IntroductionWelcome| 00:00 | (music playing)
| | 00:04 | Hi! My name is Bryan Hughes, and I'd like
to welcome you to Black and White with
| | 00:09 | Lightroom and Photoshop.
| | 00:10 | We're going to talk about how to select
the best images for black and white, and
| | 00:15 | then I'll show you how far you can take
in a Lightroom, not just for one image,
| | 00:19 | but a lot of images.
| | 00:21 | We'll talk about fine-tuning those in
Lightroom, and then how Lightroom and
| | 00:24 | Photoshop can work together.
| | 00:26 | From there we'll move over to Photoshop,
and get much further into selective
| | 00:30 | edits, and tricks with layers.
| | 00:32 | We'll even go a little bit further with
video, and some special third party plug-ins.
| | 00:38 | So, I hope you enjoy yourself with Black
and White with Lightroom and Photoshop.
| | 00:42 | Let's get started.
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| Using the exercise files| 00:00 | If you're a premium member of the lynda.com
Online Training Library, or if you're
| | 00:04 | watching this tutorial on a DVD-ROM,
you have access to the exercise files used
| | 00:08 | throughout this title.
| | 00:10 | In the Exercise Files folder there are
two subfolders; one for images, and the
| | 00:15 | other for the video.
| | 00:16 | My recommendation is, in Lightroom, go
ahead and import all of the images;
| | 00:25 | that way you can easily move back
and forth between Lightroom's Library
| | 00:28 | module and Photoshop.
| | 00:31 | When it comes to the video, I recommend
that you just import that directly
| | 00:34 | into Photoshop.
| | 00:36 | If you are a monthly member or annual
member of lynda.com, you don't have
| | 00:40 | access to the exercise files, but you can
follow along from scratch with your own assets.
| | 00:44 | Let's get started with Black and
White with Lightroom and Photoshop.
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| Why black and white?| 00:00 | The role of software in photography is
really to help convey an emotion or an
| | 00:05 | aesthetic to your images, to make
certain that what you shot or what you share
| | 00:09 | looks the way you want it to,
| | 00:11 | and one of the best ways to do that is
to convert an image to black and white.
| | 00:15 | It's a subtractive process that removes
distractions, and really helps you focus
| | 00:20 | on the content of the image,
| | 00:22 | but it's also very strong aesthetic.
| | 00:24 | It can be a very soft ethereal look,
or it can be a harsh, gritty look that
| | 00:29 | brings a lot of attitude.
| | 00:30 | You can change an image quite a bit
by converting it to black and white,
| | 00:34 | so we'll talk about all sorts of ways to
bring your feelings into your photos in
| | 00:40 | black and white conversion.
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1. Black-and-White ConsiderationsThinking in black and white| 00:00 | Back in the film days, shooting
black and white was very intentional.
| | 00:04 | You would load black and white film
into the camera, and you would just
| | 00:07 | shoot black and white,
| | 00:08 | and so you tended to walk
around thinking in black and white,
| | 00:12 | and that same sort of thinking is
really important if you want to go out and
| | 00:16 | shoot for black and white imagery.
| | 00:18 | Now, you can look at it later, and you can figure
out what to do with the images that you have,
| | 00:23 | but if you're going out in order to
shoot black and white images, it will help
| | 00:27 | to look at the world a little differently,
kind of like we did back in the film days.
| | 00:31 | So, try to see through the lens with a
black and white image. Contrast, tone,
| | 00:37 | shadow, texture, lines; you're
looking for that subtractive content.
| | 00:43 | The composition of the image becomes
much more important, you have the ability
| | 00:47 | to look at things in a more abstract
way, but you really want to latch on to
| | 00:51 | little details that will lend themselves
well to removing color, which is to say
| | 00:56 | that if you're going to take a picture
of a sunset, that's probably going to be
| | 01:00 | a real challenge to make that
a compelling black and white.
| | 01:03 | You have all these interesting colors,
and you have to ask yourself, is that going
| | 01:07 | to lend itself well to shades of gray?
| | 01:09 | Now, if there is a nice silhouette in the
foreground or something, that might be interesting.
| | 01:13 | But when you're looking at an image, whether
it's the image that you already have on
| | 01:18 | your computer, or the one you are
going out to shoot, try to think in
| | 01:21 | black and white as you're doing that.
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| Shooting with black and white in mind| 00:00 | So, I mentioned that when you're
shooting in black and white, you want to make
| | 00:03 | sure that you think
in black and white,
| | 00:05 | and it might be tempting to put your
camera in a mode so that it records a
| | 00:10 | black and white image, but you
absolutely don't want to do that.
| | 00:13 | The color information is really
important. It's going to be really important in
| | 00:17 | the editing process, but it's also
entirely possible that you might decide that
| | 00:21 | you wanted a color image.
| | 00:23 | It's a lot easier to discard that
information in software than in the camera,
| | 00:27 | so make sure you don't shoot in a
black and white mode in your camera.
| | 00:32 | The one exception to this would be
Leica makes a camera devoted just to
| | 00:35 | black and white photography, and it does
that exceptionally well, it works kind
| | 00:39 | of like the old film thinking, but I'm
guessing you probably don't have that. I
| | 00:43 | know I don't. A couple of other
things you should know about shooting in
| | 00:46 | black and white, and best practices in
general. You want to make certain that,
| | 00:50 | especially in the case where you're
shooting fine art photography, or landscapes,
| | 00:55 | just like with color, make certain to
take the time to stabilize your camera.
| | 00:59 | It's important no matter what you're
doing, but if your intent is to produce
| | 01:03 | fine art, that will yield
the sharpest possible image.
| | 01:07 | The other thing it's going to let you
do is shoot with the lower ISO, and that
| | 01:11 | means less grain, and less noise.
| | 01:14 | Now, having said that, one of the best
things about black and white is that
| | 01:18 | excessive noise can come through as an
aesthetic, and it can give your image a
| | 01:23 | whole new feel. So, it can be sort of
the grainy, T-Max 3200, to borrow from the
| | 01:28 | past, look to your image. It
can give it a certain warmth.
| | 01:32 | But you want to think about these
best practices when you're shooting.
| | 01:35 | The last one I'll leave you with is, if
you have the ability to shoot RAW, make
| | 01:40 | sure that you do that. By shooting JPEG,
you're compressing the image, and you're
| | 01:44 | discarding a lot of
really valuable information.
| | 01:46 | We want to hold onto as much color,
and as much information, so that as we
| | 01:50 | convert to black and white, we have the
highest fidelity output. So, just some
| | 01:54 | things to keep in mind
while you're out there shooting.
