of an aesthetic, and
| | 05:11 | then we could also work on Shadows,
or Blacks if we want to modify those.
| | 05:16 | And I think this is kind of an
interesting color palette; an interesting way to
| | 05:20 | process the photograph. Let's evaluate.
| | 05:22 | Here it is: our before, and then our after.
| | 05:26 | And with this image I should point out
that I kind of am going for a stylized look.
| | 05:32 | I want it to feel kind of contemporary.
| | 05:34 | Now, the actual look that you apply to
your photograph in regards to the color
| | 05:38 | Temperature, the Contrast, in the Basic
module, and also with this tool, well,
| | 05:43 | that's completely up to you.
| | 05:45 | If you don't like this aesthetic,
that's fine; don't let that distract you from
| | 05:50 | really the power of this tool.
| | 05:51 | You can use this tool to create
all sorts of visual aesthetics.
| | 05:55 | Really, though, it's starting to
deconstruct how the tool functions, and then the
| | 05:59 | next step, of course, is to ask yourself,
okay, now that I know how it functions,
| | 06:04 | how can I begin to use this tool; use
this functionality in a creative way?
| | Collapse this transcript |
| Enhancing a sunrise with the Graduated Filter| 00:00 | Let's take a look at how we can use our
basic controls and the graduated filter
| | 00:04 | in order to come up with some creative
ways to process this sunrise picture.
| | 00:09 | I like this photograph.
| | 00:10 | This was the way that it
came straight off the sensor.
| | 00:13 | I like the silhouette, and some of the
colors, and I want to see if we can kind
| | 00:17 | of work with this, and experiment a
little bit with a few different options for
| | 00:20 | ways we could process this file.
| | 00:22 | Let's go to the Develop module.
| | 00:24 | We can do that by clicking
on the Develop module button.
| | 00:27 | Next, one of the things that I
want to do is warm up my color
| | 00:30 | temperature just a little bit.
| | 00:32 | I want to do that because I want to bring out
some of these colors here in the background.
| | 00:35 | Well, when I do that, I all of a sudden
have a problem in this area: in the sky.
| | 00:41 | It's not quite very blue.
| | 00:43 | What I could do is I could bring this
Color Temperature back down, and I
| | 00:47 | could look at another way to
possibly work on this area of the picture.
| | 00:51 | One of the things that you could do
is you could navigate to the Graduated
| | 00:55 | Filter tool, and then go ahead and make
an adjustment, say, Temperature slider
| | 00:59 | here, and then click and drag.
| | 01:01 | And here I am just going to click and
drag up, so that I have this adjustment,
| | 01:06 | and I will reposition this until I get
it in the right spot as far as where it's
| | 01:10 | adjusting the image, and how it's
adjusting the image, and I am just
| | 01:13 | experimenting a little bit with
this effect, and this color tone.
| | 01:17 | Then let's crank this up a little bit
more, and also maybe perhaps so you can see
| | 01:21 | that we can go one way or the other,
| | 01:24 | kind of bringing up a little bit more
color there. I will work on my Contrast,
| | 01:28 | Exposure; just focusing on the
foreground, and we can flip this switch to see
| | 01:33 | the before and after.
| | 01:34 | Here's before, and then there's after.
| | 01:36 | It's brightening up the yellows down here;
also hitting these a little bit as well.
| | 01:41 | Let's bring in a little bit more color
with a touch of Saturation; great. Kind
| | 01:45 | of interesting, right?
| | 01:46 | Well, what about the sky?
| | 01:48 | Well next, let's create a new adjustment.
| | 01:50 | To do that, we will click on the New icon.
| | 01:53 | Here, I am going to go ahead and click
and drag down, say, right to around
| | 01:57 | there; I will experiment, and
see if that's going to be good.
| | 01:58 | I don't want to warming Temperature tint here,
but the sky; I want that to be much more cool.
| | 02:04 | So I am going to go ahead and decrease that,
bringing in a lot of that cool tone there.
| | 02:10 | Now this one, the distance between
these two points; it may be too much.
| | 02:14 | So I am going to try to collapse that,
and then bring this back down, so I have
| | 02:18 | a little bit stronger blue sky there, and then
dial in how that transitions into that sunset.
| | 02:26 | Now, with the color temperature right
now, it's a little bit over the top.
| | 02:29 | We could always modify this by
desaturating here a little if
| | 02:33 | we want to take some of that blue
out, so it's not quite so strong.
| | 02:37 | Another thing that you can do; you can
desaturate altogether, removing all that
| | 02:42 | color, then you can go to the color chip,
and you can add in your own. Let me show you.
| | 02:46 | Here, you can see we've changed that sky
color, and we can kind of experiment to
| | 02:50 | see if we might be able to find a blue
that might work with this image. Or for
| | 02:54 | that matter, we could also warm it up to
see if we might find a nice bright tone,
| | 02:58 | in order to have some of that kind of
golden color throughout the whole image.
| | 03:02 | Let's apply that for a second,
and go back here just for a minute.
| | 03:06 | If I bring my Saturation slider up, you notice
that it changes the color. Now, why is that?
| | 03:11 | Well, if you have Saturation,
it's a combination of this orange, and
| | 03:16 | this Temperature slider.
| | 03:18 | So we can use these controls together
to come up with a nice color palette. In
| | 03:23 | this case, the orange and yellow; kind
of mixing those to find just the right
| | 03:27 | spot, and also perhaps our Exposure slider here.
| | 03:31 | We can come up with this really just
kind of golden, really red-yellow sunrise
| | 03:36 | look, and this is kind of fun.
| | 03:39 | What you'll do so often is you'll work
with this tool, and then you'll roundtrip
| | 03:43 | back to your Basic controls.
| | 03:46 | So we're done here with the graduated filter.
| | 03:48 | It looks interesting.
| | 03:49 | Let's click Done in order to exit the tool.
| | 03:52 | Next thing we may want to do is just
modify the image with our basic controls,
| | 03:56 | perhaps a little bit of Clarity there,
maybe some Vibrance, bringing up some
| | 04:00 | more of that color. And then we can work
with our other adjustment sliders here,
| | 04:04 | just tweaking these until we
have a nice look for the image.
| | 04:07 | What's fun about this is it's really
looking at how we start to connect our
| | 04:11 | workflow, and use not just the graduated
filter by itself, but how we can use it
| | 04:16 | in combination with our other controls.
| | 04:19 | And the end result with a
picture like this, well, here it is.
| | 04:22 | Here is our before,
and now here's our after.
| | 04:26 | If ever you get to that point in the
after where you don't like it, you don't
| | 04:30 | like the change in the sky color up
above, go back to the tool here, and then
| | 04:35 | you want to show those pins. I am
just going to put these on Always for a
| | 04:39 | moment, so we can see them, and
then click on the one for the sky.
| | 04:43 | Press the Delete key; get rid of it.
| | 04:44 | That will then bring back that original
sky tone, and now here what we have is
| | 04:49 | something that just really
focuses in on the foreground.
| | 04:52 | It kind of lights up these tracks a
little bit more effectively, and leaves some
| | 04:56 | of those blue tones up there in the sky.
| | 04:59 | So here, what I am trying to
illustrate is just this whole idea of being
| | 05:03 | flexible, and experimenting, and trying
out different ideas, and sometimes, by
| | 05:08 | experimenting and trying out
different ideas, it can lead to creating some
| | 05:12 | really fascinating color combinations,
some fascinating corrections and
| | 05:16 | enhancements to your pictures.
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|
|
10. Making Localized AdjustmentsAdjustment Brush overview| 00:00 | The Adjustment brush is a powerful tool
which allows us to paint in adjustments
| | 00:04 | into specific areas.
| | 00:06 | Rather than making global adjustments
everywhere, the Adjustment brush gives us
| | 00:10 | really specific and precise control.
| | 00:12 | Because of that, I have a few slides
that I want to talk about in regards to
| | 00:16 | this tool, so that we can
really get to know how it works.
| | 00:19 | The first one is this one over here on the left.
| | 00:22 | You can find these inside of
your Exercise Files folder.
| | 00:25 | This one just highlights the difference
between Lightroom 3 and 4, and we don't
| | 00:29 | need to get into the specifics, except
to say that look at the size of the panel
| | 00:34 | for the Adjustment brush in
the latest version of Lightroom.
| | 00:37 | Well, here you can see
we have many more options.
| | 00:39 | The options have to do with color
temperature, working with highlights and
| | 00:43 | shadows, working with aharpness,
noise and also moire pattern.
| | 00:47 | So again, we have more controls.
| | 00:50 | Next, what I want to do is take a
look at how we can use this tool.
| | 00:53 | So let's go to the Develop module and
in the Develop module, with this slide
| | 00:57 | visible, I am going to collapse or
close the panels on the left by clicking on
| | 01:02 | this little icon here, so that we
can really focus in on this slide.
| | 01:05 | Well, for starters, you'll notice there's
a shortcut for the brush. It's the K key.
| | 01:10 | Let's go ahead and press that shortcut,
or we can click on the tool in the tool
| | 01:14 | strip. And once we do, you will
notice we have all of these options.
| | 01:18 | Because I can't see them all, I
am going to close the histogram.
| | 01:21 | This will give me the visibility
of all of these various options.
| | 01:25 | You can see we have a number of
different sliders, and then down below we have
| | 01:29 | options for our brush.
| | 01:31 | I want to talk a little bit about this brush.
| | 01:33 | You can see it as I hover over this
image here. Well we can change that brush
| | 01:37 | size by pressing the bracket key:
right bracket, it gets bigger;
| | 01:41 | left bracket, it gets smaller. Or you
can always use this slider here in order
| | 01:46 | to change your brush size.
| | 01:48 | Next, we have the ability to
feather what we are applying to our image.
| | 01:52 | The feather has to do with the transition.
| | 01:55 | To really understand how this
works, we have to make an adjustment.
| | 01:58 | So here what I am going to do is
decrease my Exposure by 4 stops.
| | 02:02 | Next, I will go ahead and I will click and drag.
| | 02:06 | As I do that, you can see that the feather
creates this kind of transition. It's a soft brush.
| | 02:12 | Well, I will delete that
adjustment by pressing Delete or Backspace.
| | 02:16 | What happens if we change the Feather amount?
| | 02:19 | Rather than a Feather of 100, let's
decrease that to 0 and make the same brushstrokes.
| | 02:25 | Well, now here you can see it has a
much stronger or a more hard edge.
| | 02:29 | So the Feather changes the
way that this tool works.
| | 02:33 | Okay, well let's go ahead and delete
that brushstroke and talk a little bit
| | 02:36 | about changing the feather.
| | 02:38 | You can change the feather size
by pressing Shift+Bracket key.
| | 02:42 | Shift+Right bracket adds more feather,
Shift+Left bracket, well, decreases the feather.
| | 02:49 | The nice thing about these two
shortcuts is they're connected.
| | 02:52 | Bracket keys is brush size, and then Shift+
Bracket keys, well that has to do with Feather.
| | 02:58 | Now, why am I talking about these shortcuts?
| | 03:01 | Well, these up here, they are
essential, because this is a tool that you're
| | 03:05 | going to need to be really nimble and
fast with. You're going to need to work
| | 03:10 | with it quickly, and so
these shortcuts can help out.
| | 03:13 | Next, we have a few more
controls and shortcuts to talk about.
| | 03:16 | One of them is Flow.
| | 03:18 | Flow is really interesting.
| | 03:19 | If we have a low Flow amount--let's take
this down say to 10 or somewhere around
| | 03:25 | there--and I make one brushstroke, we
can see it's faint. Go back and forth over
| | 03:29 | that, and what I am doing is I am
building this up at a really slow ratio.
| | 03:34 | In contrast, if we increase that
flow to 100 and then make that same
| | 03:38 | brushstroke, all of a sudden,
we have all of that at once.
| | 03:42 | So in other words, if you have an
adjustment you want to make, say to exposure or
| | 03:47 | whatever it is, and you want to slowly,
progressively, cumulatively build that up,
| | 03:52 | well then, for your Flow amount,
you typically crank this down.
| | 03:56 | On the other hand, if you just want to
just go in there and blaze through it,
| | 04:00 | if you can do that with that type
of adjustment, you take the Flow up.
| | 04:03 | Now that being said, typically your
flow is actually pretty low, because when
| | 04:09 | working with light or color or tone or
noise, you almost need to slowly kind of
| | 04:14 | build it up in order for it
to look good and not overdone.
| | 04:18 | Well, you can change that Flow amount, as you
can see here, by pressing numbers on the keyboard.
| | 04:23 | That's 0 through 9.
| | 04:25 | So if I press 0, we will notice that
the Flow amount goes to 100; if I press 1,
| | 04:30 | it's at 10; 5, it's at 50; 9, it's
at 90; and you can press any of those
| | 04:35 | numbers 0 through 9.
| | 04:37 | Okay, well the next little option
we have here is called Auto Mask.
| | 04:42 | Auto Mask limits how we make an adjustment.
| | 04:44 | It limits it to certain areas of our photograph.
| | 04:48 | In order to see how that works, we
really need to be working on a photograph.
| | 04:52 | Yet it's helpful to point it out here
and to point out that there is a shortcut.
| | 04:55 | You can press the A key in order to
toggle this on or off, or you can always
| | 05:00 | simply click on this button here. All right!
| | 05:03 | Well, what else do we need to
know about the Adjustment brush?
| | 05:06 | Next, we have Density.
| | 05:08 | Density is our overall intensity.
| | 05:11 | In other words, how intense do we want
all of these settings here to be applied?
| | 05:16 | So you can think of that as kind of
an adjustment slider for modifying
| | 05:20 | everything all together.
| | 05:22 | The next thing I want to
highlight is we have various effects.
| | 05:25 | We can click on this Effect pulldown menu.
| | 05:28 | You can see that we can
choose an option for Noise.
| | 05:31 | Here, it will give us a setting for
working with noise, or we could choose an
| | 05:35 | option say for working on highlights in
an image and it targets that Highlights
| | 05:39 | field. Or down below you may have noticed,
there are some more specific options.
| | 05:44 | Say we want to work on softening skin.
We have a preset built-in for that.
| | 05:49 | Now, as you make adjustments to these
sliders and say you customize them, you
| | 05:53 | may want to reset a slider.
| | 05:55 | To do that, double-click the slider.
| | 05:57 | That works just like any of
the sliders inside of Lightroom.
| | 06:01 | The other thing that you can also do
is you can click on one of the slider
| | 06:05 | names, let's say Exposure, and you can
hold down your Option or your Alt key
| | 06:10 | when you do that, and it will then
reset the other sliders. It then takes
| | 06:14 | everything back to normal.
| | 06:16 | You notice it changes our Effect
button up here to Reset and so then as we
| | 06:21 | click, it can then reset all of
those control. As we click on one of
| | 06:25 | those sliders there,
| | 06:26 | you can see it changes the other
ones back to their default settings.
| | 06:30 | So again, hold down Option or Alt.
That will give you the ability to quickly
| | 06:34 | reset those controls.
| | 06:36 | Last thing I want to point out is that
when you have a node like this one here,
| | 06:40 | when you make an adjustment to it, say,
increase exposure and decrease contrast,
| | 06:46 | you can modify both of these controls at
once by hovering over this little node.
| | 06:51 | When you do that, you get a color overlay.
| | 06:54 | It's kind of like a quick mask view in
Photoshop, showing you the area you're working on.
| | 06:59 | You also get a new cursor.
| | 07:00 | Well, if you click and drag, look at the
Exposure and Contrast sliders as I drag
| | 07:06 | to the left. It brings them back to 0;
| | 07:08 | drag to the right, it brings
them out to wherever they were.
| | 07:12 | So in other words, this allows us to
soften the effect across multiple sliders,
| | 07:17 | and this works regardless of where those
sliders are. And just to illustrate, we can
| | 07:21 | see how we can drag those or bring
them back to their default 0 setting.
| | 07:25 | This can help us customize or soften
or kind of scale back the adjustment,
| | 07:30 | because of course the challenge with
the Adjustment brush is to do it in a way
| | 07:35 | which is subtle yet significant, to
kind of slowly paint in or build up these
| | 07:40 | adjustments so that they look
believable, compelling, and interesting.
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| Using Auto Mask| 00:00 | Let's explore how we can learn a
little bit more about the Adjustment brush
| | 00:04 | by including it in one of our
photographic workflows while using the Develop module.
| | 00:09 | Well, here with this picture, I like
the composition, I like the content, but
| | 00:13 | the exposure and whatnot is off.
| | 00:15 | So typically, we start in the Basic panel.
| | 00:17 | We make any needed adjustments.
| | 00:19 | I am just going to decrease the
Exposure. I'm also going to work with the
| | 00:22 | Contrast, removing a little bit of Contrast.
| | 00:25 | Increasing my clarity there perhaps a
little bit might be nice. A little bit of
| | 00:29 | vibrance could be fun as well,
and then cooling the image off.
| | 00:32 | I am going to go ahead and
decrease my Temperature slider.
| | 00:35 | I am making all of these adjustments
just in a subjective way, trying to come
| | 00:40 | up with a way which might be
interesting for this photograph.
| | 00:43 | I think that's a little bit
better. Let's take a look.
| | 00:46 | Here we have before and then after.
| | 00:49 | And the point of this isn't
necessarily to talk about all of these controls.
| | 00:54 | We've already done that. Rather the
point is to say well how do we then use the
| | 00:59 | Adjustment brush to say
improve a picture like this?
| | 01:01 | Well, what we want to do is to select
the Adjustment brush by pressing the K key
| | 01:07 | or by clicking on it in the tool strip.
| | 01:09 | Now once we have this tool, one of the
things I am going to want to do is turn
| | 01:13 | on Auto Mask, so we can see how that
feature works, because I want to paint in
| | 01:18 | an adjustment just to the pier here.
| | 01:20 | I will make my brush a little
bigger by pressing the right bracket key.
| | 01:24 | You notice there is a crosshairs
icon in the middle of this tool.
| | 01:28 | Well, if I click and paint, that
adjustment with Auto Mask turned on will be
| | 01:33 | limited to the area where
the crosshairs are touching.
| | 01:37 | You can see how it's really limiting
it just to the deck of this pier here.
| | 01:42 | Currently, it's set to a negative
exposure. It could be negative or positive, for
| | 01:47 | that matter, and we can see
how it's limited to that area.
| | 01:50 | Well, how does this differ
from turning Auto Mask off?
| | 01:54 | Well, now with Auto Mask off, I'll make
that same brushstroke, and what you see
| | 01:58 | is it's going to now extend
past the pier into the water.
| | 02:01 | In other words, it's just completely freeform.
| | 02:04 | It goes wherever it wants.
| | 02:06 | So let's delete that
and turn Auto Mask back on.
| | 02:10 | One of the things with Auto Mask you
want to keep in mind is that when you're
| | 02:12 | painting, it's all about the crosshairs.
| | 02:15 | It's staying on the pier because the
crosshairs haven't crossed over into the water.
| | 02:21 | If I get into the water, well
then it's going to kind of limit that
| | 02:23 | adjustment to the water.
| | 02:24 | You see how it's not going on the pier
now, because it's really trying to say,
| | 02:28 | okay, that's the important stuff.
| | 02:30 | The stuff that you're covering with
the crosshairs of that tool. And then,
| | 02:35 | I'll find an edge somehow. I will find
something which is different by way of contrast or tone.
| | 02:40 | Well, now that we've seen how that
works, let's go ahead and delete that
| | 02:43 | adjustment, and let's leave our
Exposure at -4 just to see how our
| | 02:49 | brushwork works here.
| | 02:50 | We have a decent brush size,
relatively high amount of Feather, and then a
| | 02:55 | really high Flow amount.
| | 02:56 | In other words, as we're painting these
brushstrokes, it's all happening pretty quickly.
| | 03:01 | So let's go ahead and
paint across this pier here.
| | 03:04 | And as we do this, I am just going to
get to a couple of areas and point out a
| | 03:08 | few little problems.
| | 03:10 | Okay, well what are my problems?
| | 03:12 | Well, my problems are my edge, so I need
to go back and get really close to that
| | 03:16 | edge, just to get that perfect.
| | 03:19 | Make sure I have all of that.
| | 03:20 | I also have a problem.
| | 03:22 | It's a little bit spotty in
this region and in the middle here.
| | 03:25 | I can try to kind of get into those
small, little areas, or you can turn Auto
| | 03:30 | Mask off, because what Auto Mask will
do is it will just fill this up without
| | 03:35 | really having to worry about if there
is an area that's different, relative to
| | 03:40 | the brush or where the brush is painting.
| | 03:42 | So in other words, you'll use Auto Mask
a lot of times in order to get your edge
| | 03:47 | work good; turn it off in
order to fill it back in.
| | 03:50 | If you have any edges you need to
clean up, well turn that tool back on, and
| | 03:54 | you can see how we've made this adjustment.
| | 03:56 | Now, this adjustment right now is horrible.
| | 04:00 | So we need to change what we're adjusting here.
| | 04:02 | We also need to work a
little bit, say, on an edge.
| | 04:06 | Let's say that what happens is while
we're painting an edge, we accidentally go
| | 04:10 | too far, like I've done here.
| | 04:12 | How can we remove that?
| | 04:14 | Well, there is a brush
which is called the Erase brush.
| | 04:17 | We can turn that on with Auto Mask
as well and then just go ahead and
| | 04:22 | paint across that area.
| | 04:24 | We can slowly diminish this, crank up
the Flow in order for this to happen more
| | 04:29 | quickly, and you can see how we can
remove that as well. And we can even get
| | 04:33 | closer to the edge here too if we want
to try to kind of clean up the edge where
| | 04:37 | we spilled over. And this way, we
could try to do that by using this tool,
| | 04:42 | change back to our regular brush, and
then go ahead and keep painting. All right!
| | 04:46 | Well, that looks a little bit better
over there in regards to that edge, and
| | 04:51 | so far so good in regards to modifying this
area, and also learning how this tool works.
| | 04:57 | All right! Well, the adjustment isn't good, but
it did kind of reveal certain things in
| | 05:02 | regards to how this works.
| | 05:03 | So let's double-click Exposure, let's
remove that Exposure adjustment, and then
| | 05:08 | maybe make an adjustment that's interesting.
| | 05:10 | How about adding a touch of clarity,
or maybe a little bit of exposure to
| | 05:15 | brighten up the Exposure there on the
pier, to make it snap a little bit, maybe
| | 05:20 | even add a touch of contrast, or
perhaps a little bit of color temperature.
| | 05:25 | And by making these changes, we're kind of
changing the visual interest of the pier.
| | 05:30 | This might be a little bit too intense.
Perhaps our controls are too far. Let's evaluate.
| | 05:36 | Flip the switch, right?
| | 05:37 | When we do that, we can see
the before and then the after.
| | 05:41 | Well, maybe it's too yellow.
I will go ahead and decrease that Color
| | 05:44 | Temperature. Perhaps we don't
need that much color inside of it.
| | 05:48 | I think that looks a little bit better.
| | 05:50 | Again, here we have our before and after.
| | Collapse this transcript |
| Burning and dodging a black-and-white image| 00:00 | Because the Adjustment brush is such a
powerful and helpful tool, let's explore
| | 00:04 | how we can continue to get better at
using this tool, and let's do that by way of
| | 00:08 | a photographic workflow in the Develop module.
| | 00:11 | Here with this picture, what I want to
do is convert this to black and white
| | 00:14 | and create some drama.
| | 00:16 | So we will desaturate it.
| | 00:18 | Next, we may modify our exposure,
add some density to the picture, some
| | 00:21 | contrast, maybe work with our shadows and
highlights here a little bit, and also clarity.
| | 00:26 | Again, try to create some sort of a black-and-
white conversion that has a bit of a punch to it.
| | 00:31 | Let's evaluate.
| | 00:32 | Press the Backslash key.
| | 00:34 | You can see before and after.
| | 00:36 | Now, the point here isn't to dial in
a specific black-and-white conversion--
| | 00:40 | we will talk about that later--more it's
just to make some adjustments with your sliders.
| | 00:45 | Next, it's to look at how you can use
the Adjustment brush in order to burn and
| | 00:50 | dodge, or in order to attract the
eye to certain parts of the image.
| | 00:54 | So let's go to the Adjustment brush.
| | 00:56 | We will do that by pressing the K key
or by clicking on it in the tool strip.
| | 01:00 | Well, what I want to do with my
Adjustment brush is I want to increase some
| | 01:04 | exposure, also contrast and clarity,
and I want to turn Auto Mask on.
| | 01:10 | For my Flow, I am going to bring
this up, somewhere above 50 or so.
| | 01:14 | Next, I am going to go
ahead and paint on this path.
| | 01:16 | What this will allow me to do is to
bring in some brightness into this path.
| | 01:21 | Make the brush a little bit bigger
so I can bring in some brightness and
| | 01:25 | contrast and clarity
into this part of the image.
| | 01:28 | I am just painting back
and forth over this area.
| | 01:30 | I should also point out that if you
have a Wacom tablet, well the flow can be
| | 01:35 | controlled by the pressure sensitivity.
| | 01:38 | In other words, how hard you push down
will control the flow for your Adjustment
| | 01:42 | brush, which is kind of nice.
| | 01:43 | Just make my way back to the smaller
part of the path back there. And a lot of
| | 01:49 | this is just looking to kind of paint
back and forth, paint in some brightness.
| | 01:54 | And in this case, this image, it
shouldn't necessarily have really hard edges.
| | 01:59 | I mean we have this path here, but we may
want to soften those edges out a little bit.
| | 02:04 | So as we make our way through, or as we
progress, what might be helpful at some
| | 02:09 | point, perhaps right about now, is to
turn Auto Mask off and then just go back
| | 02:15 | and lower your Flow and kind of bring in
some of that brightness on these edges,
| | 02:19 | just so it's not quite so crisp or so unnatural.
| | 02:23 | This gives us the chance just to kind
of soften things up, kind of add a few
| | 02:27 | little imperfections here in regards to
this brushwork. And what that can do is
| | 02:32 | it can make it just feel a little bit more
believable versus overly dramatic. All right!
| | 02:38 | Well, we're at a good spot
with this image. Let's evaluate.
| | 02:41 | If we flip our switch over here, we
can see our before and after. And by
| | 02:45 | flipping that, it turns off the adjustment
that we've made and then flip it again
| | 02:49 | and we can see how our adjustment looks.
| | 02:52 | The great thing about this is if it's
too intense, too much exposure, well we
| | 02:56 | can decrease that at this point as well.
