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Developing and Retouching in Adobe Lightroom Classic

Lesson 6 of 7

Edit Quickly with Gradient Filters

Jared Platt

Developing and Retouching in Adobe Lightroom Classic

Jared Platt

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Lesson Info

6. Edit Quickly with Gradient Filters

Lesson Info

Edit Quickly with Gradient Filters

I want to show you another way to save some time, and this one's really important. So we're gonna go back to, um this photograph sat here, and I'm just gonna look in the metadata and find images from one particular camera. Um and then we're going to highlight a section of images. So let's just choose this section of images here. And I generally like the way the photograph looks even even right out of the gates. It's Ah, it's a good image. It doesn't need a lot of work to it. But I'm just I'm just negotiating all the global changes right now, which is they look good. So I'm happy with the photograph pretty much the way it is, except I want to do several things to the image. So the first thing I want to do is I want to create a burn that starts all the way around her. So I'm just gonna double click this, bring the exposure down and just do kind of like a a vignette just around her so that things get darker here. And then I'm gonna go in and grab a Grady int and the Grady int Notice has h...

eld the same settings that I set for that. So it's great because now I can take the exposure up and just go like this, But I don't want to change anything except for the green. So now I'm just gonna run down and click on range, mask and hit color and hit the dropper tool. And I'm just gonna go like this, and it's basically has negated her feet and these rocks, and it's just getting the green, which is perfect. And so I'm going Teoh. I don't need it to be that dark, though, so I'm just going to darken it a little bit so you can see how I'm negotiating that. And then I want to create another one. So let's click on. So you come up here and click on new. So now I have a new Grady in, and I'm just gonna go like this in the sky. I want that sky to be richer, but I only want the sky to be richer. I don't want everything else to darken up, so I click color again, and I'm just going to draw a little thing in the sky here. Careful not to hit those branches. And so now it's actually going right through the trees, and it's negotiating through the clouds and it's not hitting her face. And I can then change the Clough or the sky, so I'm just gonna just darken it up just a little bit. Okay, now that's really great. But what you might not have noticed And I hope you'll see this now is that the auto Sync was on, and the great thing about auto sinking with range masked local adjustments is that the masks will actually change with the photograph. So as I move through the photographs as the clouds move and as my camera moves and as she moves and as the the frame moves all of those things, the mask is changing with it. So this is very different. So these clouds see how much the clouds are moving and the trees air moving. And yet the mask. If I go in and click on here and click on the actual mask and then doing overlay, see the mask, it's still negotiating its way through because it's re, it's it's recalibrating itself every single time. So to show you that in in all its glory I'm going to do one mawr radial filter and this filter. I'm just going to highlight her like this right there and maybe a little bit wider there. So I'm highlighting her. I'm gonna double click this, and I'm just gonna turn on the mask overlay so you can see what the mask is gonna be, right. And then I'm gonna come in here and do an invert. So now we're masking her. We're actually going to do something to her, and I'm going to then just do a skin softening. So I just I have 10 shots of a model and I want all of them to have soft skin. But she's subtly moving through the shots, right? So she's moving like this. And so I need to mask out that skin. And I don't want to go through the painting and doing all that stuff, because that's a lot of work. So I'm gonna just use our little skin softening that we made that healthy skin glow and I'm going to go down and use the range mask, use color, click on color, and I'm gonna come in, and I'm just going to highlight her skin tone and boom. So now I've got a mask and And by the way, if I If I go into the mask and I noticed that it's not getting like her skin right here, I can hit, shift and draw another line right there so that it goes, Oh, I know I'm supposed to, you know, acquire that part, too, and noticed that it's now allowing itself to spill out. Um, just a little bit from the from the intended target so you can see when you zoom in that there's a little bit of that going into the trees. But that's OK, because what we're gonna do is we're going to do this range, amount and bring it down and make it more accurate. See how we can make it less accurate, more accurate. So we're gonna make it as accurate as possible. Zoom in. We want to see outs. It's not quite getting that whole arm, so we need to go a little bit less accuracy to there. So now we have the whole arm, all of her skin's being done. You can see the only thing that's unfortunately because I chose that little black area. Her eyes air now part of that. So we want we want to change that. So what I'm gonna do is I'm gonna come here to this one here, and I'm in a I'm gonna read do this one like that. Let's see there. So just redrawing that helped, because now her eyes air showing through. So it's not gonna soften upper pupils. And and then if I re negotiate this a little bit, they're now I'm really getting it right. So now is I zoom out, click on here. I'll just leave that masks showing and watch because remember, we're on auto sync right now. So everything that I've just done is being auto sync. And as I go to the next image, see how the the actual mask is following her. So I click The mask followed her. I click the mask followed her. So So I am able to mask a sky or mask a person or mask a red ball that's flying through the air. And as long as I create a general area where that person or that thing or that skies always gonna be like imagine a red ball. If I was trying toe track a person going through a frame. I would just create a Grady in all the way through that frame. So just you just clicked on a grading and made ingredient That was this. So it covered the whole frame. And then you just said, OK, but Onley show only work on that Grady in when you know Luminant is, uh, as bright as her dress right there. See, it would Onley take it only allows the Grady int to be at the brightest parts of the image. And then no matter where those bright things come well, no matter where those colors go, it will always follow them. And it will re mass constantly every single photograph along the way. And you may have to go into once in a while and say OK, the Grady int did 99% of the work. But when I come back in and look at that radial grading it there, um, I have to go in and, you know, paint out her, uh, her hair. So all I have to do is just come into any part of this and just and just paying out that side of her hair and paying out that side of her hair, and then we're done, and that's a that's, Ah, much better way of doing it, then going in and painting her skin on every single photo and consider. For those of you who do high school senior portrait, it's or sports portrait, it's or whatever if you're doing something that has a massive scale of images, lots and lots of images, but they're all very similar in their pose or in their positions. Consider using this to get things done really quickly, even if you're doing landscape photography and you've got, you know, 13 different options of a photograph, and you're like I don't know which one I should really use. Well, highlight all of them and start making your burns and dodges on all of them, you know, And as long as the skies relatively in the same place, you will have been able to burn the sky in all of the pictures just like that, and it will mask out. You know, the the buildings or the or the trees, or whatever happens to be between you and the sky. So that's a really fantastic option. It's a great way toe toe work because not only are you being accurate and you've got lots of power at your fingertips. But you also have the ability to do it all quickly and spread it across a lot of different photos. So that is basically an introduction and in depth discussion of the things that you can do here up inside of, um, the targeted adjustment. So the so your local adjustments that you want to make our all right up here Crop spot tool, the Grady Int Tool, the Radio Grady Int tool and the brush and they all operate. These three all operate pretty much the same. Read I. It's their use it if you need it, but it's It's something that, uh, I very rarely see it, and I hope that you never see it because you're shooting photographs with lights that are off camera instead of right next to your lens. So if you are getting lots of read I, the first thing you need to start doing is shooting your images where the light is further away from the camera and then you won't have read I anymore. So that's just a little extra tip

Class Description


  • Work on your images with local adjustments
  • Dodge and Burn overexposed objects
  • Build your own presets to quickly apply your look to batches of images
  • Use range masking to adjust skin tone
  • Edit efficiently with gradient filters to make targeted adjustments
  • Retouch red eye


Adobe Lightroom Classic 9.2

Class Materials

Bonus Materials with Purchase

Workflow in Adobe Lightroom

Adobe Lightroom Mobile Cloud

Adobe Lightroom Image Pipeline System

Black & White Preset Collection

Color Art Pro Profiles

Ratings and Reviews

Student Work

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