Advanced Adobe® Lightroom® 5 Workflow

 

Advanced Adobe® Lightroom® 5 Workflow

 

Lesson Info

Roundtrip Workflow Part 2

As we promised, I was going to go in a photo shop and work on this and uh on ginny rightly pointed out that the tree was abducted by aliens it is now gone and so we have no tree what this actually is is um if I can turn this off so this is what it looks like when it comes in and this is a transparent area in the image so that's the area that was skewed out by fixing the parallax of the leg and so I'm going tio what I need to do in order to do a content aware if I do content aware right now and I fill in this gap it will see the tree and it will pull the tree over and that's not gonna work out for us and so instead what we have to do is I drew a selection around the tree and inverted the selection so that that selection is I'm basically choosing the whole area here so you you take your selecting tool here and you're going to go in here and just draw around the tree because you don't want the tree to be part of your selection so we just need to do this, you know, so that the tree is not ...

part of we don't want the tree and then I'm actually gonna throw this one away because I were gonna make a better one okay, so now that I have that selection, I'm going to go up to the select menu and I'm going to inverse that selection, so now we're actually selecting the outside the tree is not selected, and that means that we can come in and create a mask in that mask takes the tree out once I have a mask, if I now I got to go back and click on this is important. So right now I am later I am selecting the mask, I don't want to select the mask I'm going to go in, and I want the photo to be active, not the mask, so once I've got the photo active, then I can come over here to the healing brush, and I just need to make sure that up here in the con, up here in these options here, this proximity match, create a texture and then there's content aware if you do content aware, it does a pretty good job finding the surrounding information and creating something out of it. So I'm just going to let it know by painting in where I wanted to fill, so I'm just I want that filled so that's basically my my problem area, and then I'm gonna let go and it's going to compute, what can it steal from around here to create something that looks like it fits and it will do a decently good job it won't do great because it's a little close to this but it did a pretty decent job but notice that the horizon is off for some reason so I'm gonna I'm gonna try it again because it's never the same twice so I'm just gonna try this one more time and see it sze usually much better at smaller things than it is a really large areas but it I got it during the break I can't wait to do it right once um closer so what we want to do is we wantto let's try this one see if we can do better over here and if you can't if you can't get content aware to do it very well then you just have to do it manually um see cross your fingers yeah well you know it's it's the aliens stole the tree and then that created earthquakes and then the earthquakes created chasms and so that's what we got out of it so anyway we would have to do this manually instead which is not all that difficult but it's it's something that you know we just have to do so we would just delete our little mask here um and so that's what we get out of it but I'll just start from here because it created that and so now I'll just go in to the image and I'm going to take the stamp tool and I'm going teo just repeat out this area here I want it to be a one hundred opacity so I'm doing it full on and I'm gonna grab option here and just oh that's why um most of the time the most of the time I'm in light room in their memory touching I'm doing blend modes that are like lytton because that's the best way to retouch but I'm going to do normal right now because lighten does not work for this situation so I'm just going to option click here and do a little paste and then I love the new photo shops with a sze yu you click on something here is you choose that area there and then you come over here and it shows you what how is gonna line up so I could just okay so I've just created a few more of those posts which I'm all right with that that would be ok on dh then we just need to blend these out a little bit so that they you can see that that's a problem because the vignette ing is always an issue when you come out to this edge but if you can get it to look somewhat close and then at that but you can take a fifty percent capacity and once you go fifty percent capacity you can kind of soften the blow of that area and it won't look as bad so I'm just trying to create the general look right here okay so now that I've got that then if I go to fifty percent or maybe even thirty percent capacity and then I start and then that's when I can go to the lighten area here hopes not screen lytton and I'm gonna click on it and now it's it's it's keeping the texture that's there but it's just kind of lightning and up and softening and you could see how that looks much better now it's softened so doesn't look is obvious that I've created it and then I'll kind of zoom out so that ej looks pretty good it was going to go on do a little bit more here and probably the whole thing could use a little bit of that so there's not quite as no that's too much let's do ten percent just softening up some of those I guess they kind of warbles in the fabric of well when you have aliens coming around you're gonna have that and so there we go good I'll say so that side's done and then it's just a matter of doing the same to this side so we go back to one hundred percent we're going to go over here zoom in so we can see this and then the beautiful thing about what we're going to do this images that after we finish I'm fixing the what's that no, we're not in light room wait oh thank you we are I was enlightened thank you I had to be in normal to do this at one hundred percent and so now I'm just going to go here and we're just gonna there's not them get it close unfortunately with clouds it looks kind of cool when there's extra cloud and so by doing this it makes it look like I have more clouds and down a little bit and that the key is to choose from various spots so you don't create like a pattern there was there's actually a photographer that got in trouble back