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| Choosing black and white or color| 00:00 | Let's step through a bunch of
images, and talk about which ones lend
| | 00:03 | themselves to color, and which are best
for black and white, and we'll look at
| | 00:06 | some of the reasons why.
| | 00:08 | In this first image, this is actually a
color image; it's just as I shot it. It
| | 00:13 | was such a bleak day that it ends up
looking like a black and white image. There
| | 00:17 | are some things I could do to it, but it
really is just a black and white image.
| | 00:22 | In this next example, as a color photo,
there was too much visual information;
| | 00:26 | there was too much clutter. By converting
it to black and white, I notice the
| | 00:30 | texture in the wood, and the shape of
the leaves. It's less distracting, and I can
| | 00:35 | focus on what's in the foreground.
| | 00:38 | This is an image from the same trip; a
big bright orange train, and as you imagine,
| | 00:43 | this isn't a very interesting monochromatic
image. All of the excitement gets
| | 00:47 | lost from it. It wants to be color.
| | 00:49 | In this image, I've drawn focus to the
texture, and the lines, and I've accentuated
| | 00:55 | them by adding a really basic white
border. Even just that one little touch on a
| | 01:00 | black and white image
can make a huge difference.
| | 01:02 | I've got the line that fades into the
lower left-hand corner, I have got the shape
| | 01:06 | of the leaf, and a lot of shadow
and tonal differences. It's a much more
| | 01:10 | interesting black and white
than it is in color.
| | 01:12 | This is a great example of how black and
white can really change the mood of an
| | 01:16 | image. I've got my friend standing in the
middle of the desert here in this huge open
| | 01:20 | space, but as a color image, he gets
kind of lost. There's a lot of competing
| | 01:25 | colors, and a lot of competing information.
You'd have the blue sky, the foliage
| | 01:29 | in the background,
and the color of the sand.
| | 01:31 | As a black and white we focus on how
small he is in relation to all of it, and the
| | 01:36 | long trailing shadow behind him that
tells us it's the very beginning of the day.
| | 01:40 | Much more interesting
black and white image.
| | 01:42 | Here is a really dramatic sunset, and
you would think that, you know, nature has
| | 01:47 | done all the work here. This is a great
color image, but if we look at it in
| | 01:51 | black and white, and I'm not saying
it's better, but you just realize how
| | 01:54 | much different it is.
| | 01:55 | So, you can really lend an entirely
different emotion to an image by making
| | 01:58 | it black and white.
| | 01:59 | And as we talk about, later sometimes
you do want both; sometimes one image is
| | 02:03 | more appropriate for certain
use or context than the other.
| | 02:06 | This is a good example of how black and
white can make something very run down
| | 02:10 | look more charming or artistic.
| | 02:12 | As a color photo, there's way too much
information in here; there's way too much clutter.
| | 02:17 | If we subtract the color from it, and
make it all about black and white, and focus
| | 02:22 | on the shape of the clouds, and the tones,
and the textures, and it just becomes a
| | 02:27 | lot more interesting.
| | 02:29 | Somehow things that are run down, or
rusty, or broken end up being charming
| | 02:35 | when they're black and white.
| | 02:36 | In this image, we can focus on the texture,
and on the shape; its abstract. If this
| | 02:40 | were a color image, it would be really
easy to try to figure out what we're
| | 02:44 | looking at, and for it to be somewhat of a
mental puzzle. As a black and white image,
| | 02:47 | it's just an interesting abstract, and
you understand that shadows and lines feel
| | 02:52 | a lot different in the
black and white image.
| | 02:54 | This is a good example of a tricky
lighting situation. I'm shooting up into a
| | 02:58 | sky that's lit by the setting sun, so
it's low light in the foreground, and a
| | 03:03 | little washed out in the background.
| | 03:04 | In order to expose it, so that I could
see the detail, I'm introducing a bunch of
| | 03:08 | noise, and I'm washing out the sky. By
converting it to black and white, and
| | 03:12 | tinting it, it's giving it a whole
different mood. The sky doesn't matter; it
| | 03:15 | becomes more about the birds that are
flying and what was noise just becomes
| | 03:19 | grain, it becomes an aesthetic.
| | 03:21 | In this example, kind of the same thing.
This is my girlfriend and I; we're on
| | 03:24 | vacation. It's a warm day, but it was
cloudy and overcast, so the color picture
| | 03:29 | looks like you'd never want to go in the
water, so with a black and white image, I
| | 03:32 | have lent more of the mood that I felt
to the image, and you really feel like the
| | 03:36 | weather, instead of the sort
of gloomy day that it was.
| | 03:40 | This is an example of trying to lend
some attitude to an image. We're showing
| | 03:44 | what's ultimately going to be a really
beautiful piece of jewelry, but how it's
| | 03:47 | constructed in a very industrial
process that goes in that, so it was
| | 03:51 | intentionally gritty and dirty, and
black and white does a great job there.
| | 03:55 | This is an example where there
were some distracting colors in the
| | 03:57 | background, and a simple, quick, black and
white conversion helps just focus on
| | 04:01 | the subject matter.
| | 04:02 | Here is the color image from a recent
trip down to Lynda, and here is the same
| | 04:06 | image in black and white.
| | 04:07 | There are some cases where you don't
know which one you like more, and its okay;
| | 04:11 | you can have both. That's one of the
great things about shooting digital.
| | 04:14 | Here is one of the finished products
from shooting the car that same weekend, and
| | 04:18 | I love the color images that I worked
with, but there's something about the
| | 04:21 | simplicity of the black and white image;
you can almost feel the paint, and that
| | 04:24 | doesn't come through in the color images.
| | 04:26 | This looks very similar, but if you
look closely, you'll notice that I've
| | 04:30 | used some selective controls, and I've
retained the bright red interior, so you
| | 04:33 | can mix monochromatic images, and
introduce a little bit of color too. This
| | 04:37 | absolutely wants to be a color image.
It's a sunny, warm day, and we don't want
| | 04:40 | that to get lost. It would be a
really uninteresting black and white.
| | 04:43 | This is an abstract image, and as a
color image, it doesn't work at all. As a
| | 04:47 | black and white abstract, it's just
interesting. You don't even know exactly what
| | 04:50 | you're looking at at first, and it doesn't
matter; it just has a totally different
| | 04:53 | look and aesthetic to it.
| | 04:54 | This is definitely abstract. As a black
and white, this doesn't work. It's a picture
| | 04:58 | of a light bulb. It's not really
important that you know that, but the tones are
| | 05:01 | too similar in a black and white,
and it just sort of blends together.
| | 05:05 | Very similar is this picture of a
barbecue throwing a bunch of sparks in a
| | 05:09 | long exposure. I would've thought for
sure this would be a better color image
| | 05:12 | than a black and white, but if we look
at it in black and white, it becomes more
| | 05:15 | abstract, and I think a lot more dramatic.
| | 05:17 | So, just remember that some images
lend themselves better to color; some to
| | 05:21 | black and white. There are some good reasons
for that, and some you either don't know,
| | 05:24 | or you want to have the option
of looking at one or the other.
| | 05:27 | So, just a few things to think
about as you're converting color images
| | 05:30 | to black and white.
