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Working with Specific Colors

Lesson 31 from: Adobe Lightroom: The Ultimate Guide Bootcamp

Jared Platt

Working with Specific Colors

Lesson 31 from: Adobe Lightroom: The Ultimate Guide Bootcamp

Jared Platt

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Lesson Info

31. Working with Specific Colors

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

Working with Specific Colors

So you've seen that we can do that? Not only with skies and we've played with sky. And we've played with, uh, facial tones and retouching, blemishes and things like that. Um, but now we're going to talk a little bit about, um, the the process of working with specific colors, um, and and getting artistic looks out of things because sometimes it's not about a person's face. It's not about a sky, it's it's more about a feel. So I'm in the middle of a church here. Um, and in this circumstance, um, what I'm what I'm worried about, and I'm gonna reset this photo so you can see is I have to collect all of the data I possibly can, but this is stained glass window, and I've got to get the information in that stained glass windows. So I was very careful to make sure that I could recover all this information. So what I'm gonna do when I enter into a photograph like this is I'm going to initially choose the right, uh, profile. So I'm gonna choose a portrait profile because it's a limited. It's not...

quite is vibrant. And then I'm gonna take the contrast down and I'm gonna take the highlights down so that see, I'm getting that information back. The problem is that once you do that, you're losing the information over here on this side of the photograph cause you're also drawing down globally the highlights over here. So again. But the central figure of this is the stained glass window. And so I want to make sure I get that right first. So I come in and take the highlights down, and then I'm gonna take the shadows up so I start to get some information back in these walls. Then I'm gonna take the black down just a little bit, keep bringing the shadows up, and I'm gonna play around with the temperature so that I get the right feel. It is a warm shot, but I don't want it to be too warm. What kind of like the way that looks? Well, there's there's a ah, a case for playing. This is probably correct right here, but it really like the fact when it gets nice and blue. I like how this area stands out. So I'm gonna go with this more blue version of this photograph. Um And then I'm gonna add texture because that's really gonna help that stained glass window, A little clarity as well. And then I can take the vibrance up just a little bit, and that's even gonna pop those blues just so even a little bit more. And you notice that some of these lights here starting show up really nicely. If I zoom in here, stained glass is looking quite nice. So I like the way everything looks in the photograph now, Um, so that is the general photograph. But there's a lot more that can be done to the photograph, and that's why we're going back into our into our local adjustments and we'll start finishing the photograph there. So I'm gonna come into the brush first and in the brush. I'm going to, uh, double click the effects again. If you double click effects, it resets the brush. And then all I'm gonna do is I'm gonna take the exposure and the highlights up a little bit because I want to take the mid tones in the highlights up on this statue over here, and I'm just going to come over here to the statue and I'm just gonna just going to do this. I'm not even being really Ah, I'm not being super accurate. If you look at the overlay, the overlay spills quite a bit. But then I just come down to the range mask and click on here and I'm gonna choose. Actually, I could choose Limit luminous on this and if I just take the range up so that it's not doing anything to the shadows, I'm just gonna take the luminous up and are the range mask up until it is Onley dealing with the highlights on that statue there. And then I can change the smoothness so that it's more accurate or less accurate. And I'm just gonna keep going more accurate until boom. That's a really nice mask and watch what happens when we turn this off. See how this is before this is after it's it's making the statue glow. So it's getting all of that light coming from the It's coming from the position where the light actually Waas The light was already coming in this way and already cresting, you know her the edge of her, uh, of her arm and on her face. And so I'm just mimicking the same light by telling it I want to brighten this whole thing. But I only want to actually deal with where the sun is hitting her, and we're negating everything else. And so we can do a lot with this now. And we could actually, you know, re configure that and say, Okay, I like that amount of light, and I'm gonna take and warm it up quite a bit. Or I could cool it down. Who cooling down is and I'm really loving this. Okay, so I'm cooling it down, and that offsets her from the warmth around here. Um, then I'm getting jazzed about this photo. So now I can take a radial filter here, and I'm going to create a radio filter. And by the way, there's an invert option that you should be aware of. The radio filter has this invert option right here. And so if you create a filter, so if I just make a filter here like this, if you invert it, then the adjustment is inside the filter. If you don't invert, it's on the outside. All right? And so depending on what we want to do, and I want to darken up everything. And so I'm going to just go like this, and I'm going to increase size of this like and I'm gonna twist it so you can grab the edge and twist it like this and then increase the size of it like that. There we go. So I'm gonna dark and everything else up, but I'm leaving her and I'm leaving the window. So now I'm gonna go up to the top of this thing. I'm gonna turn off the mask overlay, and I'm gonna double check that and bring the exposure down. Actually, instead of the exposure, let's take the shadows, See how it's the shadows are affecting the window at all. So I'm gonna take the shadows down and even take the black down, so that's quite dark, and I'm also gonna warm it up a bit. So by warming that up, I'm actually setting her off even more so. I love the photograph. Now that's what it looks like. It's a beautiful photograph. Um, and because of burning and dodging, we've actually heightened the effect that we saw when we were at the at the place. Now, one thing I want to show you and and this is really important. In fact, this is super super critical. Um, because you hopefully you're saving time by using presets and by synchronizing your changes from women image to another when you're doing global adjustments. So hopefully you're doing that kind of stuff. Um, that will help you to give you time to kind of go into the images that are really particularly interesting and fun to you and that you really like, take those images and work on them mawr because you've saved much more time on the other one. So the amount of time I save on the bulk of the images allows me the freedom to play with some of these other images when I'm working.

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

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).

Student Work

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