The Ultimate Lightroom CC Workflow

Lesson 18 of 41

New Features in the Lightroom CC Develop Module

 

The Ultimate Lightroom CC Workflow

Lesson 18 of 41

New Features in the Lightroom CC Develop Module

 

Lesson Info

New Features in the Lightroom CC Develop Module

So let's talk about uh some of the new features inside of light room in order to talk about some of these features I'm actually going to go to and you can see I can go directly to a collection here so I'm going to go teo um let's see I want to go no not there all right this is one of my favorite new features inside of light room um I do not take I have not taken panoramas or hd ours all that much because it required me afterwards to go photo shop and mess with it and so I thought what's the point I want to do things quickly I don't have a lot of extra time I'm not doing you know an art piece I am taking a bunch of pictures for people who are paying me to take those pictures and I don't get any extra money if I fussed with the longer and so I want to get them done so I have not in the past done a lot of that kind of stuff but occasionally I have been in a position where I I was like I got to take a picture in a panoramic sentence because I'm you know that stonehenge and I want a really ...

nice picture of stonehenge but it's this right and so the only way to take a picture of stone hands like this is either take one picture and crop it that means you have a very small picture of stonehenge or to do a panorama of it, and then you have a very large picture of stonehenge, but this one had to be done inside of photo shop because I took it, you know, in january of two thousand thirteen or fourteen, two thousand fourteen anyway, so but that meant that I had to go through every single one of these images here. So these are all the individual pieces of the panorama, and I had to go through all of those images and I adjusted them and and I burned in the sky a little bit, the blue sky there and I was doing all that kind of tricky stuff to each individual image and trying to match him up. And then as soon as I had matched them all up and I like the way they looked, then I had to go into the grid and I would right click here and I would ed it in and go down to the bottom here where it says emerged to panorama in photoshopped, okay, that's, the way you would do that well, now we can just go to this right here that says merge photo hdr or panorama so and by the way, if you hold the option key down let's see is that the option ki should be the option king oh it's the shift key on this usually it's the option key that keeps you from having to push the keeping keeps you from having to go into the dialogue box, but if you don't want to hit the dialog box instead of instead of control in, I think that's the that's, the hockey is that controller is that option think that's option anyway? So instead of hitting that keystroke, if you had the shift key now you hit this keystroke, which I think is shift, I think that's option m then it will open it up without the dialog box, whatever you last put into the dialogue box, it'll always use that so it's just a quick way to go, but we're going to go through the dialogue box so you can see what it does. Click on panorama and it opens and notice we're still in light room. We haven't left light room. We're just opening up a dialogue box inside of light room it's creating the panorama preview, which I don't have to create if I already know what my settings there going to be, I can skip this if I already know these settings work, I just hit the shift, add the shift to that hockey, and then I open it up it'll skip this and just do what it's supposed to do but you can see that it's already giving you a preview of what that's gonna look like but notice that the blue sky's gone the darker clouds are gone anytime you use this new feature in light room either panorama or hdr you don't need to fess fuss with the image first because it wants the original raw image it's going to do all the stitching is going to do all the hdr type stuff before any adjustments are made now now back in the old days of light room five when you had to go to photoshopped you, you worked on each individual image so that when it went to photoshopped you had the best possible image coming to photoshopped because once you got out of the raw realm you are now destructively editing your photographs and so that that raw destruction are that destruction of non raw editing was a problem well now instead and these are my options so I could do spherical cylindrical or perspective I'm going to keep it on spherical and I'm going to hit merge and when I do that it's taking the raw images it's stitching the rheiman jizz together and it's going to wind up making a raw panoramic image so it is raw it is raw data and so now I can adjust it just like a raw image I love it, so now I'm literally working still in the raw once I've made the panorama very different than a light room workflow I mean, a photo shop work flow so at this point, I would never go two photoshopped to make my panorama I would always make the panorama raw work on the full panorama in raw, and then if I wanted to do some really tricky work that had to be retouched or whatever, I would go to photo shop, but here's, the thing I khun in my head, I khun can't hardly think of a time where I have needed to go to photo shop for any kind of a, uh a landscape or a cityscape or any of that, I can't think of a time hardly at all that I've got had to go to photo shop because light room takes care of all of that kind of stuff. The only thing light room doesn't take care of for me is retouching like heavy skin issues that's it that's the on ly thing I go too photo shopped for, and I could do a lot of that inside a light room. But you know, if it's like a really, you know acne laden teenager or something then maybe have to goto photo shop to do some work on it or if it's someone who needs to you know, like a model shot where we're doing some major skin's moving and stuff like that maybe will go there as well but in general might room will take care of