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2. Black-and-White First Steps in LightroomSetting up Lightroom and creating versions| 00:00 | Here we're in Lightroom, and the very
first thing that I want to do is get some
| | 00:04 | of the interface out of the way, so we
can focus on the images, and Lightroom
| | 00:08 | makes that really easy. We have these
little triangles off to the side, where
| | 00:12 | once I dismiss that, all I have to do is
mouse over, and it will present itself.
| | 00:16 | So, I'm not missing any functionality,
but I can see more of the imagery.
| | 00:19 | I am going to do the same thing at the
bottom there, and over to this side. It's
| | 00:24 | a lot nicer; I can just
focus on what's going on.
| | 00:27 | I mentioned before that a lot of the
time, when you want to do a black and white
| | 00:31 | image, you want to keep
the color version as well.
| | 00:33 | Now, it might be because you're not
sure which one you want, and you want to
| | 00:37 | protect yourself, and have a color, and
a black and white, it might be because
| | 00:40 | you want to compare them, or might be
because you have completely different use
| | 00:44 | cases for the image.
| | 00:45 | And so that's why I want to show you how
to make a virtual copy, and it's exactly
| | 00:49 | that; all we're doing is just creating a
copy of the file, and there's two ways to
| | 00:54 | do it. With an image selected, you can
either come up to the Photo menu, and come
| | 00:58 | down here, and Create Virtual Copy, or
what's a lot easier is to just right-click,
| | 01:02 | and come in here and say Virtual Copy.
And that's what it's going to do; it's
| | 01:05 | going to create a mirror of that file.
| | 01:06 | So, we can leave this one color, and
we can make this one black and white.
| | 01:09 | And the next thing we are going to
talk about is making it the best color
| | 01:12 | image as possible.
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| Preparing a color image for black and white| 00:00 | The first step to getting a great black and
white image is getting a great color image.
| | 00:04 | So, let's start with this image here,
and we're going to go over to our Develop
| | 00:08 | module, and I'm going to do that
same trick before; I', going to dismiss the
| | 00:12 | interface on the left, so I
can see a lot of my image.
| | 00:15 | And what we want to do is get this
as far as possible in color. There's
| | 00:19 | two reasons for that.
| | 00:20 | One, we want all of the information
that we can see for editing this image. The
| | 00:24 | other reason is, we might find in that
process that we really like the image in
| | 00:28 | color, and we don't want it in black and
white after all. So, I could press the
| | 00:32 | Black & White button over here,
but that's not what I'm going to do.
| | 00:35 | First, I am going to show you how to use
the White Balance tool, and you can get
| | 00:40 | into a little bit of trouble with this,
so I encourage you to only use it if it
| | 00:44 | seems like there's a bit of a shift in
your image, but because it can be misused,
| | 00:48 | let's cover a couple tips and tricks.
You don't need to use it on a white area,
| | 00:53 | like the elephant's tusk there, just a
neutral area. It can be black, it can be
| | 00:57 | gray, it can be white.
| | 00:58 | If it doesn't work, just click again.
I like to say season to taste; try this
| | 01:02 | until it works for you, and usually
what will need to happen is you'll end up
| | 01:06 | warming the image up a bit afterwards.
I don't recommend that you play around
| | 01:09 | too much with Tint, but with that
White Balance tool, try it in a couple of
| | 01:13 | neutral areas until you
get the image you want.
| | 01:15 | I'm going to grab this panel over here
and stretch it out a bit, so I that I
| | 01:20 | have just a little more control. And with
Exposure, the main reason that I'm using
| | 01:24 | Exposure is if I've overcooked the
image, and in this case, I can tell just by
| | 01:28 | looking at it, I left my exposure compensation
on, and I shot a little bit hot. I
| | 01:32 | do that more often than I'd like to
admit. But what I'd like to tell you here is
| | 01:36 | the Exposure is a bit of a
sledgehammer; it's easy to overuse it.
| | 01:40 | What Highlight will do is it will
recover the highlight detail. You can see
| | 01:43 | my histogram is moving, and I'm just
pulling that one side down, so I can see
| | 01:47 | the detail in the sky.
| | 01:48 | Shadow will fill in the shadow area,
and brighten it. And I'm not going to use
| | 01:52 | Whites and Blacks too much; they will
just darken or lighten either of those,
| | 01:56 | but I can use blacks to take the
dark areas, and make them pop a bit. And
| | 02:00 | speaking of making this image pop, that's what
clarity is for; it's essentially midtone contrast.
| | 02:04 | So, if I move it to the right, the image is
going to be a little more dramatic and crunchy.
| | 02:09 | Were I move it to the left, I can soften
it, and make it almost glow; it's like
| | 02:13 | rubbing Vaseline on the lens. It can
be really handy if you have someone who
| | 02:17 | needs their skin retouched. It's a
good way to skip that. But for the case of
| | 02:21 | this image, we're going to want a high
contrast black and white; I'm going to
| | 02:24 | move it over a little to the side.
| | 02:26 | Now, you wouldn't think that Vibrance and
Saturation would be very important in a
| | 02:29 | black and white image, but again, I want
to take it as far as I can color before
| | 02:33 | I decide whether I want it
to be black and white or not.
| | 02:36 | So, what I'd like to do in this case
is boost the Vibrance a bit, drop the
| | 02:40 | Saturation, and now I'm getting somewhere.
I have got a nice color image.
| | 02:44 | The last thing I want to show you in
color is around the Tone Curve, and curves
| | 02:48 | can be a little bit scary; Lightroom
has given a much nicer interface to this.
| | 02:52 | Essentially, what we have done here is
giving you sliders connected to the curve,
| | 02:55 | so the Highlights slider will pull just
the highlight area, and the Shadows slider
| | 02:59 | will pull just the shadow area, and I
don't even need to know anything about
| | 03:03 | curves. I can double-click on
these to restore them to their default.
| | 03:07 | Now, what a lot of people don't know is
that I can grab these little points here
| | 03:11 | that control those four sliders;
those are quadrants of the curve, and I can
| | 03:14 | move them over, so that now the Shadows and
Highlights sliders will only control 10% of histogram.
| | 03:20 | So, you can see Highlights is only
affecting the very brightest area, and Shadows is
| | 03:26 | only affecting the very darkest area.
| | 03:28 | This is a nice finishing touch for your
color image, and it's a great last step
| | 03:33 | before we move on to black and white.
