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Adobe Lightroom 2020: The Ultimate Guide Bootcamp

Lesson 82 of 116

Local Adjustments


Adobe Lightroom 2020: The Ultimate Guide Bootcamp

Lesson 82 of 116

Local Adjustments


Lesson Info

Local Adjustments

So we've already talked about all of the adjustments adjustments we can make globally with our photographs. And so when you're looking at a photograph, everything here in your light color effects, details, optics, geometry, all of this stuff, including the profile, all of that is global. And so we can only go so far globally on an image before we have to call it quits, because anything we effect in the blue is gonna affect the rest of the photograph as well. And it's it's it's just limited. And so we have to go into our selective edits in order to be able to select very specific parts of the photograph and at it those parts of the photograph. So untypical E. In the old days, you would then working light room, and then you would go to photo shop to finish any of the burning and dodging you needed to do. But now we have those controls inside of light room, and we have pretty much every control inside of our light room mobile that we do inside of all of the other versions of light room wi...

th a couple exceptions, and I'll tell you about those we get through it. So let's go find our selective edits. So the first place that we can go to edit something is here, and that is in our targeted adjustments or are localized adjustments. So I'm gonna click on this little circular button here, and that circular button leaves a little plus button on the top left hand corner of the screen. It also changes the adjustments that we can make here so you can see that there's a whole bunch of adjustments down here. But they're all great out because we don't have the ability. There's nothing. There's no selective adjustments made over here, so we haven't made any masks so that we can't do anything. So the first thing we have to do is click on the plus button, and then we can choose either a brush in the left hand side. In the middle, you see the radial filter, and on the right hand side, you see a just a straight radiant. I'm gonna choose a Grady in because I need to be looking at the house or the basically the palace, not at the cobblestone. So I'm gonna take this and I'm There's two ways toe operate with a targeted adjustment like this. First you condone draw the Grady int and it shows you the mask and red and then let go of it. And then you can start adjusting what you're gonna do with that Grady int. The other way to do it is to say I want to know what it's gonna look like. So I'm gonna I'm gonna make a Grady int. But before I actually put the Grady int down, I'm just going to make the adjustment and see what do I want that cobblestone to look like before I even apply it? So I'm gonna do that and let go, but see how it went back to normal. So now I'm gonna take my Grady and go up with it. And when I let go, it's gonna be dark. So there's two different ways to do that, depending on which way you like. And I can continue to fuss with that after the fact, as well, and just kind of darken it down a little bit. The problem is that it's hitting up in the the actual palace is getting a little bit darker, and these sides are getting a little darker, which I don't want. So what I'm going to do now is I'm going to actually go in on the left hand side. Here. You can see that there's an eraser tool right below the Grady Int click on it, and then I can choose the size of the brush, and I can choose how much feather there is on the brush. And I can choose the opacity of the brush, whether it's 100% or whether it's, you know, 50% we're going to go with, like, 70%. And now I'm going to erase off so that I'm getting rid of that entire area there that I originally had a grating on. So just getting rid of anything that's spilling over onto the palace and onto these sidewalls here they're. So now if I click on this, you can see that the Grady in is being erased quite nicely, and I can keep erasing off of it here and off of it there and then turn on the Grady in again. That's good. I like it. It looks good. And now I can even play with that, even some more. So I see I can play with it until I hear, like exactly what it looks like. Now, the other thing I can do is create another Grady in our another, uh, local adjustment. I'm gonna use the brush, and now with the brush again, I'm gonna choose the size of my brush, and I'm gonna choose the softness of that brush. And how much so I'm going to do, like a maybe a 70 s. Let's do 70% and make it a little bit bigger. And this time I want to brighten up my palace. So I'm gonna take the highlights and the whites up, and then I'm else gonna take anything that's black right back down, so that if even when it spills over onto these windows, I'm not going to get a bunch of, like, you know, block brightness in the black. So now I'm just gonna paint right along here, and I'm gonna paint over here and a little bit right here, there. So now I can play around with how much I want it to be brighter, and I like that palace glowing a little bit. But I can also add a little bit of color to it. I like that. So that's my new photograph from the old one. This used to be the photograph, and now that's the new photographs. So I like the way it looks. And it was all based on doing very targeted adjustments. Now there are other options, Aziz. Well, for instance, if we wanted to, this is a tent at a wedding is a really big tent. You could have played tennis under it except for all the polls. Um, so I want to work on this image, and what I'm gonna do is I'm gonna come in again to the targeted or the localized adjustments. And instead of painting in and using a bunch of different Grady INTs, I simply want to take a radial filter. And I'm in a circle right around that tent. So that's the area. And then I have an option to either effect outside the area or inside the area. And that's what this little ball with the the square around it is for. Just click on that and it changes to the outside, so anything that's red is going to be affected. Anything that's not is not going to be affected. And so I'm