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Photoshop CS4 One-on-One: Advanced
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Correcting an image in Lab


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Photoshop CS4 One-on-One: Advanced

with Deke McClelland

Video: Correcting an image in Lab

Now, the images that we've seen so far have been in astoundingly wretched shape, quite frankly, and that's because I want you to have a sense for just how miraculous Photoshop is where Levels and Curves are concerned. Just how they can produce those absolutely astounding modifications. But it stands to reason if it can fix images that are in terrible shape, why then it can fix your images that are in moderately good shape even better. It is very much to be hoped that your images will be in better shape. More along the lines of the image that we're seeing right here on screen. It's called Max snorkels.jpg.
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  1. 22m 32s
    1. Welcome to Photoshop CS4 One-on-One Advanced
      1m 43s
    2. Installing the DekeKeys keyboard shortcuts
      6m 17s
    3. Resetting the function keys on a Mac
      3m 51s
    4. Installing the CS4 color settings
      4m 37s
    5. Setting up the CS4 color settings
      6m 4s
  2. 2h 43m
    1. Highlights, shadows, and midtones
      49s
    2. Low contrast, bad meter
      5m 57s
    3. Auto tone, contrast, and color
      8m 1s
    4. Cache levels and the Histogram palette
      7m 16s
    5. How the auto commands work
      10m 15s
    6. A first look at Levels
      6m 11s
    7. Target colors and clipping
      9m 6s
    8. Modifying input levels
      9m 44s
    9. Adjusting the gamma value
      7m 34s
    10. Previewing clipping
      7m 17s
    11. The futility of output levels
      4m 56s
    12. Channel-by-channel edits
      11m 54s
    13. When levels fail
      4m 34s
    14. A first look at Curves
      8m 46s
    15. Static Curves layer tricks
      7m 45s
    16. Dynamic Curves layer tricks
      7m 25s
    17. Correcting the composite image
      8m 30s
    18. Neutralizing a color cast
      6m 52s
    19. The Target Adjustment tool in Curves
      8m 29s
    20. Correcting an image in Lab
      10m 7s
    21. The Shadows/Highlights filter
      4m 18s
    22. Radius and tonal width
      8m 11s
  3. 1h 48m
    1. Edge-enhancement tricks
      1m 13s
    2. How sharpening works
      3m 48s
    3. The single-shot sharpeners
      4m 29s
    4. The Unsharp Mask filter
      7m 57s
    5. Understanding the Radius value
      6m 25s
    6. Gauging the best settings
      7m 47s
    7. Previewing how sharpening will print
      3m 37s
    8. Measuring and setting screen resolution
      6m 56s
    9. Tweaking the screen resolution
      4m 28s
    10. Sharpening the luminance data
      8m 23s
    11. USM vs. Smart Sharpen
      4m 23s
    12. Smart Sharpen's Remove settings
      5m 50s
    13. High-resolution sharpening
      6m 16s
    14. When to leave More Accurate off
      3m 48s
    15. When to turn More Accurate on
      4m 23s
    16. The advanced options
      7m 57s
    17. Saving Smart Sharpen settings
      4m 23s
    18. Accounting for camera shake
      7m 7s
    19. Sharpening with the High Pass filter
      9m 8s
  4. 2h 16m
    1. Why would you blur?
      1m 8s
    2. Fading after an undo
      3m 27s
    3. The "bell-shaped" Gaussian Blur
      5m 43s
    4. The linear Box Blur
      3m 6s
    5. Add Noise vs. Median
      4m 50s
    6. Despeckle vs. Dust & Scratches
      6m 31s
    7. Smart Blur vs. Surface Blur
      8m 13s
    8. The Motion Blur filter
      4m 33s
    9. Radial Blur's Spin and Zoom variations
      5m 48s
    10. Mixing filtered effects
      3m 56s
    11. The "Captain Kirk in Love" effect
      5m 4s
    12. Diffusing focus with Blur and Overlay
      8m 50s
    13. Simulating Vaseline and film grain
      8m 2s
    14. Filling a layer with a neutral color
      2m 55s
    15. Old-school contrast reduction
      3m 39s
