Roundtrip Workflow Part 1


Advanced Adobe® Lightroom® 5 Workflow


Lesson Info

Roundtrip Workflow Part 1

Let's, take an image and lets go in tow photo shop and work on that image for some reason on dh a lot of this stuff, I don't think we have to do a lot to these images, but I really like this whole set of it. I have these like this one is really creepy, and so is this when I got up super early in the morning because it was very foggy and we don't have a lot of fog in phoenix, so I was like a dog, so I love these images. I think they're super super creepy and interesting, so I'm out wandering around on this field with the sheep and and so I'm going to start and this is what we're gonna do is we're gonna do a round trip to photo shop or and or toe other software on dh and the important thing that I want to discuss about this is that it's done in the right way, because yesterday we talked about the whole workflow, but we never left to goto photoshopped came back, I just told you, where do you do photoshopped you do it after you re name, right? And so if you look at the name on this image h...

ere, it has been renamed, so I have permission to leave and go to photo shop because I have renamed it so it is the proper name it's the name it's always going to be so now I can go to photoshopped to work on it, so the first thing I need to do is I need to do as much as possible to this image before I go to photo shop because the raw is the place to do all that work. So I'm going to do as much work as I can to this image before I end up in a photo shop. And so and this is an interesting discussion right here look at the difference between using the highlights and the white there's the highlights so you know, it's just right there behind the tree and everything else is pretty much non existent and now here's the whites that it actually extends well beyond that, okay? And you can tell where these are, so this area is the whites up here on this area is the highlights, but what you've got to see this this is really important to see you don't have to look at the image for this. You have to look at the history ram because everybody wonders about highlights and whites they seem like the same thing, right? So if you look at the white section here there's nothing in it there are no white in this photograph, but if I grabbed the whites and start yanking it look what happens to it see that it's actually pulling everything that is trying to create a white and if I go the opposite way it's trying to get rid of a white so it's not the white dial is not actually controlling the whites it is finding a white it is creating white or degrading white and so even in a photo that has no white if I grab onto the white yanks up the highlights yanks up these guys down here and creates white out of them. So now if I look at the photo itself say I'm making white where white didn't exist, so it's important to notice that distinction now watch what happens if I pull this back down because there are no whites in this photograph so we shouldn't have white but if I go to the highlights, which is things that are brighter than mid tone I'm gonna grab on to those watch the history ram now so it's slower to move its trying to pile those things up and down inside of itself so it's trying to take stuff that's generally light and shift it lighter without making it white see it's holding the line on the whites, it's trying not to encroach on the white's territory and it's on ly trying to stay within it its own territory which is the more brighter things not quite white, not quite gray in the middle and it it'll pile it up and it will try and hold that line as long as it can before pops over into white and so you really have to go quite a ways still protecting I'm seventy and it still hasn't gotten to pure white it's trying really hard not to allow you to go there and so there's a difference between the two controls if you are looking at an image then and you want to work on something if it's a thing that needs to be not white or it needs to come into white that's when you use whites when you wanted to actually make it a white or take it away like when we're dealing with the image of of the bride with the grandmother and we wanted to fill all milky, we wanted the whites too we wanted to take the whites away wanted to deteriorate the whites into something more grayish or light gray, and so in this case, we want to we don't necessarily want to make anything white, so we'll just kind of said it that's like kind of our bright white point is right there and then we take the highlights that's what's going to take that kind of midst tone grey sky and give us a little bit more brightness to it so that so that's the difference between highlights and white um I'm going to take the shadows way down because I want this to be much very much a silhouette, but I mean take the shadows up because I want to see the grass down here take the shadows up quite a bit take the blacks down so that we get a very you know silhouetted look at this tree now this is this could either be very cool a very not cool the vignette here naturally is happening is a result of the lens and I'm going to go into the lens correction and I'm gonna turn on the profile correction which gets rid of the vignette now you can go either way on it do I like the vigna or I don't do I or don't I? I don't know now here's my thought on it if I go like this, the vigna is following the actual curvature of the lens which is not the way the tree is positioned in the photograph. So if I turn off the the air turn on the profile corrections so it removes the natural vignette of the lens then I could go in and create my own vigna that actually follows the tree and so I can create and don't invert the mask and create a one stop burn and then just go like this around the tree so you could have your vignette kind of follow that tree a little bit so you could do something like that, but I don't think I like that at all I think that looks really lame so we're gonna blow that one up and I think that I kind of like the vignette after looking at it, I think I kind of like doing yet however, I actually like the non I like the like the lens corrected version for straightening it out. I like the way it looks better and so what I'm gonna do is I'm going to the manual section of this and I'm going to take so our, uh, profile sorry. Go into the profile area and let me look here. See, there is the profile there's a distortion portion and there's a vignette ing portion to that whole thing. So I ca n't tell it I want to keep the entire vignette, but you keep fixing the distortion. And so now you haven't been yet photograph that keeps the natural vignette of lens, but it allows the distortion correction to go through. And so now we have a straighter photograph with the nash, and yet I kind of like a natural venue to a lens. I think it looks nice. Um okay, so I can