going to now go into the light area and I'm gonna bring down the darkness of Here we go. I'm gonna take some of the highlights out so that that see how that sky's coming down, But nothing else is really a little bit of the sky, that reflection in the pond. So I'm gonna bring that down, because if I had done this globally than the actual tent would have started to, uh, come down in brightness to which is what I don't want. So I'm gonna bring the highlights down and maybe even the whites a little bit and definitely the shadows. There we go. And the great thing is, I can still renegotiate this and make sure that I am positioning it just perfectly so that it's on Lee affecting that tent. And the great thing is, I can keep coming in like this and get closer and closer to this tent. Keep watching it. And I think I'm doing a pretty good job, but darkening everything except for that tent. And if I need to, I can always come in and hit a race. Show me that mask and then I can erase out areas of tent that I still that that air getting covered by that mask? There we go. So now at least those. And plus, if I want that, let's say I want to also a race out so that you can see the cabin in the background, which is kind of where everybody was staying. Simon a race out of that as well. So I'm just kind of erasing right there so that you don't lose the cabin, so it kind of pops out a little bit. Oh, and the other place I need to erase is right here. So take a look at that race I need to erase here in the water so that the the tent doesn't get too dark inside the water. There we go. So now the tent shows out of that water pretty well. And now I can just do whatever I want with the rest of it and see how everything stays the way I want it. There we go. I like that it done. So the power of those localised adjustments can help you in landscape photography in portrait photography. In fact, let's go do one mawr in Portrait's and let's go to this photograph right here. Actually, let's do this one. So we're gonna work on this photo, Um, and the first thing I'm going to do is just auto and ah, it fixed kind of the the atmospheric problem. So there was a little bit of glare in there, but it made it a little too dark. So I'm gonna bring it up a bit. I'm gonna bring the shadows up, Um, and then I'm going to go into the color and change kind of cool it down a little bit. I'm gonna double click saturation vibrance. I don't want them to be changed at all. Um, and then in the light area, or I'm sorry. In the effects area, I'm gonna add clarity because I want to see how I'm adding clarity and I'm getting better hair, and I'm getting better edges on her dress stuff like that. So that's a global adjustment. But the problem is, is that clarity is also going to be negative. A negative problem on her skin. It's gonna look bad. But that's okay, because what I'm gonna do is I'm gonna get global adjustments done first. Then once I've done the global adjustments and I like the way they look, and I need to do a little bit more work on the color. Okay, so I like the way it looks. But now I want to go in and fix the problem that I've caused on her face by adding a global adjustment of clarity. So I'm gonna go into my, um, into my local adjustments. I mean, click the plus button, and I'm gonna use a brush and this brush. I'm just gonna paint her face because I know that I have to solve her face. So I'm just choosing the the size of the brush and the softness of the brush. There we go. And now I'm just gonna paint. So here I go. I'm painting in her face, irrespective of what kind of adjustment I'm going to make. I know that I have to solve something on her face on just getting her face. Now I'm gonna go in with the eraser. I'm gonna zoom in, going with the eraser. I'm gonna change the size of the race or down quite a bit, a lot. And then I'm gonna erase out from her eyes. I'm gonna race out from here from and anything that got on her teeth, and I'm gonna come in and just kind of skirt around the hair so that I don't get hair becoming soft. Get it away from his beard. We don't want his beard to get soft there. No, a little bit there, too. Perfect. Okay, so now her hair or her face has been completely masked. And now what I can do is come in to my effects panel. And remember, I added clarity. So I added, I think about 20 clarity, So I'm gonna take out 20 clarity, so I'm just returning it back to normal. And then I'm gonna take the texture knob, and I'm gonna take the texture knob down. See that? So this is this is full texture and this is softer texture. See how her eyes air not being affected. So now I have not only gotten rid of the clarity problem that I caused globally, but in the same brush, one brush. I have gotten rid of the clarity that I added, and I have added a little bit, or I've removed texture by adding the texture slider in the game so that I have softer skin and all of that was done in a raw format and without having to go to photo shop. So that's fantastic. I'm ready to do one more thing to this photograph, and that is to create a radial Grady int. And I'm just going to draw right around their two faces. And I'm gonna twist that Grady int just by grabbing the edge of the circle on going this way so that it's really just getting right there. And then I'm going to, um I think I increase this way a little bit. There you go. And I'm gonna change the feathering on it. So I don't want it to be crisp. I wanted to be really soft, and then I'm gonna go into my light and I'm going to Oh, I need to reverse it so that it's so it's doing everything outside. Uh, say I need to go that way a little bit. Okay, so now I'm gonna take the exposure down a little bit, and I'm gonna take the black down a little bit and the shadow down a little bit. So what I've done effectively, it's just kind of remember, we talked about the, um, the vignette idea and how it pushes everything into the center, so I've just effectively done a vignette. But I've controlled where the vignette goes, and so I've able to move the vignette so that it goes specifically to that part where their faces are. That's a much better and more powerful vignette ing tool, Um, and it's all based in those local adjustments.