most of that operation, especially when it's something like a photograph of stonehenge. Yeah, so if we go back to some of the work full that we're talking about yesterday using the smart previews and not having the actual raw files present will this function still work? Uh I haven't tried it, but I I highly doubt it it needs that full raw data to create the full raw, but once you have the raw panorama, then I have no doubt that you could then make a small raw image of that so that I would make sure that the raw data was there in fact, we could test it by unplugging and seeing, but I'm I highly suspect it wouldn't be able to do anything with it. So if I now go to that image that I've just created and go back to the develop module, we're looking at a raw image notice that it's left the white areas here, so if I wanted to go and do a content phil content aware phil, I could then take care of that inside of photo shop so that I could extend that out so I don't have to like crop it in closer but we have plenty of room here so there's no real need for us to go in and deal with that so I'm going to actually crop it so I just need to crop out this area here we were talking this is a very huge file so I'm going to crop in there I'm gonna crop in here and then I'm gonna turn off here's your crop lesson turn off this little uh, lock there's where all of your, um, aspect ratios are as well as custom so you could do a custom aspect ratio and it'll sit right there so when I want to make a ah cover for a video that I've made and I'm putting on video and I want to put a cover that's what I used to come here and click on that sixteen by nine and then it gives me that sixteen by nine ratio move the crop around and I export that j peg and then uploaded to a video and that's what puts on that that's? What puts the cover to the video of video? So anyway, we're going with unlocked crops so that I can extend this back out here like that and extend this out like that they're ok and our is the key for cropping, so once I've done the cropping uh, actually, I think we need to level this out a little bit. Oh, and here's a here's another option? This is brand new toe light room c c as well, this little auto button right here. So this is automatically straighten now that's been available down below inside of the len's correction areas. Well, inside of this call upright, but it's also now available and kind of a different form. It's not the same thing. This is just an auto straightened whereas the upright does a little bit of of other stuff too. It'll warp the image a little bit. Okay, so I'm gonna click on auto and it says it straight probably because it's looking at this right here so it's looking at that that specific stone and it's looking at, you know, the upright of this stone and stuff like that. But I still think it's a little skewed simon there I think that's better just make sure that I don't have any white spots. Okay, so now that I've done that, I could go in and start playing with the image because it's raw, I have the ability to increase, you know, the the exposure I have, the ability to bring the highlights back down and the ability to bring the white's backed down and all of this could be done with a with impunity because it's raw, so I don't have to worry about destroying the image as much, so I'm really going to trick this out, take the shadows up a little bit so I can see more of that detail. I want the detail in the photograph are in the in the stones, but I also want tio I don't want it to look like it's just bright daylight, which is what it's kind of looking like right now, and so I'm also going to do a little burning and dodging, which is awesome inside of my new, uh, version of light room here self, I'm going to use my walk, I'm tablet now because I'm getting into some tricky stuff, but I'm going to go into my, uh, my grady in't tool, and I'm going to do inside and presets not only are available over on the left hand side, but they're also available on the right hand side, and so in the right hand side, I'm going to click on and you can see those pre sets here, so right about the temperature area in all of your local adjustments is in effect, and that effect is presets, so any time that you, any time you set sliders in a position that you like those sliders than at that point, you want to go into that affect panel you want to go down to the bottom of it and save it as a new pre set so that you never have to slide those sliders into that position again you can just choose it from here so in our case I want to do a blue sky burn so I'm gonna click on that and it's given me you can see all of the sliders that it has moved into position so that would take me a good few like a minute or thirty seconds or something to put those into play but with a preset it'll just do them so always use your presense wisely use them because they will help you to speed through so I choose blue sky burn and I just grabbed the top of this thing and I dragged down so once I have once I very um you see how that's burning that sky in so that it looks a little bit more brooding but I don't like the blueness to it you can see why the burn is the burns starts up here and it finishes down here at the end of that I'm gonna turn off the overlay so you don't see it so you can see what that looks like and now I'm going to go in and I just I just that that blue is too blue so I'm going to go into my temperature which is what's controlling the deepness of that blue and I'm just I'm dialing out some of that so it's just a little bit blue makes it a little bit darker and then I'm going to go down low I'm gonna create a new one and this one I'm just going to do a light that's a one stop burnham and do a light burn from coming from the bottom and coming up like this so that's going to dark in that grass probably want to bring the highlights down just a little bit, so see, now I can adjust those those sliders after the fact to so that I get just the right amount of burn on it. Okay, now I have a problem and the problem is, is that my, uh my my blue sky burn is coming over the top of my stones