when there was think it was eleven on that was being bombed at the time and he took a picture of lebanon and then he and then there was one thing of cloud of smoke coming up because there was one bomb that had been dropped and he started repeating that all over the city with photoshopped and the repeat was really bad I mean, it looked almost as bad as my alien situation that I had created last session and uh anyway, so but newsweek or whoever it was that had printed it I can't remember which agency printed it, but I think quite a few printed it and no one noticed that all the clouds look exactly the same I mean, it was it was a really bad photoshopped job and that they printed it and it totally undermined their veracity is a news agency and of course his veracity is a photographer and I don't know that he works anymore because I think he got canned on guy think he's blacklisted but you know that's that's just what happens when you try and do bad photo shop I don't I don't really fault him for lying as much as I fault him for being really bad you know? Because I mean news people lie all the time we understand that but you know it's being bad photoshopped that that's what's unforgivable so anyway so let's let's go toe like two and let's go to lighten and now we'll just do a little bit of extra you know, softening of that cloud formation that I've created see okay so it's getting a little too dark under there so now I'm an act zoom out a little I'm going to go somewhere where I have a little bit of lightness here and grab from here and then I'm just gonna do a little bit of softening of that but cnn good it from a completely different place that way it just doesn't look like it's so dark and then I need to grab a little bit from here and just kind of run along this edge here that's pretty good okay now now that I've got the structure back together now what we want to do is we want to create the the feeling around it and so this is what photo shop is great for because you have the ability to do textures and the ability to put, you know, stuff like that and but I'm not one to really hang out in in light room all that much I mean in photo shop all that much and so I'm going to use things like on one software or nick software or something else because they can do it much faster than I could do it inside of photo shop so either actions or plug ins even when I'm in photo shop, so in this case we'll just go filter will go teo nick software and we'll go to silver effects pro access is go to color effects from and there was a problem with the interface that's interesting I don't know why let's let's go from here uh where is my color fxpro there we go I think think now are now we're cooking it's thinking, okay, so now that I'm in a plug in plug ins or so much easier to work with. So now it's just a matter of looking for, you know something that I want to do to it so I want to do something that's a little bit kind of odd, so I'm going to go to like a vintage e c how starting to create weird effects to it and then I can start playing with those I wanted teo I still want to keep the cool saturation will bring it up a little bit way want to do film strength kind of up on that green pixels and if you zoom in, you can see what you're accomplishing and the grain is amazing grain is always wonderful for because now all of the weirdness that we created from, like those from repeating stuff is going to go away because we have grain and so I'm going to take the grain so grain for pixel if you lower it down, you get more grain if you raise it up, you get less green, so if you could kind of play around with the green, I usually somewhere in the middle is quite nice film strength is going to change what you know, the contrasts and nature of the film is but you can also choose the film type, so if you come here, I'm going to choose, you know, different types of film and it just say it rolls over him. So you khun you know you're gonna choose your film type here who I like? Nope, not that one working with the pen sometimes you don't get quite there like that on dh then of course you have, uh, let's see what else you want to do this let's do a control point this is what we're talking about earlier those control points if I click on a control point here it's registering that area and I can choose in that control point whether I want come on see that I can choose the opacity so I'm creating like a hot spot there um and then I can increase the size of that so it looks like maybe the sun's coming that way s o I have but if I create another control point uh say you know like right over right there and then I can tie the two together by hitting select all and now once I've got the two if I can tie them together now whatever I do to the two of them will be tied so I don't have to be controlling one at a time I can control to together but I like I like the feel of that and then once I'm done with that I can collapse this one here and I mean I can add another filter so if I click on add a filter now I can come over and choose some other kind of filter as well so like for instance there is um some infrared filter here and so inside of the infrared you khun if you click on infrared it'll just show you infrared but if you click on there's there's a little zoom in here and show you this if you're on if you're on infrared and you zoom in you can see that little that thing right there that those three pictures together tells you that their options and that gives you an idea of what kind of stuff you could be working on so let's do say this greenish one and then we're gonna come into the infrared and then this is where we start choosing you know what this is going to look like so I like that one and then we're going to take the highlights enlighten him or bring him back down you take the brightness say like that contrast and bring it down um shadows we want so I mean there's just a lot of stuff that you could do to this image to make it interesting and then we're going to hit okay and now that's going to come back in now once it does that notice that when it went to the plug in it created a layer so now we have the layer so I went through all that work get a photo shop are in light room to make it a specific color a specific tone and I liked it and then I came in and ruined it all right I didn't really because if you come in here now I can take this and change the the layer style too