And a lot of times when you make those
| | 03:00 | adjustments what you'll do is you'll
make them a bit too strong and then kind of
| | 03:05 | soften it, find that sweet spot.
| | 03:07 | Well, here I need to do a little bit of erasing.
| | 03:09 | To erase, we've learned before
you can click on the erase button.
| | 03:13 | Here though I want to share
with you a workflow technique.
| | 03:15 | If you have your brush and you want to
quickly jump to the Erase, well you hold
| | 03:20 | down Option or Alt. Notice the cursor
changes. There's a minus sign in the
| | 03:24 | middle of it. You have the
Erase options, whatever they are.
| | 03:28 | Let's say we turn off Auto Mask,
decrease the Flow, maybe the brush Size, and
| | 03:32 | then I can go in and I can kind of the
erase slowly some of the areas where this
| | 03:36 | image has been modified.
| | 03:38 | And by using this, sometimes what it
can do is just help you kind of quickly
| | 03:42 | jump back and forth to
adding or removing the effect.
| | 03:46 | Okay, well what next?
| | 03:48 | What else might we want to do?
| | 03:50 | We might want to make a few
other adjustments to this image.
| | 03:53 | So to create a new Adjustment brush,
we can click New or you can use this
| | 03:57 | really handy shortcut.
| | 03:59 | You press K once to exit the Adjustment
brush, press it a second time to reenter it.
| | 04:05 | You'll notice the Pin is now unselected.
| | 04:09 | With that unselected, I can go
ahead and then reset these settings.
| | 04:13 | From the pulldown menu, I am going to
choose Exposure, and just have a slight
| | 04:17 | increase in Exposure. A little bit in
Contrast, a little bit in Clarity. And
| | 04:22 | then I am going to go ahead and
just start painting across the image.
| | 04:25 | Again, I am just looking to try to add
a touch of visual snap to a few areas of
| | 04:30 | the picture, changing my brush size
as I go, and I'll go ahead and paint.
| | 04:34 | I am just looking to try to bring up
some of these tones around here in this
| | 04:38 | field and on the hills. And then just
go ahead and paint through here a little
| | 04:42 | bit, and in this case just adding a
little bit of visual interest to those
| | 04:47 | hillsides. And what we can do is we
can then evaluate our before and after.
| | 04:51 | You know how to do that of course.
| | 04:53 | We flip our switch. Flipping that down will
turn off those adjustments. They are pretty subtle.
| | 04:59 | Flipping that back on, it
will turn those back on.
| | 05:02 | Let's brighten that up even a little bit more.
| | 05:04 | A touch more Exposure there. All right!
| | 05:07 | Well, what about the sky?
| | 05:08 | I want to darken that sky.
| | 05:10 | So, remember the shortcut: K once to
exit, K again to reenter with a new brush.
| | 05:15 | This time, I am going to decrease my Exposure.
| | 05:18 | I am going to make my brush nice and
big by pressing the right bracket key.
| | 05:22 | I have a low Flow amount, and I am
going to start to paint across the sky here.
| | 05:27 | I don't have Auto Mask turned on,
because I want these to be a little bit
| | 05:31 | more sweeping, these adjustments to be
a bit more broad, and kind of overall
| | 05:36 | in regards to darkening up the sky here and
adding a little bit of contrast into the sky.
| | 05:42 | So I am just painting back and forth
across this, looking to try to enhance the
| | 05:46 | visual interest up there, build out the
drama in the sky, and just do a few more
| | 05:52 | brushstrokes back and forth around here,
really trying to make sure my edges get it as well.
| | 05:59 | Then I'll make my brush a bit smaller
here and I'll go ahead and bring some
| | 06:03 | darkness and contrast along the skyline,
get in a bit more close here, make the
| | 06:11 | brush a touch bigger, kind
of smooth that out as well.
| | 06:16 | Again, I am just trying to
build a little drama up there.
| | 06:18 | Let's add some clarity to those
clouds. Let's add a bit more contrast.
| | 06:22 | This will make our whites whiter,
our blacks a little bit blacker.
| | 06:25 | That adds just kind of some nice
touches to those areas up there in the clouds.
| | 06:30 | And I will soften it just a bit.
| | 06:32 | Let's evaluate the overall before
and after by flipping the switch.
| | 06:35 | Well, here you have it, before and then after.
| | 06:39 | Some adjustments which are dramatic,
while others are subtle and small.
| | Collapse this transcript |
| Reducing noise| 00:00 | Let's take a look at a couple of
scenarios of how we can use the Adjustment
| | 00:03 | brush in order to deal with noise.
| | 00:06 | In this first image that we'll be
working on, we're going to take it to the
| | 00:08 | Develop module, and once there, I want you to
press the I key in order to pull up your info.
| | 00:14 | This info will show you that
this image was shot at 1600 ISO;
| | 00:19 | therefore, if we zoom in on this image,
what we'll see is that we'll have a lot
| | 00:23 | of noise in this file.
| | 00:25 | I'll go ahead and zoom in on one area of
the photograph, and I'll press the I key
| | 00:29 | in order to hide that Info Overlay.
| | 00:32 | Well, here we can see the noise or
the grain structure of this picture.
| | 00:36 | This will be really good to kind of
see how this Adjustment brush works.
| | 00:40 | What you can do is you can click on
the Adjustment brush, and then you can go
| | 00:43 | down to your Noise settings.
| | 00:45 | Now, typically, you're going to want
to click and drag this to the right, but
| | 00:48 | not always, and we'll talk about why.
| | 00:50 | Next, I'll choose a Flow of 100 points.
Just to kind of see how this works,
| | 00:54 | I'm going to go ahead and paint back and
forth across this area, and you can see
| | 00:58 | that as I do this, this whole
area becomes, well, really soft.
| | 01:02 | It's removing the noise, but it's also
removing some of the detail that we need.
| | 01:07 | Let me just paint a nice area of
this photograph so we can see how this
| | 01:10 | noise reduction works.
| | 01:12 | Well, here you can see that, yes, indeed,
it does have less grain or less noise.
| | 01:18 | Why don't I zoom in even
farther so you can see that?
| | 01:21 | Yet the image has become too soft;
it's lost some of its sharpness.
| | 01:26 | So what you may end up doing is you
may end up needing to use your Noise and
| | 01:30 | your Sharpness sliders together.
| | 01:32 | In other words, you can bring back a
little bit of that sharpness here and also
| | 01:36 | lower the Noise just a touch, and by
doing that we can have a reduced kind of
| | 01:42 | grain structure there with a picture like this.
| | 01:44 | In some scenarios, noise is part of the image;
| | 01:48 | in other situations, you'll find it
because your exposure wasn't right. You were
| | 01:53 | underexposed, and when you increase
that, it added noise to the picture.
| | 01:57 | Well, this gives you the ability to
paint in that exposure increase, if you need
| | 02:02 | to do that, and also add that
noise reduction at the same time.
| | 02:06 | Let's take a look at
another image to explore this.
| | 02:09 | Here I'm going to go to the Library module.
| | 02:11 | In the Library module I'll click on
our people folder, and in the people
| | 02:15 | folder, the photograph that I'm
looking for is one that we've seen before,
| | 02:19 | which is rincon_surfer.dng.
| | 02:21 | Next, I'll zoom out so you can
see this picture. Here you have it.
| | 02:25 | Let's go to the Develop module.
| | 02:27 | Well, in the Develop module, I'm going
to zoom in, and I'm going to zoom in
| | 02:31 | not quite 1.1, but I want to get pretty
close to this photograph so we can see
| | 02:34 | this guy sitting here.
| | 02:36 | Well, he is underexposed.
| | 02:38 | So we could grab our Adjustment brush,
we could increase the Exposure, and then
| | 02:43 | we could turn, say, Auto Mask on, with a
nice big brush here and just paint across
| | 02:48 | him, in order to try to brighten up the
exposure in this area of the picture.
| | 02:52 | And currently, it's going to look a
little bit choppy, a little bit strange, but
| | 02:56 | just stick with me for a second, and
we'll go ahead and say we could paint
| | 03:00 | through this problem area of the picture.
And then we turn Auto Mask off with a
| | 03:04 | lower brush size, and then go ahead and
clean up all of the little choppy pieces there.
| | 03:10 | Left Bracket Key decreases your brush size.
| | 03:12 | And this amount of exposure is way
over the top, right, but it helps us see
| | 03:19 | those edges. It helps us start to kind
of work with this file and figure out how
| | 03:22 | we might be able to make
some improvements here. Okay.
| | 03:26 | Well, as far as roughing it out, we
can see that we have kind of brightened
| | 03:29 | up part of the image.
| | 03:31 | Let's zoom into a 1.1 view so
that we can see what's happened to that
| | 03:35 | area that we brightened.
| | 03:36 | Well, that area that we brightened up,
it looks okay, but in a lot of ways we
| | 03:41 | can see that we have a lot of noise
there. And I'm just kind of trying to fix
| | 03:45 | up these little small areas that I messed up on,
where I didn't quite get it all painted in.
| | 03:50 | Also, I'd want you erase any
edges over here where I went too far.
| | 03:54 | So there's going to be some finessing
of getting your actual brushstroke good
| | 03:59 | here, but I think for demo purposes
we're almost to that point. All right!
| | 04:03 | As I mentioned, we brightened this
up, but we also introduced noise.
| | 04:07 | Well, what we could do with that is we
could then add a little bit of noise reduction.
| | 04:12 | So I'm going to increase this Noise
reduction. I'm going to do this pretty
| | 04:15 | dramatically, and you can see that as
I increase my noise reduction, all of a
| | 04:20 | sudden the image is much more soft,
even with this overexposed image.
| | 04:26 | I mean, I've increased my exposure way
too much. You can see that the detail
| | 04:30 | there that we have is much nicer.
| | 04:32 | We could also add a touch of
sharpening. That's one of the reasons why
| | 04:36 | Sharpening is close to Noise and Moire,
because sometimes when you remove
| | 04:40 | details, you may need to kind of
bring something back a little bit.
| | 04:44 | Well, more realistic for this image
might be to take our Exposure setting down
| | 04:48 | into a range right about here.
| | 04:51 | We can have that nice amount of
increased exposure, at the same time combining
| | 04:55 | that with our noise reduction, which
gives us an increased exposure without as
| | 04:59 | many artifacts as we would have
had if we hadn't use this slider.
| | 05:04 | We can zoom out a little bit here and
see that I've only worked on a part of the
| | 05:07 | image, but even just by doing this
small area of the image, with these two
| | 05:12 | sliders working together, we can
come up with some great results.
| | 05:16 | And you and I know that we can take
this to an even better place, right, by
| | 05:20 | combining this as well with
a couple of other sliders.
| | 05:23 | When we increase exposure, we may want a
little bit of contrast, a little bit of
| | 05:27 | clarity, and so now it's exposure,
contrast, clarity, and noise reduction, and a
| | 05:33 | little bit of sharpening, and all of
those together give us a much more usable
| | 05:37 | and quality adjustment.
| | Collapse this transcript |
| Minimizing moiré patterns| 00:00 | This image has a common
problem; it's called moire pattern.
| | 00:03 | Well, what is a moire pattern?
| | 00:05 | Well, the term moire is actually a
French word and it originates from a type of
| | 00:09 | a textile. Sometimes it was silk,
cotton or synthetic fiber that had sort of a
| | 00:14 | kind of rippled or watery appearance.
| | 00:16 | With this image, you can see that.
| | 00:18 | There are these strange little ripples or
kind of watery appearance to this image.
| | 00:23 | In photography, moire happens as a
result of digital capture or of scanning an
| | 00:28 | image, and it's an undesired artifact.
| | 00:31 | These ripples or this appearance,
they weren't part of the jacket.
| | 00:34 | This was added when the jacket was photographed.
| | 00:37 | So let's take a look at how we can
remove that pattern there. We can do this
| | 00:41 | with the Adjustment brush.
| | 00:42 | If you click on the Adjustment brush,
you'll notice at the base, we have a
| | 00:46 | few options for Moire.
| | 00:47 | Click and drag this to the right to
minimize that moire pattern or drag it all
| | 00:51 | the way up to try to remove it.
| | 00:53 | In other words, the more you move
this to the right, the stronger the
| | 00:56 | moire removal will be.
| | 00:59 | Next, we want to set up our brush.
| | 01:01 | Typically, you want a brush flow which
is really high, and you want to turn Auto
| | 01:04 | Mask off. That doesn't work very well as
it gets kind of hung up on the stitching
| | 01:10 | or the different edges of the fabric.
| | 01:12 | Okay, well now that that's dialed in,
I'll go ahead and simply click and drag
| | 01:16 | and you can see that as I paint
across this image, even in different areas,
| | 01:20 | you can see how we're able to a pretty
successfully remove or reduce this moire pattern.
| | 01:25 | Now it's rare that this will be
completely perfect and that the fabric will look
| | 01:30 | like it never had any sort of a pattern,
but it does really help out, And this
| | 01:34 | can really speed up your workflow to
do this in this raw context, because
| | 01:39 | there's nothing to save or to render.
And previously, in regards to moving this
| | 01:44 | pattern, you had to go to Photoshop.
| | 01:45 | Now we can do this here in
Lightroom, which is great.
| | 01:49 | The other thing that you may notice is
that it might subtly change the color
| | 01:53 | of the jacket, yet it's hard to discern, right,
because the moire pattern has a color in it.
| | 02:00 | So as you kind of work on your garment,
whatever it is, just pay attention to
| | 02:04 | that. And you may need to experiment
with perhaps boosting your color a little
| | 02:08 | bit, and sometimes by doing that, you can
bring back some of that natural vibrance
| | 02:13 | or the color of the fabric.
| | 02:15 | And again, other times you may not need
to do this at all, but just experiment a
| | 02:19 | little bit with that and you can
see how you can really swing it hard.
| | 02:23 | Sometimes it's just a few points,
you know, that bring that back to its
| | 02:26 | more natural color.
| | 02:28 | Of course, when you're working with
garments and whatnot, you want this to be accurate.
| | 02:33 | So that's why I'm trying to say be
careful with your modifications in regards to
| | 02:37 | color. But I also have to point it out,
because I've noticed it as I've started
| | 02:41 | to work on a few photographs.
| | 02:43 | Well, after you gotten through your
image, really it's just going to be about
| | 02:46 | making it all the way around.
| | 02:48 | On the edges, it can be a little bit tricky.
| | 02:50 | One of things that I found to be
helpful is when you get to edges, to turn Auto
| | 02:54 | Mask on and then go straight across
those, because you don't want this moire
| | 02:59 | pattern removal to happen on your
background or to tweak the background out at
| | 03:03 | all, and then once you finish that edge
work, we'll then turn Auto Mask back off
| | 03:09 | and then just keep working on the middle area.
| | 03:11 | And you can see here, we can make some
pretty quick progress in regards to what
| | 03:15 | could have been a tricky problem.
| | Collapse this transcript |
| Painting in localized sharpening| 00:00 | Let's briefly take a look at how we
can use the Adjustment brush in order to
| | 00:03 | sharpen our photographs.
| | 00:05 | Here I've a picture of my daughter
Annie sitting in a hammock all wrapped up in
| | 00:09 | that little hammock.
| | 00:10 | And if we zoom in to one-to-one, while
this is a lower-res JPEG file, we can
| | 00:14 | still see that it's not sharp.
| | 00:17 | I captured this with too slow of a
shutter speed and so therefore the
| | 00:20 | detail just isn't crisp.
| | 00:23 | Well, to bring back some sharpness,
we can use the Adjustment brush.
| | 00:26 | You can select that by clicking on it
in the tool strip. And then you'll notice
| | 00:30 | we have a Sharpness control here.
| | 00:32 | Click and drag this to the
right for increased sharpening.
| | 00:36 | Whenever you sharpen, you want to add
a little bit of clarity and contrast as
| | 00:39 | well, because these controls affect
sharpening in some pretty clear ways.
| | 00:43 | Next, for our Flow, we'll have a pretty
high Flow amount, nice big brush here.
| | 00:47 | I'm just going to paint some general
sharpening and contrast and clarity over
| | 00:51 | this area of the face.
| | 00:53 | Now, as I do this, I want to
highlight one thing in regards to contrast and
| | 00:57 | claritym and that's this:
| | 00:59 | If I decrease the contrast, the image
feels a bit more flat and less sharp,
| | 01:03 | a little more dull.
| | 01:04 | If I increase it, it feels like it has
more contrast and more color saturation,
| | 01:09 | also makes it feel more sharp.
| | 01:11 | So just know that you want to
find the sweet spot for that.
| | 01:14 | I might also increase my color
temperature and tint just to touch there to add a
| | 01:18 | little bit of color into
that area of the photograph,
| | 01:21 | just kind of warming that up a little
bit and maybe just a touch of saturation.
| | 01:25 | Well, let's explore how this looks.
| | 01:27 | Here we have our before,
kind of dull, and then after.
| | 01:32 | Now it looks really crisp and clear and
vibrant, and the trick wotj sharpness is
| | 01:37 | to go far but not too far.
| | 01:40 | Sometimes it's helpful to scale back
your adjustments, because it's easy to
| | 01:45 | kind of want more and more sharpness, but too
much sharpness in it can kind of kill a photograph.
| | 01:50 | Let's take a look at how this one looks here,
at least on my monitor. Before and after.
| | 01:56 | Well, that looks pretty good and as you
can see here, you can use the Adjustment
| | 01:59 | brush to kind of save images that
weren't tack-sharp or to bring in sharpness to
| | 02:04 | your photographs that are sharp where
you just want to kind of bring out a
| | 02:07 | little bit more detail in certain areas.
| | 02:09 | This brush allows you to paint that
detail into exactly where you want it.
| | Collapse this transcript |
| Improving the eyes| 00:00 | Let's take a look at how we can
improve this image using the Adjustment brush.
| | 00:04 | And for this photograph, let's zoom in
and start off by working on the eyes.
| | 00:08 | In the Navigator panel, zoom up to, say,
a 1:2 zoom ratio, so you can get really
| | 00:13 | close and see a lot of the nice detail here.
| | 00:15 | Next we'll select the Adjustment brush.
And from the Effect pull down menu, there
| | 00:20 | is an option called Iris Enhance.
| | 00:22 | Basically this has increased saturation,
clarity and some bumped-up exposure there.
| | 00:27 | Next we want to take our brush Flow
down so we can kind of progressively build
| | 00:31 | this up, and then position
our brush over the image.
| | 00:35 | When I do that, my brush looks too big.
| | 00:38 | To change your brush size, you can do
something which may seem counterintuitive.
| | 00:42 | You can actually zoom in.
| | 00:44 | Let me show you what I mean.
| | 00:45 | If I zoom into a 1:1, well, now all of
a sudden when I position the brush over
| | 00:51 | the eye, it's smaller.
| | 00:53 | What isn't really smaller though;
is just relative to your zoom rate.
| | 00:57 | So one of the ways to change brush size
when using the Adjustment brush is just
| | 01:00 | to zoom in or zoom out. All right!
| | 01:02 | Well, now that we have this, go ahead and
maybe a little bit higher Flow amount here.
| | 01:06 | I'm just going to quickly paint
around the iris and the eye here.
| | 01:10 | I want to be a little bit careful to
kind of build this up slowly, so it doesn't
| | 01:14 | look completely unnatural.
| | 01:16 | And of course, you want to move to the
other eye when you've made progress on
| | 01:20 | one. Take your time there,
and than get to the other.
| | 01:23 | Spacebar key allows you to access the
hand tool and then click and drag to the
| | 01:28 | right, so that you can move to the other eye.
| | 01:30 | And you want to spend about
the same time on each eye;
| | 01:34 | otherwise, it just will look
imbalanced, look a little bit strange.
| | 01:37 | So just go through and again just painting here.
| | 01:41 | In this case, I'm using a mouse.
| | 01:43 | You maybe able to hear me clicking.
It would be ideal to have a Wacom tablet.
| | 01:47 | I don't have mine with me today,
but the mouse will still work for us.
| | 01:51 | I think we're making
pretty good progress on this.
| | 01:54 | What I want to do is zoom out so I
can see both of the eyes at one time.
| | 01:59 | Therefore, in the Navigator panel, I'll
click on 1:2, so it'll take me to this
| | 02:04 | 1:2 zoom ratio here, and let's see
how we've done with our eye work there.
| | 02:10 | We'll click on this switch to
look at our before-and-after.
| | 02:14 | Here we have before and then now after.
| | 02:17 | Now one of the things that I notice with
these eyes is there's too much saturation.
| | 02:21 | It looks a little bit unnatural.
| | 02:23 | So I'm going to decrease that Saturation amount.
| | 02:26 | Also my clarity, I don't
quite like that high of clarity.
| | 02:29 | It made the eye just look a little bit strange.
| | 02:32 | I will bring up a little bit of sharpness.
| | 02:34 | I think this is helpful to see,
because the default setting, well, it's not
| | 02:39 | always perfect for all people,
all eyes, and all situations.
| | 02:42 | You want to experiment and
get it right for your image.
| | 02:46 | Now, let's review the before-and-after.
| | 02:48 | Flip that switch. You'll be able to
see the before, which they look great.
| | 02:53 | There's nice brightness to the eyes,
a little catch light there, and then after
| | 02:56 | just makes those come to
life even a little bit more.
| | 03:00 | You also want to make sure that you zoom
out further, and you want to zoom out in
| | 03:04 | different ways. So you can kind of
see how does this fit into the overall
| | 03:08 | brightness in this image?
| | 03:09 | Again, our before and then after. And you
know with eyes, I'm actually pretty cautious.
| | 03:16 | I'll probably back this off even more,
because I don't want it to look exaggerated.
| | 03:21 | The trick with all of this is that you want it
to add a little life, but not too much life.
| | 03:27 | Okay, well, I think that's nice there,
yet I notice a problem.
| | 03:30 | I was working on the eyes, the eyes are
nice and bright, but next to the eyes is
| | 03:36 | this bright highlight here.
| | 03:38 | I need to somehow tone down this
highlight. And sometimes by darkening something
| | 03:43 | which is near the eyes,
actually brightens them up.
| | 03:47 | In other words, correcting other
aspects of the image can kind of fix the image
| | 03:52 | in interesting and unexpected ways.
| | 03:54 | Well, let's explore how we could work
with this highlight right here in order to
| | 03:58 | take that down a little bit, and
let's do that in the next movie.
| | 04:02 | So go ahead and keep this image open
and I'll see you in the next movie.
| | Collapse this transcript |
| Dimishing a distracting highlight| 00:00 | All right, now that we've worked on the
eyes, let's also work on this highlight.
| | 00:03 | Look at how we can diminish this highlight here.
| | 00:06 | So we currently have an adjustment
brush adjustment selected, or visible.
| | 00:10 | If you press the H key, you can see
the pin for this adjustment brush.
| | 00:14 | I want to exit out of that one,
| | 00:15 | so I'm going to click on the Adjustment
brush once and then click on it again to
| | 00:19 | create a new adjustment.
| | 00:21 | This time I want to focus in
on exposure and also highlights.
| | 00:25 | So, from the Effect pulldown menu, I'm
going to select Highlights and next I'm
| | 00:29 | going to decrease the highlights here,
and then I'm also going to decrease the
| | 00:33 | exposure just a little tiny bit.
| | 00:36 | In regards to my brush, I want to
have a little bit of a bigger brush,
| | 00:39 | so I'll go ahead and increase that brush
size. And then I'm going to decrease my
| | 00:44 | flow, so that I can really kind
of paint this in a little bit.
| | 00:47 | I'm just going to paint over this area
of the image. And the challenge whenever
| | 00:51 | you're working with a highlight is
that you want the highlight removal or
| | 00:56 | diminishing to be uniform.
| | 00:58 | Press the H key to hide that pin,
because that's a little bit distracting for
| | 01:01 | me. And again just make my way through here,
painting back and forth on this highlight.
| | 01:07 | Next we want to probably decrease
the Highlight amount a little bit more.
| | 01:12 | So I'll go ahead and go back to my control
over here on the right and decrease that.
| | 01:16 | I'm going to take that down maybe ten
points more, or perhaps even more than that.
| | 01:22 | Okay, well that's already looking a lot
better over in this area. And again, just
| | 01:27 | a little bit more painting.
| | 01:29 | Because we have a low flow on our
brushstroke, we can take this out little
| | 01:34 | bit of time, also a little bit over here on the
face, and then a touch more on the nose there.
| | 01:41 | All right! Well, let's take a
look at how this is so far.
| | 01:44 | It's not perfect, but it's getting there.
| | 01:46 | We'll go ahead and flip the switch and when
we do that, that allows us to see the before.
| | 01:51 | There is that highlight without any adjustment.
| | 01:54 | Flip it again and you'll
be able to see it after.
| | 01:57 | What you see is that it just takes that down;
it darkens that up.
| | 02:00 | Now we may need to do something with
this, like add a little bit of yellow into
| | 02:05 | it or a little bit of a tint, because
as you change the density of an area, it
| | 02:10 | changes the color, right?
| | 02:11 | So we may have to subtly modify
that. And we'll just go through there.
| | 02:16 | I'm going to look to decrease
the exposure a little bit more.
| | 02:20 | This is risky, because the exposure,
well, it's a really strong control,
| | 02:24 | so you want to be careful not to go
too far with that. And I think really
| | 02:28 | that's looking okay. Let's take a look.
| | 02:30 | Pay attention to the nose there.
| | 02:32 | There's our before; now here is our after.
| | 02:35 | The only challenge for me with this
is it looks a little bit muddy, this
| | 02:39 | particular adjustment.
| | 02:41 | So I want to be careful to try to add
the right amount of color, so it's not
| | 02:46 | really kind of black, but it
feels like the same skin color.
| | 02:50 | I think we're right in
the range regards to this.
| | 02:53 | Let's zoom out a little bit.
| | 02:54 | Here I'll go ahead and zoom out a 1:4 ratio.
| | 02:58 | So I want to see some of the
other surrounding areas of brightness.
| | 03:02 | As I do that, I may find a couple areas
that are going to be worth hitting, just
| | 03:06 | to bring down these highlights.