and the stones are getting darker? I don't want that I just want the sky to be burned, not the stones and so another of the new features inside of light room c c is that inside of any of the brush the the grady in or the radial filter is the ability to click on one of your, uh one of your brush points so alone pass funny here, let's turn on it's it's doing something weird, but they're okay, so I'm gonna click on my little of my brush there, so click on that guy but now, once we're inside of a pin, any of the pins, whether it's, the radial filter, whether it's a brush or whether it's, the it's, the grady in't um I now have the ability to, uh, click on this right here. You see there's a new button here. They used to just be edit and new. And now there's brush brush if you click on it, allows you to continue to paint in the same mask that the grating is. So now I can erase the grady in't out. Or I can add mohr to the grady in. So if I wanted teo continue the grady it down, or whatever I could do that, so in our case, we want to instead of adding mohr burn, what we really want to do is we want to erase it, so I've turned on the eraser and you can see I've got my brush options here the size of the brush, the feather of the brush and the flow. I also have auto mask and auto mask is useful when you're trying to grab very specific edges. Is that that light room? Khun see the edge and so you can avoid spilling over into the sky or vice versa on dso right now we'll start without that on but autumn ask is something you'll turn on and off depending on what you're doing and how close you are to an edge because it can also create some weird artefacts if you're not careful so we leave it off a cz much as we can we're in a race right now and so now I'm going to go in and I'm just gonna zoom into this image and I don't need to zoom in that much let's just go zoom in on that lunch and I'm going to you see how that has a negative sign on that brush so I'm going to just start a racing and let me turn on my overlay mask so you can see where I need to erase that red tells me where I need to a race and I'm just going in and erasing all of the areas close to the edge there and then if I if I'm getting up to an edge where I'm concerned him in a spill, I turn on the auto mask and then I wherever I click it's going to register that tone and texture and it's going to try and follow that as the the thing you want to erase from someone a click right up here and now I'm just going to kind of but see it's not spilling over the edge there now don't do it across the big big swath do it in little chunks because if you do it little chunks than your re registering the point that is telling it what to do and what not to do so like if you start on a gray point and then you start going over a tree it's not going to know what to do with tree so when you hit the tree you want to re register that point and start working on the tree so I like up here I'm going to come in and I'm going to do write them a click on that point and I'm gonna start going and it's just see how it's not hitting the edge there but then as soon as I'm done with that edge then I'm gonna turn well, I need to get this edge right here you see, I've re registered that point and then I want to get this little point going to bring the brush size down and I'm going to register that point get rid of that once I've got the edges and I've got him the way I want him, then I'm going to turn the auto mask off to get the rest of it because if you start using the auto mask on the interior it's going to start registering little points and leaving chunks because it's going to say ok, this chunk is different than that chunk in so you'll get like it'll erase from the dark area but the moss we'll stay burned, so once you're on the interior of the stones, you definitely want to be using the regular brush and then once you get past that once you get to an edge that's when you want to work from the from the auto mask and so I just click on auto mask, click up here race from appear like that race from here a race from here so I'm just doing all of my erasers here just like that and we go a little further over here click on here yeah about registering a point and chunks and stuff I just quit following me, okay? So when you go into the auto mask, it has to know what you want to burn and what you don't want to burn and so in order to create that division has toe when whatever the center point you click on is it's going to say ok, I am looking at a tone of dark gray with a texture that's kind of modeled or whatever and so whatever that is is going to be the thing that I do a race from but when I hit an edge that turns blue and soft, I know that that's the line and he doesn't want me to spill over but the partner but the reason that it gets fooled is that if you run over some green moss that's different than the graystone so as soon as it hits it it says oh he doesn't want that either so then you have to re click on the moss and start working on the moss and that will get so if you have a stone that goes stone stone stone moss but there's a blue edge on the top of all of it you want to register at the stone and go up to the mosque register the moss and go across the mosque that way it has the best opportunity not to spill anywhere and not to give you those weird artifacts on the edges ok so once I've got that done then I can zoom out zoom out here and turn off my overlay now watch I'm going to show you the drastic see that so I can go up and down but the stone's we're staying the same so now I just kind of do that and I take away some of that blue I think that and let's take the highlights down just a little bit more um and I may be going to take the saturation out the air ago that's looking good there okay now I can also go to my other point down here and instead of subtracting from it I can add to it so if I take my ad my brush it's just going to keep adding the same burn whatever that burn is and I can choose to feather and flow my brush you know upper down so now I can take my brush extended a little bit and just kind of continue