Class Description

All lessons are also available here for individual purchase.


  • 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


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.


  • 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


Adobe Lightroom Classic 9.2
Adobe Lightroom Desktop 3.2
Adobe Lightroom Mobile 5.2


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


  1. Differences Between Lightroom Desktop and Lightroom Classic
  2. Hard Drives
  3. File Organization
  4. 30,000 Foot View of Workflow
  5. Importing into Lightroom
  6. Building Previews
  7. Collections and Publish Services
  8. Keywords
  9. Hardware for Lightroom
  10. Searching for Images
  11. Selecting Images
  12. Organizing Images
  13. Collecting Images for Use
  14. Develop Module Overview
  15. Profiles
  16. Basic Adjustments
  17. Basics Panel: Texture, Clarity, and Dehaze
  18. Basics Panel: Saturation and Vibrance
  19. Tone Curve
  20. HSL
  21. Split Tone
  22. Lens Corrections
  23. Details
  24. Transform Tool
  25. Effects Panel
  26. Synchronizing for Faster Editing
  27. Spot Tool
  28. Skin Softening and Brush Work
  29. Range Masking
  30. Dodge and Burn
  31. Working with Specific Colors
  32. Edit Quickly with Gradient Filters
  33. Making Presets
  34. Preparing Image in Lightroom
  35. Content Aware Fill
  36. Skin Repair
  37. Skin Smoothing
  38. Expanding a Canvas
  39. Liquify
  40. Layers and Composite Images
  41. Sharing via Web
  42. Exporting Files
  43. Sharing with Slideshows
  44. Archiving Photos and Catalogs
  45. Designing
  46. Making Prints
  47. Color Management and Profiles
  48. Archiving Photos and Catalogs
  49. Using Cloud Storage
  50. Adding Images to your Portfolio
  51. Collecting for Your Portfolio
  52. Publishing Unique Websites Per Project
  53. Sharing to Instagram
  54. HDR
  55. Panorama
  56. HDR Panorama
  57. Making Presets
  58. Creating Profiles
  59. Maps
  60. Setup for Tethered Shooting
  61. Sharing with the Client
  62. Watched Folder Process
  63. Second Monitor and iPad
  64. Backup at the Camera
  65. Gnar Box Disk Backup
  66. iPhone and iPad Review
  67. Importing to Lightroom on iPad
  68. Cloud Backup
  69. Adjust, Edit, and Organize
  70. Using Lightroom Between Devices
  71. Lightroom Desktop
  72. Removing Images from the Cloud
  73. Profiles
  74. Light
  75. Color
  76. Effects
  77. Details
  78. Optics
  79. Geometry
  80. Crop
  81. Adding and Using Presets and Profiles
  82. Local Adjustments
  83. Healing Tool
  84. Synchronizing Edits
  85. Editing in Photoshop
  86. Finding Images
  87. Sharing and Exporting Albums on the Web
  88. Posting Images to Social Media
  89. Overview of Lightroom Desktop
  90. The Workflow Overview
  91. Organizing Images
  92. Albums and Shared Albums
  93. Lightroom Desktop Workspace Overview
  94. Importing and Selecting Images
  95. HDR and Panoramics
  96. Light
  97. Profiles
  98. Tone Curves
  99. Color
  100. Effects
  101. Details
  102. Optics
  103. Geometry and Crop Tool
  104. Sync Settings
  105. Making and Adding Presets
  106. Healing Brush
  107. Brush Tool
  108. Gradient Tool
  109. Edit in Photoshop
  110. Finding Images with Sensei
  111. Sharing Albums on the Web
  112. Print through Photoshop
  113. Exporting Images to Files or Web Services
  114. Connecting with Lightroom Classic and Mobile Devices
  115. Archiving Images for Storage
  116. Review of the Workflow



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).

Kayode Olorunfemi

I have been using lightroom for upwards of 6years and I still found this course incredibly useful. It can be useful learning through desperate tutorials online, but having a course that ties everything together, coupled with foundation principles, is invaluable.