And you want to bring down the surrounding
| | 03:10 | highlights, because it has to
consistently really fit into the entire image.
| | 03:15 | So here I'm just painting some
brushstrokes around those other areas, and then if
| | 03:19 | we flip the switch, we'll be able to
see those adjustments as we're trying to
| | 03:23 | kind of make this fit into the rest of
the image. Because we don't want it to
| | 03:28 | completely stand out and be like
this strange part of the photograph.
| | 03:32 | Well, we can look at the eyes and also
some of those different shadow areas.
| | 03:36 | You know, when I look at the before and
after, it's pretty subtle and not over the top.
| | 03:40 | So that's a wrap.
| | Collapse this transcript |
| The Adjustment Brush and Basic panel workflow| 00:00 | As I've mentioned previously, getting
good at Lightroom is about more than
| | 00:03 | getting good at the sliders, controls,
or tools; rather, it's about getting
| | 00:07 | good photographically.
| | 00:09 | It's about learning how to put
together a photographic workflow.
| | 00:13 | And here I want to illustrate that
working with this image, and exploring how we
| | 00:16 | can work with the basic controls, as
well as the Adjustment brush, in order to
| | 00:21 | improve this picture.
| | 00:22 | Well, this picture has a
big problem, its exposure.
| | 00:26 | I completely messed up.
| | 00:28 | Yet I like the photograph.
| | 00:30 | I like the overall look. I like the
perspective. I like a lot of things about
| | 00:34 | it, but the exposure is a problem
and the background is a problem.
| | 00:38 | It's too distracting.
| | 00:39 | I want this background to go dark.
| | 00:41 | Well, first things first.
Let's work on the face and the exposure there.
| | 00:46 | One of the things that we're going to
have to do is work with our basic controls.
| | 00:49 | So with our basic controls, we'll go
ahead and decrease the exposure and
| | 00:53 | decrease it really significantly.
| | 00:55 | As we start to bring it down, we can
see where the image was and see that yes,
| | 01:00 | this could have worked.
| | 01:02 | We'll bring down those
highlights a little bit as well.
| | 01:04 | Bring up the shadows;
bring some of that detail in the shadows back.
| | 01:08 | Whites, well we could bring those down.
| | 01:10 | I don't need as much
highlight there, or whites there.
| | 01:13 | For blacks, we'll bring a little
bit of detail into those deep blacks.
| | 01:17 | Clarity, let's soften this photograph.
| | 01:19 | By having some negative clarity, it can
give a good look to a photograph like this.
| | 01:24 | We don't want this one to be so
tack-sharp that we notice all of the
| | 01:28 | little teeny blemishes.
| | 01:29 | Well, next, I am also
going to decrease the contrast.
| | 01:32 | That will give it a little bit more of an
inviting appeal. And then change my temperature.
| | 01:37 | For my temperature, I am just going to look
to try to warm this image up a little bit.
| | 01:42 | Well, already this looks completely different.
| | 01:46 | Well, that's a little bit too warm, so
let me lower this down, as I was getting
| | 01:50 | excited about how the image looked.
| | 01:52 | Let's take a look at the before and
after by clicking on our Backslash key. And
| | 01:57 | we can see how far this image has already come.
| | 02:00 | Here is the before.
| | 02:01 | We would have thought of this
image perhaps as one to throw away.
| | 02:05 | Yet after, it's now looking really nice.
| | 02:07 | We'll use the navigator to zoom in
perhaps to a 1:4 view so we can see the face.
| | 02:13 | We want to evaluate the
detail that we have here.
| | 02:16 | We want to ask ourselves, well, what
else can we do to try to add a little bit
| | 02:20 | of punch to this picture?
| | 02:21 | Well, it might be nice to
have some brightness in the eyes.
| | 02:25 | Let's use the Adjustment brush to do that.
| | 02:27 | We click on the Adjustment brush icon,
bring up a little bit of exposure there,
| | 02:31 | also perhaps a little bit of clarity, a
touch of saturation, and then we can go
| | 02:35 | ahead and just really quickly paint
across the eyes here, looking to try to
| | 02:39 | brighten those up and add little bit
more vibrance in this area of the picture.
| | 02:43 | These adjustments are all
pretty subtle and small.
| | 02:47 | Compared to the additional adjustments that
we made, these adjustments are pretty subtle.
| | 02:51 | Yet nonetheless sometimes it's the subtle
adjustments which really help out. All right!
| | 02:56 | Now that we've brightened the eyes up
a little bit, perhaps we'll do just a
| | 02:59 | touch more here. I'll add a little bit
of contrast as well, and then maybe even
| | 03:04 | a little bit more saturation.
| | 03:06 | I think we could bring those eyes back
to where they were previously. All of
| | 03:10 | that darkening, well, it caused us to lose
some of that wonderful detail there in the eyes.
| | 03:15 | Let's sharpen them as well, so we'll go
ahead and drag that slider up in order
| | 03:19 | to bring some more sharpness into the eyes.
| | 03:21 | Okay, well that's really kind of nice.
| | 03:23 | The image looks good. There's a nice
quality of light here. Let's zoom out.
| | 03:28 | Now when we click on Fit in View, we
see the background. This needs to be
| | 03:31 | darkened. It's too distracting.
| | 03:34 | So we'll click on our
Adjustment brush once, click on it again.
| | 03:37 | This time from our Effect pulldown
menu, I am going to make a selection of
| | 03:41 | exposure and decrease the exposure.
| | 03:44 | And here I am just going to start
to paint over the background area.
| | 03:47 | What I am interested in doing
is really bringing this down.
| | 03:50 | I am going to bring this down in
order to darken up all these details here.
| | 03:55 | I need to do a little bit on the top of
the head as well to do this in a way so
| | 03:58 | that it's cohesive, also a
little bit down below as well.
| | 04:01 | Make my brush a little bit bigger,
increase my Flow there, and also the amount of
| | 04:07 | the exposure, work on the edges of the
hair. And really this kind of work, it's
| | 04:12 | about doing this progressively.
| | 04:15 | It's about taking your time, being
a little patient, and progressively
| | 04:19 | darkening up the background.
| | 04:21 | Well, now that I've done one
adjustment, I want to do another.
| | 04:23 | I want to do this is in stages, so
I'll press K once to exit that adjustment;
| | 04:28 | press K again to reenter that.
| | 04:31 | This time I am going to darken it
even further so that I can work on this
| | 04:35 | part of the image, which I really want to
get rid of whatever that is in the background.
| | 04:38 | I think it's a light
somewhere there in the background.
| | 04:41 | Now I'll decrease my Flow for the other
side because it doesn't need to be quite
| | 04:45 | as strong, but nonetheless, I
want to get that dark as well.
| | 04:48 | I want this image really to be about the face.
| | 04:51 | And that's why I think Lightroom is a
lot about that photographic workflow.
| | 04:55 | It's about asking, well, what is this
image about and how can I then try to
| | 05:00 | accomplish that using these tools?
| | 05:02 | It's not just about knowing what the
tool is and how to move a slider; rather,
| | 05:06 | it's about trying to have kind of a
vision or a voice and to trying to
| | 05:11 | accomplish that with your photographs.
| | 05:13 | Okay, well, I think we're getting closer.
| | 05:15 | I am going to go ahead and just
decrease my Flow a little bit more here,
| | 05:19 | this time darken up this area of the picture.
| | 05:21 | I want the brightness
really to be focused on the face.
| | 05:25 | You can see how I am trying to just
darken down a lot of those edges, work a
| | 05:30 | little bit more on the hair.
| | 05:32 | I think that's kind of fun. It's a
little bit more of a dramatic picture.
| | 05:36 | I like it. I like how it's really primarily
about the face. And just a few more adjustments.
| | 05:41 | I want to darken the shirt down
here a little bit more I think.
| | 05:44 | I'll go ahead and bring that down even
further in order to make it even more
| | 05:49 | about the face there and all of those elements.
| | 05:52 | At this point, as far as my Exposure
slider for this last adjustment, it's a
| | 05:57 | little bit too strong for my liking.
| | 05:59 | So I am going to bring back just
some of that detail so it's not quite so
| | 06:03 | drastic. And let's take a look
at our overall before and after.
| | 06:06 | With these adjustments, we'll flip the switch.
| | 06:08 | Here we can see the before and then flip
it, and then we have the after, in regards
| | 06:15 | to our brushwork there.
| | 06:16 | Then of course, we want
to press the Backslash key.
| | 06:19 | That will show us our overall
before and after, and you know what? That
| | 06:23 | image looks pretty good.
| | 06:25 | That's a wrap.
| | Collapse this transcript |
|
|
11. Modifying the Tone CurveDemystifying the Tone Curve controls| 00:00 | The Tone Curve panel gives us another
way to modify the color and tone of our
| | 00:04 | photographs whether, to correct or
enhance or just apply a creative effect.
| | 00:09 | Let's take a look at how we can
work with the Tone Curve panel.
| | 00:12 | You'll notice I have this
demo grayscale file open.
| | 00:15 | I find it helpful to create grayscale
files whenever there's a new control or a
| | 00:20 | new panel that I don't understand in
Lightroom, to create that file and then
| | 00:24 | bring it into Lightroom and make
changes, to kind of that teach myself how do
| | 00:28 | these controls actually work?
| | 00:30 | Let's take a look at how they
work while working on this file.
| | 00:33 | When I hover over this Curve window,
you'll notice that different areas of this
| | 00:38 | curve are highlighted.
| | 00:39 | You may also notice that down below one
of these controls will be illuminated.
| | 00:43 | Here I am in the shadows, the darker
side of the grayscale, and then as I move
| | 00:47 | up, the darks, the lights,
and then the highlights.
| | 00:50 | In this area you also notice the cursor changes.
| | 00:53 | Well, if I move over a specific part
of the image, I can click and drag up or
| | 00:57 | down just to the limits of that
grayed-out or highlighted area.
| | 01:02 | So what's the deal with that?
| | 01:03 | What's that all about?
| | 01:04 | Well, what this allows you to do
is to make adjustments that aren't
| | 01:08 | incredibly drastic.
| | 01:10 | They're relatively limited to that area.
| | 01:13 | Now it gets a little complicated when
you mix, say, another adjustment and then
| | 01:16 | perhaps another, and you can see how
all of these curves are connected.
| | 01:20 | Yet primarily, it's limited
to these highlighted areas.
| | 01:24 | In other words, you can make adjustments
without doing too much damage. All right!
| | 01:28 | Well, what about resetting things?
| | 01:30 | You can reset these controls by double-
clicking them, just like we can in other panels.
| | 01:35 | Now you'll notice that we have these four
quadrants and these dividers here. What are those?
| | 01:40 | Well, if we make an adjustment, say, to
highlights, we can have that adjustment
| | 01:44 | have a broader effect by clicking
and dragging and pulling this over.
| | 01:48 | Notice now much more of the
image is white than was before.
| | 01:51 | So now my highlight quadrant, well, it's
huge, and it's huge because I changed it
| | 01:56 | by moving this divider here.
| | 01:58 | Double-click those and you can
reset those as well. All right!
| | 02:02 | One more thing to talk about
here with this curve, and that is the
| | 02:05 | Targeted Adjustment tool.
| | 02:07 | Click on the Targeted Adjustment
tool, top-left corner, hover over the
| | 02:11 | image, and now all of a sudden you
can see it's highlighting the different
| | 02:14 | areas of your image.
| | 02:15 | Now this is pretty cool because it
allows you to just visually make changes.
| | 02:19 | It takes the guesswork out of
are these my darks or my shadows?
| | 02:23 | Just position over that area, click and
drag up or down and make a change. All right!
| | 02:28 | Well, what else can we do with the Tone Curve?
| | 02:31 | Well, we can also go to
what's called the Point Curve.
| | 02:35 | This is where things get really interesting.
| | 02:38 | In the Point Curve, we now have curves
in this latest version of Lightroom which
| | 02:42 | are very similar to Photoshop. Take a look.
| | 02:46 | I can click on this curve and drag up and keep
dragging and keep dragging and keep dragging.
| | 02:51 | I can make really drastic
and dramatic adjustments.
| | 02:54 | I can also add multiple points to my curve.
| | 02:57 | And I can click to add these points
so that I can have precise control over
| | 03:01 | different parts of the curve.
And you can see I am doing that as I am
| | 03:04 | making adjustments here.
| | 03:06 | Now here I am making really
drastic and dramatic adjustments.
| | 03:10 | So what's interesting about this is we
now have a little bit more power and also
| | 03:14 | precision with this dialog.
| | 03:16 | To remove points, click and drag those
to the right or the left, and you can just
| | 03:21 | pull those straight off of
this curve line here. All right!
| | 03:26 | We also have a Targeted Adjustment tool.
| | 03:29 | Click on it, position over the image,
you notice that it tracks with that curve
| | 03:33 | line there. We can see where that is
if you look at the curve in the panel.
| | 03:37 | Drag up or down, set another point, and
you can move through your image this way
| | 03:41 | making adjustments as needed.
| | 03:43 | The other thing that's powerful
about this is if we have highlights which
| | 03:46 | we can't recover very well, we can use
this top highlight point and bring that down.
| | 03:53 | This can save the day with certain photographs.
| | 03:55 | We can do the same thing with shadows.
| | 03:58 | We can bring that shadow point, if we
click all the way on it--I missed it
| | 04:01 | there. Let me grab it. Click all the
way on that, we can drag that up or deepen
| | 04:05 | it for that matter.
| | 04:07 | The other thing that we can do is
we can actually get to our three
| | 04:10 | different color channels.
| | 04:12 | Click on the Channel Picker and you
have Red, Green, and Blue options.
| | 04:16 | Perhaps you know that if you go to the
Red channel and click and drag up, the
| | 04:20 | image becomes more red.
| | 04:22 | Drag in the opposite direction and it's cyan.
| | 04:25 | So we can change the
color and tone of our image.
| | 04:29 | We can also go to the Green channel.
| | 04:30 | That's green/magenta, green one way, magenta the other, and
then blue/yellow and blue one way and then
| | 04:37 | yellow the other way.
| | 04:39 | This can help us come up with creative
effects, where we can correct our images in
| | 04:43 | interesting ways, and these different
curve controls, well, they just give us
| | 04:47 | access to making changes in a new way.
| | 04:50 | There isn't necessarily one approach
which is best, meaning should I use the
| | 04:54 | Point Curve versus this curve?
| | 04:56 | Well, of course, it depends
on what you want to accomplish.
| | 04:58 | So in the next few movies, let's take a
look at how we can modify a few images
| | 05:03 | using the Tone Curve panel.
| | Collapse this transcript |
| Using the tone curve to correct exposure| 00:00 | Let's take a look at how we can use
the Tone Curve panel in order to make
| | 00:03 | exposure adjustments.
| | 00:05 | Like with this picture here,
| | 00:06 | I have a little puppy in this
field with all of these fall leaves.
| | 00:10 | What I want to do is brighten up the
exposure, because it just feels like it's too dark.
| | 00:14 | So I might start off in my Darks
and just click and drag those up.
| | 00:18 | Next, bring up some of my Lights, a
little bit of the Highlights as well, and
| | 00:22 | then perhaps even some of the Shadows.
| | 00:24 | Again, just looking to try to bring up
some of that nice light and also bring in
| | 00:28 | some more colors, because as you
increase that brightness, you get a bit more
| | 00:32 | vivid look to the picture.
| | 00:35 | And we just made a few really simple
adjustments, just dragging sliders kind of
| | 00:39 | based upon how we felt about the photograph.
| | 00:42 | This isn't objective. It isn't really a science;
| | 00:45 | it's more kind of trying to sort of
feel your way through this, what does this
| | 00:48 | image need, and then making a few
adjustments to make those changes.
| | 00:52 | Here we have our before and then after.
| | 00:55 | I think that image looks pretty good.
And maybe just a few more little subtle
| | 00:59 | changes and we're done.
| | 01:01 | Let's look at another photograph.
| | 01:03 | This one is daisy_12.
| | 01:05 | This picture, it feels like it's
brighter, so it's not necessarily about its
| | 01:09 | brightness. What I might do here though
is just darken the brighter tones down
| | 01:14 | and then also darken down my
Shadows there a little bit.
| | 01:18 | Again, right here this is completely subjective.
| | 01:21 | Here is that before and after.
It's subtle, but really it's about trying to make
| | 01:26 | some changes in order to
improve the way the photograph looks.
| | 01:29 | I'm going to make this even a little
bit darker on that side of the histogram,
| | 01:33 | also crank up the Shadows a little bit there.
And then here we have that before and after.
| | 01:39 | I think I went too far. I think it needs
to brighten up little bit more like this.
| | 01:44 | It's interesting how when you process
an image, you never really know what's
| | 01:48 | going to happen, right?
| | 01:49 | Here we have before and after.
| | 01:51 | This one just needed a subtle little
snap to make it come to life, whereas the
| | 01:56 | other one, well the exposure was a bit
further off, so it was a bit more of a
| | 02:00 | dramatic push, a bit of a stronger push.
| | 02:03 | Perhaps we could push that even further.
| | 02:05 | Again, that before and after using
those controls. Another image, before and
| | 02:10 | then after. A bit more subtle yet
nonetheless still significant adjustment.
| | Collapse this transcript |
| Changing tone and color with the the point tone curve| 00:00 | Let's take a look at how we can use the
Point/Tone Curve in order to correct and
| | 00:03 | enhance our photographs.
| | 00:05 | This first picture we'll be working on
is my wife and our kids and our little
| | 00:08 | puppy when we were up in Tahoe, in the snow.
| | 00:11 | If we press the J key here in the
Develop module, we'll notice that we have a
| | 00:15 | lot of areas without any detail
at all, all of these snowy regions.
| | 00:20 | Well, you can correct that in the Tone Curve.
| | 00:22 | You can go to the Tone Curve panel and
then specifically go to the Point Curve.
| | 00:26 | Yet, before we go there, let's
just try the Highlight slider.
| | 00:30 | When I use the Highlight slider to the
left and the right, you can see that I
| | 00:33 | can either exaggerate or minimize that.
| | 00:36 | Yet, even when I minimize it, it looks
kind of grayed out. It doesn't look very good.
| | 00:42 | So what's going to work better
of course is the Point Curve.
| | 00:45 | The Point Curve, what it allows us to
do is to click on, say, our highlights
| | 00:48 | here and just drag it down just a little
teeny bit, and look at how far that reach was.
| | 00:53 | We now have all of that corrected.
| | 00:56 | We could also then perhaps modify the
overall look here, maybe brightening it up
| | 01:00 | a little bit, and adding just a little
bit more detail there in the shadows or
| | 01:04 | darkening the shadows, I should say.
| | 01:06 | So we can customize these points by
clicking on the curve and making changes to
| | 01:10 | the different parts of the image.
| | 01:12 | Next, we might want to add
perhaps a little bit more color.
| | 01:15 | I'll go to the RGB > Red channel, and
I'm just going to click and drag up,
| | 01:19 | adding a few points of red to this picture.
Then I'll go to the Blue, Yellow channel,
| | 01:25 | go down to Blue, and then click and drag down.
| | 01:29 | Dragging down will add yellow to the
photograph. And again, this is a lot like
| | 01:33 | how we would work with
curves inside of Photoshop.
| | 01:37 | It's kind of neat, isn't it,
| | 01:38 | because you can now do these types of
adjustments right here in Lightroom.
| | 01:42 | Well, let's evaluate this.
| | 01:44 | Press the Backslash key. There we have
our before, and I'll press J to hide all
| | 01:49 | of that clipping. And then
press it again for the after.
| | 01:52 | Again our before and after.
| | 01:55 | We not only made changes
correcting the exposure; we also made a few
| | 01:58 | little color changes.
| | 02:00 | With these types of color changes,
you want to be subtle and you want to be
| | 02:04 | careful not to overdo it too much, but
I just want a little bit more warmth and
| | 02:08 | some more vibrant tones there.
| | 02:10 | Let's look at one more
image, doing a similar thing.
| | 02:13 | This time this photograph here, this
is Daisy in the snow. Press the J key.
| | 02:17 | We see that clipping.
| | 02:19 | So we go to that Composite view
and we can click and drag down.
| | 02:23 | I should also point out if you have
clipping in your shadows, if you see that,
| | 02:26 | you can always work with the shadow point.
| | 02:28 | So if ever those shadows are problematic,
click and drag that point up or modify
| | 02:32 | it to change the shadow detail you have there.
| | 02:35 | Next, I want to darken up these
lower tones and then maintain some of the
| | 02:39 | brightness that we have
in the upper tones up here.
| | 02:41 | Let's see, try to find nice spot for
those. Again just subjectively making some
| | 02:46 | changes to the picture.
| | 02:47 | And perhaps right about there is nice.
| | 02:50 | I'll go into one of my channels.
| | 02:53 | I go to the Blue/Yellow channel and
just drag that down a little bit, making
| | 02:58 | this a little bit more nostalgic and warm.
| | 03:00 | Also, go to the Green/Magenta channel,
bringing in some magenta. And then of
| | 03:06 | course a touch of red, in that Red/Cyan channel.
| | 03:10 | If you're not familiar with working
with curves, really it's a lot of kind of
| | 03:13 | back-and-forth work of trying to find
the right combination or the right color
| | 03:18 | by using these adjustments.
| | 03:20 | And here, you can see I'm going back
and forth, just trying to find something
| | 03:24 | which I think will look pretty good. All right!
Well, let's evaluate that one.
| | 03:28 | Click the Backslash key. There it is!
| | 03:30 | Our before. Press it again, our after.
| | 03:34 | Once more, before and after. And that's a wrap.
| | Collapse this transcript |
| Making creative RGB adjustments| 00:00 | One of the things that's going to
happen with the Point/Tone Curve is that it's
| | 00:02 | going to open up really a floodgate of
creative options for working with color
| | 00:07 | in our photographs in creative ways.
| | 00:09 | So here what I want to do is just run
through a few different images to start
| | 00:13 | getting you to think about how can
you use this tool in creative ways.
| | 00:17 | Well, with this first picture, what
I'm going to do is initially just add a
| | 00:20 | little bit of contrast in this RGB
mode, bring up my whites, bring down my
| | 00:24 | blacks, and just get a
little bit of contrast in.
| | 00:27 | Next, I'm going to use a
technique by going to the Blue channel.
| | 00:31 | Now, this particular technique is one of
those secrets I probably shouldn't give
| | 00:35 | away, but here it goes.
| | 00:37 | What I want to do is add some yellows
to the brighter tones and some blues to
| | 00:41 | the cooler tones, and this tends to be a
really interesting and kind of hip way
| | 00:45 | to process images right now.
| | 00:46 | A lot of people are having some fun with this.
| | 00:49 | Well, for our top point there, what we
can do is drag this either to add blue
| | 00:54 | into those whites, or what we want to
do is drag it down to add some yellows.
| | 00:59 | We're going to do this pretty
significantly, adding a lot of yellow.
| | 01:02 | We're going for kind of a muted, nostalgic look.
| | 01:06 | Next, we'll go down to the Shadows and
we're going to bring those shadows up.
| | 01:10 | So we want to bring some of
the blues up into the shadows.
| | 01:12 | Make sure the highlights stay up
there and stay nice and yellow.
| | 01:16 | I'll bring up my shadow point even more,
so that I have more of those blues in
| | 01:20 | the shadows. And then all of a sudden
we have this really kind of interesting
| | 01:25 | aesthetic, and it wasn't a lot of work.