    16. Three steps to diffused focus
      7m 36s
    17. Averaging skin tones
      9m 45s
    18. Addressing the stubborn patches
      5m 26s
    19. Combining Gaussian Blur and Average
      6m 1s
    20. Blurring surface details
      3m 2s
    21. Smoothing blemishes while matching noise
      8m 6s
    22. Reducing digital noise
      8m 47s
    23. Striking a smooth/sharpen compromise
      4m 36s
    24. Smoothing over JPEG artifacts
      7m 38s
  5. 2h 31m
    1. Independent layers of color adjustment
      1m 7s
    2. Undersea color channels
      4m 2s
    3. Inventing a Red channel with Lab
      8m 20s
    4. Mixing color channels
      6m 55s
    5. Making shadows with Levels
      7m 5s
    6. Applying small color adjustments
      6m 0s
    7. Further modifying Levels in Lab
      8m 50s
    8. Creating a dynamic fill layer
      4m 38s
    9. Brushing and blending color
      4m 42s
    10. Working with "found masks"
      7m 31s
    11. Saturation, sharpen, and crop
      8m 9s
    12. Mixing a monochromatic image
      7m 2s
    13. Masking an adjustment layer
      4m 45s
    14. Working with Opacity and blend modes
      3m 39s
    15. Adding a black-and-white adjustment
      5m 53s
    16. The Target Adjustment tool in black and white
      6m 12s
    17. Tinting a monochrome photo
      3m 19s
    18. Introducing Gradient Map
      4m 17s
    19. Adjusting both color and luminance
      5m 44s
    20. Infusing elements with different colors
      6m 22s
    21. Adjustment layers as creative tools
      4m 33s
    22. Inverting and brightening the background
      5m 14s
    23. Blurring live, editable type
      5m 43s
    24. Hue, saturation, and darkness
      6m 51s
    25. Filling type with a color adjustment
      3m 24s
    26. Using one adjustment to modify another
      3m 21s
    27. Breathing color into the title
      3m 38s
    28. The Hue/Saturation humanoid
      3m 44s
  6. 1h 48m
    1. Parametric operations
      1m 23s
    2. The power of blend modes
      6m 16s
    3. Changing the Opacity value
      5m 46s
    4. Opacity vs. Fill Opacity
      4m 37s
    5. Meet the blend modes
      6m 4s
    6. Blend mode shortcuts
      7m 8s
    7. Darken, Multiply, and the Burn modes
      6m 33s
    8. Tempering a Burn effect with Fill
      4m 43s
    9. Saving a blended state
      4m 18s
    10. Lighten, Screen, and the Dodge modes
      8m 22s
    11. Linear Burn = Add minus white
      5m 31s
    12. Overlay and the contrast modes
      6m 52s
    13. Fill Opacity takes priority
      6m 19s
    14. Difference and exclusion
      5m 21s
    15. Using difference for golden highlights
      4m 2s
    16. The composite (HSL) modes
      6m 8s
    17. The brush-only modes: Behind and Clear
      10m 31s
    18. Layer groups and the Pass Through mode
      8m 54s
  7. 1h 53m
    1. It's all about the presentation
      58s
    2. Moving a layer a specific number of pixels
      6m 59s
    3. Adding a pixel mask to a layer
      5m 48s
    4. Editing a layer mask
      7m 19s
    5. Combining layers into a clipping mask
      6m 19s
    6. Introducing the Advanced Blending options
      4m 45s
    7. Using the luminance blending sliders
      7m 26s
    8. Forcing through underlying luminance
      4m 32s
    9. Masking with a path outline
      5m 45s
    10. Refining a mask from the Masks palette
      7m 18s
    11. Creating and modifying a layer group
      3m 29s
    12. Establishing a knockout group
      5m 29s
    13. Fixing last-minute problems
      6m 23s
    14. Introducing layer comps
      6m 40s
    15. Exploring layered states
      6m 43s
    16. Deleting layers and updating comps
      6m 18s
    17. Saving a basic composition
      6m 21s
    18. Assigning and saving appearance attributes
      7m 15s
    19. Layer comps dos and don'ts
      7m 27s
  8. 1h 56m
    1. Type: The great imaging exception
      56s
    2. Establishing default formatting attributes
      4m 5s
    3. Saving formatting attributes as a preset