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| Black-and-white mixing and adding tone| 00:00 | Alright, so we have our color image
looking just the way we want it, and we're
| | 00:03 | ready to convert it into black and
white. We're going to come over here to
| | 00:07 | this panel, and we see that we have a
lot of control over the Hue, Saturation,
| | 00:11 | Luminance, and other color values, and if
we wanted to take the image further in
| | 00:14 | color, that's what we'd play around with,
but we want to make it black and white.
| | 00:18 | I click on the Black & White tab, and
the image changes, and you can see that
| | 00:22 | we've automatically added contrast
between the various colors, and we do this to
| | 00:27 | make those different tonal values pop.
| | 00:30 | Now, if I were to move the individual
sliders, we see that that area of the
| | 00:34 | image will get lighter, or darker, and
that's fine, but I have to remember what a
| | 00:39 | given color was, and how
it maps to the scale.
| | 00:42 | What's a lot easier to do is to
use this cool little thing called the
| | 00:46 | Targeted Adjustment tool.
| | 00:48 | I click on that, and let's
use the sky as an example.
| | 00:51 | If I click and pull down, it's going
to make those color values darker.
| | 00:56 | If I click and pull up, it
will make them brighter.
| | 00:59 | So, if I come down here to the grass,
and click on that and pull it up, I'll see
| | 01:04 | that it's mostly orange, but a little
bit of yellow, and if I come over to the
| | 01:08 | foliage here and pull down, it's
mostly yellow, and a little bit orange.
| | 01:14 | So, I see that not only is this easier to do,
but I'm actually doing things that are
| | 01:18 | impossible with the normal interface.
| | 01:21 | I can move various sliders at different
paces, and when I'm done with that, I
| | 01:25 | want to make sure that I turn that off.
| | 01:27 | The next thing I'm going to do
is add a little bit of toning.
| | 01:30 | Now, I don't need to this to every image,
but a lot of images benefit from being
| | 01:35 | warmed up or cooled down.
| | 01:36 | It's just another way to adjust the
look of the image, and change it around,
| | 01:40 | and there is two ways to do this.
| | 01:42 | One, I could just choose a given Hue,
say we want to make this sepia tone, and
| | 01:47 | then pull the Saturation up, and that
would be the saturation for the highlights.
| | 01:51 | But a better way to do this is to use the
Option or Alt key, and drag the Hue slider.
| | 01:57 | While you're holding down Option
or Alt, you're going to see a temporary
| | 02:01 | preview at 100% Saturation. It's much
easier to choose the tone you want doing this.
| | 02:07 | So, I want a nice warm tone for the
Highlights, and now I can slowly pull the
| | 02:13 | Saturation up, and I'm going to do
the same thing with the Shadows.
| | 02:17 | I'm going to hold the Option or Alt,
and I pull that up, and I also want a warm
| | 02:22 | kind of rusty tone for the shadows,
and then I can pull up the Saturation.
| | 02:25 | And if I wanted to balance more
highlight, or more shadow, I could do that.
| | 02:29 | So, really quickly and easily, I've
converted my color image to black and white
| | 02:32 | and I've given it a
little bit of a warm tone.
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| Fine-tuning your image| 00:00 | We've taken our image really far here,
from a low contrast color image, to a
| | 00:04 | really rich black and white, with
sepia tone, but there are a couple of last
| | 00:08 | things I want to do.
| | 00:09 | Let's come into the Detail panel here,
and talk a really briefly about Sharpening.
| | 00:13 | Now, sharpening is something you don't
want to do in camera; you definitely want
| | 00:17 | to do this in software.
| | 00:18 | If you have access to
Photoshop, you can do it selectively,
| | 00:21 | but a lot of the times, people want to
do a little bit of sharpening here in
| | 00:25 | Lightroom, so let's talk
about how to do that.
| | 00:27 | I'm going click this little widget here,
and click that point on the elephant's eye.
| | 00:31 | Essentially, what you'd want to do is
choose an area that you want to sharpen, and
| | 00:35 | I like having the best of both worlds here.
| | 00:37 | I have got a 100% preview over here on
the Detail panel, and I can see the whole
| | 00:42 | image over here on the left.
| | 00:43 | Now, I can individually pull these sliders,
and I can see how the image is affected,
| | 00:47 | but what's really handy here is, if
I hold the Option or Alt key, it's
| | 00:51 | temporarily going to make the image
just straight monochromatic; it's going
| | 00:54 | to remove that toning.
| | 00:55 | If it were a color image, it would
temporarily be black and white, and I can see
| | 00:59 | the effects of the Sharpening slider.
| | 01:01 | Now, less is definitely more here. I
really encourage you to not over-sharpen.
| | 01:05 | A couple of things to note here
are the Amount, the Radius, which is the
| | 01:10 | distance that's affected, the Detail
that is either preserved or left out, and
| | 01:15 | most importantly, and one of
the coolest things, is Masking.
| | 01:17 | If I pull this, white means the entire
image is sharpened, and as I pull over to
| | 01:23 | the right, I'm creating a mask, so only
the white areas would be sharpened, and I
| | 01:27 | really like to use this.
| | 01:28 | Not only do I like to use minimal
sharpening, but I like to mask off as much as
| | 01:33 | possible, so now I'm just sharpening
the eye, and the area around the eye.
| | 01:37 | When it comes to Noise Reduction, I
encourage you to think about that when
| | 01:40 | the image is color.
| | 01:41 | If you like the color image,
then work with Noise Reduction then.
| | 01:44 | If you've already made it black and
white, a lot of the time you're going to find
| | 01:48 | the noise doesn't matter as much. It
manifests itself as grain, which is much less
| | 01:52 | of a nuisance in a monochromatic image.
| | 01:55 | So, we're going to leave Noise Reduction
alone. Also, this was taken on the middle
| | 01:58 | of the day, so it really doesn't matter.
| | 02:00 | Lens Correction; every single lens
has some sort of problems with it.
| | 02:04 | Either it's distorted, or
there is falloff in the corners.
| | 02:07 | If I were to choose automated lens
correction on this, I don't see anything.
| | 02:10 | Normally, it automatically populates
all these fields, but the reason for that
| | 02:14 | is I was shooting with a teleconverter.