We could customize this further.
| | 01:30 | We could go back to, say, the Red channel,
and we could bring in a little bit of
| | 01:34 | red into our highlights if we want to
have a bit of that, or we could make the
| | 01:38 | shadows there a little bit cyan if we wanted a
little bit different type of a hue in that area.
| | 01:44 | What this does, as you can see, is it
just opens up this way to work with color
| | 01:48 | that is really subtle, and it's
connected to tone. And that's kind of important.
| | 01:54 | It's not like the color is sitting on
top of the image; rather, it's almost
| | 01:57 | inside of these different tonal values,
and that's why curves are so powerful,
| | 02:02 | and why it's so fun.
| | 02:04 | Let's look at another example.
| | 02:06 | Here, with this image, I want to
apply, say, a sepia toning effect.
| | 02:09 | Well, with this image, I will go ahead
and press the V key to take it to the
| | 02:14 | default settings for black and white.
| | 02:16 | Now that it's in those default
settings, I can go to my different channels.
| | 02:20 | Let's start off in the Red channel here.
| | 02:23 | In the Red channel, I want to lock down my
whites, so I'm just clicking to set a few points.
| | 02:28 | Next, for my Shadows, I'll click and
drag up in order to add some of that
| | 02:33 | red into the shadows.
| | 02:35 | Next, go to the Blue/Yellow channel. And here,
I'm going to primarily bring in some yellows,
| | 02:40 | so I'm just going to drag down.
| | 02:42 | I want to find just a nice
combination of color here where I don't have too
| | 02:46 | much color in my whites.
| | 02:48 | It looks like I have too much red.
| | 02:50 | So I go back to the Red
channel, and I'll just modify that.
| | 02:53 | Here, you can see we have a nice
kind of yellow warm sepia toning.
| | 02:57 | I want to change it.
We could work with the magentas a little bit.
| | 03:00 | The nice thing about this is I could
make a really strong adjustment, and I
| | 03:05 | could protect those whites.
| | 03:06 | You can see that the whites aren't
as effected as these tones down here.
| | 03:11 | Sometimes that can make all the
difference in the world when working with
| | 03:14 | toning, just to be able to map
those tones to really specific areas.
| | 03:19 | With this image, I'm going to go back
to my Blue/Yellow channel and just bring
| | 03:23 | in a little bit more of that yellow there.
| | 03:27 | I think that looks pretty good.
| | 03:29 | Press the Backslash key.
| | 03:30 | We have before and then now we have after.
| | 03:33 | Let me show you one more creative
technique, just to keep you going.
| | 03:37 | This photograph here, we have an
exposure issue. It's overexposed.
| | 03:40 | So in the RGB channel, we'll go
ahead and bring down that highlight
| | 03:45 | significantly, and then we'll bring
up some of the shadows down below, and
| | 03:49 | we'll just modify it this way.
And then I'm going to go into my different
| | 03:53 | channels and just start making some curves that
I think will look interesting for this picture.
| | 03:58 | My intent here is to try to change the
mood of this image, and to really have it
| | 04:03 | have a strong kind of depleted color palette.
| | 04:06 | I'll add one more point here in the
shadows and drag that up, and here it is!
| | 04:10 | The image has a very different
look and feel and even emotion.
| | 04:16 | So as we think about color, really it
is about trying to express something.
| | 04:20 | And here I've shown you three very distinct,
very different looks with these photographs,
| | 04:25 | yet you can see that this really is
going to kind of open up this floodgate of
| | 04:29 | possibility for how we can start to
work with color in a completely different
| | 04:33 | way as we use this Tone Curve
inside of the Develop module.
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12. Changing HSL and ColorUnderstanding the HSL controls| 00:00 | Let's take a look at how we can use
the HSL--Hue, Saturation, and Luminosity--
| | 00:05 | controls in the Develop module.
| | 00:07 | We'll be working with this demo file
as it will help us really understand how
| | 00:10 | these controls work.
| | 00:12 | I am going to close the Histogram
on the right and then open up the HSL
| | 00:16 | panel and click on All.
| | 00:18 | This will enable me to be able to
see all of these controls at once.
| | 00:22 | Here you can see these are our
controls for Hue. Here are the controls for
| | 00:26 | Saturation, and then Luminance.
| | 00:28 | Let's start up with Hue.
| | 00:30 | What is this about?
| | 00:31 | Well, Hue allows us to change color.
| | 00:34 | You'll notice we have a range here for
the Reds, we can change those reds so
| | 00:37 | they become more orange or so they
become a little bit more bright-red and then
| | 00:43 | even a little bit pink, as you can see there.
| | 00:45 | So we can change those colors.
| | 00:47 | Now we can't change red to, say, blue.
| | 00:51 | We can only change it to the
colors that are surrounding it.
| | 00:53 | Red can either become more orange or it
can become more magenta, as you see down here.
| | 00:59 | Well, what about orange?
| | 01:01 | That can become a little bit
more yellow or a bit more red.
| | 01:04 | So we can swing these colors in an
interesting way, and you can see those changes
| | 01:09 | over here as I am making them as I
make my way down these particular sliders.
| | 01:14 | So here what I've done I've started to
modify these colors so that they look
| | 01:18 | kind of similar, which is really kind
of fascinating that we can do that, that
| | 01:22 | we can take colors which did look one
way and then completely kind of change the
| | 01:27 | color palette of the picture.
| | 01:29 | Now with these controls, if ever you
want to reset them, hold down Option on a
| | 01:34 | Mac, Alt on Windows, and click Reset.
| | 01:37 | You can see it right there.
| | 01:39 | So again, this is all about just
modifying specific colors but also knowing
| | 01:44 | that each of these colors, well, they
have a little reach into the other colors.
| | 01:47 | For example, when I modify purple, it
also affects blue, so we can kind of see
| | 01:52 | how that reaches into that other color there.
| | 01:55 | Well, next we have Saturation.
| | 01:58 | As you would expect, this allows us to
saturate, increase, or decrease, and we can
| | 02:02 | see that as we make our way through, and
also how this affects different colors
| | 02:06 | here in this demo file that I've created.
| | 02:09 | I am just removing all the colors, and
what's interesting about this is we can
| | 02:13 | remove all the colors but leave one in.
And then that one color that's in, well,
| | 02:18 | we could then change that one color.
| | 02:20 | So you can start to see that these
controls, well, they might work together.
| | 02:25 | Let's reset Saturation, hold down
Option or Alt. I'll take the Saturation
| | 02:30 | controls back to the default setting.
| | 02:32 | What's Luminance about?
| | 02:34 | Luminance is about luminosity, about brightness.
| | 02:37 | Here we can brighten up the reds or
darken those. And you can see how we can do
| | 02:42 | that as I move these sliders, or
perhaps as you move these sliders.
| | 02:45 | We can change these. And each color,
well, it kind of responds a little bit
| | 02:49 | differently, and you can see how
the various colors have different
| | 02:53 | inherent brightness levels.
| | 02:55 | Therefore, as we make those changes,
some aren't that dramatic at all, while
| | 02:59 | others, well perhaps
they're a bit more dramatic.
| | 03:02 | This has to do with light sensitivity
and the way color is created and whatnot.
| | 03:07 | Again, let's hold down Option on a
Mac, Alt on Windows, and reset the
| | 03:11 | Luminance controls.
| | 03:13 | Now you can access these one at a time.
| | 03:15 | You could click to work on Hue and
just focus on those, or click to work on
| | 03:20 | Saturation, or just Luminance, or as I
did, click on this option here for All.
| | 03:26 | The reason why I wanted to have all
open was just so we could kind of compare
| | 03:30 | and contrast how these controls work.
| | 03:33 | What's more realistic or more typical
in your own workflow will be just to
| | 03:36 | choose one of those and then to work on that.
| | 03:39 | For example, let's say that we want
to change the Reds, so we go ahead and
| | 03:43 | change the Reds to an orange. We also
want that orange to be a little bit more
| | 03:47 | desaturated. And then we go to
Luminance and we want that orange desaturated to
| | 03:53 | be a little bit more dark.
| | 03:54 | So you can kind of see how you'll jump
between these three as needed based on
| | 03:59 | the task at hand and based on what
you're trying to either correct or enhance.
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| Using the HSL Target Adjustment tool| 00:00 | Here, I want to show you two more ways
that we can access these Hue/Saturation
| | 00:04 | controls and make changes to our photographs.
| | 00:07 | The first one is by using
the Targeted Adjustment tool.
| | 00:10 | You notice that it's located in each
of these panels, whether that's the Hue
| | 00:13 | panel, the Saturation, or Luminance.
| | 00:16 | To use this, simply click on the tool and
then position your cursor over your image.
| | 00:21 | In this case, I'm over orange. I'll
click and drag down. That will darken that
| | 00:26 | color. Or hover over blue and drag up.
| | 00:29 | That will brighten that color.
| | 00:31 | You can also do this with Saturation.
| | 00:33 | I could drag up to increase
Saturation, drag down to remove. And then
| | 00:37 | finally, we have Hue.
| | 00:39 | We know how that works.
| | 00:40 | Dragging up or down changes
or shifts that color or hue.
| | 00:44 | Let's go ahead and reset the image,
and look at one more method for making
| | 00:48 | these types of changes.
| | 00:50 | This has to do with this area here.
| | 00:52 | If you click on Color, you'll notice
that you have different color chips.
| | 00:56 | Underneath those, you have the three
| | 00:58 | Hue, Saturation, and Luminance
controls. HSL, there they are.
| | 01:02 | Same controls as we've seen previously;
they're just grouped together by way of color.
| | 01:07 | So if I want to work on my reds, well, I
can then modify those reds. Make them a
| | 01:11 | little bit more orange, a bit
more saturated, and also, more dark.
| | 01:16 | If we want to work on a different color,
just click on that color chip and then
| | 01:20 | make changes to that color using these sliders.
| | 01:23 | You can also view all colors at once by
clicking on All and you'll see that we
| | 01:28 | have all of those colors visible here.
| | 01:30 | If you want to go back to the collapsed
view, well just select a color, click on
| | 01:35 | the color chip, and then you can make a
color adjustment by using those sliders.
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| Brightening tones with HSL| 00:00 | Let's take a look at two images and
explore how we can start to use the HSL
| | 00:04 | controls to make some
changes to those photographs.
| | 00:07 | This first one you'll find
in our Resource Files folder.
| | 00:10 | It's a photograph of artists' chalk.
| | 00:13 | And so often what happens is, is when
we look at this we see all the color
| | 00:16 | variety on our monitor, yet when we go
to print the file, well, all of a sudden,
| | 00:21 | let's say, the reds, they're just
not as vibrant or bright or deep.
| | 00:25 | We know how to change that.
| | 00:27 | What we can do is go to
the HSL panel and open it up.
| | 00:30 | Next, navigate to the sub-panel, where
we want to work, let's say Saturation,
| | 00:35 | and click on the Targeted Adjustment
tool, increasing the Color Saturation.
| | 00:40 | Next, go to the Luminance and then
click and drag down in order to increase
| | 00:45 | the density or the darkness there of that
area of the photograph, perhaps just a touch.
| | 00:50 | And sometimes when you have color
variety, it's really helpful to have the
| | 00:55 | ability to kind of finesse these colors,
especially when it comes to output, or
| | 01:00 | just to create some sort of a
visual interest. All right!
| | 01:03 | Well, let's look at another image, this
time one that's a little bit more typical.
| | 01:07 | Here we'll go to our Library module and in the
Library module, let's select the folder people.
| | 01:13 | We'll be working with an
image which is titled shaun.dng.
| | 01:16 | I want to take this picture to the
Develop module, so we'll click Develop.
| | 01:22 | Well, here in the Develop module one of
the things that I notice is there's some
| | 01:25 | sort of a color shift in the background.
| | 01:28 | I want to remove that. I want to get rid of
that colorcast or that color that was on the wall
| | 01:33 | behind this person.
| | 01:34 | In order to do that, we'll go to
Saturation, grab our Targeted Adjustment tool,
| | 01:38 | and then just click and drag down.
| | 01:40 | Now, what I thought was green
was actually aqua and green.
| | 01:44 | You can see it's dragging both of these
sliders down, removing that color problem.
| | 01:50 | I could also enhance the color here, right?
| | 01:52 | I could bring out those
yellows, make them more vibrant.
| | 01:55 | Go to the Luminance panel. Also could
brighten those up just a touch there as well.
| | 02:00 | We could work with the blue of the shirt.
And when you have images with only a
| | 02:04 | few colors, you can really do some fun things.
| | 02:06 | For example, if we went to the Hue tab,
here we could completely changed the
| | 02:11 | color of this guy's shirt.
| | 02:13 | We could grab our Targeted Adjustment
tool, hover over the color we want to
| | 02:17 | change and drag it, up or down.
Here it becomes a little bit more aqua.
| | 02:21 | Or I could go the other direction
and make this one much more purple.
| | 02:26 | And this color combination can kind of
do something different for you with your
| | 02:30 | pictures. And a lot of times it's not
just stopping with Hue; rather, it's going
| | 02:35 | to Saturation and then also making a
change there, or Luminance and then also
| | 02:39 | making a change there, and we can
come up with these various color combos
| | 02:44 | which can be interesting.
| | 02:45 | Other times it might be
about perhaps removing color.
| | 02:48 | If we go back to Hue for a second,
we could bring that color say back to
| | 02:53 | this blue here, and then go to
Saturation and just look at how we could take
| | 02:58 | that color out to make this have even less
color so that the yellow stands out by itself.
| | 03:05 | And so these sliders really, they
give us access to work with color.
| | 03:10 | The challenge, I think, is to really
begin to explore how you can use the
| | 03:14 | sliders together, how you can combine
all of these sliders in order to attempt
| | 03:18 | to come up with the best results.
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| Using HSL to bring out warm and cool tones| 00:00 | Here we're going to make a few simple
adjustments that can really help improve
| | 00:03 | the overall color palette and
color feel in your photograph.
| | 00:07 | This technique can just add a little
bit of snap or vibrance to your pictures.
| | 00:11 | We'll be working with this photograph
here, and this one was captured when I
| | 00:14 | handed my little pocket camera to
someone and they snapped this photograph of
| | 00:17 | our family while we were skiing.
| | 00:19 | I'll zoom in on it, so that we can see
the details and color that we have here.
| | 00:23 | It's just kind of fun, the way the
flash reflected off of the snow and kind of
| | 00:27 | captures this family skiing moment.
| | 00:30 | So in order to brighten this up, let's
go to the HSL controls, and in particular
| | 00:34 | we're just going to go to
Saturation and Luminance.
| | 00:37 | Grab the Targeted Adjustment tool and
click on the colors you want to add a
| | 00:40 | little bit saturation to.
| | 00:42 | We don't want to overdo this here,
| | 00:44 | so we're just going to add just a
little bit of saturation in these areas.
| | 00:48 | Next, we'll go to the Luminance panel.
| | 00:50 | Same thing, just brighten that up.
| | 00:53 | What will happen as we do this is
initially, you won't necessarily feel
| | 00:57 | like much is happening.
| | 00:58 | You'll say, okay, well, it just kind
of looks the same. But you'll really
| | 01:01 | notice it when you do your before-and-
after comparison. And here you just
| | 01:06 | notice I'm clicking on the different
tones, just trying to brighten up these
| | 01:09 | different colors and whatnot.
| | 01:11 | Well, let's evaluate how this actually looks.
| | 01:14 | We can do that by pressing our Backslash key.
| | 01:16 | There is the before and then
press that again. Here's the after.
| | 01:20 | You can see kind of how that difference is.
| | 01:22 | It just kind of brightens it up.
| | 01:24 | This will be especially
true if we zoom back out.
| | 01:28 | In the Navigator panel, I'll click on Fit
there, and look at that before and after again.
| | 01:33 | Here's before and then after.
| | 01:36 | So while this is a really simple
technique, I think it kind of highlights this
| | 01:39 | whole idea that sometimes you can use
these controls just to add a little bit of
| | 01:44 | color snap to your photographs.
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| Creative color with HSL| 00:00 | This movie is more of a bonus movie
than something essential, because here I
| | 00:04 | just want to talk about how we can have
fun using those HSL controls in order to
| | 00:09 | come up with some creative color
concepts or color combinations for our pictures
| | 00:14 | that are a little bit more like
illustrations than they are like trying to
| | 00:17 | create something which is photographically real.
| | 00:20 | Well, let's experiment with this
photograph of this old motel sign.
| | 00:24 | We'll navigate to the HSL panel
here and go to Hue. Start off there.
| | 00:29 | If we click on our Targeted Adjustment
tool, we can change that sky color, and
| | 00:33 | here I'm going to make this much more aqua.
| | 00:36 | Right now the aqua is kind of too bright.
| | 00:38 | I want a little bit of a vintage kind of a feel.
| | 00:41 | So I'll go next to Saturation.
| | 00:43 | In Saturation, I'm just going to pull
that color down, so I all of a sudden have
| | 00:48 | just a really different type
of a feel with this photograph.
| | 00:52 | Next, perhaps to the Luminance panel.
| | 00:55 | In Luminance, again, with the Targeted
Adjustment tool, I'll click on these Reds
| | 00:59 | and brighten up the reds of the sign.
| | 01:01 | And so often what you can do is make
these type of shifts and then go to other
| | 01:05 | panels and add some color on top of
that, which will help you come up with a
| | 01:10 | really interesting look.
| | 01:12 | So with this one, we can go to the
Basic panel, and in the Basic panel, we'll
| | 01:16 | drag the Temperature slider.
| | 01:17 | I'll drag it to the right,
adding a lot of yellow here.
| | 01:21 | And again, now I have this
different kind of vintage look.
| | 01:24 | It looks almost like this type of
instagram or hipstamatic type of a look that
| | 01:28 | you can get using those smartphone
apps when you're taking pictures.
| | 01:33 | We could go beyond this too.
| | 01:35 | We could go down, say, to Split Toning,
and in Split Toning we could add more
| | 01:39 | color in the Highlights,
perhaps some yellow there.
| | 01:42 | And then in our Shadows, maybe a
little bit of blue in those Shadows.
| | 01:46 | And it's kind of endless, right, how
much you can tinker with this, but just
| | 01:50 | kind of fun in regards to
how you can work with color.
| | 01:53 | And let's see how the HSL sliders played
into this mix. What role did they play?
| | 01:59 | Well, if we flip the switch, you can
see here is the color without that.
| | 02:03 | It looks okay, but just not that good.
| | 02:05 | It's the HSL that really pushes
things in that completely new and kind of
| | 02:11 | interesting direction.
| | 02:12 | So here's what I recommend.
| | 02:14 | Have some fun with these controls.
| | 02:16 | Sometimes you're going to want to
work with them to correct or enhance or
| | 02:19 | to really have this vision for your
pictures; other times it's helpful just
| | 02:23 | to experiment for experiment's sake,
because what that can do for you is two things:
| | 02:29 | first, you can come up with color
combinations like this, which might be
| | 02:32 | interesting, and then second, it can
help you really learn how those controls
| | 02:37 | work so that you can use those
controls in order to come up with all sorts of
| | 02:41 | different color and tone combinations.
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13. Converting to Black and WhiteIntroducing black-and-white conversion| 00:00 | Lightroom provides us with some
flexibility and a few great techniques that we
| | 00:04 | can use when we're converting
our images to black and white.
| | 00:07 | Let's take a look at a couple
of those, using the Basic panel.
| | 00:11 | Well, at the top of the Basic panel, you've
probably noticed that there are two buttons.
| | 00:15 | We can either use Color or
Black & White as our treatment.
| | 00:19 | By default, it's Color, and to change
it to Black & White, it's as simple as
| | 00:23 | clicking on this little button here.
| | 00:25 | To go back to Color, you
can click on the Color button.
| | 00:29 | There is also a really handy and
helpful shortcut to toggle back and forth
| | 00:33 | between the two treatments, and it's the V key.
| | 00:37 | You'll want to write this shortcut down
and here's why it's helpful: Because you
| | 00:40 | can look and imagine, just kind of ask
yourself, would this look good in black & white?
| | 00:44 | Press the V key and you'll
get this default conversion.
| | 00:48 | Now it won't be perfect. It won't be
finished, but it can sometimes give you
| | 00:51 | insight into whether or not a
photograph will look good without color.
| | 00:56 | Now if you don't like it, press V again and
it will go back to its default color treatment.
| | 01:02 | You may have noticed, too, that when
you're changing the treatments, say when
| | 01:05 | we go to Black & White, it grays out or
disables the Vibrance and Saturation sliders.
| | 01:11 | Well, that makes sense, because
this image no longer has color.
| | 01:14 | Okay, well, let's go back,
say, to the color treatment.
| | 01:18 | How else can we convert to Black & White?
| | 01:19 | Well, another obvious way is to go
down to the Saturation slider and simply
| | 01:24 | click and drag all of the color
out, or drag that down to -100.
| | 01:29 | And whenever you make any of these
adjustments, either by going to the treatment
| | 01:33 | or by desaturating, you never stop there, right?
| | 01:37 | You're always going to use your other sliders.
| | 01:39 | Here what we might do perhaps is
increase the Contrast a little bit, maybe
| | 01:44 | lower the Highlights there and the
Whites, and perhaps bring up some the Shadow
| | 01:47 | detail and some Clarity.
| | 01:50 | Not too much Clarity. It looks like I went
too far with that one. And just modify
| | 01:54 | the look, using these sliders.
| | 01:55 | And again, this is really just a visual
adjustment, in order to dial in the type
| | 02:00 | of Black & White conversion that you like.
| | 02:02 | And when you do this you notice the image kind
of snaps; it comes to life. It looks stronger.
| | 02:09 | Initially that black-and-white conversion,
it was a little bit just, well, dull.
| | 02:14 | That's because color and photographs,
it creates separation and variance and
| | 02:18 | difference, and once that color is
gone, we need to usually work with the
| | 02:22 | image in a different way.
| | 02:23 | Think of it more in regards to its
tones and use tonality and brightness and
| | 02:29 | shades of gray and deepness of blacks
in order to make it look interesting.
| | 02:33 | And so again, we can use those basic
controls in order to accomplish that.
| | Collapse this transcript |
| Converting to black and white| 00:00 | Perhaps the most effective way to
convert your images to black and white is to
| | 00:04 | use the Black & White
panel in the Develop module.
| | 00:07 | In order to understand that panel,
we'll be working with this file here.
| | 00:11 | It's titled colors.jpg.
| | 00:14 | So go ahead and select that file and
then navigate back to the Develop module.
| | 00:19 | Here in the Develop module, we've
already talked about how we can use the
| | 00:23 | Basic panel, and in the Basic panel how we can
click on this color treatment, Black & White.
| | 00:28 | Well, you may have noticed that when you
click on that, it's actually activating
| | 00:33 | this panel down here, the Black & White panel.
| | 00:36 | So let's go ahead and close the Basic panel
for a moment and open the Black & White panel.
| | 00:43 | I also talked a little bit
about the shortcut, right,
| | 00:45 | to go to this default
conversion; it's the V key.
| | 00:49 | You'll notice when I press the V key,
it goes between HSL; press it again,
| | 00:54 | and then Black & White.
| | 00:56 | So again, this just jumps us
kind of quickly to these options.
| | 01:00 | You can, of course, always just
simply click on the B&W and then open up
| | 01:05 | this panel as well.
| | 01:06 | Well, why this panel is so cool and so
powerful is because we can now target
| | 01:12 | different colors and change the
Luminance or Brightness value of those colors in
| | 01:18 | order to create some fascinating and
strong black-and-white conversions.
| | 01:22 | So, for example, we could use
the Targeted Adjustment tool.
| | 01:26 | Hover over the reds and click and
drag down and we can deepen those. Or we
| | 01:30 | could hover over the blues and dark in
those. And you can see how I can go over
| | 01:35 | the different tones and I can change
either by dragging up or down their
| | 01:40 | overall Luminance value.
| | 01:42 | And what this allows us to do is
let's say, for example, we have a blue sky.
| | 01:47 | Well, we can then darken that in our image.
| | 01:50 | And we can darken that simply by clicking
and dragging and targ eting specific areas.
| | 01:57 | Rather than making kind of these
global or general adjustments, we can get
| | 02:01 | really particular. And by doing this,
well, it can just help us make more
| | 02:05 | interesting black and
white conversions. All right!
| | 02:07 | Well, after being introduced to this
panel, let's explore how we can work with
| | 02:12 | this, and we'll do that in the next movie.
| | Collapse this transcript |
| Modifying black-and-white tones with the Grayscale panel| 00:00 | This movie will be a bit of a workflow
movie as we look at how we can use the
| | 00:04 | Black & White panel controls in
combination with the controls that we'll find
| | 00:08 | in the Basic panel.
| | 00:10 | We'll be working with this image here.
It's titled chris.dng.
| | 00:13 | And this is a photograph of someone
who is a world-class and professional
| | 00:18 | surfer, also world-renowned artist.
And I like the expression, I like the
| | 00:23 | colors, I like the light, and I am
curious to see how would this image look
| | 00:27 | in black and white?
| | 00:28 | And so often we start off in the Basic
panel, we ask yourself that question,
| | 00:33 | and we click on this Color Treatment
button, the Black & White option there. Or
| | 00:36 | we press the V key.
| | 00:38 | Now when I do that, I am not impressed.
| | 00:41 | The image, it just looks too even.
| | 00:43 | The separation that the color
provided is now gone, or the drama.
| | 00:48 | So then, next of course we're
going to start to modify our controls.
| | 00:52 | What if we added some contrast?
| | 00:54 | What if we increased the clarity?
| | 00:57 | Already, it's looking a lot better.
| | 00:59 | Perhaps we need to modify the Exposure,
just bringing that up a little bit, and
| | 01:03 | then bring down the Whites to even
things out, and the Highlights there.
| | 01:08 | We could modify our Shadows, our Blacks.
