Join Bryan O'Neil Hughes for an in-depth discussion in this video Color, black and white, and toning, part of Working with Raw-Format Photos in Lightroom and Photoshop.
- Okay, so we've adjusted the tint and the temperature and the basic tonality of our image. Let's talk about getting a little more into colors. And you have a lot of control down here in HSL or Hue Saturation Luminance. And Hue is really powerful, but it can also lead to all sorts of crazy effects. You can see that if I grab the orange slider here, I'm sort of dramatizing a sunset. And I can double-click on that and change it. Well notice that we have the same myriad of options with Saturation. I could grab a familiar tone like orange, and I could desaturate it or saturate it, and I could do the same thing with Luminance.
I could say, "Okay, that orange area, "I want it to be darker or brighter." But the best way to do all of these, let's start at the beginning, is with the little on-image control. This targeted image tool. If I click on that again, just like the tone curve, I come over here to the sky, and I move that up or down, I'm adjusting the hue of that particular part. And there aren't a lot of different tones in this image, but same thing with the ocean. I click on that, that bluish-green color is being countered.
I made some minor adjustments, and that's how I think of hue. I rarely adjust the hue, but with the saturation, this is somewhere that I'm a lot more interested in what we're doing to the image. You'll notice that with the targeted adjustment tool, not only are we moving colors simply by clicking on the image, but we're actually moving multiple sliders at different rates. So we're able to do something with that that we could never do manually. It's really a powerful way to interact with it. And of course the same thing will happen with Luminance. If I wanna make a particular tone brighter or darker, I can click on it and pull that up or down.
So don't think that you need to go between every one of these. I'd say you're gonna need saturation for most of your images, and if you want to selectively adjust Luminance, you could do that. A couple of other things to be aware of, the purple and magenta sliders are usually going to be related to noise that's in your image that lives in the shadows. So sometimes you want to adjust those to counter the noise, but just know that that's what those are normally mapped to. Okay, so for this particular image, actually I want to make it a black and white image, and a couple of things to note about that.
Once I click B & W there, it goes to black and white, and I can still adjust those. You'll notice that there's sort of an S shape there, which has introduced contrast, but the best way to do it is to interact directly with the image there. Now I've used my little on-canvas tool. I like that. Chances are once you make it black and white, it's going to change your mind about the tonality of the image, so I'll often come back up here and maybe add more clarity, maybe pull down the overall contrast, maybe open up the shadows a little.
It changes your whole image overall. So you'll usually find yourself popping back up there, which is why black and white is next to color up here, but I don't like to do it until I'm a little further down the way. Okay, so the next thing I'll do, is I'll give my black and white image a tone. And the easiest way to do that is to just hold down the opt or alt key while pulling the hue slider, and that's going to temporarily give me a preview of 100% of that hue. It's much easier than moving them independently. I know the hue I want. I'm just gonna gradually build up the saturation, and I have a nice toned black and white image.
First, take a look at converting raw-format photos to the DNG format in Lightroom and using its Develop module to improve their contrast, color, and tone. Then find out how to adapt your raw workflow when you're on the move—on a mobile device or simply migrating from an application like iPhoto or Aperture. Next, Bryan switches over to Photoshop and its powerful Camera Raw plugin to optimize raw-format images and video. Along the way, he draws important comparisons between Photoshop and Lightroom, ending with tips for round-tripping back to Lightroom and creating camera profiles to make sure you're getting the most rich and accurate results from both programs.