Skip to main content

photo & video

Adobe Lightroom: The Ultimate Guide Bootcamp

Lesson 23 of 116

Details

Jared Platt

Adobe Lightroom: The Ultimate Guide Bootcamp

Jared Platt

buy this class

$00

$00
Sale Ends Soon!

starting under

$13/month*

Unlock this classplus 2000+ more >

Lesson Info

23. Details

Lessons

Class Trailer
1

Differences Between Lightroom Desktop and Lightroom Classic

19:42
2

Hard Drives

08:06
3

File Organization

08:31
4

30,000 Foot View of Workflow

05:36
5

Importing into Lightroom

04:10
6

Building Previews

07:14
7

Collections and Publish Services

05:11
8

Keywords

06:27
9

Hardware for Lightroom

06:08
10

Searching for Images

07:51
11

Selecting Images

14:15
12

Organizing Images

04:02
13

Collecting Images for Use

14:56
14

Develop Module Overview

10:15
15

Profiles

11:34
16

Basic Adjustments

11:45
17

Basics Panel: Texture, Clarity, and Dehaze

05:31
18

Basics Panel: Saturation and Vibrance

02:40
19

Tone Curve

09:26
20

HSL

04:48
21

Split Tone

08:19
22

Lens Corrections

08:32
23

Details

09:34
24

Transform Tool

05:52
25

Effects Panel

10:00
26

Synchronizing for Faster Editing

07:40
27

Spot Tool

17:51
28

Skin Softening and Brush Work

07:00
29

Range Masking

13:28
30

Dodge and Burn

17:36
31

Working with Specific Colors

08:30
32

Edit Quickly with Gradient Filters

11:22
33

Making Presets

13:24
34

Preparing Image in Lightroom

09:51
35

Content Aware Fill

11:14
36

Skin Repair

02:44
37

Skin Smoothing

14:39
38

Expanding a Canvas

04:30
39

Liquify

10:22
40

Layers and Composite Images

12:54
41

Sharing via Web

17:52
42

Exporting Files

10:47
43

Sharing with Slideshows

08:00
44

Archiving Photos and Catalogs

19:54
45

Designing

13:35
46

Making Prints

11:27
47

Color Management and Profiles

13:00
48

Archiving Photos and Catalogs

11:31
49

Using Cloud Storage

04:09
50

Adding Images to your Portfolio

09:23
51

Collecting for Your Portfolio

18:03
52

Publishing Unique Websites Per Project

19:48
53

Sharing to Instagram

07:06
54

HDR

15:32
55

Panorama

06:41
56

HDR Panorama

09:54
57

Making Presets

15:39
58

Creating Profiles

18:09
59

Maps

07:08
60

Setup for Tethered Shooting

23:21
61

Sharing with the Client

05:42
62

Watched Folder Process

07:04
63

Second Monitor and iPad

06:09
64

Backup at the Camera

03:50
65

Gnar Box Disk Backup

06:45
66

iPhone and iPad Review

12:52
67

Importing to Lightroom on iPad

02:59
68

Cloud Backup

04:39
69

Adjust, Edit, and Organize

07:46
70

Using Lightroom Between Devices

11:27
71

Lightroom Desktop

05:27
72

Removing Images from the Cloud

10:49
73

Profiles

09:34
74

Light

04:34
75

Color

05:36
76

Effects

15:22
77

Details

08:33
78

Optics

03:49
79

Geometry

04:12
80

Crop

04:39
81

Adding and Using Presets and Profiles

13:41
82

Local Adjustments

15:40
83

Healing Tool

03:29
84

Synchronizing Edits

04:57
85

Editing in Photoshop

08:54
86

Finding Images

07:09
87

Sharing and Exporting Albums on the Web

09:18
88

Posting Images to Social Media

14:01
89

Overview of Lightroom Desktop

07:35
90

The Workflow Overview

10:08
91

Organizing Images

05:10
92

Albums and Shared Albums

18:21
93

Lightroom Desktop Workspace Overview

04:36
94

Importing and Selecting Images

09:23
95

HDR and Panoramics

22:44
96

Light

07:47
97

Profiles

07:23
98

Tone Curves

02:57
99

Color

08:35
100

Effects

17:01
101

Details

12:43
102

Optics

04:05
103

Geometry and Crop Tool

06:01
104

Sync Settings

02:40
105

Making and Adding Presets

03:48
106

Healing Brush

02:21
107

Brush Tool

03:14
108

Gradient Tool

04:16
109

Edit in Photoshop

02:53
110

Finding Images with Sensei

06:32
111

Sharing Albums on the Web

04:57
112

Print through Photoshop

02:09
113

Exporting Images to Files or Web Services

04:36
114

Connecting with Lightroom Classic and Mobile Devices

05:24
115

Archiving Images for Storage

09:55
116

Review of the Workflow

07:20

Lesson Info

Details

all right, so let's go back to detail and let's talk a little bit about working with details. So I'm gonna go into our portrait session that we were looking at before, and I'm going to Let's just go back to our original image, which I like a lot, and I'm gonna zoom into it at 1 to 1. So I'm looking at it, and it's a little bit soft. If I'm looking at 1 to 1, which is fine for a portrait. It's nice, but I would like a little bit more Christmas on her glasses and on her hair, that kind of stuff. And so I'm gonna come into the detail area, and this is where sharpening happens now. I think it's a mistake. Um, that light room has started to increase sharpening from the beginning, so it used to be maybe two versions ago. Light room would put your images at about 25 on the amount, so you can see that there's an amount here of sharpening. They would usually put it about 25 was kind of normal, normal sharpening for every every image that comes in, and now I find that it comes in 40 which is way...