And again, we're starting to come up
| | 01:14 | with a nice kind of strong
black-and-white conversion.
| | 01:18 | It's a little bit more dramatic and interesting.
| | 01:21 | Yet I want more precise control.
| | 01:23 | So now that I've seen that this might
work, that I might like it, next I'll go
| | 01:27 | to my Black & White controls.
| | 01:30 | So we'll go ahead and click on
the Black & White panel here.
| | 01:33 | One of the things I might
try is to brighten up the face.
| | 01:37 | You could click on the Targeted
Adjustment tool and then just click and drag
| | 01:40 | up to bring some more brightness to that, so
that the eye is drawn to that area of the image.
| | 01:47 | I am just going to bring that up
pretty significantly, adding a lot
| | 01:51 | of brightness there.
| | 01:52 | I also remembered that this shirt was blue.
| | 01:55 | And if ever you have a solid or a
strong color, you know you can modify that.
| | 01:59 | We could click and drag down to darken
that, or we could brighten this up as
| | 02:03 | well, again, just kind of adding
this lift or this boost to the image.
| | 02:09 | Now after you've made a change like
that, you'll almost always want to go
| | 02:12 | back to the Basic panel, because we've
changed the tonal relationships in this picture.
| | 02:18 | So let's go back to the Basic panel.
| | 02:20 | In the Basic panel, what could we do?
| | 02:23 | Well, we could experiment with our Exposure.
| | 02:24 | Now that we have so much brightness in
the face, maybe we can darken the image
| | 02:29 | a little bit, or perhaps we could add
a little bit more contrast, make this
| | 02:34 | image have a little bit more kind of grit or
strength to it, maybe even some more clarity.
| | 02:40 | And so we'll kind of navigate or
roundtrip between these two sets of controls
| | 02:45 | in order to come up with what can potentially
be a really strong black-and-white conversion.
| | 02:50 | Well, now let's take a look at what did
these Black & White sliders contribute,
| | 02:55 | or what was their contribution to this process?
| | 02:58 | If you flip the switch, you can see here's
before without those and then here it is after.
| | 03:03 | And again, it just allowed us to
target these little areas of the photograph
| | 03:07 | which helped us create a different
type of black-and-white conversion.
| | 03:11 | Well, let's look at this
with another photograph.
| | 03:14 | We'll click on this picture here.
It's photographer.dng. And with this image,
| | 03:19 | let's do the same thing.
| | 03:21 | We'll go ahead and go to this
Black & White color treatment.
| | 03:24 | Next, maybe modify our sliders in order
to try to come up with some sort of nice
| | 03:29 | conversion here. In this case, again,
similar sightings that we used before,
| | 03:35 | just visually asking ourselves how
could we perhaps make this image look nice?
| | 03:41 | Next, those Black & White controls.
We click on the Black & White panel.
| | 03:46 | Again, I might brighten up my reds
there a little bit, and even the oranges too.
| | 03:50 | It adds a nice kind of glow to the face.
| | 03:53 | Here I am going to zoom in for the next step.
| | 03:54 | I am going to zoom in perhaps to the
Fill view here so I can see the eyes.
| | 03:59 | The eyes within this picture are blue,
so I am going to bring up my Blues and my
| | 04:03 | Aquas. I am going to kind of
exaggerate these so you can really see this.
| | 04:07 | If we flip the switch, here you can
see the before and then now the after.
| | 04:12 | You can see how we brightened up the
face with these controls here, really
| | 04:16 | bringing in some brightness into
that area of the image, also added that
| | 04:21 | interesting bright luminosity in the eyes.
| | 04:24 | You have to be careful, of course, not
to go too far, but you can see how you
| | 04:28 | can start to change the image this way.
| | 04:30 | Well, if we zoom out--how about
we'll go to Fit in view here?--we could
| | 04:35 | change the backdrop too.
| | 04:36 | I could darken up all of that green
foliage in the background, adding a little
| | 04:40 | bit more separation to the
subject from that background.
| | 04:44 | And then of course, after we've made
those changes, we go back to Basic.
| | 04:48 | Here in Basic, what else might we want to do?
| | 04:50 | Well, maybe we want to change the
overall Exposure or now modify the Contrast.
| | 04:55 | Perhaps a little less contrast would be
nice to make this image a bit more soft.
| | 05:01 | And again, it might be helpful to see,
well, what did those Black & White
| | 05:04 | controls contribute?
| | 05:06 | Click on in that toggle switch. You can see it.
| | 05:08 | Here's before without them and then
here's with them, and they just changed that
| | 05:12 | overall look in this picture.
| | 05:14 | And in my own experience, I found that
by combining our basic controls and also
| | 05:19 | these Black & White adjustments, it can
help you come up with some creative and
| | 05:23 | intriguing black-and-white conversions.
| | Collapse this transcript |
| Enhancing black-and-white images with the Adjustment Brush| 00:00 | This movie is going to be a workflow movie.
| | 00:02 | We are going to put this image through
its paces, using the Black & White panel,
| | 00:07 | the Basic panel and also the Adjustment
brush. And previously, we've looked at
| | 00:12 | how we can use some of these
controls working on photographs of people.
| | 00:16 | Really we need to experiment with
different types of photographs, like this one here.
| | 00:20 | And let's take this image
to the Black & White panel.
| | 00:23 | We will do that by clicking
on the panel on the right.
| | 00:26 | In the initial or the default
conversion, well, it's a little bit lackluster.
| | 00:31 | The sky is just too bright.
| | 00:33 | You and I know how to fix that.
| | 00:35 | We can use that Blue slider there, so
let's drag that one down. We want to
| | 00:40 | darken the sky. And when we do that,
it starts to look a bit better.
| | 00:44 | We have to be careful though here of
course. If you go too far, if you slam
| | 00:48 | this one all the way down, it will
look a little unnatural, and you will see a
| | 00:53 | halo along your edge.
| | 00:55 | Let's see if I can zoom in here
along the back edge of the truck, it
| | 00:58 | just doesn't look right.
| | 01:00 | So what you want to do is take a
look at the entire image, find just the
| | 01:04 | right spot for that.
Darken it perhaps somewhere around there.
| | 01:07 | Then what about the beach?
| | 01:09 | Well, there are some nice orange and
yellow tones there. You could use that
| | 01:13 | Orange slider to brighten
it up or darken that down.
| | 01:16 | Same thing with those yellows.
We could create that little highlight there on
| | 01:20 | the yellows, might be nice.
And already it's looking better.
| | 01:23 | But of course it's nowhere near complete.
| | 01:26 | We need to work more on Exposure, Contrast.
| | 01:30 | So let's go to our Basic panel.
| | 01:33 | You can do that by clicking on the
Basic panel name. And then here, like I
| | 01:37 | mentioned, we want some
contrast. We want some clarity.
| | 01:40 | We want to bring some light into
those shadows, brighten those up, and then
| | 01:44 | maybe darkened down some of
the highlights and whites.
| | 01:48 | Try to bring down some of those really
bright tones in this image, maybe modify
| | 01:52 | the blacks there a little bit. And now
the black-and-white conversion. Well, it's
| | 01:56 | coming to life. It's getting closer.
| | 01:59 | Let's flip a few switches here, at
least the Black & White panel one.
| | 02:02 | Here is our before and after.
| | 02:04 | That adjustment was really important.
I want to take this further.
| | 02:09 | So often we get to a spot like this
and we are kind of content or maybe even
| | 02:13 | proud, but there's so much more that you
can do. And what we are going to do at
| | 02:17 | this image is look at how we
can now use our Adjustment brush.
| | 02:21 | So I will click on the Adjustment brush
icon, and the first thing that I want to
| | 02:25 | do is actually increase some Exposure
here, and also a little bit of Contrast and
| | 02:30 | a little bit of Clarity.
| | 02:31 | So I have Exposure, Contrast, and Clarity.
| | 02:35 | Next, I will have my brush Flow
somewhere above 50 and a really nice small brush,
| | 02:41 | and all that I am going to do is
just paint across the truck here.
| | 02:44 | I want to bring in a little bit of
snap or visual interest or brightness
| | 02:50 | into this truck here.
| | 02:52 | This side of the truck is in the shadow
and if you're able to light this, if you
| | 02:56 | had studio lights, you would try to
illuminate the side a little bit more.
| | 03:01 | I was down in Mexico, didn't have
lights or anything like that, so I am just
| | 03:05 | painting it in, just bringing in a
little bit more into this part of the truck.
| | 03:09 | Well, we can see the before and
after of that by flipping our switch
| | 03:13 | for Adjustment brush.
Here is before and then there is after.
| | 03:17 | Nice, it just kind of lifted up
a little bit, boost the image.
| | 03:21 | What else might we want to do with this one?
| | 03:23 | Well, I want to work on the
mountain back here, also the sky.
| | 03:27 | So let's create a new adjustment.
| | 03:30 | We'll, click on the New icon. You can find
that right underneath the Adjustment brush.
| | 03:34 | This one, let's just leave our settings
as it is and then go ahead and start to
| | 03:38 | paint across the mountains.
| | 03:40 | As I do that, I am just paying
attention to where I am painting, trying to get
| | 03:45 | it primarily on the mountains there.
And I want to bring in some Sharpness,
| | 03:49 | so I am going to sharpen those up
because they became a little dull just because
| | 03:52 | they are farther back.
| | 03:53 | I also think I want to lower my Exposure.
I thought it would be nice to brighten
| | 03:58 | them, to bring some more detail there,
but I think lowering it will kind of make
| | 04:01 | it look stronger, create a little bit
more density. And then I am just tinkering
| | 04:05 | with my controls in order to
change the way those mountains look.
| | 04:10 | Okay, well, I think that's pretty cool.
| | 04:11 | Again, we can evaluate by flipping the switch.
| | 04:14 | Here is before and after.
| | 04:16 | I always find it's helpful to do that,
to flip the toggle switch, because
| | 04:20 | sometimes you make an adjustment and you
think it's great, but it actually isn't.
| | 04:25 | That before and after view helps you
kind of affirm if it is good or if it isn't.
| | 04:29 | All right, well next, the sky,
how are we going to do that?
| | 04:33 | We can use the Adjustment brush again.
| | 04:35 | So I will go to a new adjustment here.
| | 04:38 | And then one of the ways that you can
reset your sliders is by double-clicking
| | 04:42 | on the little slider button there.
| | 04:45 | That's kind of a nice easy way to do that.
| | 04:47 | What do we want to do with the sky?
| | 04:49 | Well, we want to decrease our Exposure.
| | 04:51 | We want to have less Exposure, maybe a
little bit of Contrast, and then perhaps
| | 04:57 | a little bit of Clarity.
| | 04:58 | Next, we want to use
probably a pretty big brush here.
| | 05:02 | When you are working in a big area, the
bigger the brush, the better, because it
| | 05:06 | will prevent you from having these
kind of marks or edges of your brush.
| | 05:10 | And then our brush Flow, let's drop it
below 50 and then just start to paint away.
| | 05:15 | And all that I am going to do here is
just paint across the sky in this area.
| | 05:19 | And I am trying to be careful as I get
close to the edges of things that I don't
| | 05:24 | work on those too much. And I am going
to increase my Flow because I think this
| | 05:28 | is going to work. And then again just
paint it across this area, trying to use
| | 05:33 | even brushstrokes for the most part.
| | 05:36 | That's going okay, a little bit back
here to work on as well and also little bit
| | 05:40 | here in the foreground. And next,
I am going to click on Auto Mask.
| | 05:46 | With Auto Mask turned on, this gives me
the ability to get really close to the
| | 05:49 | mountain top there and also close down here.
| | 05:52 | I should use a smaller brush though.
I think the big brush is holding this
| | 05:56 | adjustment back a little bit.
| | 05:58 | Having that smaller-edge brush, it can
give Lightroom more information, saying,
| | 06:02 | hey you know, really focus in on this
area, so that it can then just create a
| | 06:07 | nice seam or edge in this part of the picture.
| | 06:10 | I am going to do the same thing
back here, darken up that area too.
| | 06:15 | I think that will be pretty cool.
| | 06:17 | And then next, turn Auto Mask off and
then soften out the transition, so I need
| | 06:22 | to paint in the adjustment into these areas.
| | 06:25 | I am just trying to softly paint
around, decrease that Flow a little bit
| | 06:31 | there, a little bit of bigger brush, and just kind
of progressively make my way through the image.
| | 06:37 | And the trick is with your brush size
and your Flow is to think of kind of
| | 06:42 | building this up and you're building
it up to try to, in a sense, hide your
| | 06:46 | tracks a little bit so
that it's not too noticeable.
| | 06:49 | Right now I feel like the sky,
well, it's okay, but it's not great.
| | 06:53 | There are couple of edges I
want to work on back here.
| | 06:55 | I may even need to do some erasing
to try to diminish this and change
| | 06:59 | my amounts, my values.
| | 07:01 | It's nice to have really high
values and then soften those.
| | 07:05 | And so I am almost ready to do that.
| | 07:07 | There are just a few areas
I need to finish off there.
| | 07:10 | All right, well how can we soften it?
| | 07:12 | The one way you can do this is simply
by dragging your slider, your control.
| | 07:17 | So we will go ahead and remove some of
that decreased Exposure, and then boost
| | 07:21 | up some Contrast there and also some Clarity.
| | 07:25 | That will give the sky a little bit
more texture, a little bit more feeling there
| | 07:30 | in the sky. And let's
take a look at the progress,
| | 07:32 | see if we made the sky better or not.
| | 07:34 | If I flip the switch here, I can see
that before and then now I see the after.
| | 07:39 | I kind of like that.
| | 07:40 | I like how it's darkened up the sky.
| | 07:43 | I did a little bit on the foreground
there too, while I have that tool active.
| | 07:46 | It maybe is the little bit over the
top, so again, I am just going to try
| | 07:51 | to find that sweet spot of not going too far
with this. I don't want it to look unnatural.
| | 07:56 | I want the focus to be on the car.
| | 07:58 | Let's flip the switch and
see if we've gotten that.
| | 08:01 | Sure, I think that's good.
| | 08:03 | And you know what's so funny is that
when we got to this point, say, when we flipped
| | 08:07 | the switch off, we thought, yeah we
made it, we used the Black & White panel,
| | 08:11 | the Basic panel, perfect.
| | 08:13 | Yet so often we get to that point we
need to say, well, what else can I do?
| | 08:18 | Can I do some dodging or burning or
use some other tools in order to come up
| | 08:22 | with some nice looks for the photograph?
| | 08:24 | And here I think indeed
we've been able to do that.
| | 08:27 | The last step will be to go and close
this tool by clicking on the Adjustment
| | 08:32 | brush icon and then making any
last-minute needed adjustments.
| | 08:35 | Maybe you want to work with the
Contrast here or the Clarity, in order to just
| | 08:40 | kind of finalize the image, because
after you've made those other adjustments,
| | 08:44 | these then will help us
really just polish it off.
| | 08:47 | Let's look at the before and after.
| | 08:49 | You can do that by pressing your Backslash key.
| | 08:51 | Here is our before and
then press Backslash again.
| | 08:55 | There it is after. Our Black & White
workflow, combining the Black & White
| | 09:00 | panel, the Basic panels,
and the Adjustment brush.
| | Collapse this transcript |
| Using presets to convert to black and white| 00:00 | Another great way to convert your
images to black and white is to use a
| | 00:03 | black and white preset.
| | 00:05 | You can find the presets in the panel
on the left, and there are two sets of
| | 00:09 | presets. And these two sets, well,
they work a little bit differently.
| | 00:13 | Let's take a look at how they work so
we can understand them, and also so that
| | 00:17 | we can explore how we can use them to come up
with some great black-and-white conversions.
| | 00:22 | All right! Well, let's start off
with our B&W Filter Presets.
| | 00:25 | Here if you open this up, you will
notice that it's kind of tapping into this
| | 00:28 | concept of using a filter on your lens,
like we used to do when we were shooting film.
| | 00:33 | We knew that if we used, say, a hreen
gilter, well, it would affect the image in
| | 00:38 | a certain way which would be
different, say, than an orange filter.
| | 00:42 | Okay, well how is it coming up
with this black-and-white conversion?
| | 00:45 | What's happening behind the scenes
in order to make this preset work?
| | 00:50 | Well, if you open up the Basic panel, you
are not going to see that much of a change.
| | 00:54 | There is not a lot happening here.
| | 00:56 | Let's go ahead and make some adjustments.
| | 00:58 | You will notice that, okay, there
are some adjustments, but it's not huge.
| | 01:02 | Aa little bit with Color Temperature
and Tint, and maybe a few sliders. But
| | 01:06 | primarily, these adjustments, well,
they are taking place in the B&W panel.
| | 01:12 | Take a look at these controls. Now as I
click through the options, you are going
| | 01:15 | to see, okay, well there are
some really big adjustments.
| | 01:19 | It's never these adjustments by
themselves it's usually, not always, but
| | 01:23 | typically, these adjustments
with the basic controls together.
| | 01:27 | And what you can do is you can go
through and try to find something that looks
| | 01:30 | good, maybe like one of these
filters here. It's kind of nice.
| | 01:34 | And then go into the controls, say
drop those yellows down and the oranges to
| | 01:39 | bring back some of the
detail there on the puppy's fur.
| | 01:41 | And then go into the greens, maybe
darken up that background. And you can see
| | 01:47 | that by kind of starting with that
preset, making a few little tweaks, it can
| | 01:52 | really kind of give you a jumpstart.
| | 01:54 | It can help you leapfrog to coming up
with a better black-and-white conversion.
| | 01:59 | And then you know the loop.
You know the workflow.
| | 02:01 | You go to the other panel,
whichever one you are in.
| | 02:04 | We are in Black & White. We go to Basic
and then say, well yeah, sure what if we
| | 02:09 | change the Contrast a little bit, maybe
added a little bit of Clarity or brought
| | 02:13 | some more light into the
shadow side of the picture.
| | 02:17 | Then by combining the preset with these
two panels, we come up with a fun or
| | 02:22 | interesting conversion.
| | 02:24 | Well, let's take a look at
the other set of presets.
| | 02:27 | What about these down here?
| | 02:30 | Well, in order to look at the next set,
let's go ahead and click on another image.
| | 02:34 | How about this one here? It's titled
christian.dng. And let's open up this
| | 02:40 | Presets folder here.
| | 02:42 | Here we have options for converting
with kind of color in them, Antique
| | 02:46 | Grayscale or Antique Light. We have
some different black and white looks, also
| | 02:51 | some different presets, trying to
simulate different photographic techniques.
| | 02:55 | Well, let's click on one of
these looks. Let's say B&W Look 3.
| | 02:59 | Well, now here we see some
huge changes in the Basic panel.
| | 03:04 | Let's look at a couple of
these others, B&W 2, or 1.
| | 03:09 | So again, what's happening with these
is they are using these controls, again,
| | 03:13 | together with some of the other
adjustments that we have, to try to give us some
| | 03:17 | options, give us some different
ways to work with our photographs.
| | 03:21 | And if ever you see one that you like,
say like this one, ask yourself how
| | 03:25 | could I tweak this, how
could I make this my own?
| | 03:28 | In this case I think there is too high of
Clarity, so I am going to decrease that.
| | 03:32 | I also want to bring out this
little cover on the boat here and maybe the
| | 03:37 | surfboard in the water.
| | 03:38 | So I will go to the Black & White panel,
and I'll go there and say, well, if I
| | 03:43 | go to this panel I can then start to
use these controls in combination with the
| | 03:48 | preset. And we saw that they
kind of snapped to life as we did that.
| | 03:51 | And perhaps I'll bring out my
Reds even a little bit more there.
| | 03:55 | Blues, make those come to life as well.
And just look at how all these sliders
| | 04:01 | are modifying the picture, seeing if
there is anything else I might want to do
| | 04:04 | there, and then go back to the Basic panel.
| | 04:07 | In the Basic panel, now I can
continually modify this until I get it just where
| | 04:12 | I want it, changing these tones and values,
trying to come up with something that
| | 04:16 | is strong. And I think that's kind
of a fun black-and-white conversion.
| | 04:21 | So sometimes what will happen is
you'll start with a preset and maybe even
| | 04:25 | finish with a preset.
That's it. That's all you need to.
| | 04:29 | Where in other situations, you may start
off with the preset and then use the
| | 04:33 | various controls in the panels, Basic and
Black & White together, in order to come
| | 04:38 | up with something interesting.
| | 04:40 | What I am hoping is that by showing
you how these presets work and how the
| | 04:43 | panels work, it can really give you
this kind of breadth of knowledge. And
| | 04:48 | then the trick of course is to keep in
mind that you don't have to use all of
| | 04:52 | these things; rather, you want to learn
how they all work and then figure out
| | 04:56 | which ones will work for you in the different
situations, with your different photographs,
| | 05:01 | and that by tinkering with these or
playing with them or learning how they work,
| | 05:05 | I think ultimately, that will help you
come up with stronger, more interesting,
| | 05:09 | more compelling black-and-white conversions.
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| Black-and-white workflow with virtual copies| 00:00 | Converting your images successfully to
black and white really is a reflective
| | 00:04 | and artistic process.
| | 00:07 | Because of this, I want to share with
you a helpful technique of converting to
| | 00:10 | black and white while using virtual copies.
| | 00:13 | In order to get to this technique, we
need to do a little bit of setup work
| | 00:17 | first. In other words, we need to kind
of filter out our images so that we don't
| | 00:21 | have all of these other
images which are distracting.
| | 00:25 | So here is how we are going to do it.
| | 00:26 | We will be working with this
file here. It's melissa_06.dng.
| | 00:29 | I want you to add a purple label to it.
| | 00:33 | You do that simply by
clicking on the icon in the toolbar.
| | 00:36 | Next, in the Library module, if you
press the Backslash key, you can then filter
| | 00:42 | by way of attribute, by
clicking on the purple label.
| | 00:46 | In other words, I just want
to have one image visible.
| | 00:49 | I want to kind of clear away all of
the rest of the clutter for a moment.
| | 00:53 | Next, what I am going to do is
increase the size of my filmstrip by hovering
| | 00:57 | over the dividing line and clicking
and dragging up. And I want to do this to
| | 01:02 | kind of illustrate or focus in on
how we can use virtual copies when
| | 01:05 | converting to black and white.
| | 01:07 | So here is what happened sometimes, is we
have an image, we go to the Develop module.
| | 01:12 | In the Develop module, maybe we use a
preset, or maybe we use our controls, and
| | 01:17 | we convert the image to black and white.
| | 01:19 | Let's go to the Black & White panel and
say we just use these controls here, and
| | 01:23 | we try to modify a few things and just
change the overall look of this image,
| | 01:28 | and then go back to the Basic panel.
| | 01:31 | We add some Contrast, and we modify
whatever it is that we want to modify in
| | 01:35 | order to try to make this
image a little bit stronger.
| | 01:39 | Well, here at this point, we
want to see a before-and-after.
| | 01:42 | We want to see if this is a good black-and-
white conversion, so we press the Backslash key.
| | 01:48 | The problem of course is that it takes
it all the way back to the color image.
| | 01:53 | So I can't evaluate the black-and-white
conversion; I can only evaluate it against color.
| | 01:59 | Yet what you can do is you can use
virtual copies in order to be able to evaluate
| | 02:04 | your picture against different
types of black-and-white conversions.
| | 02:08 | I know this won't seem clear right
now, but stick with me for a second.
| | 02:11 | I am going to reset the image.
| | 02:13 | Well, here we have the
original image. It's in color.
| | 02:15 | Let's convert this to black and
white simply by pressing the V key.
| | 02:19 | This will remove the
color. A default conversion.
| | 02:24 | And now let's create a virtual copy.
| | 02:27 | The virtual copy shortcut on a Mac
is Command+Apostrophe, on Windows
| | 02:32 | that's Ctrl+Apostrophe.
| | 02:34 | So why the heck are we doing this?
| | 02:36 | Well, again stick with me.
| | 02:37 | Well, here now we can modify this image
and again use the controls that we want
| | 02:42 | to use in order to change the photograph,
whether the Basic or the Black & White
| | 02:46 | panel or really whatever it is.
We can make all of those adjustments.
| | 02:50 | And after we have made all of those
adjustments and after we have gotten to a
| | 02:54 | point where we like the image, we can
then press the Backslash key. And when
| | 02:59 | we press the Backslash key now,
because this was a virtual copy which was
| | 03:04 | created as a black and white image, it will
only go back to that first step of that image.
| | 03:10 | In other words it's going back to the
first moment from which it was created a
| | 03:15 | black and white photograph.
| | 03:16 | Well, let's say that here I want to
try a different black-and-white look.
| | 03:20 | We will create another virtual copy.
