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Adobe Lightroom 2020: The Ultimate Guide Bootcamp

Lesson 19 of 115

Tone Curve

 

Adobe Lightroom 2020: The Ultimate Guide Bootcamp

Lesson 19 of 115

Tone Curve

 

Lesson Info

Tone Curve

So now that we've gone through that, let's talk about the tone curve. The tone covers a really fantastic place, and and there's two different types of tone curves. So there's first off. There's this. What? It's just the no normal, linear linear tone curve, which is just a bunch of sliders, and I can change the shadows, the darks, the lights and the highlights. And this is a great place to add or remove contrast in a preset. So if you're making a preset on, do you want to add contrast to an image like kind of have a snappy style or something like that? Don't make the pre set up here in the basics because the basics are meant to fix each individual photo like they're meant to normalize a photo and get it exposed correctly and get the right amount of contrast and for normal. And then, if you want to add style to something, you want to add that style based on an additive process, so that you can just apply it to any image and it will look equally as good on any image. And that's why it wou...

ld be better to apply a snappy like contrast, E style inside of the tone curve. So you should get used to the tone curve you get get to know the tone curve because it could be a really good friend. Um, so I'm gonna go in here and I'm going to play around at the Blacks, and that's really making her her purse look nice. And, um, I'm going to I'm going to take the dark and go up and down with it until I like the way that purse and her hat look, that's what I'm looking at. And then I'm gonna take the lights, and that's gonna see how I can make that really, you know, pop out nicely like that looks real snappy and then high the highlights. I'll bring them back down a little bit so that I don't have super bright. And now that looks really nice. And it's a snappy style, and you can see if I turn this off. It looks much more normal, and if I turn it on, it's a lot snappier, but but either way is fine, because the original underlying image and the adjustments that I made in the basic panel are all still there. and they're still good. And then the tone curve is just adding to that, adding a little curve over the top of it. Now, if I right click this, I can reset it and just just reset all of it. So I'm back to normal, and then I'm gonna go instead. And you can actually use both of these in tandem. So you could you could apply a little bit of a curve here, and then you could also go into and this is right here under these sliders. There's a little box on the right hand corner, bottom corner, and that is the tone curve. But you use it like you would in photo shop. So now you can actually manipulate the tone curve with just points so I can take the points down. I can take the points up, and this is why they call it a point curve. So I can mess with this to my heart's content. But I'm gonna right click it and flatten it. Um, Mawr, Importantly is, I can come in here to the channel and change it just like a wooden photo shop. I can change it to rgb two red green or blue, and this is where you can start to play with the actual image colors. So if I want to play around and make kind of a cross process, he look, I can do that right here because I can change what the read looks like in the highlights and shadows. So if I wanted to do kind of a green looking across process, I'm just gonna take red down so that I'm getting some greens to pull back in there. But in the shadows, Maybe I wanted to kind of come back up to be a little bit red. So already I'm getting kind of an interesting look there, and then I can go down and click on Green, and I could increase the green a little bit in the highlights, and I could decrease the green in the shadows a little bit. Then I can go over to the blue and on the blue Aiken, bring the blue down in the like take it up in the shadows, but bring it down in the highlights and so you can see that I've got this really interesting, a little bit ugly there, and I don't like the way it looks on her face, but that's OK because now I can go back to the red and say, Well, or maybe back in the green, you can take the high that out of her face. So now the highlights don't have as much green in them. That looks much better. And it's still a really interesting look. And so now I've got this curve that is a little bit of the linear curve here. So shadows highlights darks, lights, and then I've got the point curve underlying it, which has red, green and blue separated out with different curves. And it creates an interesting look. Once I've done that, I can take that tone curve and come over to the left hand side. And this is really important. If you wasted that much time on a curve, you better save that curve if you like it. So I'm gonna click on that plus symbol and say, create a preset, and then I'm gonna go into that preset. I'm gonna name it so we'll just call it Ah ah, green blue curve. And what I'll do is I'll put a code at the beginning of it so that because you want your presets to fall in order so that you know where they are. So you're not hunting around alphabetically for him. Um and so what I'll do is I'll label it so I'll just say, uh so it's going to go in the curves collection, but right at the moment, I'll just put it in the user presets and then I'll drag it there later. So I'm just gonna call this for now. I'll just call this, uh, curve. Let's see. Let's just say, 0 12 curve, um, green blue. That's how we'll make label it. And then I'll put it in the user presets. And then I have to decide what is going into this preset. And so I'm gonna go down to the bottom of it and say, Check none, because I don't want everything involved. The only thing I want to be involved in this preset is one thing, and that is the tone curve itself. That's it, because that's the only thing I want to apply to images. If I add the basic tones and white balance and stuff like that, I'll ruin any photo that I added to, except for this one. So we only want to do the tone curve and then I'm going to hit, create. And now, down here in the user presets right here you will see that I've got something called oat to curve green blue. And then I can come up here into my curves collections and see how it's labeled. So it's like 0123456789 etcetera. So now I could just say OK, well, I want this to fall in my tone curves, and I want it to be right here at basically 30 right between 30 and 31. So now what I'll do is just go back into my that curve that I just made and I will rename it. So I'm gonna just say, rename this. I'm going to call this a lips 31 a and then hit. Okay, so now I've got something called 31 a and then I'll have to do is grab it and drag it into that folder. And boom, it is now in position right up here next to 31 31 a green blue curve. So now I just have a bunch of curves and so I can see Heiken scroll through my curves until I find that when I like and actually like this, which one? That one, which is called Thin film Fiber. Cool blue. So when I click on that, I've got another curve. But see, I have the that curve and I could go up and choose this other green blue curve and I. It's easy to find a curve, but remember, I'm constantly saving those curves so that I'm not having to do it again, because you should never spend a lot of time on each image making a specific curve for that image, especially if you're trying to do. If you're doing one landscape a day or something like that, no big deal. But if you're shooting portrait's or weddings or events or something like that, you really got to get through those images. And so hunting around for a curve is not a good idea. Are working on a curve

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.

Lessons

  1. Differences Between Lightroom Mobile and Lightroom Desktop
  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. HDR and Panoramics
  95. Light
  96. Profiles
  97. Tone Curves
  98. Color
  99. Effects
  100. Details
  101. Optics
  102. Geometry and Crop Tool
  103. Sync Settings
  104. Making and Adding Presets
  105. Healing Brush
  106. Brush Tool
  107. Gradient Tool
  108. Edit in Photoshop
  109. Finding Images with Sensei
  110. Sharing Albums on the Web
  111. Print through Photoshop
  112. Exporting Images to Files or Web Services
  113. Connecting with Lightroom Classic and Mobile Devices
  114. Archiving Images for Storage
  115. Review of the Workflow

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