eh luminosity layer and once I do that now all of that see this is the original file here and this is the changed file but you see how we see that so now it looks like there's like clouds coming up there around it so there's all of that stuff but it kept that nice purple look that I had because I changed it when you change a layer toe luminosity layer and now it's on ly taking the grains and the adjustments that changed the way it felt but not necessarily the colors from it and then of course you can come in let's zoom into this so you can see you know what that looks like so this is what it looks like I really love that grain it's absolutely beautiful grain I've never actually seen a better grain system than nick nick software does the best screen I've ever seen I really really really like it on dh then I can take the luminosity layer and I can start pulling down the opacity see if I go all the way to zero I get that and if I go up I start to get the total effect so let's go out so that we can see what we're doing and we're just going to blend those two things together until we get just the right mood behind it and then if that's the mood we want, then we're going to close this so by hitting command w were going well with khun save it first command s and it's going to save that file and a command w is going to close it and when we're done it's going to be back and light room so I'm finishing saving and I always wondered why it saves slower right at the end of the file come on almost done so we close that file and then when we come back to light room we have the finished file waiting for us there now we talked about the idea that when you add it in photoshopped from a photo shop file and you hit edit in photo shop you get an option of edit copy with light room adjustments why would you adjust a file in light room that you had made in photo shop? The reason behind that is that you might want to goto photo shop to do just that skin retouching or remove you know cem posts and think our or do what we did here and change the the vertical vanishing points and stuff so what we did here might not be the end of the file at this point we might want to do mohr to this file inside of light room we might want to go into the effects and actually add a little bit more grain inside of light room and by adding that grain I really created a interesting grain structure in there so I think it looks really nice eso I've added some extra grain to it I might also, you know, I might realize that there's some, you know, spots in there that I need to get rid of or whatever. So there's plenty of reasons why we might want to do a little bit more sometime. My most of the time, what I find myself doing is I'll get done and realized while I'm in photo shop. Oh, I really need a grady in on this photo shop is so cumbersome dealing with radiance, and so I'll just do all the retouching and send it back to light room, and then I'll just grab the grady int here and choose, you know, light, burn and grab it and dragged it down and be done with it. So a lot of the times it's just a simple is I want a little bit of a radiant here or something like that, but now that photo's ready to go and when I export, it will export as j peg or a tip for however you want, but that's the workflow behind going back and forth from light room toe photo shop, you make sure that you've renamed it first. Then you have permission to go to photo shop, do your work, return it to light room and then always goes out from light room light room is the final place where it goes out all right, now, since we're in here and I've just finished this file, I thought it would be a good idea to just share this file, so I'm gonna go to the library and I'm going to go down here remember how I talked about the idea of having all of your stuff connected so it's really easy to share that, so I'm going to connect this file right here to facebook right now, so I'm just going to take it and I'm gonna drag it over to let's see, I'll put it on my uh, platt photography page, so if you go to facebook so anybody that's out there, you can go to facebook uh forward slash platt photography is where it is, and so I'm going to put this on my timeline photos and I'm going to right click it and I'm going to publish it and at this point soon is this publishes over it will be live on facebook and it'll be there very soon. So you know, I'm not sure how quickly it doesn't, but within seconds or whatever, so well here it is. See right now it's downloaded, updating and now it's done so now somewhere if you go out facebook and look at it, you can you can see it, I can also send it two I just made a on my smugmug gallery if you got a platform ta gra fi dot bisbee isay on dh you go into the client section there is it's up it's up you just checked it just popped right up awesome so everybody going and like it and we'll see how many people saw it I'm curious how many likes I can get on that photo so you got one for me oh, I got one like that's awesome I mean something esther borough gambrel says awesome richard kimbrough says hey it's the tree I should upload the tree I should upload the one with the alien sucking the triage totally should do that so then I can also put this on my smugmug gallery so if I if I go where is that one seal? Um I thought that created it well, I don't see it. I had made a catalog or ah client folder just for creative live hold on I got a zoom in I can hardly see these such a high resolution here you know it is there it is from creative live there we go. See? I wish you could color stuff in here so you could see it ok, so if I grab this and drag it onto from creative live and I right click that gallery and I publish it I'm now sending it to creative live so it is. It is now uploading to my smugmug side as well. I put it on a specific gallery that I created inside of light room it's now on that gallery, as soon as it finishes. So if you go to plata graffiti biz, go the client section at the very bottom there's, a thing that says from creative life, and that image will be in there. And so it's. Very, very simple to get stuff to the populace very quickly, from because, remember, we made our template originally, and we always operate from that template so that we have all of our hard drive and our publication services available to us all the time. That's important.

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