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Adobe Lightroom: The Ultimate Guide Bootcamp

Lesson 25 of 116

Effects Panel

Jared Platt

Adobe Lightroom: The Ultimate Guide Bootcamp

Jared Platt

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Lesson Info

25. Effects Panel

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

Effects Panel

I want to go into the grain and the effects panel. So first off, the effects panel has two things in it has untold holdover from a long time ago. So a long time ago, they had a, um before they have the ability to automatically remove, I think is before that automatically removed the vignette ing They had this post crop vignette. I'm sorry. They No, it was It was that the reason that they made the post crop vignette was that people were interested in using the vignette ing option. So they were using the vignette Ah, removal tool toe add vignette because they like the idea of adding vignettes. But the problem was that when you cropped, the vignette was outside of the crop. And so they added the post crop vignette tool in order to allow people to do artistic post crop vignette ing. Um, the problem is that it's still always around the edges. So it's a center, um centric vignette like the vignette always goes to the center. And so consequently, I never, ever, ever used post coffin yet becau...

se there's so many better ways to do it. Um, for instance, you now have what's called a radial tool. So this radial radiant tool allows you to do a vignette anywhere on the photo you want and centered exactly the way they want and give it the right amount of of, um, feathering. And so it's It's the perfect vignette tool, so I don't even understand why we have a post crop vignette tool at all. But it's there, Um, and it's just a matter of changing the amount, and it gets darker, but see how it's always in the center. I could go dark Aiken, go light, Um, but it's it's always in the center, so it's fairly useless because rarely is the thing that you want in the actual center of the photograph. If if you're finding that you're photographs, can always use the post crop vignette because the thing that you want to focus on is always in the center, you're probably not very inventive about the way you're shooting. So you you might want toe, you know, turn that up a little bit. Do something different with your with your compositions because you should be putting stuff in other places and so post crop vignette not interested in it, but there it is. That's how it works. Once you do this, once you add of and yet you can then change how close the midpoint is or how far away it is. You can choose how round or square the vigna is. You can change the feathering. Um, this is my favorite thing to do with post crop vignette is to actually make like a old timey round photo there. That's how it's useful. Um, so anyway, let's reset that and let's go to what is useful. And that's the grain. I love the grain tool. And the reason I love the grain tool is for this purpose right here. So I'm gonna show you a photograph of a girl and I'm I had grain on her already. So I'm gonna zoom in and you can see that her skin has some inconsistencies and some blemishes and things like that on it. And so I've already done a little bit of retouching on it, but I didn't go nuts with the retouching, and there's just there's just it's just needs some work on the skin. And I don't want to do all of that kind of work and especially people who are doing like, let's say you're doing a senior portrait. Well, a senior in high school has probably a lot of acne and stuff like that. You don't want to have to go in a room, move acne before you even show the photograph to the person to find out if they're even gonna buy it. Well, the grain tool is perfect because it allows you to add grain and thus add a disrupter in front of the image that keeps people from seeing wrinkles, blemishes, inconsistencies and skin. It actually Smoothes the skin, even though it's actually making it rough. So, um, and the reason behind that, simply that your eye is trained or your brain is trained to follow lines. So you are always following lines. Everywhere you look, you're always following lines, and a blemish is just a circular line. And so if you put something a crossed the line, your eye gets distracted and doesn't follow the line, so therefore it doesn't see it. So if you can, if you can. If you can break up enough lines, then you won't ever see the line that's there. And so grain just naturally does that because it's random pattern of disrupting lines. And so what I'm gonna do is I'm gonna go into her skin and I'm just going to add some grain. And usually I like to start the green kind of in the 20 range or something like that, so you can see that there's some roughness being created. And then I like to take this the roughness. I like to take that nice and high because that makes it chunky. So a little chunk in the grain is good, and then the size is the size is going to be based on the size of the photograph. So if the photograph is gonna be printed big or small, it'll change what kind of grain you want. And also, if you have a 13 megapixel file versus a you know, 20 megapixel file, it's ah, it's a difference in the size that you need. So in order to do that, you just gonna have to play around with it and see how big the grain has to be or how small asked to be to be appropriate to do the job that you're trying to do, and it it softens up the skin so you see how here's without grain, you can see this line. You can see cause this is smooth and this is rough, and that's rough in this is smooth. But as soon as I turn on the grain, it's the great unifier, and everything looks a little softer, a little smoother, a little bit more even. You can also add a little bit of negative contrast, so a little negative contrast, um, a little negative texture in the basic slider area and then some grain helps to make skin look a lot more beautiful, especially for just the moment if you want someone to see the skin but not really pay much attention to it at a little grain in it and it unifies it. Plus, grain just looks awesome. I love green, especially on a black and white photograph or on, you know, an architectural like street photography. That kind of stuff. Love, grain, Lovett moments. So any time I do black and white, I am always adding grain to it. In fact, I almost I probably add grain to 90% of my images, uh, at a wedding, so just a little bit of grain goes a long way to make that image look deeper and nicer. Um, so that's That's the effects panel there. And it's it's a beautiful way to finish off in image with a little grain. Now, I want you to notice something about the way light room is organized. Light room has organized so that the most important things are on the top, and the things that you'd use less often are on the bottom. And so if I open up the basic panel, you start up here in the profile and then you go down to the white balance and then you keep so you keep going down and then you would end up going into from the basic. You go to the tone curves in the HSE cells and all of these things. But the way I like toe work inside of light room is I like to use the basic panel to do all of my basic work. That's the underlying image. The image itself normalize the image with the basic panel, but I very rarely want to go into these areas here. Instead, what I do is, I create looks. I create tools, um, here, by going over to the left hand side and adding presets. So if I've worked as you saw, if I worked on the tone curve and I've got a nice look, then I need to add it to a preset. That way I can simply adjust the photos here and then come over here and apply the preset. That adds the look that I want to that I've created over time. So never spend your time specifically working on things here with every individual photograph. That's just not a good use of your time. Instead, work on these things work for 10 or 20 minutes on the perfect tone curve and then save it as a preset and then use that preset often. But that means you never have to go back to the actual tone curve area. You just simply adjust the image, and then, once the images adjusted, apply the tone curve you want, or apply the green setting that you want or apply the interesting color tones that you've made or apply the whatever effect. The only one that's different from that is the lens correction or the transform. Because transform tool, you actually have to go in and tell it where the lines are on dso that that one, you do have to go down and use it. But in general, if you can get to the point where you're spending all your time in the basic and then coming over here to push a button to accomplish all of the style settings that you want to add to the photograph, you will get through that process a lot faster.

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.

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).