I was shooting with a 70 to 200
| | 02:18 | lens that's at 400.
| | 02:19 | So, what you can do if you ever don't
find the right profile is you can fake it.
| | 02:24 | Canon, yeah okay; let's go with a
400 lens. I shot a 70 to 200, and that
| | 02:30 | absolutely looks better. It's removing
some of the fallout in the corners, and
| | 02:33 | it's taking some of the distortion out.
| | 02:35 | Nine times out of ten, when you click Enable
Profile Corrections, you're going to get
| | 02:39 | the exact setup that you had,
| | 02:41 | but if you don't find that, play
around with the list that you have there,
| | 02:45 | because you can almost
always make it better.
| | 02:47 | The last thing I want to talk
about is the Effects panel here.
| | 02:50 | When it comes to introducing a little
more drama to the image, we can darken the
| | 02:54 | edges to bring our focus to the center.
We can adjust the midpoint, and then I
| | 02:58 | like to use Feather to soften that out,
and that looks great. We could also take
| | 03:02 | Grain and move grain in here.
| | 03:05 | Now, with black and white, adding a
little bit of grain can be nice, because you
| | 03:09 | can give it sort of a film aesthetic.
| | 03:11 | The area where I like it the most is if
I have mixed ISO imagery that's sitting
| | 03:15 | side by side, grain is a way to
establish some consistency between images.
| | 03:20 | Now, I encourage you to look at this up
close, because grain really is kind of
| | 03:24 | like noise, so introducing it
will remove some of your detail.
| | 03:27 | And the very, very last thing I want to
do here is maybe crop my image. I think
| | 03:32 | of this like color; I want to remove
information at the very end, when I'm sure
| | 03:37 | of what I want let go of.
| | 03:38 | So, let's grab my Crop tool, and again,
it's just about bringing our focus to the
| | 03:43 | subject matter in the middle.
| | 03:45 | I'm going to pull in a little bit
there, and apply my crop, and what's great is
| | 03:50 | what we did with the vignetting
followed the constraints of the crop.
| | 03:54 | So ,there we have it; a little bit of
fine-tuning to make our image look that
| | 03:58 | much better.
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| Utilizing presets effectively| 00:00 | We've spent a lot of time getting our
image looking just the way we want it, and I
| | 00:04 | want to save us some work going forward,
| | 00:06 | so the next thing I want to do is talk about
how to make up preset of all of our hard work.
| | 00:11 | So, we've got a bunch of Lightroom
Presets, but we can also create our own
| | 00:15 | User defined preset.
| | 00:16 | So, I'm just going to come here, click
on the plus sign, and let's call this
| | 00:20 | one Africa, which is where I shot that,
and it gives us our choice of all the
| | 00:24 | different things we want to do here, and
we're just going to say create, so that
| | 00:28 | the next time we come in here, we can apply
a preset to any of the images that we want.
| | 00:33 | Now, there is another way to do
this that can also be really easy.
| | 00:37 | Let's hit the G key to come back to my
Library, and let's say that I want to try
| | 00:42 | my luck, and see if I can map this
effect to this other image, also from Africa.
| | 00:46 | So, what I'm going to do is just select
that, come over here, and say Sync Settings.
| | 00:50 | And again, I have my choice of which
things I'm going to apply here, and I want to
| | 00:55 | make sure I leave crop out,
but that looks good.
| | 00:57 | Synchronize, and things look good.
| | 00:58 | Now, I might want to tweak this a
little bit from there, but it's saved me a
| | 01:03 | bunch of time. It moved me really far
ahead, and it's going to give me a tonal
| | 01:06 | consistency with some of the other images.
| | 01:08 | So, creating presets and syncing files
are great ways to save a lot of time, which
| | 01:11 | is really what working
in Lightroom is all about.
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| Creating black-and-white HDR with Lightroom and Photoshop| 00:00 | As we transition from talking about
Lightroom to talking about Photoshop, I'd
| | 00:04 | like to discuss a feature that was an
update to Lightroom 4.1, which actually
| | 00:09 | involves both applications working
together, and that's around HDR, or High
| | 00:14 | Dynamic Range imaging.
| | 00:16 | So, let me select these images, hit the
Spacebar, and you can see what I have done
| | 00:21 | here is I've bracketed these.
| | 00:23 | These shots are underexposed to give me
as much information as the highlights as
| | 00:26 | possible, transitioning to even, and
then eventually, overexposed, so that I can
| | 00:31 | see all of the information in the shadows.
| | 00:34 | So, with those images selected, I'm
going to right-click, and come down to
| | 00:39 | Edit In > Merge to HDR Pro in Photoshop,
because as of 4.1 Lightroom, can read 32-bit file.
| | 00:47 | So, what I'm going to do is I am going to
put these all together in Photoshop, and
| | 00:52 | then I'm going to use Lightroom.
| | 00:53 | So, let's do that, and what will happen
is Photoshop will launch, it will align all
| | 00:57 | of those files, it will align of the layers, and
it will bounce me into Merge to HDR Pro. Okay.
| | 01:03 | So, here I am in Merge to HDR Pro, and
what's really important is, if you're
| | 01:06 | greeted with this dialog, we don't
want worry about any of these controls;
| | 01:10 | all we want to do is
yield a 32-bit file.
| | 01:13 | So, we should see this
very simple dialog here.
| | 01:16 | We see all of our bracketed
exposures on the bottom, and I'm going to
| | 01:20 | click Remove ghosts.
| | 01:21 | You don't need to do this for all
images, but certainly with as many as I
| | 01:24 | have, it's a good idea.
| | 01:25 | It's going to scan through all of those
images, and remove anything that might be
| | 01:29 | moving between them, so grass that's
blowing, clouds that are moving; it's going
| | 01:33 | to get rid of the ghosts.
| | 01:35 | Now, I can see by this green outline
down here at the bottom that it's mapping
| | 01:39 | the content of that particular image, and
that works well, because I like this guy
| | 01:43 | with the New York cap;
that's where I shot this.
| | 01:45 | But if I wanted to override that, I can
click one of these other images down at
| | 01:49 | the bottom there, and change which one
I'm mapping the content in the image to.
| | 01:53 | But let's go with the one that it
originally recommended, and just to show you
| | 01:56 | really quickly, by combining all those
together, I have all of the highlight detail,
| | 02:00 | and all of the shadow detail, and we're
just going to click OK, or hit Return.
| | 02:06 | Now we're here in Photoshop,
and this step is really simple.
| | 02:09 | All I do is hit Command+W to close
it, and we're going to click Save.
| | 02:14 | Now if we pop back over to Lightroom, we've
got a new file here, and that's the 32-bit file.