      8m 5s
    4. Making a point text layer
      6m 18s
    5. Editing size and leading
      6m 44s
    6. Working with vector-based text
      6m 12s
    7. Formatting area text
      4m 16s
    8. Creating a layer of area text
      3m 20s
    9. Resizing the text frame
      4m 34s
    10. Changing the anti-aliasing setting
      3m 58s
    11. Obscure but important formatting options
      6m 31s
    12. Text editing tricks and shortcuts
      8m 44s
    13. Creating a cast shadow
      6m 1s
    14. Blurred shadows and beveled text
      7m 16s
    15. Drawing a path outline
      4m 51s
    16. Creating type on a path
      6m 39s
    17. Flipping text across a circle
      3m 18s
    18. Vertical alignment with baseline shift
      4m 16s
    19. Warping text
      4m 57s
    20. Scaling your text to taste
      3m 33s
    21. Applying a custom warp
      6m 24s
    22. Creating an engraved text effect
      5m 11s
  9. 2h 17m
    1. Bending an image to fit your needs
      53s
    2. Creating a canvas texture
      6m 48s
    3. Masking objects against a white background
      5m 42s
    4. Scaling an image to fit a composition
      8m 9s
    5. Aligning one layer to fit another
      3m 51s
    6. Changing the Image Interpolation
      8m 10s
    7. Merging faces
      5m 32s
    8. Rotating the first clock hand
      7m 17s
    9. Adding hands and pasting styles
      6m 40s
    10. Series duplication in Photoshop
      4m 35s
    11. Masking objects against a black background
      6m 34s
    12. Skews and perspective distortions
      7m 57s
    13. Envelope-style warps
      9m 2s
    14. Old-school distortion filters
      8m 50s
    15. Introducing the Liquify filter
      4m 9s
    16. Reconstructing an image
      6m 55s
    17. Using the Warp tool
      5m 16s
    18. The Pucker and Bloat tools
      5m 53s
    19. Push, Turbulence, and Twirl
      6m 41s
    20. The Freeze and Thaw mask tools
      5m 45s
    21. Saving and loading a mesh file
      3m 59s
    22. Creating and applying a texture layer
      8m 30s
  10. 1h 28m
    1. Effects vs. styles
      1m 11s
    2. Of layer styles and masks
      4m 37s
    3. Everything about drop shadow
      8m 2s
    4. Adding a directional glow
      4m 39s
    5. Colorizing with Color Overlay
      5m 18s
    6. Stroke and fill opacity
      5m 48s
    7. Creating a multicolor Outer Glow
      9m 22s
    8. Introducing Bevel and Emboss
      7m 48s
    9. Contour and Texture
      4m 35s
    10. Simulating liquid reflections
      6m 28s
    11. Saving layer styles
      6m 18s
    12. Applying and appending styles
      4m 36s
    13. Saving and swapping style presets
      3m 16s
    14. The five effect helpers
      3m 47s
    15. Blending the effect before the layer
      5m 1s
    16. Colorizing a signature
      3m 30s
    17. Clipping an effect with a mask
      4m 5s
  11. 1h 50m
    1. Welcome to the digital darkroom
      1m 46s
    2. Opening Camera Raw in the Bridge
      5m 44s
    3. The Camera Raw 5 interface
      4m 39s
    4. Adjusting the white balance
      5m 0s
    5. Finessing and saving changes
      7m 55s
    6. Using the White Balance tool
      2m 43s
    7. Working with the Exposure controls
      7m 34s
    8. Straightening and cropping a raw image
      5m 53s
    9. Applying automatic exposure adjustments
      6m 6s
    10. Exposure warnings
      5m 44s
    11. Clarity, Vibrance, and Saturation
      4m 47s
    12. Using the Graduated Filter tool
      3m 33s
    13. Dodging with the Adjustment brush
      9m 24s
    14. Tone Curve adjustments
      6m 54s
    15. Using the Spot Removal tool
      2m 48s
    16. Removing noise and sharpening detail
      4m 5s
    17. Adjusting HSL values
      4m 18s
    18. Adjusting luminance, color by color
      4m 14s
    19. Black and white and split toning
      5m 16s
    20. Camera Raw tips and tricks
      7m 32s
    21. Correcting JPEG and TIFF images
      4m 42s
  12. 57s
    1. Until next time
      57s

