Editing A Photograph: HSL/Color and Tone Curve Panels
Lesson 18 from: Adobe Lightroom Classic CC Workflow for PhotographersDaniel Gregory
Editing A Photograph: HSL/Color and Tone Curve Panels
Lesson 18 from: Adobe Lightroom Classic CC Workflow for PhotographersDaniel Gregory
Lesson Info
18. Editing A Photograph: HSL/Color and Tone Curve Panels
Lessons
Class Introduction and Basic Workflow Management
18:05 2Customize Develop Panel
03:48 3Enhance Detail
06:58 4Profiles and Presets
25:10 5Color Range and Luminosity Masking
11:41 6Import and Folder Organization
07:23 7Tethered Shooting, HDR, and Pano
05:50 8Catalogue Overview
18:51Folders, Collections and Smart Collections
14:56 10Workflow
07:02 11Importing
12:02 12Metadata
16:38 13Finding Photos in Lightroom
09:54 14Workflow Tools in Develop Module Conceptual Framework
10:59 15Editing Concepts
12:14 16Editing a Photograph: Basic Panel
13:50 17Editing A Photograph: Detail Panel
12:33 18Editing A Photograph: HSL/Color and Tone Curve Panels
04:26 19Editing A Photograph: Regional Edits
08:00 20Black White Options
04:11 21Regional Editing using Luminance Masks and Local Adjustments
04:59 22Virtual Copies, History, and Snapshots
13:02 23Basic Color Management
17:29 24Soft Proofing
20:42 25Making the Print
27:23 26Exporting Images
15:04Lesson Info
Editing A Photograph: HSL/Color and Tone Curve Panels
once I've got kind of that part set the next area in terms of workflow, that is the HSE l slider. If you're on a color image would be H s l. These are somewhere between global and regional, which is why I go to them next, cause I'm starting to make my transition to my regional adjustment. So as I do that what the sliders are doing is they go in and look at the colors that are in the photograph and allow me to adjust the color in this photograph. It's pretty easy. I got blue. So if I want to adjust, Luminant values the hue saturation of blue. It's pretty much gonna target the sky green Got that foreground? Pretty binary. But if I get a different image, you know, I get an image like this. I got green in the sweater green on the walgreen, a bunch of places. So the hse l sliders here, you know, start to grab other parts of the image that I may or may not want to justice. That's why it's between regional and global. We come back into here, though, and I'm on this image if I grab the blue sl...
ider, and I want to just say the saturation is of the blue. You see that four grounds been basically left intact, split The image makes this one a little bit easier to, uh, to show. But again, I would fix my brightness values of those blues first. So I kind of like that level of the brightness first, and then I would come in and make my saturation Hugh adjustment. So in this case, I don't want to change the blue, so I'll just go saturation and make it a little bit more punchy to get closer to like that film Bilby esthetic. Same thing with green down here Now, green is a weird color and fully just weird. Foliage is rarely green bullies trees. Plants are usually yellow, yellow and green. So this case, I want to change the color of that grass. I'm gonna click on Hugh, and in this case, I'm gonna come after the targeted adjustment tool so that little dot right there exist in a bunch of tools. It's the targeted adjustment tool. I'm gonna click on the foreground here and now is I click and drag. You'll notice the green and yellow sliders were moving and they're moving in proportion to each other based on the relative weighting of the color I'm in. So now I can decide that it's fall or early spring are weird, so I can come in and make that adjustment for for that. Now, if I come back and look at my original map, remember, I wanted this foreground to be brighter, and we haven't even hit the radiant tool. I would just color saturation of the greens and I'm getting closer and closer to that decision already. So at this point, I'm ready it. I've got other tools down here. If I needed to do a transform uprightness, I could work on those any of those tools to work with that from unedited a decision I'm going to finish out. Ah, the last one from a global place would be the tone curve to come in if I was going to use the tone curve for additional control for concentrate our for concentration, for contrast, so I could come in and actually make an adjustment well s curve to boost the contrast. I could also come in and choose a red, green or blue channel if I had a color cast If I couldn't correct it with the white balance tool cause I put blue in and the shadows got weirder Vice first I could come in and use the blue Channel And now if I come up you can see I'm gonna add in blue If I come down I'm adding in yellow But in a tone curve This is the shadows This is the mid tones and this is the highlight So I could come in and say Add in a little bit of yellow and warmth to the sky and cool the shadow Cool the foreground down a little bit and continue to do a little color work in there So this will be the global global level. So at this point, I've got my global editing pieces done back on the where you were with the little target adjustment. Is there ever times were? You can't get that. There's times where I've tried to use that. I can get to work. So I'm just curious, if sometimes is that little? Not that I know of. Okay, so you just click on it once, click on it once, and then you know you have the tool active. When you've got the little cursor out there, if you don't get it clicks, you just end up with a piece of that. But yeah, without seeing and watching, I wouldn't.
Ratings and Reviews
a Creativelive Student
I watched this course live. Really good!. Of course, I like all of Daniel Gregory's classes. It's a real treasure when one finds a really good teacher who thinks like oneself. I thought that I already knew Lr well so I was really surprised about how much I learned from this course. I learned so many ways to improve my workflow efficiency.
Anne Dougherty
I was impressed by the amount of information covered in depth, and by Mr Gregory’s teaching style. I’m somewhat new to Lightroom and found his explanations of its capabilities, and why you would use it rather than Photoshop for specific processes, enormously helpful. I especially appreciated his lessons covering printing. This is invaluable information. Great class.
Warren Gedye
This was a great course. Daniel certainly explains it well and in terms I can understand! Super worth it and learnt loads of new tricks! Great job!!