accomplish that inside of light room there's a lot that I can do with them inside of light room, I'm gonna work on some temperature you know, how do I want it to be nice and cool, or do I want it to be warm? I think I like the cool a lot. I'm gonna take the saturation down quite a bit, and then I'm going to go into my split toning and in the split toning and by the way, a lot of this stuff I could just be doing over here in my presets, but I think it's more valuable for use of a student to see what's actually happening eso in the shadows, I can create a different tone that I'm creating the highlights, so I'm gonna actually take the highlights, and if you hold down the option key while you slide your hugh, you get it, you can see what hugh you're creating, so I'm gonna choose blue because I want to match whatever that blue is. And by the way, if I want to match that blue, exactly, I can click on this little highlight right here, right there in the highlights. I can click on that color picker, and if I'm clicking on that color picker and then I'm gonna click on this and hold the button down, click on it, hold the button down, keep holding and dragged the color picture off, and now I'm picking a color from the photograph itself see that moving around so I'm gonna actually choose the actual blue that's in the sky and add blue to the sky so this is what the sky looks like and this is adding the actual hue of the sky into the photograph so I'm adding that in and now I'm going to change the amount of saturation so this is zero saturation and this is a little bit of saturation and just kind of moving it back and forth until I like what I see so now all the highlights have a little bit more blue in him then I could take all the shadows and aiken choose some other wanna choose kind of ah red and then I'm now that I have that oh they're like that someone choose a read and I'm gonna come down with it and turn it completely off and then I'm going to start playing with it to see at what point do I really you know it's starting to add like this weird eerie almost like a tornadoes coming or something that weird eeriness I like that so now I've still got blue in the sky up there but the shadows are getting this weird red serious to him I like that a lot so that I'm going to choose that and then the last thing I'm going to do before I go into another program is I'm going teo create a completely level ground now keep in mind that I don't do if it's just cropping for like eight by ten sake or whatever, I don't crop inside of light room before I go to photo shop, I want to retouch the entire image and then I'll come back with that image and do any cropping after the retouching is done that way if I ever want to make a four by six of it or if I want to make a ten by ten of it or whatever, I have the full retouch damage and then I can crop within that image so never cropped the image before you go out to photoshopped unless it's straightening the image. If it's straightening the image or hiding some defect in the image like there's, a person that you need to get rid of or some you know, fire hydrant or something that needs to be gotten rid of, then crop it, but otherwise don't crop it, take it out, work on it and photoshopped comeback and then crop it. So now that I've got that under control, the last thing that I could do if I was really interested in doing it as I could go back to the lens corrections and I could go into either the manual section and work on the vertical and horizontal, you know, perspective control or I could go into the basic area and I could use these controls, which are automatic controls and so they will actually look and see okay is there something that I need to do to this image vertically to make it look more natural and so when I click on it see how did you see but but look at it watch seriously don't pay attention to those little yeah don't pay attention in those pay attention to the tree and pay attention to all of the it's getting its signal from mall of these right here all of these little fence posts and so watch what happens when I hit vertical see all the fence posts are now actually vertical and the tree is actually vertical so it's actually did a good job and so at this point I'm gonna goto photo shop like this okay all right so I'm gonna take it to a photo shop and it's leaving those white bars for a reason leaving those white bars so that photo shop can intelligently fill in the cracks all right now sometimes it works sometimes it doesn't you know so photoshopped can sometimes do a really good job at filling in those white gaps and sometimes it can't and so it and then at the end which cases up to me to filament but they're not too hard to fill in this area is a little hard because it's skye and so sky as it is that grady in is often challenging thie grass is not all that challenging but that's how I think it's a much more pleasing way to look at it now if you didn't want to go into photo shop and use the the smart options to feel that and they call it content aware phil s so you you do content where phil there but you could also constrain the crop and now it would just constrain the crops so that the crop isn't seeing the white things but then all of a sudden we lose stuff so at that point I'm gonna go back out so it's just there's just no way that oh so let's reset that crop and then just wanna re negotiate the there we go there okay? So that's what? We want to send out a photo shop and at this point we're going to go to photoshopped by right clicking the image and edit in and then it's a matter of where we want to edit it now all of these are options for editing so there's all sorts of plug ins there's no boca there's color effects there's all the on one perfect sweets there's nick software there's exposure five there's all sorts of interesting options for for working on it so you could you could work on all sorts of things I actually have ever tried a perfect photo suite to do a content aware phil from a white thing it might actually work so we could try it and see you know shall we try it? Ok let's try it so I'm going to go the perfect perfect effects sweet so hold on I gotta perfect effects right there so I'm I'm editing it in perfect effect suite instead of photo shop just to see if it can actually because a lot of times you can like just cop out of personal intelligently figure out howto get rid of it so I'm thinking that might do it I want to make a tiff pro photo rgb sixteen bit three hundred dp I image because that's the best quality file I can get I'ma hit edit and now it's going to open this up it's creating the tiff right now it's going to open it up in the suite will work on it and then when we're done with it I will close it and it will return it back to photo shop so you can see it's already in photo there's two versions there's the robbers and and then there's a photo version and then my perfect is