the burn around this corner a little bit right up here and right over here but the bulk of what I needed to do was done by the grady in so grady ants are really great for like skies right? So you start over here on the corner and you bring down the sky here's a great example of this um if you go let's go down to another collection here. Um todo where is that let's do this one here? Okay, so this is an image that I absolutely love so I'm going to go into this image the first thing I'm gonna do with this image is I'm gonna go into the lend corrections and do an auto upright on it so that it kind of situates the thing the way it should be and if I do full it actually tries see how tries tio look at that tries to straighten up the building I could do vertical um but it it tries to, like get the building toe look like it's not I'm not looking up at it like that so once I'm done with that go in and do a little bit of work on it, so brighten this up, add some contrast bring the blacks down so I really want to add you know a lot of clarity to excite like the stones in it I'm going to bring the exposure down a little bit actually they're like that bring the shadows up just a little bit blacks down just a little bit more there yeah that's starting to look nice so I like the way that's looking but there's a lot of other work that I want to do to it because I think it's a special enough image and I don't do a lot of like individualized work on images most of the time most of the time I'm blowing through images as quickly as I can but when I come across something like this which I think is an amazing story then I'm going to really work hard on one image or two images of three images and if you're able to speed the workflow all monk it's a bunch of images then you khun slow down and take the time on the one or two that you want to work on but if you're spending a lot of time on every photo then you never have enough time for the ones that really matter. So I'm going to really slow down on this one and work on it but one of the things that I need to do is I need to burn that sky in the sky needs to be more dramatic so in this case I'm going to grab the sky I'm going to go down and do another blue sky burn, and I'm gonna see I'm gonna grab it from this end, pull it this way because that's the angle, right? So I'm coming at that angle so that it gets as much of the sky as possible, but what happens is it's not quite a strong over here. So then when I come to the brush, I can keep that burn alive and just really increase that side of the brush and just kind of burn in that side as well with the same burn that was coming from that brush see that so now the sky looks like even though the radiance like this, it allows the grady and to bend a little bit, and then I also might want to do it over here just to kind of help this part of the sky look a little bit poppier, too, and then once I've got that now, I need to go into the, um, race mode and I want to race once I'm erasing, now I'm gonna turn on this overlay mask, and this is all the stuff I need to a race, so now I'm going to keep the autumn ask off to get the bulk of it, so I'm just going to come in here in a race away. And I got it at one hundred percent so I'm just erasing everything out of that grady and I don't want the grady into effect any part of the house so I'm just a racing the grady in from the house and then as I get closer to the edge I need to start getting more cautious and I'm going to just come along here see I'm getting as close as I can without the use of the auto mass because I don't want it to be affecting the actual stones and the brickwork and stuff like that because it'll it'll get tricked by that because every single brick has a line in between it and it'll kind of skip over those lines so I get it close as I can with it one summer a cz I'm as a one time is closest possible um then I can go in and you khun did you know you can go in here look at this so if you're trying to get a zoom that you're not you don't want to go one toe one there's a zoom option here that allow you go greater than one toe one or less than one toe one so you see that three to one or like one two three say that so now you've got when you hit zoom you're not gonna go into one the one you're going to go into kind of a one to one so now I can zoom back out of here and this is a much better, you know, closer look at what I'm doing so now I'm gonna take this and I'm still getting close to this I do not want to spill over into the sky because it will look like I've been burning and dodging so I'm gonna really get close here and get a cz much out as I can before I ever go into and if I mess up I can always just hit undo okay, so now I'm getting close enough that I need to hit the auto mask and at this point I just click on the auto mask and start see that so it gets that part and it gets this part then I'm going to do right here see, I'm re clicking every time I move over I re click that area so that I'm not getting anything but that area and then when I get to the roof here I'm gonna increase the size and click see that's a hot just follows that edge do it again right here scoot over here do a little bit more there yes, you have a question go for it so with the great and that's something I've never quite understood why would you not just pull up the bottom line on the grady it so it's maybe not quite so far down on the houses um well grady is something you have to choose so you have to decide how much of the grating if you want to effect so if I were to move that grady in up then I wouldn't actually get the burn wouldn't look like it was going back down to the horizon so you would get you know they did this back at the very beginning photography so in the early mid eighteen hundreds when they were doing glass plates they would literally the film was not it was the wrong sensitivity and so you get wood blue was crazy bright still is and so that's why you use like a orange filter when you're out with film and you're shooting because blue is crazy bright over burning and so when you put the orange filter on it helps toe