Command+Apostrophe or Ctrl+Apostrophe.
| | 03:24 | This time I want to try a preset.
| | 03:26 | We will go to the Presets panel, and
then I'll hover over these presets, look
| | 03:30 | for one that I think might be
interesting: maybe this Green Filter or perhaps
| | 03:35 | something else, maybe the Red
Filter would be kind of nice.
| | 03:38 | Let's say we try one of
those. I will go for Green.
| | 03:40 | Well, here I can then evaluate this
with the other version of it, right.
| | 03:45 | Now when I press Backslash, it goes back
to whatever the original state was when
| | 03:50 | the virtual copy was created.
| | 03:53 | In other words, virtual copies,
once you create them, they don't have a
| | 03:57 | long-term memory. It's short term.
| | 03:59 | They only remember the state they were in
once they were created as that virtual copy.
| | 04:05 | Now what I find this does for me in my
own black and white workflow is I can
| | 04:08 | then kind of step back and I can say,
well, okay, what are these different
| | 04:12 | options here, and am I going in a good direction?
| | 04:15 | And by using virtual copies, it can
also just give you the ability to have
| | 04:20 | alternative views. Even if you're not
looking at the before and after, and even
| | 04:24 | if that whole thing is
kind of confusing for you,
| | 04:26 | well, here just take a look at this.
| | 04:28 | We can click on the image.
| | 04:29 | Here is the default conversion, here is
one option, here is another option, and
| | 04:34 | you could keep going with this.
Because what I found is that black and white,
| | 04:39 | well, it requires versions.
It's all about the nuance.
| | 04:43 | If you really study good black-and-
white images, it's about working with these
| | 04:48 | tones, these shades of gray, and working
with them in a way that does something
| | 04:52 | that connects with who we are.
| | 04:53 | Maybe it even connects with our soul and it
makes us think and feel in different ways.
| | 04:58 | And because of this, because of the
art of black and white, what I find, at
| | 05:02 | least in my own workflow, is that by
approaching it from this kind of iterative
| | 05:07 | perspective, by having different
iterations of my photograph and by creating
| | 05:11 | these by way of these virtual copies, well
ultimately, helps me express different
| | 05:17 | ideas and it helps me create images in
different ways and hopefully, it helps me
| | 05:22 | create more compelling and ultimately
more interesting and visually appealing
| | 05:26 | black-and-white photographs.
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| Black-and-white images and collections| 00:00 | Well, I've already talked about collections
when we were discussing the Library module.
| | 00:04 | I find it's really important to bring
up the conversation again here when we're
| | 00:08 | talking about converting to black and
white, because collections can really
| | 00:12 | help us out in those scenarios where
we want to have a set, or a collection of
| | 00:16 | pictures in color, and also have
those same pictures in black and white.
| | 00:21 | Let's say, for example, you're a
wedding photographer and you want to give
| | 00:24 | your client a set of color pictures
or a set of black and white. Or maybe
| | 00:28 | you're a photographer, and you just want to
have two different versions of your photographs.
| | 00:32 | Well, how can we use collections to help us out?
| | 00:35 | Well, the first thing you want
to do is to select the pictures:
| | 00:38 | click on one, hold down the
Shift key, click on another.
| | 00:42 | Next go to your Collections
panel and click on the Plus icon.
| | 00:46 | When you click on the Plus icon,
you're going to choose Create Collection.
| | 00:51 | This will open up this dialog here. And I'm
going to go ahead and name this one melissa-color.
| | 00:56 | I want the Collection to
include the selected photos.
| | 01:01 | I don't want those to be
virtual copies, not yet at least.
| | 01:04 | I will do that in a second,
and then we'll click Create.
| | 01:08 | So here in the Collections panel, we
now have a set of the color photographs.
| | 01:11 | Well, I also want a version
of these in black and white.
| | 01:14 | We'll once again create another collection.
| | 01:17 | Leave all those selected, click on the
Plus icon, and choose Create Collection.
| | 01:23 | This time, we'll name this melissa-bw
for black and white, and here we'll turn
| | 01:28 | on the Make new virtual copies button.
| | 01:31 | This will create another version of the file.
| | 01:34 | These other versions, or these virtual
copies, well these are the ones we'll
| | 01:38 | convert to black and white.
| | 01:39 | So here, we'll click on Create.
| | 01:41 | You'll notice that we'll
have two collections here.
| | 01:44 | So let's click on one image, hold down
the Shift key, click on the last, and
| | 01:49 | then navigate to the Develop module
for our black-and-white conversion.
| | 01:54 | This time, just to keep things
simple, I'm going to turn Auto Sync on.
| | 01:58 | You can find that in the
bottom right-hand corner over here.
| | 02:01 | I'm going to go my Presets, and I'm
going to try to find a preset that might
| | 02:05 | work well for these images,
maybe something like the Red Filter.
| | 02:10 | That will apply this filter to
all of these photographs at once.
| | 02:13 | Then I'll make any needed adjustments,
some clarity, some contrast, maybe a
| | 02:18 | little bit with my shadow detail there,
or bring up some of the detail I should
| | 02:22 | say, or darken those blacks.
| | 02:23 | I think this is a pretty
cool black-and-white conversion.
| | 02:27 | What's so fascinating about this is if
we go back to the Library module, we now
| | 02:32 | have two versions of the same images.
| | 02:35 | We can view those photographs in color
here--and let's go ahead and zoom in on
| | 02:39 | one of those by double-clicking it--or we can
view the set of pictures in black and white.
| | 02:45 | By having these two collections, it just
kind of builds in this extra added flexibility.
| | 02:51 | What this flexibility can do for
us is help us make some decisions.
| | 02:56 | Because I don't know about you, but sometimes,
I'll convert an image to black and white and
| | 02:59 | I just want to be sure about them, like,
no, that's not right, no, undo it, or
| | 03:03 | delete what I've done.
| | 03:05 | But here, there's no need to do that.
| | 03:07 | These are virtual copies, they don't
take up really any space at all, and we can
| | 03:11 | have them separated into
these different collection groups.
| | 03:14 | Now, there is one thing though that I
need to point out in regards to how do we
| | 03:18 | manage these files when
we leave these collections?
| | 03:22 | Let's say we go back to the People folder.
| | 03:24 | Well, back here, you see that we'll
have the original file, or the master
| | 03:29 | negative, and then we have the virtual copy.
| | 03:31 | We have the original file and then the
virtual copy, and it goes down the line like this.
| | 03:35 | Well, if we had kind of hundreds of
images, it might be a little bit tedious to
| | 03:40 | have so many of these side by side.
| | 03:43 | Well, you can do some filtering or
sorting in order to keep this simple.
| | 03:47 | To do that, you just open
up your Filtering Bar up top.
| | 03:51 | You can access that by
pressing your Backslash key.
| | 03:54 | Notice you have your Library Filter.
Then you can click on Attribute, and up
| | 03:59 | here you can say, well, just show
me the Virtual Copies. Okay, great!
| | 04:02 | I can see all of those. Or just show
me my Master Photos, the original files,
| | 04:07 | and then turn off my Virtual Copies.
| | 04:10 | So now here, I'm not going to have
this folder view cluttered down with all
| | 04:14 | of the rest of those.
| | 04:16 | This filtering option obviously
helps me more effectively manage all of
| | 04:20 | these photographs.
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| 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
| | 00:08 | Lightroom for a moment, and
talk a bit about photography.
| | 00:12 | I want to talk about
black and white photography.
| | 00:14 | How can we create better black-and-white images?
| | 00:17 | Well I think that one of the first
places that we can start is we can start by
| | 00:21 | studying other black-and-white images.
| | 00:24 | Perhaps we will start off with Ansel Adams,
that is a really easy place to start, right?
| | 00:28 | And we can study his work, or we can
look at the street photography of Andre
| | 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.
| | 00:48 | And sometimes what we need to do is
almost to develop a little bit of a visual
| | 00:52 | literacy when it comes to
black and white photographs.
| | 00:54 | It is 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,
| | 01:04 | and then held it up to their eye.
| | 01:05 | In other words, they were committed to
black and white throughout the entire process.
| | 01:10 | Well now with digital capture what
typically happens is we hold up our camera
| | 01:14 | and we see in color and we think in color.
| | 01:16 | And then after the fact, we remove it.
| | 01:18 | Well what would happen if we would
change that process, if we would think a
| | 01:23 | little bit more like a traditional photographer?
| | 01:25 | Why don't you try it?
| | 01:26 | The next time you go out and shoot,
hold up your camera and rather than see all
| | 01:30 | those brilliant and vibrant colors,
imagine that those colors didn't exist.
| | 01:35 | Well all of a sudden, you would start to
focus in on brightness, you would focus
| | 01:39 | 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
| | 01:46 | even more powerful black and white photographs.
| | 01:48 | So as you seek to create more
interesting and compelling black and white
| | 01:52 | images, I encourage you to go back to
some of the masters and look at their
| | 01:56 | work, and then also, as you are
shooting, start to think about how you can
| | 02:00 | compose and create those black and
white images even before you press the
| | 02:05 | shutter release on your camera.
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|
|
14. Creative Color with Split ToningSplit-toning essentials| 00:00 | The next panel that we'll be working
with is the Split Toning panel, and we'll
| | 00:04 | be using this file here.
It's titled grayscale.jpg.
| | 00:07 | It's just a demo file, but this demo
file will help us understand how all of
| | 00:12 | these different split
toning controls actually work.
| | 00:15 | Well, for starters, go ahead and open up
the Split Toning panel, and then you'll
| | 00:19 | notice that we have this
divided up into a few areas:
| | 00:21 | Highlights, Hue/Saturation, then we
have Balance, and then we have an area on
| | 00:25 | Shadows, also with some Hue/Saturation controls.
| | 00:29 | Well, what is this all about?
| | 00:30 | What you can do is you can select a Hue,
or a color, and then increase the Saturation.
| | 00:37 | As I do that, you notice that primarily,
it's targeting the highlights here.
| | 00:41 | It's not affecting my blacks.
| | 00:42 | Well, if I want to affect the
blacks or the shadows, I'll increase the
| | 00:46 | Saturation for that amount, and you can see
now how this is then affecting this area.
| | 00:51 | As I drag this slider to the right, it's
affecting a larger area; drag it to the
| | 00:56 | left, it's affecting a smaller area.
| | 00:58 | I can also control the overall balance.
| | 01:02 | If I move this to the left, I'm
prioritizing the color in the shadows. If I move
| | 01:06 | this to the right, well, I'm
prioritizing that color there in the Highlights. And
| | 01:10 | so we can modify where the split is,
| | 01:13 | in other words, so that the split
isn't always directly in the middle of the
| | 01:17 | grayscale--rather, so that maybe it's
a little bit closer to the whites or
| | 01:21 | closer to the blacks.
| | 01:22 | So we can use that slider
in order to make that change.
| | 01:26 | We can also change the color that we're
working with by clicking on the color chip.
| | 01:31 | If you click on that, say, for
Highlights, we could choose green.
| | 01:34 | That would then affect the
highlights in that way. And you can choose a
| | 01:38 | less saturated green by clicking
lower here in this window, or by using
| | 01:43 | the Saturation slider.
| | 01:45 | So as you make the selection, you can
then close this window and of course go
| | 01:49 | back and fine-tune it by
dragging this one way or another.
| | 01:53 | Another way that you can work with
these controls is you can reset them.
| | 01:57 | To reset them, it's just
like the other controls:
| | 01:59 | double-click the icon for the slider there
or hold down Option on a Mac, Alt on Windows.
| | 02:05 | That changes this to reset for
Highlights or Shadows, and then click, and it will
| | 02:10 | reset that back to its default settings.
| | 02:13 | The reason why I wanted to reset this
is typically what we do is we add some
| | 02:17 | Split Toning but not at 100%.
| | 02:20 | In other words, let's say we want to
bring some yellow into the highlights here.
| | 02:23 | We start to saturate this just a
little bit, and then we're trying to find
| | 02:27 | just the right yellow. It's a little bit
tricky because well it's not very saturated.
| | 02:31 | There is a great shortcut that you can
use which will take the slider to 100%
| | 02:36 | saturation temporarily, so that you can
select the right color. Here's what it is.
| | 02:42 | Press Option or Alt and then click on
your Hue slider, and now as I move that,
| | 02:47 | it overrides whatever the Saturation
amount is on the slider down below, and
| | 02:52 | then when I let go of Option, it drops
back to whatever the Saturation is here.
| | 02:56 | For example, if it's way down here at 10
or 11, I click and drag, I can't really
| | 03:02 | find the right color.
| | 03:03 | Hold Option or Alt. Now, I see it.
| | 03:04 | Oh yeah, it's this blue, that one.
| | 03:07 | That's the one I want.
| | 03:08 | Then let go of Option or Alt, and it
takes it back down to that setting.
| | 03:12 | I find that little shortcut, it's
really helpful, because a lot of times when
| | 03:16 | you're working with split toning,
you're interested in kind of finessing it and
| | 03:20 | getting that color just right. Okay.
| | 03:22 | Now, at this point, you may be
thinking, all right, I got it.
| | 03:24 | Those controls seem pretty straightforward.
| | 03:27 | Let's work on some images.
| | 03:28 | Well, I am with you. Let's go ahead and work on some
images, and let's do that in the next few movies.
| | Collapse this transcript |
| Advanced split-toning tips| 00:00 | Here, I will be working with these three images.
| | 00:02 | We're going to explore how we can use
our Basic controls and also the Split
| | 00:06 | Toning controls to create an effect
where we have one color in the highlights,
| | 00:10 | another in the shadows, in order to
create something that has kind of a
| | 00:13 | cross-processed or a nostalgic feel to it.
| | 00:15 | I want to apply this effect to all three images,
so that these images feel and look cohesive.
| | 00:22 | First things first, go ahead and
select the images and then next, navigate
| | 00:26 | to the Develop module.
| | 00:28 | With all three of these images
selected, I want you to flip on the switch
| | 00:33 | to turn on Auto Sync.
| | 00:34 | This will allow us to make these
adjustments to all three images at one time.
| | 00:39 | Now, as I mentioned, I want to
bring in some color into the highlights.
| | 00:44 | So let's start there.
| | 00:46 | Hold down Option on a Mac, Alt on
Windows, and click and drag your Hue slider
| | 00:51 | until you get a nice yellow.
| | 00:53 | Look for one that isn't too green or
too orange, somewhere right in the middle.
| | 00:57 | And then bring up your Saturation a little bit.
| | 01:00 | Next step, let's do the
same thing with those Shadows.
| | 01:03 | Option or Alt+Click and drag that
slider till you find the nice color, and then
| | 01:08 | bring up some color in the
shadows there. All right!
| | 01:11 | Well, after we've done that, we'll want
to go to our Basic controls. And in the
| | 01:16 | Basic controls, I'm going to add a
little bit of clarity, just to bring out some
| | 01:21 | of the detail and contrast, a little
bit of contrast as well, and then try to
| | 01:26 | reduce my Highlights and
my Whites there a touch.
| | 01:29 | I am also going to desaturate.
| | 01:31 | Again, here I'm just making
adjustments, kind of having some fun,
| | 01:35 | seeing how the image looks. It's not
necessarily that you'll do this the same
| | 01:39 | way every time, but really I'm just
walking through these different controls.
| | 01:43 | Again, a little bit of work on contrast,
taking out some highlights, taking out
| | 01:48 | some whites, bringing up some
clarity, bringing down some saturation.
| | 01:53 | Next, experiment with the Temperature slider.
| | 01:55 | This can really make or break an image.
| | 01:58 | You can warm it up or you could cool
it off. And this just kind of taps into
| | 02:02 | some of the color we already have there.
| | 02:04 | And you know what? I think
this is looking pretty good.
| | 02:07 | Just maybe a few more small adjustments,
and perhaps a little bit more contrast,
| | 02:12 | and we have a distinct
look for these three pictures.
| | 02:16 | You can press your right arrow key in order
to scroll through them and see how they look.
| | 02:21 | What's fun about this is again, it
just has a different feel or emotion.
| | 02:26 | Press the Backslash key and
you can see there is the before.
| | 02:29 | Now here's the after.
| | 02:31 | Sometimes, when you can bring in
specific tones into your highlights or into
| | 02:36 | your shadows, it can help you
communicate something different.
| | 02:39 | It can help you create images which
have different feeling or emotion.
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| Split toning a color image| 00:00 | Here are we working with
this file. It's pier.dng.
| | 00:03 | We are going to put this image through
a little bit of a workflow, starting off
| | 00:07 | in the Basic panel and then finishing
it using the Split Toning controls in
| | 00:11 | order to kind of enhance some of the
blues and create a creative color effect.
| | 00:15 | Well, this image, obviously it's overexposed.
| | 00:18 | So first we need to decrease our
Exposure amount here. We will just go ahead
| | 00:22 | and drag that down.
| | 00:24 | Next, what we might want to do is make
our way down here to Clarity and increase
| | 00:28 | some of the Clarity in order
to add a little bit of a snap.
| | 00:31 | Well, the image already looks a lot
better with a few just small adjustments.
| | 00:36 | Here we have that before and then after.
| | 00:39 | Well, next, what I am going to do is go
to the Split Toning panel, because with
| | 00:43 | this image, what I really want to do
is kind of have this blue color really
| | 00:47 | across the image. I want to draw out
some of those blues, and we can do this
| | 00:51 | using our Split Toning controls.
| | 00:54 | In order to navigate to Split Toning,
we can just click on the panel down
| | 00:58 | here to open it up.
| | 00:59 | Well, the Split Toning controls are
divided into Highlights and Shadows.
| | 01:03 | So what I am going to do is bring
in some blues to my Highlights first.
| | 01:07 | Hold down Option or Alt and then click
and drag this--that's Option on a Mac,
| | 01:12 | Alt on Windows--and drag the Hue slider
until you get a nice blue that you think
| | 01:16 | will work well for you. How about right there?
| | 01:18 | Next, I will bring up the
Saturation a little bit,
| | 01:21 | bringing some blues into those brighter tones.
| | 01:24 | Then I'll do the same thing with Shadows.
This time again I am going to choose
| | 01:28 | blue because what I'm looking to do is
to try to bring in some blues into these
| | 01:32 | darker, also these brighter tones.
| | 01:34 | Now I am going to bring in little bit
different amounts here for each one, so
| | 01:38 | that I can have a nice color combination.
| | 01:41 | And the trick with this of course is
to just kind of experiment with your
| | 01:45 | controls until you get it just
right, the way that you like it.
| | 01:48 | The next thing I want to do
is go back to my Basic panel.
| | 01:52 | And in the Basic panel I am
going to desaturate a little bit.
| | 01:55 | In other words I am going to remove
some of the original colors so that
| | 01:59 | those blues take over.
| | 02:01 | If I remove it all the way, you can see
now it's just the blues from split toning.
| | 02:05 | I don't want that, but I do want
to just take this down just a notch.
| | 02:09 | All right, perfect!
| | 02:11 | Well, next, let's go back to Split
Toning and see what we've done here.
| | 02:15 | Basically, we brought in a Hue into
Highlights and Shadows a little bit different
| | 02:19 | amounts and if we flip the switch, we
can see that before and then after.
| | 02:25 | And in this case we are just using
Split Toning to create some sort of a
| | 02:28 | creative color effect, kind of create
a mood or feeling with this picture,
| | 02:33 | to modify the color in a creative way.
And what's interesting about split toning is
| | 02:38 | sometimes it's really helpful to use this
so you have two different or distinct colors.
| | 02:43 | Other times, perhaps in situations
like this or when you're looking to add a
| | 02:48 | little bit of a sepia tone to an image,
it's just about adding some color in the
| | 02:52 | right ways, not varying colors, not
different shades, not different color tones or
| | 02:57 | hues--rather, just bringing those colors
in so that you can create a certain or
| | 03:02 | distinct color effect.
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| Split toning to create a sepia-tone effect| 00:00 | Let's continue in the topic of adding one
particular dominant color to a photograph,
| | 00:05 | yet here let's explore how we can add a
little bit of sepia toning to an image,
| | 00:09 | like this photograph here of Jared
Mason captured on the Brooklyn Bridge.
| | 00:12 | I want to warm this image up a little bit,
| | 00:15 | so I am going to go to my Shadow slider, and
I am going to increase my Saturation a
| | 00:20 | little bit. This time I am going to do
that first, so that I can see what color
| | 00:24 | I'm actually bringing in.
| | 00:25 | Next, I will drag the Hue slider and as
I drag that, I'm looking for a Hue amount
| | 00:30 | which has just a nice amount of color in it.
| | 00:33 | I don't want it to be green like this
or red like this. It's somewhere right
| | 00:37 | there in the middle. I'm
looking for something which is brown.
| | 00:40 | And then I'll drag down that Saturation
amount. And then in the Highlights it's
| | 00:44 | the same thing. I'll add just a touch of
color and then I am going to drag this
| | 00:48 | until I have a nice Hue there.
| | 00:50 | This one is going to be a little bit
more yellow, because a lot of times with
| | 00:54 | sepia toning you have this warm look.
| | 00:57 | I don't want it to be too over the top. I am just
looking for a real nice subtle sepia tone here.
| | 01:02 | If we press the Backslash key. you can
see there is our before and then after.
| | 01:07 | You might need to zoom in on this one,
so I will go to a 1:1 view, so you can
| | 01:11 | see it a bit more up close.
Here we have that before and then after.
| | 01:16 | Again that is subtle, and the trick
with good sepia toning, at least in my
| | 01:20 | opinion, is to try to not contaminate
the whites too much; in other words don't
| | 01:25 | bring in too much color in your Highlights.
| | 01:28 | Now your Shadows, you can get away with
more. You could really crank those up.
| | 01:32 | But once the Whites start shifting, well,
it just kind of looks a little strange.
| | 01:36 | It kind of throws us off a little bit.
| | 01:38 | But by having those colors or that Hue
really brought into the shadow area, it
| | 01:43 | can make the image come to
life in a fascinating way.
| | 01:47 | Whenever you've worked on the toning,
it's always a good idea to go back to
| | 01:50 | your Basic panel and just experiment a
little bit. Sometimes based on the tone
| | 01:55 | you may want to modify the color or the contrast,
kind of help it fit the mood of this new tone.
| | 02:02 | Because you know colors have different
moods or emotions that kind of come with
| | 02:06 | them, so I always find it
helpful to make any needed changes.
| | 02:10 | With this image, it seems like a little
bit of clarity and also a little bit of
| | 02:14 | decreased contrast, it does the trick.
| | 02:16 | Here is our overall
before and then now our after.
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| Using split toning to enhance a sunrise| 00:00 | With this photograph, what I want to do
is really bring out these sunrise colors.
| | 00:04 | In order to do that, I'm going to
use this Split Toning controls.
| | 00:07 | So we'll jump straight to the Split
Toning panel. And I want to work on
| | 00:11 | my Highlights first,
| | 00:12 | so here I'll bring up some
saturation and then work on the Hue. And for the
| | 00:17 | Hue, I want to have something which,
again, isn't to red and also isn't too
| | 00:21 | yellow or kind of green, somewhere
right in there where we have nice kind of
| | 00:25 | orange and red and yellow mix,
| | 00:27 | and then crank up the
saturation until I can't anymore.
| | 00:32 | In other words, I want to have really
strong color. As I bring this up, for the
| | 00:36 | most part, I think, it's looking nice,
because at this time and date, the way we
| | 00:40 | experience color is it's overwhelming.
| | 00:43 | The way my camera captured it,
well, is a little bit dull.
| | 00:47 | So I'm going trying to boost that up.
| | 00:49 | Now what about the shadows?
| | 00:51 | One option was sunrises or sunsets is
to bring in some blue into those shadows.
| | 00:56 | Sometimes what that can do is it can
help you create this gamut of color, these
| | 01:00 | warm and cool tones side by side.
| | 01:03 | When you do that, you'll need to play
with your Balance sliders, so that you
| | 01:07 | have just enough of those, but not too
much, perhaps a little bit there, adding
| | 01:11 | some of those cool tones. Or on the
other hand, you could say I wanted this to
| | 01:16 | just be taken over by this beautiful warm light.
| | 01:19 | In those situations, we'll just bring
in a red or yellow and really overwhelm
| | 01:25 | the image with those colors. And here,
I'm going to bring back my Balance, bring
| | 01:30 | up my Saturation, so I now just have
this really vibrant and warm image.
| | 01:35 | If we flip the switch, here it is
before. And what's funny is initially, when
| | 01:39 | we looked at this, we probably thought
wow, what a beautiful sunrise or what
| | 01:43 | vibrant colors, but now after, it just takes
on a whole new meaning in regards to the color.
| | 01:49 | Now as you do this, you want, of course, to
always use your sliders and kind of
| | 01:54 | soften them and see where the right spot is.
| | 01:56 | It's easy to go too far with this.
And in this case, what I'm trying to do isn't
| | 02:01 | to create something which is
necessarily the way it was.
| | 02:04 | Rather, I'm trying to create something
which matches the way I experience that
| | 02:09 | sunrise, something that matches the way
that I felt, and often I find these Split
| | 02:14 | Toning controls can help out in that regard.
