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A Modern Black and White Photography Post-Processing Workflow

Lesson 5 of 6

Access Edited Photos In Lightroom

 

A Modern Black and White Photography Post-Processing Workflow

Lesson 5 of 6

Access Edited Photos In Lightroom

 

Lesson Info

Access Edited Photos In Lightroom

the modern workflow isn't just about the desktop, its not about living on an island. It's about being able to work beyond that. Now, as we do that, I just want to speak really quickly to the hat that I'm wearing here, sort of creative cloud photography plan. That's light room Photoshopped mobile, APS, Web storage, weather access and portfolio, which is our ability to create a quick and easy website. I don't have a vested interest beyond you guys having a good experience. I want to show you what the workflow looks like moving files into a mobile device before I show them on a mobile device. And so for this I'm gonna use the IPad and a lot of people don't realize. Although those of you who attended the last class do that, we can do about 90% of what we didn't light room right over here. But the place I want to start is where I think people who care about black and white, they care about quality, and that means being able to move off of the camera they're using today. For that, I'm gonna ...

use the camera connection kit on this case. It's the SD card reader. If I really use the USB connection kit, I could hook it up to my Canon Nikon or anything else. This just came out of the like a Q. It's an SD card. It's gonna launch Apple photos to choose one of those and I'm going to import it. Gonna import the selected file, gonna go ahead and keep those other images there. And then at this point, what we'll do is we will switch thing. I'll see my screen. No, this is somewhat familiar. Based on before, we will tie it all together and in late room here we are with our black and white images. All Justus, we left them. And what we're gonna do is we're just going to import that file. Told you guys were really missing out on some quality photography here. And what we've done is we've brought in, Ah, full resolution. You can see a tap on that 6000 by pixels. 24 megapixel, full resolution raw file. Right off of the camera. I can shoot with raw files and light Ra Mobile. I can bring in files from other devices and what's really great about it. is that I can use that same workflow that we used before where any image that I have that I like the look we've done. Let's let's take the image that we worked on before here, we're gonna load that DMG, this full resident G that we were editing on the desktop, all of the things that we did on the desktop, we can continue editing. We can continue changing here. We have all of the detail. I can copy those instructions from one image, and I can paste them onto another image. I can continue refining, uh, the things that we've done on one to another. So I'm gonna copy all of that from that image that we edit it on the desktop. And then I'm gonna choose this image that we just brought in here totally different lighting, and I'm just going to pace that on there, and I'm gonna get that full effect of what I've done there. And if I want to change anything about it, if I want toe Brighton that up or open up the shadows, I can do that really, really easily right there. If we were to go back to say this image here, which we worked on in Photoshopped before. Let's just really quickly look at what the workflow looks like on Labour Mobile and you'll see we can do all that same stuff that we did with the black and white images before. Again. I want to add it in color switch toe, auto tone. I'm gonna recover the highlights. I'm gonna add a little bit of clarity. Not too much. I'm gonna come in here, apply D. Hayes to that really start making that look a lot more interesting. Maybe I want a localized adjustment up top just to do darken it a little. I think we've got enough, d Hayes, but let's just dark and that we're staying in color all the while until we're ready. And then And only then are we gonna go to black and white where we can adjust the individual color channels the blue in the sky up there, the green tones orange in the sand. And at any point, if we want to see before the original color capture and after we can see that but we can do all that same stuff that we did on the desktop right over here as we mentioned before. Uh, noise correction, uh, sharpening. There are a couple of things that really lend themselves the desktop, but about 90% of what we can do here, uh, same is on the desktop. And for a black and white workflow, that means that black and white, just like anything else, could be done anywhere. I think it's really important to understand that you can capture raw. You can import raw and you can edit raw on your mobile devices.

Class Description

Are you exploring the world of black and white photography and wondering how to best handle the workflow and processing? Join Bryan O’Neil Hughes, Adobe Photoshop Hall of Famer, as he shows you how to begin thinking in black and white. You’ll learn: 

  • The importance of raw 
  • End-to-end processing in Adobe Lightroom CC 
  • Localized editing in Adobe Photoshop CC 
Bryan will also explain how you can use Adobe Portfolio to display your creative work. By the end of this class, you’ll have a good understanding of how you can use black and white photography to add to your existing color images.



Software Used: Adobe Lightroom CC 2015.2 - 2015.3  

Reviews

creativelive student
 

He is a great teacher, but I resent the confusion over the wonders of producing and sharing photos and videos with apps and mobile devices, vs. producing fine art or high quality specialized portrait or landscape or wildlife, etc. Standards have not gone down just because so many people have great access to producing good things. Great literature is still great literature, no matter how many people write good things. Same is true for the visual arts. Short cutting the methods that produce great work, including producing great black and white and great prints, doesn't produce greatness. I love his idea, I follow them, but that is no reason to negate the traditional greatness that still has no shortcuts.

JIll C.
 

Bryan lays out a comprehensive, yet efficient approach to converting images to black and white and included many examples in this course. It's more than just clicking the "black and white" buttons in Lightroom or Photoshop. I especially like the suggestion to make Presets of the various B&W conversions I've used so they can easily be applied during import. Bryan also covered very quickly various other very useful and fun Adobe products including Adobe Spark Post and Portfolio, and I even made a Spark Post during class and posted it to my facebook page. Lots of interesting content in this class, which I'm definitely going to watch again!

Margaret Lovell
 

I wanted to learn more about creating a black and white workflow. I'm just starting out, and so far, my attempts have been fine. I want to get better at it. Bryan's course made the whole process seem easy and didn't rely on cheap outs in creating them. I learned how to better use Lightroom when it comes to creating black and white photos.