, way too sharp. Everything looks too crunchy and to crisp. Um, and so I generally try and keep mine around 2025 something like that. That's that's about the right amount of sharpening. So let me explain what these things air these items air about. So amount sharpening amount is how much it's going, because sharpening is just creating contrast at an edge. That's all it's doing, so that if you have an edge that has a light and a dark area, there's there's there's a cliff there, and if you brighten up the white and you darken down the black, that cliff becomes sharper and it looks more sharp, even if it's still not sharp. But it looks sharper because there is a higher contrast between those two edges. So when you tell a sharpening amount, what you're doing is saying, How much do I want to increase the contrast that those edges? And that's what's creating that sharpness. So for me, I don't want that edge to be super crisp. Um, I don't want to sharpen, like, for instance, watch this. If I zoom in here and I take sharpening up to all the way. Look what happens. I'm gonna zoom in further, see, see how it finds every edge of even pixels, and it starts to look like I'm sketching her on. Ah, like with pointillism or something that gets really not good looking, So we don't want to do that, Um, but it makes it really crispy and crunchy and no good. It looks like someone kept saving a J peg over and over and over again. So what I want to do is instead, I want to use a tool that's proper for creating contrast edges, but not everywhere. And that is in the radius. So the radius is a great tool to increase. So what I want to do is I. Instead of increasing the amount, I immediately go to the radius and increase the radius somewhere between, like 1.42 about almost too. So somewhere around there. And you get a lot better, look out of a radius increase than you do out of a sharpening amount increase. And then, of course, detail is further adding a little bit of detail to that. It's very, very subtle, and so it's hard to even see what it's doing. But if you take it to zero and then you take it to 100 just watch closely what it's doing, you'll get a sense of what it's doing. But what it's what is trying to do is is help to find detailed edges and increase that contrast there. So and then masking is specific to, um, usually skin tones. Um, if you mask, you're basically saying, I don't want you to start sharpening until a certain level, and that usually helps to avoid sharpening in like the skin. But it will still sharp in the hair because sees a lot of contrast changes in the hair, but it doesn't see it in the skin, so it avoids the skin and does the hair. It's not always super accurate, so I would rather do those that kind of sharpening on my own by masking using a targeted adjustment like the brush or something like that. So I'm asking. I almost always leave it. Zero radius is always fairly in the middle. Sharpening is always at about 25 or six, and less had to do something heroic. Um, and then detail kind of fluctuates between about 20 and 40 ish. So that's generally my settings for sharpening. Um, the other thing is noise reduction. Um, and this is a great opportunity for you to see. Um, so I'm just gonna click on a bunch of images, and I'm going to go up to library hopes. I'm going to go upto library filter, and I'm gonna go into metadata. There's a great opportunity for you to see metadata in play. So I'm just going to go in and say I want any image that has a I s O of 8000 Let's say 6400 or higher. Okay, so now Iowa, I s 0 6400 or higher, and I'm gonna look for an image, and they're ago. So we're looking at an image of dancers, and I'm just zooming in and and I'm going to zoom in enough that we can see the actual noise, and then I I want to turn off the noise reduction so you can see what the noise reduction is doing. So right now, it still has some