you know dark and down what the blue what blue can come in so that it kind of keeps the sky a little bit darker or very dark depending on how dark that foreign jizz and so back in the day what they would do is they would go out unexposed if there was a cloudy beautiful day they would just go out and shoot clouds all day long with glass so they would just make glass plates of clouds clouds, clouds, clouds every kind of clouds clouds here clouds their storm clouds dark clouds light clouds whatever but the foreground was going black because they had under exposed because that sky was so friggin bright. So then what they would do is when they went out to shoot the farmland or whatever, they would set up their tripod and they would photograph the farmland knowing that they would expose for the ground and the sky was going to be white no matter how it looked, it was just going to white because it was too bright and then they would go into the darkroom and they would sandwich those negatives together or they would take one negative and burn it. And then they would put the other glass negative in and then they burned that so they would take one and burn and then the other one and burn. But what happened was, and you can see this on all these old photographs, any old photograph that was shot with either glass plate or something like that they would you would see the sky come down, and as soon as it gets close to the farmhouse, the sky would just disappear. You know, right around the farm house, it would be a little bit light and then it would kind of go around and then you go down to the, you know, farm area and then I just around the tree of get a little lighter or the tree would just get dark, dark, dark that's because they didn't have a my new enough system to be able to burn and dodge right around that thing without getting this kind of, you know, a halo effect and so what we're doing here is we're taking the grady in't that they were doing, but instead of stopping early so that we don't have to do a lot of work we're taking the grady in all the way down to the ground and then we're masking out what they would they would have killed for this literally would have killed for this I understand all that, but what I don't understand is the bottom line of thie grady ints I guess is more of just a general grady a question so that an angle what? No, I get that you know there's two lines of the grady in right right there's the top line which is one hundred percent bottom line zero okay, so if you were to lift the bottom line up to say, you know where it's just kind of the roofs but not the sky what would why would you not do that? And as opposed to doing all this dodging because I want the effect of seventy five percent r mean twenty five percent to hit the top of that right hand part of the house, okay that's it I just that's where I want that to hit and you notice that I even burned a little bit more, so I probably should have gone further, but knowing I would have to erase it all, it made more sense to just burn to the side of it. Okay? All right, so but now that I've got this all situated here, then I can go in and start, you know, doing a little burning and dodging just with the brush so I would take the brush and I would say, okay, I want to do a little bit of, you know, burning around this house, so I just, you know, I just wanted to be a little bit richer in the shadows, so I'm going to burn in the shadows just a little bit. I'm going to come down here and burn these shadows just a little bit, just just in various areas, so I don't want to go to, you know too far with it, but I just want to like certain areas of it, I want to burn in and other areas I wantto lighten just a bit like, I I like the idea of, you know, this roof, having some extra texture to it, so I'm gonna give it a little bit more of a burn on the roof, but then I'm going to go in and add a new brush and every time you want, so do one thing and then make a new brush to do something else that way you can always delete that out andan this one I'm actually going to go in and do a uh I'm going to do with what I call a smart dodge smart dodges u u increase the exposure on your tool on your brush but then in order to keep the shadows from coming up and looking kind of milky, you take the shadows and push him back down so you can see that happening here inside the settings so I've got the exposure's going up contrast goes up a little bit the highlights go up a little bit with shadows go down and that allows for anything that's a nice shadow to stay where it is but the brights go up so it's, you're just you're increasing the the bright areas on the normal areas in the photograph that kind of mid tones but you're not increasing the shadows um that's a smarter dodge otherwise your dodgers look thin and they start looking milky and ugly, so I'm going to go in and I'm just gonna I want that dress to pop out a little bit more so I'm gonna just go in and and just grabbed the dress and brighten that up a little bit so now the dress is going to pop and then I want to come in to him and I want him to pop a little bit too so that in the print we're going to see him kind of stand out because just a little dark in there and so I'm going to go in and just and by the way right now it's on auto mascot on it to be autumn asking too much so I could come in here and brighten that dress up a little bit on the edges and then I'm gonna come in and get him and I'm only going to really, you know, brighten up the things that should get brighter I'm not going to go in and like, try and brighten up shadow areas and stuff you just want him to pop a little bit um and then I can always come in here and take the shadows back down I can add a little clarity so that they pop just a little bit more um, so anyway, that's kind of the general idea of what we want to do that photograph and it's pretty close to what we want done uh, I might want to do a little bit more burning and dodging here and there, but in general that's that's, what we want to do to it is that makes sense, so so those air, some tools inside of light room