| | 02:19 | Now, it doesn't look very different,
but we see that it's HDR-Edit, and it's a
| | 02:23 | TIFF, and Lightroom can
read that 32-bit TIFF.
| | 02:26 | These other ones here are JPEGs.
| | 02:28 | I am going to double-click that file,
and I can do all of the things I'm used to
| | 02:32 | doing in the Develop module, but
with all of that extra data.
| | 02:35 | So, let's go to Develop, and you see that
the Exposure slider gives me access to
| | 02:40 | the full range of that file. So, I
can back that down a little bit, I can
| | 02:46 | further control my Highlights, I can
boost my Shadows, and then let's say we
| | 02:51 | want to throw in just a tiny bit of
Clarity, and let's just stop there, and make
| | 02:56 | that black and white.
| | 02:57 | I can yield a really neat
black and white image using HDR.
| | 03:00 | Normally, when we think about High
Dynamic Range, we think of sort of candy
| | 03:04 | colored, really excessive, saturated
images, but it's really effective for high
| | 03:09 | contrast black and whites, especially
landscapes, and things with a wide dynamic
| | 03:14 | range, so definitely give that a try.
It's a really fun way of using both
| | 03:17 | applications together.
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|
3. Black and White in PhotoshopMaking selective edits| 00:00 | So far, we've focused on making
global edits in Lightroom, and making
| | 00:05 | black and white images completely black
and white, and just focusing on the whole
| | 00:09 | thing, and it is possible to do
some selective editing in Lightroom.
| | 00:13 | I could take, say, the Brush tool here
and I can choose a particular size of my
| | 00:18 | brush, and either paint a given area,
and then adjust the parameters of that, or
| | 00:26 | paint multiple areas by Shift+clicking,
and this is fine, but not only do I have
| | 00:31 | a lot of limitations as far as my
control goes, but you'll see if I show the
| | 00:35 | masked area, it isn't really accurate.
It's going beyond the eye, and I can tune
| | 00:39 | that up, but there's a lot
of guesswork involved here.
| | 00:42 | So, Lightroom has a tremendous number
of strengths, but selective editing is
| | 00:47 | really not one of them, it's
much better for global edits.
| | 00:50 | So, this is a good time to move over to Photoshop,
because that's an area that it really shines.
| | 00:55 | Now, before we do that let's convert
this back to color, which is really easy to
| | 00:59 | move between states in Lightroom,
because the history lives with the file.
| | 01:03 | So, I can just move back a few steps here
to when we adjusted our settings, and we
| | 01:09 | come back to where this was color.
| | 01:10 | So, now we'll back up, and all we need
to do to pop over into Photoshop is hit
| | 01:16 | Command+E, and it'll launch
Photoshop, and open the file in here.
| | 01:21 | Now I'm going to double-click on my
Zoom tool to move in close, and before we
| | 01:25 | even talk about black and white, let's
talk about selective tonal adjustments,
| | 01:29 | because there are some
great tools over here.
| | 01:31 | Now, the best way to do it is to
duplicate our layer. I'm just going to grab
| | 01:35 | my layer, and duplicate that, because
everything I do with a brush, I want
| | 01:38 | to be able to undo it later. And a couple
of tools that I want to show you are
| | 01:42 | Dodge and Burn, and Sharpen.
| | 01:44 | So, with Dodge, as long as I have this
Protect Tones checkbox checked, which it is
| | 01:50 | by default, I have a tremendous amount
of power. I can come in here and brighten
| | 01:55 | the eyes. There's the Midtones; if I
were to change that to Shadows, I can
| | 01:59 | brighten that up, and I'm not
hurting the areas around it at all.
| | 02:02 | If I were to come down to a brighter
area; let's say, the wood there, just to
| | 02:07 | show you how this works, and I were to
burn that, I can burn the Midtones, or
| | 02:13 | even more aggressively, the Highlights,
just the very whitest part. I have a lot
| | 02:19 | of power here. I have got Photoshop's
really rich, powerful brush engine. I can
| | 02:23 | use Ctrl+Option to drag this side to
side, and change the size, or Ctrl+Option up
| | 02:29 | and down to change the hardness, and
with those tools, I can get a lot done to
| | 02:34 | very specific areas.
| | 02:35 | Now, let's say I wanted to
do some selective sharpening.
| | 02:38 | Before, when we talked about sharpening, we
talked about doing that to the entire image.
| | 02:42 | In Photoshop, we can do that selectively,
and so what I'd want to do here is just
| | 02:47 | come over, and grab my Sharpen tool, and
again, make sure that Protect Detail is on,
| | 02:53 | which it is by default. And I like to
pull the Strength down on this. Again, I'm
| | 02:57 | going to give myself a larger brush,
and I can come in here, and do this brush
| | 03:02 | based sharpening, and the way I like to
do it is to just slowly build this up, and
| | 03:06 | not only is this an incredibly sophisticated
algorithm, it doesn't introduce a lot
| | 03:10 | of artifacts, but I'm able to just precisely
apply it to the area I want. So, if
| | 03:15 | I were to toggle my layer, I
can see what I've done there.
| | 03:18 | So, really great stuff to do in Photoshop;
selective edits, especially around
| | 03:22 | dodging, burning, and sharpening.
| | 03:25 | Next up, we'll talk about what
we can do specific to black and white
| | 03:28 | in Photoshop.
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| Taking advantage of black-and-white adjustment layers| 00:00 | Like a lot of things in Photoshop,
there are a lot of different ways to make an
| | 00:04 | image black and white.
| | 00:05 | There are so many that there are entire
books devoted just to the different ways
| | 00:09 | to make an image black and white,
| | 00:11 | but I want to show you just one way
that's really powerful, and really easy to use.
| | 00:15 | In fact, it's just as easy as Lightroom,
and it gives you all of the flexibility,
| | 00:19 | while allowing you to do some things
that you can do uniquely in Photoshop.
| | 00:23 | So, we're just going to come over to our
Adjustment panel here, and we are going
| | 00:27 | to click on Black & White, and it's very
familiar; it looks a lot like Lightroom. I
| | 00:31 | can toggle this eyeball to
see the effect on and off.
| | 00:34 | I can hit Auto, so that
I adjust for the image.
| | 00:37 | I see that there is some contrast
between the various channels, and I can even
| | 00:41 | use the on image tool. Now, it
works a little differently in Photoshop.
| | 00:46 | If I click this, rather than moving up
and down, I move left and right while
| | 00:50 | clicking to make the blue area darker, or
lighter, or to make the red area lighter,
| | 00:56 | or darker, but it's really easy to use,
and I can do some really cool things in
| | 01:00 | here that I couldn't do anywhere else.
| | 01:02 | So, if I come up here to, say, Masks,
I can come in, and I could just paint
| | 01:07 | back areas of color.
| | 01:10 | So, as I'm doing this, I'm creating a
layer mask, and this is the sort of thing
| | 01:14 | that makes Photoshop so powerful, and so
flexible. You can see I created a quick
| | 01:18 | layer mask while I was doing that.
| | 01:20 | Now, because this is all layer based,
because I'm using adjustment layers, and
| | 01:23 | masks, it's all nondestructive. Like
Lightroom, I can track back in time, I can
| | 01:28 | undo things, I can move between
various states, and as long as I save out a
| | 01:32 | layered document, which is to say, a PSD,
or a TIFF file, then I have all of that
| | 01:37 | flexibility moving forward.
| | 01:38 | So, a lot power in Photoshop, but it's
actually surprisingly easy to use when it
| | 01:42 | comes to black and white, using
the Black & White adjustment layer.
