Adobe Lightroom: The Ultimate Guide Bootcamp
Lesson 75 of 116Color
Jared Platt
Adobe Lightroom: The Ultimate Guide Bootcamp
Jared Platt
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Lesson Info
75. ColorLessons
Lesson Info
Color
So here we've got another photo, and I'm going to quickly choose a profile for it. Um, and I could choose all sorts of, but I like the idea of being fairly vintage. So I'm gonna click on this top warm one that might be a little bit too much. Let's go for that. That looks pretty vintage. Um, so this is just Ah, it's called warm three. All right, so now that I have that, I want to go through the color and work with the color itself. So I'm gonna go into the color tab and inside of the color tab, I can obviously turn it to black and white here. So if I click on black and white, it's gonna apply a completely different profile. So I'm turning it back to color and unfortunately, went back to the wrong one. So there we go. All right. So don't turn it black and white if you want it. Teoh, if you want to have a specific profile because it goes to its own profile. So generally when I go to black and white, I'm going to go to the profile browser and choose a black and white Um if you don't care w...
hat kind of black and white use, you can push that so below here, we're gonna play with the temperature. Obviously, we have custom white balance eso we can choose what kind of white balance we want to use in this case. I'm just going to use what was already customized there. And I'm gonna increase decrease if it was shot with Flash. I can come in here and say flash, and now it's neutralized for the typical flash output. Um, and then I'll take my temperature up a little bit. And I think the tent is where I want it to be now. Saturation vibrance vibrance protects the warms, the skin tones. And it does so if I take vibrance up, it tends to protect the skin tones, whereas if I take saturation up, it gets really ugly. Like yellow and warm are orange. So we don't want Teoh Very, very, very, very rarely will take saturation up positively. Mostly, I'm gonna bring saturation down and then vibrance itself. I can take up because vibrance protects those skin tones and mostly tries to increase the the intensity of like blues and greens and things like that now, Once I've done that, I also have further control over individual colors. So I'm gonna go in to the individual colors here, and I'm going to click on the individual color and I'm going to choose what color I want to effect. So all of my colors right down here and I can also choose whether I'm gonna work on their hue, their saturation or their loom in It's so I can do that individually by color. So I'm going to choose to work on the Reds, which is already selected. And at that point, I'm going to say, Well, what I want the reds toe look like how saturated do I want them so I can increase the saturation and see how I'm playing around just with the Reds and the Reds are obviously a huge part of this particular photograph. So I'm going to play really specifically with the Reds. I want I want toe get exactly the right amount of red. So that is about the right saturation and I can also play with the hue of it. So do I want it to be more orange? Do I want it to be more purple so I'm just going to kind of play with it until it's the right richness. So you can see how I've gotten kind of this muted look to the entire photograph. But I want the Reds to kind of pop, so I'm playing around with the Reds, and then I can also take the Luminant up and make it the Reds brighter. Or I can make them darker and more saturated. So I'm gonna just kind of play with that dial until I've got it just right now, you don't necessarily want to play with every single color in the photograph. What you're really trying to do is globally with the temperature intent. You're trying to get the right look, and then usually there's one specific color that needs some help or that will make a better statement. Or maybe someone's wearing a blue shirt and that blue shirt is a little bit too bright. And if you take the entire blew down or the sky, the skies kind of a bright blue and you want to bring it down, and most of the time that works really well. But you have to be careful because if you work on a sky that's blue and someone has, uh, shadows on their dress, Those shadows air, blue. Or if they're wearing a blue tie or something like that, it's going to It's a global adjustment still, so we're still working globally. But we're just working on specific color areas, not not areas, but color types. So just be careful that you're not affecting all the other colors and just be subtle about it. We don't want to go crazy on any of this because you'll start to create problems in your photograph. Okay, so we've played with the color on this photograph, and I really like the way everything is looking for color so we can shut that down. And with we've got the color. Now, remember, if for any reason you don't know what the white balance is, you can always click on this little white dropper here and then that allows you to go through and find something that you know to be white and simply click on this check box to confirm that white balance. Um, I don't necessarily want to do that. I'm not all that interested in. So I'm going to just undo what I already just did. So the undue is right up here, I'm just gonna undo it.
Class Description
AFTER THIS CLASS YOU’LL BE ABLE TO:
- Efficiently cull and retouch photographs
- Manage your files to enable seamless and immediate recall
- Get your computer and software to run faster
- Create impressive photo books and slideshows
- Take advantage of global adjustments
- Improve your mobile workflow with both your iPhone and iPad
- Deliver and share your images directly from Lightroom
ABOUT JARED’S CLASS:
Adobe® Lightroom® is the industry standard for post-production workflow and in Adobe Lightroom: The Ultimate Guide, you’ll learn Jared Platt’s gold standard for retouching and managing files quickly and efficiently.
Jared will show the ins and outs of Lightroom Classic, Lightroom Mobile, and Lightroom Desktop. He’ll demystify the difference between each and demonstrate when to use each one for maximum output.
Jared will share tips on improving every phase of your workflow – from shooting to archiving. You’ll learn how to take advantage of the latest Lightroom tools and features and become faster and more skilled at adjusting your images.
WHO THIS CLASS IS FOR:
- Beginner, intermediate, and advanced users of Adobe Lightroom
- Those who want to gain confidence in Adobe Lightroom and learn new features to help edit photos
- Students who’d like to take ordinary images and make them look extraordinary with some image editing or Lightroom fixes
SOFTWARE USED:
Adobe Lightroom Classic 9.2
Adobe Lightroom Desktop 3.2
Adobe Lightroom Mobile 5.2
ABOUT YOUR INSTRUCTOR:
Jared Platt is a professional wedding and lifestyle photographer from Phoenix, Arizona. Jared holds a Masters of Fine Arts in the Photographic Studies and a Bachelors of Fine Arts in Photography from Arizona State University and has been a professional photographer and college educator for the past 12 years and has been a speaking, debating and lecturing for the past 17 years. His attention to detail and craft make him a demanding photography instructor. Jared has lectured at major trade shows and photo conferences as well as at universities around the world on the subject of photography as well as workflow. Currently, Jared is traveling the United States and Canada teaching and lecturing on photography and post production workflow. Join him online for monthly "Office Hours" at www.jaredplattworkshops.com.
Reviews
Dan Clarke
This class was great. I've never used Lightroom before and now I feel comfortable in it. Massive amount of good info.
Hannah
Thorough but very easy to follow. I've noticed a significant improvement in my work since starting this course a couple weeks ago, and I'm also spending noticeably less time editing my photos. I appreciate that it's up-to-date as of October, 2020, so the info is current (I wish CL would take down some of the older courses, since software changes make some of them obsolete).