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Adobe Lightroom: The Ultimate Guide Bootcamp

Lesson 31 of 116

Working with Specific Colors

Jared Platt

Adobe Lightroom: The Ultimate Guide Bootcamp

Jared Platt

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Lesson Info

31. Working with Specific Colors


  Class Trailer
Now Playing
2 Hard Drives Duration:08:06
3 File Organization Duration:08:31
4 30,000 Foot View of Workflow Duration:05:36
5 Importing into Lightroom Duration:04:10
6 Building Previews Duration:07:14
8 Keywords Duration:06:27
9 Hardware for Lightroom Duration:06:08
10 Searching for Images Duration:07:51
11 Selecting Images Duration:14:15
12 Organizing Images Duration:04:02
13 Collecting Images for Use Duration:14:56
14 Develop Module Overview Duration:10:15
15 Profiles Duration:11:34
16 Basic Adjustments Duration:11:45
19 Tone Curve Duration:09:26
20 HSL Duration:04:48
21 Split Tone Duration:08:19
22 Lens Corrections Duration:08:32
23 Details Duration:09:34
24 Transform Tool Duration:05:52
25 Effects Panel Duration:10:00
27 Spot Tool Duration:17:51
28 Skin Softening and Brush Work Duration:07:00
29 Range Masking Duration:13:28
30 Dodge and Burn Duration:17:36
31 Working with Specific Colors Duration:08:30
33 Making Presets Duration:13:24
34 Preparing Image in Lightroom Duration:09:51
35 Content Aware Fill Duration:11:14
36 Skin Repair Duration:02:44
37 Skin Smoothing Duration:14:39
38 Expanding a Canvas Duration:04:30
39 Liquify Duration:10:22
40 Layers and Composite Images Duration:12:54
41 Sharing via Web Duration:17:52
42 Exporting Files Duration:10:47
43 Sharing with Slideshows Duration:08:00
44 Archiving Photos and Catalogs Duration:19:54
45 Designing Duration:13:35
46 Making Prints Duration:11:27
47 Color Management and Profiles Duration:13:00
48 Archiving Photos and Catalogs Duration:11:31
49 Using Cloud Storage Duration:04:09
51 Collecting for Your Portfolio Duration:18:03
53 Sharing to Instagram Duration:07:06
54 HDR Duration:15:32
55 Panorama Duration:06:41
56 HDR Panorama Duration:09:54
57 Making Presets Duration:15:39
58 Creating Profiles Duration:18:09
59 Maps Duration:07:08
60 Setup for Tethered Shooting Duration:23:21
61 Sharing with the Client Duration:05:42
62 Watched Folder Process Duration:07:04
63 Second Monitor and iPad Duration:06:09
64 Backup at the Camera Duration:03:50
65 Gnar Box Disk Backup Duration:06:45
66 iPhone and iPad Review Duration:12:52
67 Importing to Lightroom on iPad Duration:02:59
68 Cloud Backup Duration:04:39
69 Adjust, Edit, and Organize Duration:07:46
71 Lightroom Desktop Duration:05:27
72 Removing Images from the Cloud Duration:10:49
73 Profiles Duration:09:34
74 Light Duration:04:34
75 Color Duration:05:36
76 Effects Duration:15:22
77 Details Duration:08:33
78 Optics Duration:03:49
79 Geometry Duration:04:12
80 Crop Duration:04:39
82 Local Adjustments Duration:15:40
83 Healing Tool Duration:03:29
84 Synchronizing Edits Duration:04:57
85 Editing in Photoshop Duration:08:54
86 Finding Images Duration:07:09
88 Posting Images to Social Media Duration:14:01
89 Overview of Lightroom Desktop Duration:07:35
90 The Workflow Overview Duration:10:08
91 Organizing Images Duration:05:10
92 Albums and Shared Albums Duration:18:21
94 Importing and Selecting Images Duration:09:23
95 HDR and Panoramics Duration:22:44
96 Light Duration:07:47
97 Profiles Duration:07:23
98 Tone Curves Duration:02:57
99 Color Duration:08:35
100 Effects Duration:17:01
101 Details Duration:12:43
102 Optics Duration:04:05
103 Geometry and Crop Tool Duration:06:01
104 Sync Settings Duration:02:40
105 Making and Adding Presets Duration:03:48
106 Healing Brush Duration:02:21
107 Brush Tool Duration:03:14
108 Gradient Tool Duration:04:16
109 Edit in Photoshop Duration:02:53
110 Finding Images with Sensei Duration:06:32
111 Sharing Albums on the Web Duration:04:57
112 Print through Photoshop Duration:02:09
115 Archiving Images for Storage Duration:09:55
116 Review of the Workflow Duration: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 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


Dan Clarke

This class was great. I've never used Lightroom before and now I feel comfortable in it. Massive amount of good info.


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).

Kyosa Canuck

I hate to say this is a repetitive class due to covering much of the same things in each LR app. I appreciate Ben's classes better but this does give different perspectives. Also, Ben knows better than to use the word "super" let alone use it 10+ times per lesson.