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Photoshop CS4 One-on-One: Advanced
20h 57m Intermediate May 01, 2009

Viewers: in countries Watching now:

Photoshop is one of the world’s most powerful image editors, and it can be daunting to try to use skillfully. Photoshop CS4 One-on-One: Advanced, the second part of the popular and comprehensive series, follows internationally renowned Photoshop guru Deke McClelland as he dives into the workings of Photoshop. He explores such digital-age wonders as the Levels and Curves commands, edge-detection filters, advanced compositing techniques, vector-based text, the Liquify filter, and Camera Raw. Deke also teaches tried-and-true methods for sharpening details, smoothing over wrinkles and imperfections, and enhancing colors without harming the original image. Exercise files accompany the course.

Recommended prerequisite: Photoshop CS4 One-on-One: Fundamentals.

Download Deke's customized keyboard layouts and color settings for Photoshop from the Exercise Files tab.

Topics include:
  • Using blend modes, adjustment layers, and layer styles
  • Organizing a layered composition so it is fluid and editable
  • Creating and editing type in Photoshop
  • Using blur effectively
  • Using adjustment layers to add color
  • Combining layers into a clipping mask
  • Working with Camera Raw
Subjects:
Design Photography
Software:
Photoshop
Author:
Deke McClelland

Correcting an image in Lab

Now, the images that we've seen so far have been in astoundingly wretched shape, quite frankly, and that's because I want you to have a sense for just how miraculous Photoshop is where Levels and Curves are concerned. Just how they can produce those absolutely astounding modifications. But it stands to reason if it can fix images that are in terrible shape, why then it can fix your images that are in moderately good shape even better. It is very much to be hoped that your images will be in better shape. More along the lines of the image that we're seeing right here on screen. It's called Max snorkels.jpg.

Now, it still does need some work, because I shot this image underwater with an Olympus Stylus 1030 SW actually; a nice little point and shoot camera that can go 33 feet deep, 10 meters deep, it's awesome. The thing is of course, once you start shooting underwater, you typically lose your yellows and your reds very, very quickly, and then you start losing other colors as you go farther down. So this requires some correction of course. Now, what I'm going to tell you is that, when I'm correcting images, I tend to work in one of two ways. Either I'll take my Raw images, that were shot in the Camera's Raw file format, and I'll process them inside of Camera Raw; and we will learn about Camera Raw, which is this terrifically powerful sort of subprogram of Photoshop, we'll learn about it in a future chapter.

If I'm working from JPEGs however, and this particular camera, the Stylus 1030, doesn't allow you to capture raw images, so if I'm working with JPEG, I might take them in to Camera Raw. You can do that as we will see later. Or I might take them into the Lab Color mode. What I'm going to do is I'm going to show you basically how Lab works, how to apply a quick and dirty correction, and then I'm going to send you on your way. If you're interested in Lab, I've got a six hour series devoted to the topic. Its sort of a separate discipline essentially is what it comes down to, and we spend a ton of time in that series on Levels and Curves inside the Lab Color mode.

But here goes. So I'm working with Max snorkels.jpg, and it's an RGB image. You can see that in the title tab right there, RGB/8, meaning it's 8 bits of data per channel. All right. So I'm going to go ahead and go over here to the Adjustments palette, Alt+Click on the little Levels guy right there, and I'll call this RGB levels, and then I'll click OK. All I'm going to do is I'm just going to go ahead and Alt+Click or Option+Click on that Auto button right there, in order to bring up the Auto Color Correction Options dialog box. I'm going to switch to Find Dark & Light Colors, which as you may recall is the Auto Color function.

I'm not going to Snap my Neutral Midtones, because notice, this is what happens if you Snap Neutral Midtones for this image, we end up losing a lot of the nice bright happy pinks, and I want those bright happy pinks back. So I'm going to turn that checkbox off right there, and I'll click OK in order to accept that modification. I have to say that is pretty darn good for three seconds of work. I have no complains really. The thing is it could be better. It could be better if I started probably tweaking the settings here inside of my Adjustments palette on a Channel by Channel basis. But it could even be better still if we apply a quick and dirty, not much more complicated correction inside the Lab Color mode, because Lab just so happens to be more powerful and more magical.

So here is what we are going to do. I'm going to grab this Background layer right there, and I'm going to drag it on to this little page icon down here, at the bottom of the Layers palette, and I'm going to press and hold, before I release, I'm going to press and hold the Alt key or the Option key on the Mac, and then I'll release. What that does is that forces the display of the Duplicate Layer dialog box and then you change document from Max snorkels to New right there. So that you're putting this layer into a new document, and then you just click OK, and notice you now have a new document, that's called, in my case Untitled 3, its probably Untitled 1 or something like that for you.

But anyway, you should see this Background layer inside the Layers palette. Then go up to the Image menu, choose mode, and choose Lab Color. Now, I go into detail in my alternative series, that is not this series, but it's called Photoshop CS3 by the way, Mastering Lab Color. It's part of the lynda.com Online Training Library. I may end up updating it for CS4 later in 2009, not really sure exactly what order we're going to do things at this point. But I'm here to tell you, even if you're working in Photoshop CS4, it's totally accurate, so you will be able to follow along, no problem.