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| Enhancing your images using layers| 00:00 | Okay! So, I want to show you a
couple of really cool layer tricks.
| | 00:04 | Layers are really the foundation of
Photoshop, and they're what allow you to do
| | 00:07 | some really unique things.
| | 00:08 | So, I'm going to use my Black & White
adjustment layer, but let's say that we
| | 00:12 | want to make this just black and white
in certain parts, and we want to retain
| | 00:16 | that red area in the front.
| | 00:17 | So, I'll make this look just the way I
want it to; maybe I adjust things a little
| | 00:21 | bit, make that darker, or lighter. Adjust any
different component I might want. Then I
| | 00:26 | go to my mask, but rather than making a
selection, I'm going to go to the Color
| | 00:30 | Range, and with Color Range, I'm just
going to choose the area that I want, and I
| | 00:34 | can Shift+Click to choose more of that,
I could Option+Click to remove a part,
| | 00:39 | and I've got this Fuzziness slider
that allows me to constrain that.
| | 00:42 | When it looks the way that I want, then
I just click OK, and now all I have to do is
| | 00:49 | invert that, and really quickly and
easily, I've created a layer mask, so that I
| | 00:53 | have a selective black and white. I've
got some of it in color, and some of it
| | 00:57 | in black and white.
| | 00:58 | This works really well for if you
have a black and white, and you want
| | 01:01 | someone's eyes to pop,
and be in color.
| | 01:03 | You can use Selection tools, but you can
also quickly and easily use Color Range.
| | 01:07 | Let me show you another trick.
| | 01:09 | Okay, so in this image -- let's zoom in here;
double-click to come to a 100 percent --
| | 01:14 | This is my friend Steve, and I've taken
this picture of Steve as far as I can in
| | 01:19 | Lightroom, and it looks pretty good,
but the problem is, Steve has these bright
| | 01:22 | blue eyes, and no matter what I did, that
just didn't come through here. And I can
| | 01:27 | dodge or burn them, but that doesn't
quite give me the effect that I'm after.
| | 01:31 | So, a really great trick is to take our
quick select tool, and you can literally
| | 01:35 | just click, and then Shift+Click.
| | 01:37 | And if it were more complicated than
that, I could Option+Click to remove areas,
| | 01:42 | or paint in areas that I wanted to add.
| | 01:45 | From here, I'm just going to double check,
Refine Edge. Now that's kind of spooky.
| | 01:49 | What I can do is I can increase the
Contrast; keep it just to the eyes. Smooth
| | 01:54 | things out a little. If I
wanted Feather that I could.
| | 01:57 | Just so I'm sure that I
only get the area that I want.
| | 02:01 | I click OK. I'm going to hit Command+C
to copy his eyes, Command+V to paste them,
| | 02:05 | and now what I can do is I can
use Blend Modes to make them pop.
| | 02:09 | In this particular case, the one
that I like to use here is Color Dodge, and
| | 02:14 | you see what it does; it just lights
his eyes up. It gives me the exact effect
| | 02:19 | that I wanted, and it's a great
example of how you can take existing
| | 02:22 | black and white content, and use
layer blend modes to change what you see.
| | 02:26 | There's a lot of power with blend modes,
there's a lot of power with layers, and that's
| | 02:30 | a great quick step for changing the
look of your image, especially with eyes.
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| Adjusting the toning of your image| 00:00 | We talked before about
Split Toning in Lightroom.
| | 00:02 | Now I would like to show you a couple
of ways to tone our black and white
| | 00:06 | image in Photoshop.
| | 00:07 | So, let's just take a simple black and white,
and you'll notice that there is a Tint checkbox.
| | 00:12 | This is the fastest and easiest way to
do this. I can come in here, I can change
| | 00:17 | my tone, and you see that I have incredible
control when it comes to the colors.
| | 00:22 | I have millions of colors, and all different
shades, but it kind of comes on strong,
| | 00:27 | and it's hard to bias just how much
there is. The way that I prefer to that is
| | 00:32 | to use the Photo Filter.
| | 00:34 | So, if I click that, and then change
this to Color. Come in, let's say I want
| | 00:38 | that same blue tone;
| | 00:39 | I can come over here, click OK, and now
I can adjust the Density of that, and I
| | 00:45 | have a lot more control.
| | 00:47 | So, it's kind of like that Lightroom
method of choosing the color, and then
| | 00:50 | playing around with the slider.
| | 00:52 | There is one more way to do that
selectively, so let's go ahead and merge
| | 00:57 | what we have, so we're working with
just the black and white information here.
| | 01:01 | What we can do is, we can take our Paintbrush,
and we've still got that same blue color.
| | 01:06 | Let's go and just tint the sky, so I'm
going to use my quick select tool, which
| | 01:10 | I love for this sort of thing, select the
area I want; hit Shift to hit the other area.
| | 01:16 | I can Option+Click to remove from it,
and I always like -- quickly make sure
| | 01:22 | that I've got just what I want. Often
nice to smooth that out a little, and
| | 01:26 | feather it some. That looks great.
| | 01:29 | Now I'll grab my Paintbrush, and
I'll change from Normal to Color,
| | 01:33 | and now I can selectively tone this.
I'm going to hold Ctrl and Option, or Ctrl
| | 01:38 | and Alt, give myself a nice big
brush, and a little harder edge,
| | 01:41 | and I can just come in, and
tone just the area that I want.
| | 01:44 | And I've applied this strongly, so you
can see it, but you get an idea of just
| | 01:48 | how far you could go with this. You can
adjust the brush dynamics, the opacity,
| | 01:52 | and what you can do is you can have a
black and white image, with just certain
| | 01:56 | areas washed in color, and it will
respect all the detail behind it.
| | 01:59 | So, there are three quick and easy ways
to tone your image, and just give it a
| | 02:03 | little extra something.