that have just been increased exponentially. The power of that ability to go in and add and subtract from a grady int or the same from a radial filter will completely change what you can do inside of light room. So now now the masking capability and light room is it's. Not exactly what you getting photoshopped from coach photo shop even go in and create pen paths and all sorts of stuff like that. But it is so powerful that it's, very rare that you would need to goto photoshopped for something on this level photo shop really is going to become the tool for heavy retouching and stuff like that and severe photo manipulation. And and, you know, making things look real, that completely or fabrications and, you know, multiple exposures and stuff like that, because this can create an amazing shot without going to photoshopped there's. No need to go there and retouch. Even if I wanted to remove something small in here, I could remove it with my with my spot tool. So so that's that's a huge new feature inside of light room. Any questions out there about that? Ah, do you hit the close button too? At the at the very end is I can't quite read it here, but isn't there a close on the right hand side at the bottom of the yeah he's done but done this this done button is the same as closing up your tools, so if I just click on the brush, it does the same thing, so if you had done it just closes the brush once you close the brush than it the done disappears, so either way even hit the done or go and close the brush normal housekeeping you'd always hit that when you're through with that task, yeah, generally speaking, if you if you leave the develop module or if you go to something else, it'll usually close that like, if you're on the brush and you go over to the crop, then the brush will close, and so in most cases, you don't have to push that because you're going somewhere else and it just closes on its own. If it doesn't close, then you just have done or clothes or or escape. So all right, um, when you set up presets in the developed module, is that going to be available across catalogs? Are the catalog specific? You can affect that, and I'll show you where you can affect that so inside of light room in the preferences themselves, you can determine in the preset area whether or not you want a story presets with the catalog or whether you want them cross catalog and I never click this okay because if you click that it moves into the catalogue and the next time you make a catalogue that catalog opens with just the regular precepts that comes shipping with light room which is not ideal so I would leave that unchecked and then as long as that's unchecked, whatever presets you have available to you are available to any catalog that comes into that computer. Okay but if you send your catalog out it's not available in the catalog that you sent out it's that catalog will have on ly the presets available in the other computer but we are going to be talking um in our third segment today about presets and when we talk about those presets we're going to show you how to create a synchronization between preset areas so that when you make a preset on this laptop and go home when you'll fire a flight room at home it will also be available inside of that catalogue as well. So you can synchronize your as tuas many computers as you want, but you just need to have either creative cloud or drop box or something similar that connects all of those so how do you know if a preset is additive uh it adds to what has already been done as opposed to replacing what's already been done like any pre set so ah preset is always, um going to replace the slider that you so if you say if you if you create a preset that changes the tone curve say so let's let's play with this tone curves so let's go in and make a point curve on dso if I increase the highlights here and then I take the shadows down here like that okay, so that's my tone curve if I then go and do a different tone curve so I'm gonna go out to a pre set that I know that changes the tone curve, so I'm going to go and look at kind of I'm going to make this a black and white with kind of ah like a thin negative black and white, so watch this tone curve because the thin negative black and white uses the tone curve, so watch what happens when I click it. It replaced that tone curve, so if your preset includes a slider, it will replace whatever the other slider wass it includes the tone curve it's going to replace the tone curve with the new tone curve so it's always replacing things now how you design the preset will determine whether or not that pre set is going to, you know, muck something up and so that's why we'll talk about priest that's pretty in depth because it matters how you create the preset as to whether or not it will feel additive, or whether it will start replacing stuff, and so we'll talk about that third hour. Yeah, it's more of a comment, I guess then it is a question I do a lot of real estate, so I'm always dealing with different white balances in windows versus rooms and the the brushes and stuff like that is is awesome for that. So for for all the people out there that zoo of super powerful tool and then different when I met her, when I'm in a room that has window light coming this way and yellow light from tungsten coming this way and they merge. And so, like this part of the room is orange in this part of the room is blue, so and then I've got a bride somewhere and she's lit or whatever, so she looks great, but then that's like, which do I choose the warm of the blue or whatever? And so usually in lighting with a flash? But sometimes that flash is just a little flash bouncing off a warm wall and so she's warm the room is warm, then there's blue light coming in, and so if I want to fix that, I just take the grady int. And I don't I don't put any burn on it all I do is change the color balance on the grady in't start on the right hand side and dragged this way and as the light comes in it's more blue near the window and it's les bleus it comes in and so if you make your grady in warm then it starts at the window