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|
|
15. Noise Reduction and SharpeningIntroducing noise reduction| 00:00 | In this chapter we are going to focus in
on the Detail panel, and we are going to
| | 00:03 | start off by exploring how we can
reduce or remove noise in our photographs.
| | 00:08 | Let's go ahead and open up the Detail
panel. And when you open up or expand the
| | 00:12 | Detail panel, you will notice that
there is this little Zoom window.
| | 00:15 | You can click and drag in order to
move your image around so that you can see
| | 00:19 | the area you want to work on, or you can
click on this icon here and then simply
| | 00:24 | hover over what you want to view, and
then once you have that in view, you can click
| | 00:28 | in order to set the view
in this Navigator window.
| | 00:32 | The reason why this window is here
is because whether you're sharpening or
| | 00:36 | reducing noise, you really need to be up
close, ideally in this 1:1 view or close
| | 00:42 | or around that amount, so that you
can see what type of noise you have.
| | 00:46 | Because at a distance, say with this
picture, it doesn't look right there is any
| | 00:50 | noise at all, but then when you get
up close, you really see it, because this
| | 00:55 | photograph was captured on set, at a
photo shoot. There is a really low-light
| | 00:59 | scenario, and so there is a lot of
noise in it, a lot of structure in the file,
| | 01:04 | because it was shot at a high ISO.
| | 01:07 | Well, this little Navigator window can
be helpful, yet for this demo I am going
| | 01:11 | to close it and really focus on the main window.
| | 01:14 | And let's start off by
talking about noise reduction.
| | 01:17 | What we are going to ahead and zoom
in to a 1:1 view. You can do that in the
| | 01:22 | Navigator window by clicking on 1:1.
And then let's reposition our view so that
| | 01:27 | we can see the detail of this model's face.
| | 01:30 | Now when we do this, we can then see that
there is a lot of little noise in the background.
| | 01:35 | Now the noise reduction is broken up
into Luminance noise and Color noise.
| | 01:41 | Let's increase the Color Noise Reduction,
and you can see what will happen is all
| | 01:45 | the color variety in the
background will be gone.
| | 01:49 | Decrease that, and what you will see
there will be little color artifacts here.
| | 01:53 | In order to really see those, I need to
zoom and pass this, so that you can see
| | 01:57 | this in a movie like this
which becomes quite small.
| | 02:01 | So again if we focus on the
background, you can see all the color variety in
| | 02:05 | this area of the image.
| | 02:06 | As I increase that, the color variety
well, it almost completely disappears.
| | 02:11 | Well, how does the Detail slider come into play?
| | 02:14 | What Detail allows you to do is to
bring back some of the detail that's lost
| | 02:19 | when you have this color variety.
| | 02:21 | Increase this and there is more
detail here; decrease this and you see less
| | 02:27 | detail--it becomes more soft.
| | 02:29 | And you know that's why Sharpening
and Noise Reduction are side by side.
| | 02:34 | The more noise we reduce the softer the image.
| | 02:37 | The more we sharpen the image the
more noise that exists. And so again these
| | 02:41 | two kind of work well together.
| | 02:43 | Okay, well we have seen how Color
Noise works. What else can we do here?
| | 02:47 | Well, another thing that we can do in
regards to the noise is deal with all of
| | 02:50 | this variation, all of this pixel structure.
| | 02:53 | We can do that by increasing our
Luminance slider. Let me exaggerate.
| | 02:58 | I will increase this all the way.
Now all of a sudden you can see that things
| | 03:02 | look really blurred out.
We've lost too much detail.
| | 03:06 | Well, you remember you can use this
Detail slider. To the left is less detail and
| | 03:12 | you should be able to see that
hopefully on the finger here. There is just no
| | 03:15 | detail. It's completely smooth transition.
| | 03:18 | Drag it to the right. Now all of a
sudden we see some of these details come back.
| | 03:23 | Again, this is an exaggeration, but
it will help you see the difference.
| | 03:26 | Contrast, what that will do for you is
increased contrast. It will add more variety.
| | 03:32 | So if we have low detail, we will try to kind
of build up the differences around the edges.
| | 03:37 | So Contrast is a really fine-tune
adjustment, and you'll see that in certain
| | 03:42 | images it will help just kind of bring
back some of the edge detail or some of
| | 03:46 | the areas of contrast in your photograph.
| | 03:48 | All right, we will back to a 1:1 view.
| | 03:52 | Well, right now when we look at this
1:1 view, at least on my monitor, it looks
| | 03:56 | plastic. It looks fake. It looks
unnatural. Too much noise reduction.
| | 04:01 | What would be appropriate here?
| | 04:02 | Well, I'll go ahead and bring my
Luminance amount all the way down and my Color
| | 04:06 | amount as well, all the way down.
| | 04:08 | In my own workflow I'd like to deal
with the color first, because that removes
| | 04:13 | those artifacts, and sometimes that
takes away enough noise in and of itself.
| | 04:18 | With this image it's not the
case, but it's a good start.
| | 04:21 | As far as the detail goes, that
default setting, it looks fine.
| | 04:25 | Next the Luminance. I am going to
bring up the Luminance and I am going to
| | 04:28 | really slowly tinker with this,
bring this up. The Detail slider tends to
| | 04:34 | travel along with that. You kind of
drag the detail up a little bit right
| | 04:37 | behind the Luminance, because what
you're looking to do is to smooth things out
| | 04:42 | but not smudge things out.
| | 04:44 | Also add any needed contrast if you
want to bring back some definition there.
| | 04:49 | And you know what? This image looks really good.
| | 04:52 | The last thing we would want to do
is click and drag and pan around the
| | 04:55 | photograph and look at other parts of
the image, just to make sure that the other
| | 04:59 | details here in the photograph look good.
| | 05:02 | And here as I do that, you know what?
The photograph looks great, and it looks
| | 05:06 | like we have successfully
reduced the noise in this image.
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| Understanding sharpening| 00:00 | In the previous movie we worked with
this image and looked at how we could
| | 00:03 | reduce the luminance and the color noise.
| | 00:06 | Well, here, we are going to
explore how we can sharpen this picture.
| | 00:09 | In the Detail panel, if you're zoomed
out to this Fit in View mode, you will
| | 00:13 | notice there is a little warning icon.
| | 00:15 | This icon is telling you
that you're zoomed out too far.
| | 00:18 | Well, if you click on it, it will then
take your view to this 1:1 perspective.
| | 00:23 | Now here we can see the appropriate
amount of noise and also sharpening.
| | 00:26 | We can evaluate this more effectively or
clearly because we are at the zoom rate.
| | 00:30 | All right, well before we actually
start sharpening, let's deconstruct our
| | 00:35 | Sharpening controls.
| | 00:37 | We have four sliders:
| | 00:38 | the first one is Amount and
then Radius, Detail, and Masking.
| | 00:42 | What exactly do these sliders do?
| | 00:44 | Well, Amount, as you'd expect, is
the overall intensity or amount.
| | 00:49 | If you drag it up you can see the
image--well it has more texture, it has more
| | 00:53 | contrast, more edge detail.
| | 00:55 | And you know there is a great way to
actually see how these sliders work.
| | 00:59 | And what it is is a shortcut.
| | 01:00 | If you hold down the Option key on a Mac,
Alt on Windows, and drag any of these
| | 01:05 | four sliders, it gives you a different view.
| | 01:08 | With the Amount, it gives you this
grayscale view, which helps you see the amount
| | 01:13 | of texture there and also
sharpening that will be applied.
| | 01:16 | And in order to see how these controls work,
let's exaggerate. Let's take these all way up.
| | 01:22 | Okay, well that's our amount.
| | 01:24 | Hold down Option or Alt
and then drag the Radius.
| | 01:27 | A low Radius, and you notice that the
sharpening--well it's really limited. It
| | 01:32 | doesn't radiate out from those contrast
edges. Crank it all the way up and all
| | 01:36 | of a sudden that radius is
glowing. It's much more extended.
| | 01:40 | Next, what about Detail? Hold down Option
or Alt, drag it to the left, no texture.
| | 01:46 | Hardly any details there. Bring it
all the way up. Well you have a lot of
| | 01:50 | texture in a lot of details.
| | 01:52 | The final control here is
Masking. Masking is fascinating.
| | 01:56 | If you're familiar with Photoshop, you know
that a mask can reveal or conceal content.
| | 02:01 | Hold down Option or Alt and drag this,
| | 02:04 | and what you'll see is slowly a mask will
appear. That mask is showing you something.
| | 02:09 | The areas that are white, well
sharpening will be applied to those.
| | 02:13 | The areas that are black,
nothing is going to happen.
| | 02:16 | Black conceals, white reveals.
| | 02:19 | So here we can see the sharpening
is really focused in on the edges.
| | 02:23 | Now I know that the sharpening looks
horrible, but again, I'm exaggerating so
| | 02:27 | that we can understand
how to use these controls.
| | 02:30 | Okay, well how then can we
sharpen this image more appropriately?
| | 02:33 | Well, once again, hold down Option or
Alt. That will change Sharpening to Reset
| | 02:39 | Sharpening, and let's reset
that to the default values.
| | 02:42 | One of the things you want to do
initially is crank your Amount up a little bit.
| | 02:46 | You want to bring this up
probably above 50 or so.
| | 02:49 | This is the overall intensity of
the sharpening which will be applied.
| | 02:53 | Next the Radius is typically pretty low.
You may have noticed that your Radius
| | 02:58 | amount, it goes from 0 to a big whopping 3.
| | 03:02 | The reason is is typically
you don't want a lot of radius.
| | 03:06 | Also I should say that the higher
resolution the file is, the higher the Radius;
| | 03:10 | the lower, the resolution the lower.
| | 03:12 | But typically you are going to have a
pretty low Radius. You don't want glowing edges.
| | 03:16 | Now what about Detail?
| | 03:18 | Well, this is a photograph of a
person, so I don't want any detail at all.
| | 03:22 | Temove that completely.
| | 03:24 | Next here, it's sharpening
the background in these areas.
| | 03:28 | I don't need that, don't want that.
| | 03:30 | So we will click and drag this up,
while holding down the Option key, until we can
| | 03:33 | see that it's masking out some
of those areas in the background.
| | 03:38 | And here at this step, now that I've
gone through all of these values, I am going
| | 03:42 | to need to go back and increase my
Amount a little bit more, because the
| | 03:45 | sharpening is now applied exactly where
I want it and maybe modify that Radius as
| | 03:50 | well, until it looks great on
my monitor at this 1:1 view.
| | 03:55 | Of course here what you'll want to
do is experiment with this and look at
| | 03:59 | your before and after.
| | 04:00 | So looking at this on my monitor,
here's the before and then now here's the
| | 04:04 | after. That looks really nice.
| | 04:07 | One of the things you might discover
though is that you may have added extra
| | 04:11 | noise to your image because
especially, let's say if we crank up our Detail
| | 04:15 | slider, you may have unneeded or unwanted noise.
| | 04:19 | If that's the case, go back to those Noise
controls and crank those up even a little bit more.
| | 04:24 | And these two sets of controls are
grouped together intentionally. They are
| | 04:29 | there side by side because you will go
back and forth between these in order to
| | 04:33 | get the best results, because as you
sharpen, you increase Noise. As you increase
| | 04:39 | Noise you decrease Sharpening.
| | 04:42 | So it may be a little bit of a back and
forth in regards to what you'll need to
| | 04:46 | do there with those.
| | 04:47 | But again, evaluate that on your
monitor, make your way through all these
| | 04:51 | controls, and when you think you have
something good, flip that switch and
| | 04:55 | evaluate your before and after.
And then if it looks better, as it does here,
| | 05:00 | well that's a wrap.
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| Sharpening workflow| 00:00 | Before we wrap up our conversation
about reducing noise and sharpening our
| | 00:04 | pictures, I thought it'd be helpful to talk a
little bit about how this fits into our workflow.
| | 00:08 | You know, one thing that's really
essential is to do all of your typical
| | 00:12 | workflow steps first before you get to the
noise and to the sharpening, and here's why.
| | 00:17 | If I have an increased amount of
contrast, like with this picture, well the
| | 00:22 | image feels a little bit more sharp;
decrease the contrast, well it feels more flat.
| | 00:28 | There also will be different levels of noise.
| | 00:31 | Let's zoom in on this image.
| | 00:33 | We'll do so by clicking on the 1x1
icon. And here you can see, as I change
| | 00:37 | the Contrast, well there's different color,
and there's also different types of noise.
| | 00:42 | The same thing can be said of Clarity.
| | 00:45 | As I increase this, it does something
interesting with the color, and also the
| | 00:49 | texture. Same thing with decreasing.
| | 00:52 | So what you'll want to do is you'll want
to dial in your settings, whatever they
| | 00:56 | are in regards to your workflow.
| | 00:58 | Say it's like this.
| | 01:00 | Then navigate down to the Detail panel.
And here in the Detail panel, work on
| | 01:05 | your Noise Reduction and get rid of
the noise that you think would be nice to
| | 01:08 | have out of this picture.
| | 01:10 | And with this picture, with that high
clarity amount, the Noise Reduction,
| | 01:14 | well it kind of helps.
| | 01:16 | It makes the pores look a
little better on the skin.
| | 01:19 | Here's that before without
that; now here's the after.
| | 01:23 | It makes the image look a
little bit less kind of HDR.
| | 01:27 | Then for the sharpening, we'll look
for that subtle amount of sharpening.
| | 01:31 | Bring down the Details, bring up the
Masking. And again this is a visual
| | 01:35 | adjustment, trying to find just
the right amount of sharpening.
| | 01:39 | This is a lower resolution file, so
I'm finding that my Radius is really low.
| | 01:45 | My Amount is actually pretty low as well.
| | 01:47 | I want to have just a touch of
sharpening there. And I think that looks great.
| | 01:53 | Flip the switch. Here you can see
that's the before and then now the after.
| | 01:58 | And so as you integrate sharpening
and noise reduction into your workflow,
| | 02:03 | keep in mind that this is one of those
steps which will happen near the end
| | 02:06 | of your workflow.
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|
|
16. Making Lens CorrectionsUsing the Lens Correction controls| 00:00 | Here I want to introduce you to
working with the Lens Corrections panel.
| | 00:04 | You'll notice in the Lens
Corrections panel, you have two options.
| | 00:07 | You have Profile, where you can enable
profile corrections, or you can use Manual.
| | 00:13 | We're going to start off in Manual,
and just make some modifications to these
| | 00:17 | controls using this demo file.
| | 00:19 | We're using this demo file because it
has some nice lines in it, and this will
| | 00:23 | help us really understand
how these controls work.
| | 00:27 | Let's look at and focus
on the Transform controls.
| | 00:31 | The first one is Distortion.
| | 00:32 | When you hover over the icon or the
control, you'll notice a grid shows up.
| | 00:37 | This grid is going to try to
help you identify any problems.
| | 00:41 | And the Distortion control
allows you to add or remove barrel or
| | 00:45 | pincushion distortion,
| | 00:47 | either expanding it out or
kind of sucking or bringing it in.
| | 00:51 | And we can then correct or
enhance our images using this control.
| | 00:55 | Vertical, well this has to do with kind
of the lean. Is it leaning forward
| | 00:59 | or leaning backwards?
| | 01:00 | And we can either accommodate for
that, or again creatively modify our
| | 01:04 | pictures with that control.
| | 01:06 | Horizontal, that's an access
control, either left or right.
| | 01:10 | And then we also have the ability to
rotate here. And then finally Scale.
| | 01:15 | Well Scale has to do with the size of the image.
| | 01:18 | We can increase the Scale so that
we don't have anything cut off, like
| | 01:22 | this grayed area here.
| | 01:24 | I'll go ahead and increase that so
that I have a photograph which extends
| | 01:28 | to all of my edges.
| | 01:30 | You can also do this by simply
turning on the option for Constrain Crop.
| | 01:36 | This will then limit your adjustment
so that every adjustment you make will
| | 01:39 | always fit with inside of that crop
area, and it will re-crop the image in
| | 01:45 | order to make sure those
adjustments fit within that space.
| | 01:49 | So these controls are actually quite powerful.
| | 01:51 | So let's go ahead and take a look at how
we can use them in the next few movies.
| | Collapse this transcript |
| Correcting distortion| 00:00 | In the Lens Corrections panel, enabling
the Profile Corrections is definitely the
| | 00:04 | best way to start off.
| | 00:06 | So let's do that here with this picture.
| | 00:08 | This one was captured with a wide-
angle lens of one of my neighbor's house
| | 00:11 | at Christmas time, and I am going
to click on this option to enable the
| | 00:15 | profile vorrections.
| | 00:17 | You can see that what it did is it kind
of corrected for some of the distortion
| | 00:21 | that was there, and it also by
default picked up the lens and camera--
| | 00:25 | a Canon lens 16-35--and used a
profile to correct this image.
| | 00:30 | Well, once I enable the profile, it
lit up these Distortion and Vignetting
| | 00:35 | controls. These are now active.
| | 00:37 | I can use these to bring back or
to remove more of that distortion.
| | 00:42 | So I can swing that in a positive or
negative way. Same thing with Vignetting. I
| | 00:47 | can brighten or darken those edges.
| | 00:49 | Now these controls are pretty limiting,
and the problem with this is it did a
| | 00:54 | good job with correcting the problems
with the lens, but the angle isn't right.
| | 01:00 | I still need to make a few more adjustments.
| | 01:02 | So in order to finish this
photograph off, we will go to Manual.
| | 01:06 | Here inside of Manual what I want to
do is change this overall rotation.
| | 01:10 | So I am going to click and drag on this
so that I can see that the edge of the
| | 01:14 | house and the palm tree are a
little bit more straight up and down.
| | 01:18 | Next, as far as my Access
Control, I want to change that.
| | 01:22 | So I am going to drag this over here to
the right. And then also for my Vertical
| | 01:26 | Orientation, I am going to bring this down.
| | 01:28 | I'm looking at the right side of the
house. I want this to be a little bit more
| | 01:32 | straight up and down.
| | 01:34 | Now you notice there are some
grayed-out areas on the bottom.
| | 01:38 | These are areas where the image has
been skewed or tweaked or corrected, and
| | 01:43 | therefore there's no photograph there.
| | 01:45 | I want to turn on the option to
constrain the crop to those areas so that I
| | 01:49 | have a nice picture.
| | 01:50 | Now what else could we do with this one?
| | 01:52 | We might want to rotate it a little bit
more in order to get that in the right
| | 01:56 | spot and then change that horizontal
axis just a little bit more to try to get
| | 02:01 | this just a little bit better there.
| | 02:03 | So I'll go ahead and see if I can't
do that, get those lines just right.
| | 02:08 | In regards to my Distortion, what I am
going to do is go ahead and just remove a
| | 02:13 | little bit more Distortion and then the
Rotation, also just going to tweak this a
| | 02:19 | little bit more, dragging that slider over there.
| | 02:22 | And I think that's pretty good.
| | 02:23 | And the trick with this of course is
that it was the combination of enabling
| | 02:28 | the profile and then also making these manual
adjustments in order to correct this picture.
| | 02:34 | You can flip the toggle switch for Lens
Corrections and see here is our before,
| | 02:39 | and after a few simple adjustments here
is our after, a much better photograph.
| | Collapse this transcript |
| Making subtle adjustments to composition and tone| 00:00 | Here I'll be working with this
photograph here, and we are going to take a
| | 00:03 | look at how we can use the Lens
Corrections panel in order to make some
| | 00:07 | corrections to this photograph.
| | 00:09 | We'll also explore how we can use some
of those Lens Corrections controls in
| | 00:13 | order to make some
creative adjustments. All right!
| | 00:16 | Well, because we are going to be
changing or modifying this image, let's go
| | 00:19 | ahead and create a virtual copy of this
picture, and let's apply the adjustments
| | 00:23 | to the virtual copy.
| | 00:24 | To do that, press Command+Apostrophe
or Ctrl+Apostrophe. You'll now see a new virtual copy in
| | 00:29 | the filmstrip below.
| | 00:31 | The next step is to open up
the Lens Corrections panel.
| | 00:34 | Now we have two options: Profile or Manual.
| | 00:37 | Let's go to Profile and click
on Enable Profile Corrections.
| | 00:41 | What's happening here is Lightroom
has this really deep database and it's
| | 00:46 | tapping into this database and
figuring out what type of camera and lens was
| | 00:50 | used to capture this image.
| | 00:51 | It's then applying a profile, and this
profile is correcting the photograph.
| | 00:56 | Well, what is it exactly doing?
| | 00:58 | Well, if we click this off, we can see
the before, well the edges, they are a bit
| | 01:02 | dark. There is a vignette.
| | 01:03 | There is also a little bit of
distortion from using this wide-angle lens and
| | 01:07 | being a bit too close.
| | 01:09 | So when we turn this on,
it's going to correct that.
| | 01:12 | And again it's subtle, but it
makes a really nice difference.
| | 01:15 | We can also perhaps
remove more of the distortion.
| | 01:19 | We could do that by using these sliders below.
| | 01:22 | By dragging these amounts, you can see
that I'm removing more. Or I could bring
| | 01:25 | more back, either bringing in
more distortion or removing it.
| | 01:29 | I like removing a bit more,
especially with the people photograph or
| | 01:33 | photograph like this.
| | 01:35 | I want this to be nice and clean
and not seem around or distorted.
| | 01:38 | Well, speaking of that, let's say
that we want to make some creative
| | 01:41 | adjustments to this as well.
| | 01:44 | We can do that by clicking on the Manual tab.
| | 01:46 | Here in the Manual tab we have
controls which we can move in order to make
| | 01:50 | really dramatic adjustments.
| | 01:52 | Here, let me show you want I mean.
| | 01:54 | With the Distortion control I'll click
and drag this to the right. You can see
| | 01:57 | how I am changing the distortion; drag
it to the left and you can see how I am
| | 02:01 | bringing in distortion.
| | 02:02 | With a photograph like this and with
a lot of your people pictures, if you
| | 02:06 | simply just remove a little bit of
that, maybe five points, it can make a
| | 02:10 | really nice difference.
| | 02:12 | Another way that we could do this
is by swinging our vertical lines.
| | 02:15 | Here you can see we can do that by
dragging this to the left or the right.
| | 02:19 | With this photograph, it's either
making the chin or the forehead too big. It
| | 02:22 | doesn't really work.
| | 02:23 | So an adjustment like this, I am just going
to remove it by double-clicking that slider.
| | 02:28 | Well, what about Horizontal?
| | 02:30 | Well, this can help when your camera is a bit
off-axis, and that's the case with mine here.
| | 02:35 | If I drag this down, you can see how
I am kind of moving the right shoulder
| | 02:39 | back or the shoulder on our right, and the
shoulder on the left, it kind of comes forward.
| | 02:44 | What I'm looking to do here is to find
a spot where I can just kind of rotate
| | 02:47 | that image around just a little bit.
| | 02:50 | I think that's nice.
| | 02:51 | Speaking of rotation, we can really change this.
| | 02:54 | This can give us the ability to change the
overall maybe crop or feel of the picture.
| | 02:59 | Before I do that though, what I want to
do is turn on this Constrain Crop option,
| | 03:04 | because here you can see I've bent
this image. I've changed its perspective.
| | 03:08 | I don't want to see that gray area;
I just want to see the photograph.
| | 03:12 | So if you click on Constrain Crop, it
will then re-crop the image so that you
| | 03:16 | just see pixels. You just see the photograph.
| | 03:19 | Okay, we are onto this rotation.
| | 03:20 | Well, here this is where I'm
just going to get creative.
| | 03:23 | I'll go ahead and click
and drag this to the right.
| | 03:25 | What I'm interested in doing here is
just looking at how we could change the
| | 03:28 | overall feel or emotion of this picture.
| | 03:31 | Perhaps also we might scale this in and
zoom in a little bit on the face here,
| | 03:35 | so we are up a bit more close.
| | 03:37 | And by making these changes, well, we have a
completely different version of this picture.
| | 03:42 | Let's compare the two.
| | 03:44 | Well, here was the original file.
| | 03:45 | This was a picture as captured.
And now here's the picture after we made some
| | 03:50 | corrections and also some creative adjustments.
| | 03:53 | So as you're discovering here, the
Lens Corrections panel, well, it's
| | 03:56 | incredibly powerful.
| | 03:58 | You can use this to make those subtle
corrections so that your photographs look good.
| | 04:02 | You can also use this with creative
intent in order to creatively modify your
| | 04:06 | photograph, to change its
overall composition and feel.
| | Collapse this transcript |
| Removing fish-eye distortion| 00:00 | Here I have another photograph of my
neighbor's house at Christmas time,
| | 00:04 | yet this one was captured with a
fisheye lens. It gives that really
| | 00:08 | extreme distortion.
| | 00:10 | Well, the Lens Corrections panel
can even help us deal with this,
| | 00:13 | say if wanted to remove
or reduce that distortion.
| | 00:17 | What you can do is go to the Profile
tab and then Enable Profile Corrections.
| | 00:22 | This works for ultra-wide-angle lenses
like fisheye lenses and others like this.
| | 00:28 | Here it's picking up the lens and for
the most part, initially, it's doing kind of
| | 00:32 | an insanely powerful job.
| | 00:35 | Let's zoom in on this image.
| | 00:36 | I am going to zoom in on the door so that I
can see the kind of detail that we have here.
| | 00:41 | Here is the door with
this profile applied to it.
| | 00:44 | Turn off the Lens Corrections, and then
we'll be able to see the door without that.
| | 00:48 | And if we pan around the image, what
you will be surprised to see is even in
| | 00:52 | areas where you have a lot of distortion,
like this window here, when we turn on
| | 00:58 | Lens Corrections, for the most
part, we have pretty good detail.
| | 01:01 | Of course some of this detail will fall
apart, especially when making such huge changes.
| | 01:07 | Yet that being said, even with an image
like this, it's holding up pretty well.
| | 01:12 | Let's go back to this fit-in view
and continue to improve this image.
| | 01:16 | We need to make some more changes, right?
| | 01:18 | So let's go to the Manual tab.
| | 01:21 | In the Manual tab, one of the things we
need to do is to rotate things a little
| | 01:24 | bit, or rotate them just a touch over here.
| | 01:28 | We need to work on the vertical axis here,
| | 01:30 | so we'll go ahead and bring that up,
and then just try to modify these points
| | 01:34 | until we can get this just right.