noise. And this is 6400. Ah, I eso on a Sony. I think it's in a seven r three or something like that. Um, so I'm gonna turn off the noise reduction, and you can see that there's quite the Sony is a pretty good camera for noise, but you can see there's quiet of it annoys in those shadows and by simply turning on the noise reduction to about 20 or so. It really softens up what looks like that kind of J peg artifact ing. But the thing that I want you to notice is here in the exit sign, which is not important. But it's a good indication of how well it softens the noise, but did doesn't soften the actual edges of things. So watch, this is I go to 2500 watch the exit sign. The exit signs still saved sharp, and the noise in the the shadows here kind of softened up. And I can keep going with that until it's really soft. And still the exit signs stays fairly sharp now. Part of that is because the detail is high. So if I take the detail all the way down, you can see the exit sign got a little sharp, a softer and if you take the detail all the way up you can see that the exit sign get sharper, but also it with the detail all the way up. You end up getting a little artifact ing towards the edges of that exit sign, so it's important to keep the details somewhere in the middle. Um, and luminous noise reduction. There's nothing wrong with a little grain, so feel free to use. Ah, luminous noise reduction, especially with modern cameras, cameras, anything that was made by before, like around 2017 on uh, basically in the canon family, it's like five D Mark four and on is really good at noise reduction. And so a little bit of noise reduction goes a long way. Um, there's also cook color noise reduction, which is generally just sat at 25 just stays the same, and it pretty much works all the time. But if you get to a point where you do have some color noise, this is it's right in the same place. Just simply increase it until the noise disappears, but otherwise just leave it at 25. It should stay that way and and it it it won't matter one way or the other. As long as you keep it at 25 Um, and it's pretty much on every image. If you take that to zero, you will see color noise even in the best of cameras, because the computer has to remove some noise from all digital files. Have a little bit of color noise in them, no matter what I s o your at. So generally speaking, your color noise reduction is just given that your computer is going to do that.

Class Description

All lessons are also available here for individual purchase.

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.

Class Materials

Bonus Materials with Purchase

Adobe Lightroom Mobile Cloud

Adobe Lightroom Image Pipeline System

Workflow in Adobe Lightroom

BW Preset Collection

Color Art Pro Profiles

Ratings and Reviews

Student Work

Related Classes

Reviews

Ira Richterman
 

I am truly a recreational novice in the photography world and this video is fantastic. Photography has become a very technical world both on the camera side as well as post production. Jared has great teaching skills and sure makes it look very simple. I would recommend this video for those starting out in Lightroom as this program can be overwhelming and has a daunting amount of information. I would like to know if there is a resource of location of contact to ask a question or two for clarifications as a viewer goes through the course. For example, when making a new collection and if you choose the option of making this new collection a target collection, what happens if you then make another new collection and select that new collection to be a target collection? If you click on B to add a photo to a target collection and you made two target collections then where does this virtual selection go, ie into which target collection? Thanks Ira irichterma@aol.com

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).