So anyway, we'll go to Lab Color, and the reason I'm mentioning this is because I define in very specific terms what the Lab Color mode is and how it compares to RGB and CMYK and so on. Anyway, let's go to Lab. That just goes ahead and converts it to this device independent wonderful amazing color model here. This time we have three Channels; I'll go ahead and switch to the Channels palette for just a moment here, which is the actual luminance information for the image. Then we have a and then we have b, and they don't look like much, but they're really great.

a is the Tint information for the image. Meaning that, if I go ahead and turn on Lightness and a, you'll see what I'm talking about. We've got the greens and the pinks essentially inside of the image. It's more like turquoise to pink is really what we've got going. People say that it's the greens to magentas, but that's not quite right. Then I'll turn off a for a moment and turn on b. This is the Temperature information, and it varies from yellow to blue. Then when you put them all together, why then, you've got yourself a full color image. All right. So how in the world do you work with that wackiness? Well, let's go back to Lab. Make sure that the Lab Composite image is selected there in the Channels palette. Return to Layers. I'm going to once again Alt+Click or Option+Click on this little Levels icon; I'm going to call this one Lab levels, but of course. Click OK.

Now check this out. I'm going to go ahead and click on the Auto button in order to correct just the Lightness Channels. It's not going to do anything to the a or b Channels. It's just changing the luminance information. So our colors look a little sort of weak at this point, but we have some sizzling contrast going on, thanks to Auto. Now, you may wonder what variety of Auto is that, Deke? Let's go ahead and Alt+Click or Option+Click on the Auto button to see our Auto Color Correction Options, and we'll see, it's not any of the varieties, it's actually all the varieties. It's actually just plain Auto Contrast, because Auto Tone and Auto Color, they require three channels of information to get any work done. So it's just applying Auto Contrast to this guy, and that's your only option. So don't worry about it, just click Cancel out of there.

Then let's go over to the a Channel. Tell you what I recommend you do. What you want to do is you just want to symmetrically increase the contrast of your a and b Channels which will increase the Saturation of the colors inside the image and bring them up to speed with the luminance modifications right here. So notice this tiny little histogram right there, that's very typical for the a and b Channels. Don't fret. Just do this. Click inside this first value right there. I'm going to press Shift+Up Arrow six times in a row until we get a value of 60, and then I'm going to Tab, Tab, ignore the gamma value, come over to the white point value and press Shift+Down Arrow six times in a row. I forgot to count that, so I better count it.

The reason I'm pressing Shift+Down Arrow x number of times in a row as opposed to entering values is it's just easier. That way I know that I'm getting a symmetrical modification, so I don't have to do-- Not very complicated math to do 255-60=195, but still, you don't have to do it. Just press Shift+Down Arrow as many times as you press Shift+Up Arrow for this guy. Then switch over to b, and notice, we've still got the same keyboard shortcuts. So we've got Alt+3 or Option+3 on the Mac for the first channel. Alt+4, Option+4 on the Mac for the second channel. Alt+5, Option+5 on the Mac for the third channel. Notice there is no composite. You cannot modify the composite image in Lab, where Levels is concerned.

All right. Let's switch to b, do the exact same thing. Shift+Up Arrow six times. Six is not a magical number, it just happens to work nicely for this image. However, whatever number you come up with, like if you press Shift+Up Arrow four times in a row, and then Shift+Down Arrow four times in a row, just make sure you do the same thing for the a and b Channels to start with. So then I'm going to press Shift+Down Arrow six times in a row for the white point, here inside the b Channel. When I'm manipulating the black point, notice that I'm adding or I'm actually doing; let's go ahead and take this out, I'm going ahead and adding blue as I'm taking this value up. So as I'm making this channel darker, I'm adding blue, and when I make that channel lighter, I'm offsetting the blue by adding yellow.

What's happening with the a channel here is the black point is the turquoise and the white point is the pink, just FYI. Then I'm coming back to the a Channel here. The reason this becomes important is because Max's snorkels goggles here, I know that they're actually yellow, and these are more of a sort of screaming chartreuse at this point. That's not what I want. So I'm going to black off the green. So black is green, white is pink, and in b, black is blue and white is yellow. If you can remember that, that's good.

All right. I'll go to a, and I'll say let's back off the green/turquoise, whatever, press Shift+Down Arrow and that pretty much takes care of it. And we are done. That's it, folks. Now, it's a little strange, it's a little peculiar. You sort of have to wrap your brain around the different color space, but if you can come to terms with it, and believe me, my Mastering Lab Color series, it's just six hours long, its not hard, its just different, that's all. Sometimes different is good; in this case it really is good. Anyway, here is the RGB correction. So not bad, but a little low on the Saturation values, as you can see. Whereas, my Lab version of the image has some really sizzling Saturation, some great skin tones, and is quite accurate to the scene that I actually shot. So again, just for those of you who are interested, Photoshop CS3 Mastering Lab Color right here on the lynda.com Online Training Library.

In the next exercise, we are going to switch to our last topic for this chapter, which is Shadows Highlights; just little bit of information on Shadows Highlights, and I'll then send you on your way to the next chapter.

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