And here I am just looking to even remove
| | 01:39 | perhaps a little bit more of that distortion,
trying to find the right spot for that one.
| | 01:43 | We won't be able to get this perfect.
| | 01:45 | What I am doing is I'm using my
controls to try to find the best of both
| | 01:50 | worlds, because with a fisheye, we have
so much distortion trying to kind of
| | 01:54 | find the in-between spot where we
won't get this perfect. It won't be exact,
| | 01:59 | but we want to get it close.
| | 02:01 | Next, we'll turn on Constrain Crop in
order to crop that. And then here what I
| | 02:06 | am going to do is just scale this a
little bit more, scale that in, and then
| | 02:10 | rotate it a little bit as well.
| | 02:12 | I want to get that right here because
what happens is when we look at pictures
| | 02:16 | we're looking at different clues or
lines to try to line things up, and I think
| | 02:21 | at this point, we are in pretty good shape.
| | 02:23 | I just want to crop this even tighter.
| | 02:26 | In order to do that, press the R key.
| | 02:28 | That opens up your Crop tool.
| | 02:30 | Then you can click and drag
on one of your corner points.
| | 02:33 | I think this corner point should come in a
little bit as well as this one over here and
| | 02:38 | then double-click to apply that.
| | 02:40 | Next, let's evaluate how we did.
| | 02:42 | We can do that by flipping the switch here.
| | 02:45 | Here is before and then here is after.
| | 02:48 | It's pretty unreal that that is even
possible, and one of the reasons why
| | 02:52 | it's nice to know that is while you
may not want to remove a fisheye effect,
| | 02:58 | there may be situations where you
have these really wide-angle lenses and
| | 03:02 | think to yourself, "Well I don't like that effect,
this image is a loss. It's not even a keeper."
| | 03:07 | Well, it may not be the case. It may be
that you'll be able to correct, reduce or
| | 03:12 | remove some of that distortion, so
that that image might be a keeper.
| | Collapse this transcript |
| Removing chromatic aberration| 00:00 | This movie is going to be brief
because here, we're going to talk about
| | 00:03 | removing chromatic aberration.
| | 00:05 | This is an image that I've used in my
last few training titles on Adobe Camera
| | 00:10 | Raw and on Lightroom.
| | 00:11 | What I typically would do is I would
zoom in on to an area of the image, say
| | 00:15 | up in here in these branches, and I would
point out what's called chromatic aberration.
| | 00:21 | This is a problem which happens when
you're shooting with a wide-angle lens.
| | 00:24 | It's typical, or it's a part of digital capture.
| | 00:27 | You can see that there's kind of a cyan
fringe here and then also a red fringe
| | 00:32 | on the other side of a number of these branches.
| | 00:35 | Well, in the previous versions of
Lightroom, there were some controls that we
| | 00:38 | could use in order to remove those.
| | 00:40 | We had to use sliders.
| | 00:41 | Well, in this version of Lightroom,
it's almost laughable that it's so easy.
| | 00:45 | All you have to do is to flip the
switch and the chromatic aberration is gone.
| | 00:51 | What's happened is the engineers have
put in a ton of behind-the-scenes work to
| | 00:55 | take care of this for us.
| | 00:56 | In other words, Lightroom has really
stolen my teaching thunder, because I don't
| | 01:01 | have anything to teach here anymore,
except to point out that what you want to
| | 01:06 | do is when you're in your Lens
Corrections panel and when you're going to your
| | 01:09 | workflow, just make sure this box is
checked on, because this will take care of
| | 01:14 | this problem behind the scenes, and it
will take care of this problem that you
| | 01:18 | may or may not be aware of.
| | 01:20 | That's a great thing about this.
| | 01:21 | All that we have to do now
is to simply check the box.
| | Collapse this transcript |
|
|
17. Adding Vignette and Grain EffectsAdding and correcting vignettes| 00:00 | In the next few movies we'll
be talking about vignetting.
| | 00:03 | We'll be working with this image.
| | 00:04 | And here we're going to start off
by talking about vignetting with the
| | 00:08 | Lens Corrections panel.
| | 00:09 | If you open up the Lens Corrections
panel, you may have noticed that there are
| | 00:13 | some lens vignetting controls.
| | 00:15 | These are actually really simple.
| | 00:17 | Click and drag the Amount to the left in that
vignette, the darker edge, well it becomes darker.
| | 00:23 | You can then control how far in that
darkness goes by modifying the Midpoint slider.
| | 00:29 | Drag to the left and well, that
darkness gets closer to the middle;
| | 00:33 | drag to the right, you keep it
limited out to those corners.
| | 00:37 | You can reset these sliders by
double-clicking on them in order to remove that
| | 00:42 | or take it to its default setting.
| | 00:44 | You know, some photographers, they like
to exaggerate, enhance, or draw out that
| | 00:49 | vignette, for a creative effect.
| | 00:50 | Like with this picture, it
looks kind of interesting.
| | 00:53 | In other situations, you may want to
remove it because sometimes it's a result
| | 00:58 | of shooting with a
wide-angle lens or the time of day.
| | 01:01 | In order to remove it, that's just a
simple drag to the right and it will
| | 01:05 | brighten up those outer edges.
| | 01:07 | Now when we do that, the
midpoint works the same way.
| | 01:10 | Again how far does that reach in towards
the middle of the frame? And I find when
| | 01:15 | correcting them, it's a little bit
more tricky to use the Midpoint and the
| | 01:18 | Amount, because you have to get it
just right so it's a smooth transition.
| | 01:23 | And here with this, I think
this image is pretty good.
| | 01:25 | If we flip the switch, here is
our before and now our after.
| | 01:29 | We've corrected or removed that vignette.
| | 01:32 | Well, these particular controls in the
Lens Corrections panel, they work with
| | 01:37 | images which haven't been cropped.
| | 01:40 | Yet if you crop an image,
these controls won't work.
| | 01:43 | Let me show you what I mean.
| | 01:44 | If I press the R key for the Crop tool
and decide to crop off of an edge of the
| | 01:49 | image, I've cropped off the
right edge and maybe let's go here
| | 01:53 | so I just have my top left corner visible,
| | 01:56 | well, now if I go to use my Lens
Vignetting controls, well primarily it's just
| | 02:01 | going to work over here on this side.
| | 02:03 | We can see that the reach isn't as far.
| | 02:06 | In other words, I cropped off the
other parts which are being vignetted.
| | 02:10 | These controls are tied to the original
file at its original size without a crop.
| | 02:16 | Yet how then can you work with vignetting
if you have an image which has been cropped?
| | 02:20 | We'll take a look at that in our next movie.
| | Collapse this transcript |
| Using the Post-Crop controls| 00:00 | Let's continue to talk about lens
vignetting, but this time let's take a look at
| | 00:04 | how we can work with
vignetting if we crop the image.
| | 00:07 | So let's go ahead and crop this picture.
| | 00:09 | We'll click on the Crop tool in the tool strip.
| | 00:12 | Then I want you to unlock the aspect ratio.
| | 00:15 | Next, we're going to do something just
for demo purposes, and that is to bring
| | 00:19 | this crop area way in and
then double-click to apply it.
| | 00:24 | Now I know we cropped a lot of the
image out, but I'm doing this for a demo.
| | 00:28 | What you can do is you can then modify
your Lens Vignetting controls in Lens
| | 00:32 | Corrections and nothing happens. Why is that?
| | 00:35 | Well, that's because what's happening
here is if we go back to the crop, it's
| | 00:39 | actually been applied to
the pixels which we can't see.
| | 00:43 | Lens correction vignetting is
all about the actual pixels.
| | 00:48 | Okay, well, let's reset this crop, and
let's do a little bit more realistic crop.
| | 00:53 | This image isn't centered.
| | 00:55 | So I want to go ahead and bring in this
right side and then also the left side
| | 01:00 | to create a different perspective, to
have that pier dead-center inside of the
| | 01:04 | frame and then click Done to apply that.
| | 01:07 | Well, how then can I work with
vignetting after I've cropped?
| | 01:11 | To do that, we have to go to our Effects panel.
| | 01:14 | You notice that we'll have Post-Crop Vignetting.
| | 01:16 | In other words, here we can
add vignettes after the fact.
| | 01:19 | And in this movie, all that I want to
do is kind of deconstruct what these
| | 01:24 | controls actually do. So let's dive in.
| | 01:26 | First of all, Amount we can either
darken or we can brighten. So far so good!
| | 01:32 | We can also dial in the Midpoint,
bringing that closer to the middle of the
| | 01:36 | frame or pushing that out to those cropped edges.
| | 01:39 | Well, what about Roundness?
| | 01:41 | Roundness, we really need to
see by removing the Feather.
| | 01:44 | Feather is this transition here.
| | 01:46 | If I remove that, all of a
sudden, I have a nice hard edge.
| | 01:51 | Here the Roundness is more like an oval.
| | 01:53 | I can change that to be more like a square, or
I can even limit that further to those edges.
| | 02:00 | Now the Feather effect
really depends upon Roundness.
| | 02:03 | So it's like Roundness and
Feather are related. Let me show you.
| | 02:06 | Well, here's a high Feather
amount on this level of roundness.
| | 02:09 | Well, that will look different if I
change it to a different amount of roundness.
| | 02:14 | So again, you will want to use these kind of
in collaboration with each other. All right!
| | 02:18 | Well, next, let's go back to say something
where we have a Midpoint right around here.
| | 02:24 | What about Highlights?
| | 02:26 | Well, Highlights allows us to try to
bring back some of those highlights.
| | 02:30 | Did you see how this highlight, the sun up
here, punched through that vignette effect?
| | 02:34 | So we can either have that override that or
we can have the vignette fall on top of it.
| | 02:39 | You may have also noticed
that we have different styles.
| | 02:43 | One style, Highlight Priority, it
tries to bring through some more of
| | 02:46 | the brightness there;
| | 02:47 | Color Priority, it tries to not shift
the colors as much; and then the last
| | 02:52 | one Paint Overlay, well that's a lot like
the Vignette in the Lens Corrections panel.
| | 02:57 | So the next question of
course is, which style is best?
| | 03:01 | Well, it really depends on your
photograph, and what you'll have to do is
| | 03:04 | experiment with these in order to see
how they work on different pictures. Each
| | 03:09 | time it's a little bit different, but
you will notice that with Color Priority
| | 03:13 | in with Highlight Priority, it allows
you to use the Highlights slider; the
| | 03:18 | other one, Paint Overlay, it doesn't.
| | 03:19 | So if you want a more consistent
vignette around everything, Paint Overlay
| | 03:24 | might be the answer.
| | 03:26 | If you want to have highlights kind of
peeking through in the background and
| | 03:29 | showing through in that vignette, well then
perhaps Highlight Priority is going to be the answer.
| | 03:34 | Well, so far I've really been kind of
exaggerating this with these different
| | 03:38 | types of vignettes and whatnot.
| | 03:40 | So what we want to do of course is
experiment with how we can actually use this.
| | 03:44 | What could be a realistic vignette
that we might add to this photograph here?
| | 03:49 | Well, let's take a look at a few
vignette options for this photograph, and let's
| | 03:53 | do that in the next movie.
| | 03:54 | Before we leave this one,
let's reset this vignette.
| | 03:58 | To do that, hold down Option
or Alt and then click on Reset
| | 04:02 | Post-Crop Vignetting.
| | Collapse this transcript |
| Adding a post-crop vignette| 00:00 | Here we are going to be
experimenting with two different photographs.
| | 00:02 | We'll take a look at how we can add a
post-crop vignette to these pictures.
| | 00:06 | Well, with this first one it's already
been cropped. So I'm in the Effects panel,
| | 00:11 | and I am just going to drag my Amount
down a little bit in order to darken the
| | 00:14 | edge. And as I do that, I decide it
might be kind of fun to have a really clear,
| | 00:18 | crisp border or edge around the picture.
| | 00:21 | Well, in order to do that, all that
I need to do is to drag all of these
| | 00:25 | sliders down to this far left side so that I
have -100 or 0 amount and I have this dark edge.
| | 00:33 | If I want to make it white, we'll just
click and drag it to the right. And it
| | 00:36 | could just be a fun way to add a
border or an edge to this picture.
| | 00:40 | As I look at it, I decide you know
what, I'm not quite sure and I want to
| | 00:45 | recrop this picture.
| | 00:47 | When you go ahead and click on your
Crop tool, all of a sudden, well that
| | 00:51 | post-crop vignetting, it
will disappear. Yet don't fear.
| | 00:54 | After you apply your new crop, say by
bringing this in a little bit more this
| | 00:58 | way, it will come back. And that effect,
well, it will travel with your crop.
| | 01:03 | Let's say that rather than a solid
border, we want something a little bit
| | 01:07 | more which just darkens those edges and
keeps the viewer eyes on the middle of the frame.
| | 01:13 | So in this case, I'm going to go ahead
and darken it, change my Midpoint, my
| | 01:17 | Roundness, and also my Feather amount,
because really what I want to do is I
| | 01:21 | want to have something which just
darkens those edges up a little bit so that
| | 01:25 | the viewer really is focused on that
center of the frame there. I am just going
| | 01:29 | to add a lot of feather to this and
try to create something which is kind of
| | 01:33 | subtle, but also adds a little bit of drama.
| | 01:36 | Just moving these sliders this way, I
think that's kind of fun. Let's look at it.
| | 01:41 | Here we have before and then after.
| | 01:43 | Darkening those edges, really keeping
the viewer in the middle of the picture,
| | 01:48 | because you know the eye, it goes to
areas of brightness. And we can use vignettes
| | 01:53 | in some interesting ways to kind of
direct the way someone looks at a picture.
| | 01:58 | Let's take a look at one more photograph.
| | 02:00 | Here, we'll go to the Library
module in order to select this picture.
| | 02:04 | Next, we'll go to the daisy folder, and
let's click on one of these pictures of
| | 02:08 | Daisy, the puppy dog. How about this one?
| | 02:11 | And first I want to crop it. So if I am in the
Library module, how do I get to the Crop tool?
| | 02:17 | Press the R key.
| | 02:18 | This activates the Crop tool.
| | 02:20 | This time I am going to lock this
down so I am going to maintain that same
| | 02:24 | aspect ratio and just tighten this up
a little bit, bringing in both of my
| | 02:28 | edges. I want to bring those in and
bring this in even further and then
| | 02:34 | double-click to apply that.
| | 02:35 | Well, now that I have that crop area,
I've actually decided I want to change it
| | 02:40 | a little bit, so I'll go back to the
Crop tool and just drag this up. I need a
| | 02:43 | little bit more headroom there. Okay, great!
| | 02:46 | Well, next, let's add an effect.
| | 02:49 | Here how about something kind of
similar, a little bit of a darkening effect?
| | 02:52 | We'll just darken down those edges.
| | 02:55 | That Feather amount, we'll increase,
the Roundness as well. I am just looking to
| | 02:59 | try to bring those down, and we'll
change this style to Color Priority, trying
| | 03:04 | to maintain some of the color that we
have in this picture. And just looking to
| | 03:08 | kind of keep the eye there in that
center of the frame, and then here's our
| | 03:12 | before and then after.
| | 03:15 | It might also be fun to look at what
would happen if we were to brighten this
| | 03:17 | up, open it up just a little bit more?
And I think some more right in there
| | 03:22 | might be nice, again just keeping
the eyes in this part of the image.
| | 03:26 | Now with a photograph like this, now that
we've darkened it, now that we've added
| | 03:30 | density--let me exaggerate it--
this side of the dog looks too dark.
| | 03:36 | So when you make adjustments with
these tools, just know that you're changing
| | 03:40 | the balance of the whole image. No big deal!
| | 03:43 | Just go back to your Basic panel
and then make the needed adjustment.
| | 03:46 | In this case, open up those shadows on
this side of the dog and then maybe bring
| | 03:50 | down those whites a little bit back
there, a little bit of the highlights down
| | 03:54 | as well. And so it's really about
trying to think about the overall density of
| | 03:59 | this picture and trying to come up with a
combination which includes that vignette,
| | 04:04 | but also the rest of our workflow,
because we never can make an adjustment in
| | 04:09 | isolation; rather, you know the vignette
doesn't just happen by itself; rather, it's
| | 04:14 | connected with all of our other
adjustments. And by using these adjustments
| | 04:18 | together, we can come up with
something like this is our before shot and then
| | 04:23 | finally now our after.
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| Working with film grain| 00:00 | This movie will be pretty simple and
straightforward, because here we're going
| | 00:03 | to look at another effect that we can
add to our photographs, and that is grain.
| | 00:08 | We can simulate a filmgrain-
type of a look on our pictures.
| | 00:12 | Sometimes this helps to kind of
smooth out transitions in your photographs.
| | 00:16 | You know how it is with digital capture, right?
| | 00:18 | Sometimes, digital images, they are too perfect.
| | 00:21 | So we can add some grain to kind of
build in a little bit of texture or
| | 00:25 | substance to the photographs.
| | 00:27 | Okay, well with this one,
let's zoom into 1x1 view.
| | 00:31 | Next in the Effects panel, we'll crank
up our Grain Amount to an exaggerated
| | 00:36 | amount, so we can see how this works.
| | 00:38 | What is Amount all about?
| | 00:40 | Well, the Amount is like Intensity.
How much is this going to be applied to the image?
| | 00:45 | Size, that has to do with the grain structure.
| | 00:48 | A small size, the grain
is much smaller of course.
| | 00:52 | We can see the picture in a way
which the picture seems a bit more sharp.
| | 00:57 | As you increase that size, well,
the picture becomes more faints, more
| | 01:01 | dissipated, more vague.
| | 01:03 | This is a lower resolution file that
I'm using for the demo, so we can see the
| | 01:08 | effect even in a more exaggerated way.
| | 01:10 | With a higher resolution file, you
won't see that loss of detail as clearly.
| | 01:14 | Yet I choose this file just to
illustrate that, because I think it's helpful
| | 01:18 | to know that this does have to do with the
overall kind of look or detail you'll get.
| | 01:23 | Next we have Roughness.
| | 01:25 | More roughness is more
randomization, more variety.
| | 01:28 | Less roughness, more uniform grain.
| | 01:31 | So here, what we might want to do
with a picture like this is just add a
| | 01:34 | touch of grain, a small size there, a little
bit of roughness, so it's not quite so uniform.
| | 01:40 | And by doing that, we
can create, again, this look,
| | 01:43 | this little bit of a different
feel, a different tone or texture.
| | 01:47 | And like I said before, sometimes
this can help out with your highlights.
| | 01:52 | Other times, this is just one of those
things that you do simply to be creative
| | 01:56 | and to experiment, to try out different ideas.
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18. Using the Camera Calibration ControlsUnderstanding camera calibration in Lightroom| 00:00 | The last panel in the Develop module on
the right is the Camera Calibration panel.
| | 00:04 | This panel is actually kind of fascinating.
| | 00:07 | What it allows us to do is
to select different profiles.
| | 00:11 | Every camera and every sensor,
it renders color in a different way.
| | 00:15 | Let's explore how we can work with
Camera Calibration with this image.
| | 00:19 | In our Navigator panel, let's go ahead
and change our view, say, to 1:8, just so
| | 00:23 | we can get a little bit closer so we can
see some nice detail on the subject, on
| | 00:27 | the skin, and also in the background.
| | 00:29 | This is the image straight out of the camera.
| | 00:32 | By default in Lightroom, there is a
profile which is selected, in this
| | 00:35 | case Adobe Standard.
| | 00:37 | But we also have these other profiles.
| | 00:40 | We can choose these different
profiles to see how it will affect the color.
| | 00:44 | Here's Camera Faithful.
| | 00:46 | We can compare that to Camera Landscape,
which will become much more vibrant. The
| | 00:50 | greens and the reds are much more vibrant here.
| | 00:53 | Take a look. There is Standard,
and now compare this to Landscape.
| | 00:57 | And we can use these
profiles as starting points.
| | 01:00 | Here is Neutral, a bit more subdued, or
perhaps Camera Portrait. And then we can
| | 01:06 | make changes to them using these
different sliders in order to enhance the way
| | 01:10 | that our image actually looks.
| | 01:12 | So, for example, let's say
we chose Camera Portrait.
| | 01:15 | I like the reds and the greens,
but the skin tone, not so much.
| | 01:20 | We can change that using
this Hue slider for our reds.
| | 01:23 | I am going to make it a little bit more yellow.
| | 01:25 | Also I am going to saturate that as
well, a bit more. And so we can use these
| | 01:30 | sliders in order to make changes like this.
| | 01:33 | If we look at the overall before and after,
it can be kind of interesting or revealing.
| | 01:38 | Here it is: here's our
before and then now our after.
| | 01:43 | All of these adjustments
are being made to the profile.
| | 01:46 | They're not actually changing the
color temperature. And let me make an
| | 01:49 | exaggerated adjustment to show you what I mean.
| | 01:52 | I am going to change my Shadow Tint, and I
am going to drag this way over to the right.
| | 01:56 | Now I am aware I have changed this
dramatically, and it may not look very good
| | 02:00 | to your eye, yet I'm doing that in
order to illustrate that if we go to our
| | 02:03 | Basic panel, well,
nothing has been changed here.
| | 02:06 | The Color Temperature is still As Shot.
| | 02:09 | I can still swing this Temperature
or Tint slider one way or another.
| | 02:13 | So that adjustment, why, it's really
limited down here to this area to our profile.
| | 02:19 | Sometimes you can also use these
controls in order to come up with interesting
| | 02:23 | or creative color combinations.
| | 02:26 | Perhaps you feel this image is a bit too green.
| | 02:29 | You could go ahead and increase the
points on your shadow Tint there in order to
| | 02:33 | bring in a little bit of
magenta into the photograph.
| | 02:36 | And by using these sliders and controls,
you can modify the color of your image
| | 02:41 | based on its profile, which at times
can lead you to strong color results like
| | 02:46 | with this image here.
| | 02:47 | Once again, there is our before--that was
our original starting point--and now our
| | 02:52 | after. And what you could do then is
you could create what this is essentially,
| | 02:56 | a custom profile for the first image
of that shoot, and then you could apply
| | 03:01 | this profile to the other photographs
from that shoot, and you could do that by
| | 03:05 | simply synchronizing your settings.
And what that would do for you is it would
| | 03:10 | create a starting point for all of
your photographs so that they all started
| | 03:14 | off with this particular profile or as
you might call it, color look or color
| | 03:18 | treatment.
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| Creative color with camera calibration| 00:00 | Typically, the Camera Calibration
profiles, well, they're used to try to correct color,
| | 00:04 | to try to create more
accurate or interesting color.
| | 00:07 | Yet there are times when you can use
this in order to come up with some creative
| | 00:11 | color combinations, say
with a photograph like this.
| | 00:14 | What we could do is we could tint the
shadows in order to have much more of this
| | 00:19 | magenta look and then work on our reds
there. We could warm those up and add
| | 00:24 | some saturation to that, and even work
with the blues and try to create a little
| | 00:29 | bit of a color shift here.
| | 00:30 | Now this color treatment, it's just
completely different. It's a completely
| | 00:34 | different starting point. Take a look at it.
| | 00:37 | Here is our before and then now our after.
| | 00:41 | And we could use this as a starting
point and then go through our workflow, back
| | 00:45 | up to the Basic panel. And here we
could work with our slider in order to
| | 00:49 | change the overall color temperature or tint,
perhaps cooling it off or warming this picture up.
| | 00:55 | We could also work with our other
sliders in order to make adjustments to these
| | 00:58 | pictures, including the
Saturation and Vibrance tones here.
| | 01:03 | As I do that, you can see that what
I'm getting towards is this kind of a
| | 01:06 | bleached-out type of a color aesthetic.
| | 01:09 | I'm just trying to fine-tune this just
right so I have a nice amount of color.
| | 01:14 | Not too much, but just enough.
| | 01:16 | Now this particular color
treatment really, I couldn't have created it
| | 01:21 | without using that profile. Take a look at it.
| | 01:24 | Here is that before and then the after.
| | 01:27 | If we go back down to this Camera
Calibration tab and flip the switch, you can
| | 01:32 | see that what that did for us as it
gave us kind of a starting point from
| | 01:36 | which we then went on to make further
adjustments. And of course, we could take this further.
| | 01:42 | We could open up our Split Toning
panel and then perhaps add a little bit
| | 01:45 | yellows into the highlights there,
add a cooler tone into the Shadows.
| | 01:51 | What it is now is it's really this
effect which has been stacked up.
| | 01:54 | It's the combination of all of these
effects together, which are leading to this
| | 01:59 | particular look or result.
| | 02:01 | You might change that perhaps a little bit
there. And again, I'm just really playing.
| | 02:05 | You can get distracted doing things
like this, but that's what's fun about it.
| | 02:09 | It can help you come up with
different and creative ways to process
| | 02:12 | your pictures.
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ConclusionGoodbye| 00:00 | Congratulations on making it
through this course where we focused in on
| | 00:04 | the Develop module.
| | 00:05 | And you know this course, it's part of
our larger series, Lightroom 4 Essentials.
| | 00:11 | The next step in our progress is to take
a look at how we can work with the book
| | 00:15 | in the Print modules.
| | 00:17 | Well, I look forward to
seeing you in that course.
| | 00:19 | Until then, bye for now.
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