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4. BeyondWorking with the Silver Efex plugin for Photoshop| 00:00 | In the same way that there are a
lot of techniques for converting
| | 00:03 | black and white images in
Lightroom and Photoshop,
| | 00:05 | there are also a lot of techniques
when it comes to the third party.
| | 00:09 | There is all sorts of different
offerings in the form of actions and
| | 00:11 | third-party plug-ins.
| | 00:12 | Today I want to show just one of these
ways, and that's Nik Silver Efex Pro,
| | 00:17 | It's a really cool plug-in that you can get on
their site, either as a demo, or you can buy it,
| | 00:23 | and it actually works a lot like
Lightroom. We've got presets on the
| | 00:27 | left-hand side here; let's go ahead
and just grab one of those, and then
| | 00:30 | we've got controls on the right. So,
maybe I want to brighten that up a little;
| | 00:35 | I'll lower the Contrast.
| | 00:36 | Structure is a lot like drama or
clarity; it just bumps that up.
| | 00:40 | Now pull this down a bit. We can add
our red filter, like we would in the film
| | 00:44 | world, and you'll see the sky
will change a little bit there.
| | 00:48 | If I come down, I've got all different film
types to add grain. Not only can I add
| | 00:52 | grain, but I can actually mimic film stock.
| | 00:54 | A lot of control there. I have a lot of
control with the toning, and split toning,
| | 00:59 | and I'll see the effects as
soon as I roll over those.
| | 01:02 | With the vignettes, I can do my
own custom one, or just apply that.
| | 01:06 | Go a little further with
the edges if I wanted to.
| | 01:10 | And this is really easy. You've
got all these different effects,
| | 01:13 | and it's a great place to start when you
just don't know where to go, because you
| | 01:17 | can see the presets on the left
really give you an idea of just what you're
| | 01:21 | going to start with.
| | 01:22 | So, if you've hit the wall, or you just
want to go a little bit further, or do
| | 01:26 | things in a different way, Nik Silver
Efex Pro is a great way to do that.
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| Converting color video to black and white| 00:00 | As of Photoshop CS6, both CS6
and CS6 Extended have much easier
| | 00:06 | video functionality,
| | 00:08 | so you can open any sort of video file
off of your camera, or point and shoot, or
| | 00:12 | phone, and do just about anything
you're used to doing in Photoshop.
| | 00:15 | Now, prior to CS6 you have video
functionality only in Extended, and it does
| | 00:20 | differ a little bit, but you
can do a lot of things with video.
| | 00:23 | So, let me show you what
that means to black and white.
| | 00:25 | You see that I've got a timeline here,
and I can scrub through that, confirm that
| | 00:30 | that's video; it's got some basic
audio and editing controls.
| | 00:34 | And all we need to do in order to
add an adjustment layer is to the first
| | 00:38 | convert that to a Smart Filter.
| | 00:40 | Essentially, what that'll do is it'll
put a wrapper around the video clip, and
| | 00:43 | say, whatever you do to one part,
make sure you do it to all of it.
| | 00:47 | So, I'm going to add Black & White
adjustment layer, let's hit auto, I can play
| | 00:52 | around with my various sliders,
I could even tint that; click OK.
| | 00:58 | And if we come out here, and Play,
everything has been applied to our video.
| | 01:04 | Really easy to do that.
| | 01:06 | We can use any of our different
adjustment layers, we can use any of our
| | 01:09 | different filters, sharpening,
blurring, all sorts of different things,
| | 01:13 | and when we're all done with that, we can
just come over here, and Export that video.
| | 01:18 | We've got all sorts of different
presets here for pushing the video out.
| | 01:21 | This is designed to be really, really
easy. It's not the most powerful video
| | 01:25 | editing experience, but if you're
familiar with Photoshop, then all of the
| | 01:29 | tricks that you've been working with
on your still photos will carry over
| | 01:32 | right to your video.
| | 01:33 | So, you can use this just the
same way we've used a bunch of the
| | 01:36 | other tutorials.
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| Creating frames for black-and-white images| 00:00 | I mentioned earlier that an easy way
to really dramatically change an image,
| | 00:04 | especially a black and white, is to
just give it a simple border or frame, and I
| | 00:09 | want to show you a couple
different ways to do that.
| | 00:12 | It's a nice way to complete the image.
| | 00:14 | Probably the easiest is to just come up here to
Image, and go to Canvas Size, and just,
| | 00:18 | depending upon the size, increase
the image just a little bit.
| | 00:21 | So, I'll make this 24 inches by 16, and I
could choose any different extension; I
| | 00:27 | could make that any custom color,
gray, black, or white. I click OK,
| | 00:33 | and I've got a nice
simple frame around my image.
| | 00:36 | Now, another way to do that, would be to
take the Crop tool, and just extend it a
| | 00:40 | little bit. People don't know the
Crop tool can be used to add content.
| | 00:45 | And that's a nice visual way to do it;
you've got the grid there, which you
| | 00:49 | can change, so you can
look at that all different ways.
| | 00:52 | Okay, so another way to do it: we
talked about Silver Efex Pro before, and they
| | 00:57 | give you just tons of different options.
| | 00:59 | And there's all sorts of actions and
tutorials for doing some of these, but if
| | 01:04 | you do have Silver Effects Pro, and you
are trying it out with some of the other
| | 01:07 | black and white stuff,
| | 01:08 | you'll find what they can do around
borders and frames is really powerful.
| | 01:12 | And these are nice, because you just
roll over them, and you see the effect.
| | 01:15 | There's all sorts of different vignettes,
soft effects, mimicking different film looks.
| | 01:21 | These are really powerful.
| | 01:22 | So, a great way to complete your image,
and just finalize it; give it the look
| | 01:27 | you wanted.
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ConclusionNext steps| 00:00 | Thank you so much for watching this
course. I hope you've learned a lot about
| | 00:04 | black and white in Lightroom and
Photoshop, but also about how they apply to
| | 00:07 | your color images as well,
| | 00:09 | and not just working in the software, but
seeing in black and white out in the world.
| | 00:13 | Black and white is a lot of fun, and
it lends itself to a lot of different
| | 00:17 | photos, and even video.
| | 00:18 | So, hopefully this gets you out shooting,
and playing around with the images
| | 00:21 | that you already have.
| | 00:22 | If you'd like to learn more, there are a
lot courses from Lynda on Photoshop, and
| | 00:27 | there are other courses beyond
that, like Foundations of Photography.
| | 00:30 | So, have a great time, get out there
shooting, and I hope you enjoy yourself
| | 00:34 | and the software.
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