and it's doing most of its warming at the window and by the time it gets to zero percent you hit the bride which the bride doesn't need any warming because she's lit by you know some warm bounce off of a wall or something like that so then everything becomes fairly equal yes oh those grady ints are important and now with the ability to erase from the grady in you could literally pass the bride with grady and then just erase the grady in out of the bride so that she doesn't get too warm so yeah you have a lot of capabilities as a result of that one tool you know I think people look att releases and they and sometimes they go well that's not a lot of things because really light room see see if you count the number of things that came out with light mcc the count is small but the impact is huge as to what you can actually do with it now so okay so hdr also is a super easy thing to do I'm not gonna work on an hd are just now because I don't want to spend time on it you can play with it is the same concept you're going to build you know take your three images and you're going to highlight those three images and then you're going to go and instead of going to photoshopped to do it, you're just going to right click it's a merge to hdr and it's going to merge it as a raw hdr so you're not now a tiff that needs to be adjusted literally raw, but that also means that you don't do any adjusting or working on your images beforehand you literally work on him after and we'll show you one if we have time but uh I wanted to show you at least one of them so you got the sense of what could actually be done um okay uh well let's go back to the development because that's where we want to be um all right, so let's talk then about some of the controls that you have over here that you need to be aware of first off again, all of the stuff that we do is in the basic area but I'm going to show you some of the controls down here in the in the more complicated areas so that you get a sense of what can be done but remember that they should be then put into presets once you have created something that you like so for instance when we went in to make that thin negative that was all done inside the tone curve so I first turned it to black and white but then once I had made it black and white, the tone curve is what gave it the feel and so the tone curve if I take you know my shadows up a bit so that they can become so this is the tone curving as you zoom into the tone curve you can see black equals black here, but if you lift this tone curve here now it can't get black black can never actually equal black and so now you can see under the eaves of this building it's still not actually black it's a kind of a dark dark dark gray and so now nothing can actually hit black and then if I grab another point I could bring my shadows back down so that I get some nice rich shadows but I still don't hit black, which gives it that really nice film look and then I can come back up with my highlights to give it a little bit of a little bit of a pop to it but not much and then I could do the same thing I could take the white down so that never actually hits white and by doing that, I'm going to create a feeling where the photograph never khun it's just kind of a soft, soft look and it can never it's one of those things where you know you it would feel very old it would feel like, you know, I don't know it's just a nice old feel to the photograph so um yeah paint out black and white now in light room I think the only way you could do that if you wanted to do black and white you could take your grady int and you could take the grady and all the way down to the bottom so that it's all one hundred percent so you can hear it let me show you anyway, so does everyone understand that the er that's a funny idea so I don't I don't do radiance are black and white like painting back out, but I think that's the way you would do it I'll show you in a second okay? So here's the coat tone curve and you khun you can see the tone curve happening there you can also go in and change the channels, so if I wanted this to be kind of a blue toned or or red tone or any orange tones or something like that, I could simply take my curve up and I can tell it I want the shadows to be blue and then take the highlights back down see how the shadows are more blue but the highlights aren't okay, so you can start to create that feel of maybe like a a c p a tone image or a scientist type or something like that so we can really work on this and then I can go in and take the reds and the reds I could take the you know the highlights up a little bit the shadows down a little bit so that really see how it's turning into that sayin a type look so by doing that I've created a preset haven't I? But now I should probably add a little bit of of grain to this so that it feels like film we're gonna add a little bit of grain and we're goingto chunk that grain up so the roughness on a grain so when you're making grain, let me show you these controls when you're making grain, the amount tells you you know how how much of the grain there is like how intense that is so you can see like how bright it is. So basically how dark is the dark of the grain and how light is the light of the grain which makes more visible and then as you go down it's less bright there's less contrast in the grain the size tells you how big the chunks are right. So as you go size up, then it becomes, it starts to cross over the edges. And so your photo starts to get a little bit soft. And then if you and I like to keep the grain kind of normal to smaller sized, and then the roughness of the grain and you take it down, you know, real low, you get hardly any grain at all. It looks more like a almost like it's, ah, paper texture to it. And then, as you roughing up the grain, it starts toe, actually look like grain, so it gets the edges, get harder and harder and harder, and so that you start to see them a little bit more. Okay, so I like to keep the roughness up a little bit, the size down a little bit, all right, so all right, that's, it, that's a cool, cool, preset.