sweet sweet is not opening it for some reason. Well then that's fine, we will edit it in photo shop um at the original now see, this is a distinction when I do add it in some other program and I go to open it up it's going to create a new one and then it opens it up but it doesn't give me an option to edit the original because you can't write at it the original inside of photo shop because it's wrong so it makes a photo shop were the copy to goto photo shop but if you click on the photo shop version that it returned to us then we right click it and we edit in photo shop it's going to ask us do we want to edit the original or do one at a copy already want to add a copy that has some adjustments by light room so I'm gonna edit the original and hit at it with the question was I was working on a file in light room and did a whole lot of modifications to it uh spent actually a long time making these modifications you know toning and etcetera and then took it out to like photo shop and brought it back and all those modifications were gone they just disappeared off of the raw off of the role ok and was it a corrupt catalog issue are just disappeared on you it just disappeared on me because all the other files looked fine so the so the the raw image lost all of its changes yes but when you went photoshopped it took the changes with it to photo shop is that correct in the photo shop image had all the changes on it yes okay so somewhere in there it must have reset that file I would look teo inside of light room. I would look inside in the developed module. I looked down on that file and see if there was a reset that happened in the history. So you can see the history of a file so that's where I would look. So, for instance, there's, no history on this file here, but there's always a history on that. Did you look at this history? No. Okay. So if you look at the tiff image that was created when we made this tree image, the history to that is nothing because we didn't do anything to it in light room. We did that to the raw. But if I click on the raw image, the history has all of the stuff that I did to it. And if I were to take this image right now and reset it, you can see that. And now it's a reset and it's all gone, but I can go back in time back to my crop version, so I would check on that. Probably somehow it got reset and there's still history available to you there. But the other thing that we were talking about in relationship to this question, wass that what happens to that history and what happens to all the changes if I let's say aye work on some images and change ball to d angie's like we talked about yesterday, we once we're finished with them, we convert him to d angie's so that the information is hard baked into the dmg so that you have access to it and that no matter where the dmg goes, the information about what you did to it sticks with the dmg. But the problem is that then if you go back in the light room and you start adjusting that dmg further, the change is not constantly be written into the dmg. They're not on ly when you made the dmg are the settings in the dmg now you khun save it just like a photo shop file. So in this instance, I have so if I look at the grid here, this is a c r to if I go in to my library and I convert it to a d n g, so I'm gonna convert this to dan ji, and so I've just converted this one image to a dingy. So now you can see that it is a d n g. Now, if I've converted that to a d n g and then I go in and say, you know, let's, let's, turn off the lens corrections, right, that change that I just made was saved to the light room catalog, but it was not saved to the dmg. If I go to the dmg right now and open it and say photoshopped where I close this catalogue and import that dmg toe another light room catalog, you will see the image with the profile correction on it because it didn't save it to the dmg because remember, in the preferences of light room here, I did not tell it to automatically right those images. Holland? Oh, I think it's in the catalog setting someone in the catalog settings is it? Yeah, there we go at the metadata setting level here. I did not tell it to automatically right into the x and pete, if this is checked than anything I do, will automatically right to the catalogue and to the dmg or to the ex mp sidecar file, whichever you have, and so then your double secure, and then everything is always being saved, but that also means that any errors you make are also being saved. And so I prefer the opposite method, which is don't check the automatic writing of the ex mp, but instead, just every once in a while when I know that I've done something that I appreciate that I want, just like you would on a photo shop file just kitt command s and I've just now the updated command us saves the x and pif data out to the file and if it's a raw file it'll save a sidecar ex mp if it's a dmg it'll shove it into the dmg and save all the changes into it. Okay, so the dmg or the raw on ly get updated at the file level if you tell it to do that otherwise it the truth is always in the catalogue it's different than the way bridge operates bridge operates on the philosophy that the truth is always in the file so it looks to the file and next to the file for an ex appear a tng to decide what to do with those files. The light room operates that the truth is always in the catalogue and there may be information at the file level, but it's going to disregard that unless told otherwise that's the difference so as long as you know that about light room, then you won't make it. Yeah, and I mean that's what I think where I got confused because I thought it was like bridge in that it constantly wrote the data into the dmg does not you tell it to? Of course you khun you khun you khun, check that little box and then it operates the same as bridge but you also have the advantage of catalog

Class Description

Ready for a whole new approach to your post-production workflow? Join CreativeLive instructor Jared Platt for the ultimate three-day introduction to everything you need to know about working with Adobe®Lightroom® 5 (and beyond) to make your workflow efficient.

You’ll learn a basic, seamless Adobe® Lightroom® 5 workflow, and also how to customize that workflow to fit your specific needs — whether you’re outsourcing, taking pictures on the go, or working in a studio setting. Jared will cover ways to select and retouch images more productively. You’ll also learn about automating settings, plugins, and hacks that will help you work more efficiently. Jared will also guide you through the core image adjustment techniques every Adobe® Lightroom® user should know.

Jared will give you a step by step look at his entire workflow, start to finish. By the end of this course, you’ll have the tools you need to deliver higher-quality images and products while cutting your post-production time in half.

Software Used: Adobe Lightroom 5