Class Description


Adobe Photoshop Lightroom is the industry standard for post-production workflow and in The Ultimate Lightroom CC Classic Workflow, you’ll learn Jared Platt’s gold standard for retouching and managing files quickly and efficiently.

In The Ultimate Lightroom CC Classic Workflow, Jared will show you how to radically cut your workflow time while improving the quality of your product and the organization of your digital world. 

Jared will teach you how to:

  • Protect your images with simple backup strategies
  • Manage your files to enable seamless and immediate recall
  • Get your computer and software to run faster
  • Efficiently cull and retouch photographs
  • Create impressive photobooks and slideshows
  • Take advantage of video editing tools
  • Improve your SEO using Lightroom features
  • Deliver and share your images directly from Lightroom

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.

Whether you are new to Lightroom or simply ready to improve your process, The Ultimate Lightroom CC Classic Workflow will help you organize your images in Lightroom so you have more time to focus on the other important aspects of your business.


Software Used: Adobe Lightroom CC Classic

Lessons

  1. Intro and File Management
  2. File Organization and Lightroom Workflow Overview
  3. Workstation Diagram and File Flow
  4. Converting From a Previous Lightroom Workflow
  5. Lightroom CC Tour: Folders and Collections
  6. Lightroom CC Tour: Publish, Histogram and Quick Develop
  7. Importing Images into Lightroom CC
  8. Rules for Selecting Images in Lightroom CC
  9. Organizing Photos in Lightroom CC
  10. Keywording in Lightroom CC
  11. Using Facial Recognition in Lightroom CC
  12. Working With Catalogs in Lightroom CC
  13. Synchronizing Catalogs in Lightroom CC
  14. Using Lightroom Mobile
  15. Publish Services in Lightroom CC
  16. Lightroom Workflow Q&A
  17. Tour of The Develop Module in Lightroom CC
  18. New Features in the Lightroom CC Develop Module
  19. Camera Calibration
  20. Calibrations and Custom Profiles in Lightroom CC
  21. Calibrations in Lightroom CC: Comparing RAW and JPEG
  22. Rules for Developing in Lightroom CC
  23. Understanding Presets in Lightroom CC
  24. Making Presets in Lightroom CC
  25. Syncing Presets in Lightroom CC
  26. Working with Photoshop and Lightroom CC
  27. Using the Lightroom CC Print Module
  28. Setting printer profile in Lightroom CC
  29. Comparing Prints from Lightroom CC
  30. Finalizing the Job in Lightroom CC
  31. Archiving the Job in Lightroom CC
  32. Importing Back from the Archive
  33. Building a Proof Book in Lightroom CC
  34. Building Albums with Smart Albums
  35. How to Create a Portfolio in Lightroom CC
  36. Advanced Search in a Portfolio in Lightroom CC
  37. Scott Wyden Kivowitz Interview on SEO
  38. Optimizing Image Metadata in Lightroom CC
  39. Publishing a Blog Post From Lightroom CC
  40. Making Slideshows in Lightroom CC
  41. Lightroom CC Workflow Recap

Reviews

April S.
 

I've been using Lightroom for about a year now. I'm pretty comfortable with the basics and a little more. Sometimes knowing what I want to learn next depends on knowing what's out there to be learned. I listened in to this course from work to get an idea of whether there was enough new content to warrant buying the course. Though Jared covers lots that I know, he filled many small things I didn't know and covered some bigger topics that were new to me. I decided that I wanted to own this course because I respond best to structured learning, and Jared starts at point A and carries through to point Z, so to speak. I have watched his live and rebroadcast courses before and I really like and learn from his teaching style too, so I'm sure this course will be the boost I need as I prepare to subscribe to Lightroom CC instead of just using my local copy. Though another reviewer's tone wasn't very nice, I have to agree that it would helpful to have a written synopsis or outline of courses to help when deciding whether to purchase. Looking at the titles of the included videos is helpful, but not enough. This would be especially useful when a person hasn't seen the live broadcast first, and is simply evaluating a course in the course library.

Jim Pater
 

I learned a lot from this class when I took it a long time ago. I'm not as fond of his ego but that's fine as I don't have to be around him all day long. What I found extremely useful was the video on synching Lightroom Presets. I set this Dropbox synching system on my laptop and desktop Mac computers and it works perfectly. I also use it for other programs as well like Photoshop and another program called Keyboard Maestro. Thanks for your help Jared. Much appreciated trick.

user-69ea7a
 

I am new to Lightroom and from the start of the course it became very clear to me that Jared is one quality person with a real passion to explain everything with great skill and a motivation for success. I did not hesitate to download his course as this is the basis for my personal development and the journey to experience great photography.