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The Five Step Tango Global Optimizing with Jack Davis

from what I have gathered in terms of the creative live community. Most people in the of the photographic persuasion are using light room for most of their editing versus photo shop, and it's adobe camera raw. Would I? How many of you are using it that are here right now are using light room for your workflow versus a adobe camera on the bridge light room? OK, all of you OK, so that's where we're gonna hang out today that classes labeled both light room in a CR. And that's because the develop module in Light room uses the exact same engine as Adobe camera Raw. Adobe has gone to great lengths to make sure that they are completely compatible. Every slider works the exact same way. All the settings are the same. As a matter of fact, the files are completely compatible. Matter of fact, I'll be using the exact same files in Adobe Camera raw today as I am in light room. In other words, they're both gonna be referencing the exact same file in the exact same settings within those files. But I ...

will live in light room today. Yesterday, when I was doing my class and painting and our little tips and techniques. We were jumping around in adobe camera on light room. That being said, I thought I would start off in adobe camera, show you that interface and just show you compare and contrast the different interfaces that became a raw versus the develop module in, um, my room. So I'm gonna filter these will just do our d n g s and R J pegs and let's see, and we'll open up these. We're gonna open up a range of files and are, well, neither click the iris Orc Commander Control Are is the shortcut for opening up in camera raw. If you're going to be spending your life in adobe camera raw as you should be after today's class, you won't need to open up for to shop for the vast majority of your work. So don't do a command or control O for open because that will force Photoshopped open. Photo shop will take 75% of your RAM. Ram is the elbow room in which your computer does all its jiggery pokery, so there's no reason to open up photo shop if you're not going to use it and you leave that ram for something like adobe camera raw. So there's your adobe camera tip for the morning and, ah, the interface here, the things that are different with adobe camera raw versus the develop module in light room is the tools air up here along the top in the upper left hand corner, you have a filmstrip on the left hand side, as opposed to on the bottom. You can select all synchronise, just like you can in light move as we will be doing and then your panels go left to right over here on the right hand side. Excuse me over here, whereas in light room they go top to bottom. I'll give you some tips associated with that, but everything in terms of what the sliders do and how they work and what the parameters are, is exactly the same in adobe camera, raw versus light room. Even if your workflow is like room centric, you will be using adobe camera raw as an example. If you are in light room and you open up something in photo shop is a smart object which will talk about. We've already mentioned how cool that is If you want to edit that photograph again, tweak the sliders. You double click on that smart object in Photoshopped. It does not send you back to light room. It sends you to adobe camera raw so you'll jump over to Adobe Kamerad, do a little tweak changed to black and white, do something and then close it. It'll go back into photo shop when you close the file, it'll go back in the light room. So even if you are only using light room, there's a good chance you're gonna find yourself using adobe camera raw. Okay? And you also have a set of presets and snapshots at your disposal here in adobe camera raw, just as you have in light room. But what I wanted to show just briefly here is where we're gonna be headed with the enhancing and even the retouching class. So this is an original shot by Hal in Victoria Smith of Light workshops dot com over in Morro Bay, California and excellent school on the West Coast. This is some special effects, some high key, some targeted re coloring, high key and another slight version on that. This obviously is the same raw file. This is all being done in light room, not being done in some third party app or filter set or anything else in Footer Shop, another Hal and Victoria Schmidt shot, and we'll just jump to something toward the talent. So this again is all being done in light room. There's no photo shop necessary for this sort of thing. This morning we'll be doing a lot on starting off with optimizing the shot. We'll be doing things like this. There's a brook crystal shot. So again, our little hand tinting effects and, ah, our original to our cropped effect and let's see what else way are going to do some retouching. This is when I was going to show yesterday in class another Hala Victoria Smith shot. Actually, if you see a face of a person in a photograph, I probably didn't take it because I don't do people. They're so messy, this whole emotion and client And yes, and that one. So if it's a pretty picture of, you know, this is actually Aaron Chang. So this would normally be what I would sort of shoot another friend there and change. But anyway, another Helen Victoria Smith shot. This is, um, the image doing a little retouching here in light room. Usually this sort of thing associated with blemishes is something that you wouldn't do in light room. But you certainly can. And this sort of kind of fashion retouching, including skin softening, glows I and everything else again is all being done in light room or a CR things like cross processing effects as well as retouching. And this one also includes some creating a more shallow that the field is. If you're opening up your f stop again, also being done inside of light room, we won't get to this one. This is another Brooke crystal shot. But this is showing you how far you can push retouching enhancing original beautiful wedding shot, um, by Brooke. And this is retouched and enhanced completely in light room and a CR. So if you didn't know that you could do that without ever going in photo shop, you should, because any time that you can do something in light room and not force yourself into that side, trip down that rabbit hole into the black hole of productivity and photo shop and layers and layer masks and adjustment layers do it. You'll notice that this went also includes things like opening up the iris and also doing that keeping respectable. So anyway, we'll see if we get to that. If you guys were nice and laugh at my jokes, then uh, good, good, good, good. Another one. This'd very Davis a another renowned photographer before and completely retouched, enhanced in light ruminates yard. So you get the general idea of where we're headed in that. Like I said, our elements that we have at our disposal in a sea are the same as life room. And with that, let's jump over to light room. But first off, I'm gonna start off with showing you a little tip related to how I deal with catalogs and we're not gonna do it. We're not gonna be working with what's known as the library module in light room. We could do another whole week seminar on just dealing with libraries. Excuse me. Libraries, catalogues, output options. So we're going to start off with, um, just jumping right into are, um, class on the develop module. But I wanted to start off showing you how idea? With catalogs? Because for me I don't need one giant catalogue, as some of you have with zillions of images, especially if you're doing stock photography. It's nice to have a very large catalogue because, of course, you can search within that catalogue that library and find all the files that you'd like. So it's very good. I'm used catalogues. More is a per project basis will keep the Smith wedding separate from my family photos versus travel vs Whatever. And what makes that What expedites that process for me is that I went into light room, which will launch now, and you'll notice my light room starts up different than your light wound starts up. Okay, Mind starts off asking me very nicely. What catalogue would you like to use? And would you like to create a new one? And if you do create a new one, where would you like to put it? And the reason why it does that is because in light rooms preferences, which is where we're going to now. Zentai, I'm going to go in here and we'll see if they may not even let me go into preferences, and I have opened dialog box so we'll just go ahead and we'll start that up with whoever was using this catalogue before me will go into preferences and in the general settings over here, I have simply turned on when starting up used this catalog, prompt me, win starting light room. The benefit of that is one as you just saw. It shows you all the last dozen projects you've worked on, and you can find anything that you've ever used before. So it literally adds just 1/2 a second to your workflow. Find the workflow, the project hit, enter and go. Or, in my case, I'm going to create a new project from scratch for a new catalogue from scratch. And I'm gonna put that catalog in with the project that it's associated with. And that wind, that folder of the Smith wedding has all the images and the catalog. And I can put that on an external hard drive. I can put that anywhere I'd like I can move it from computer to computer. I never have to worry about exporting catalog. I never have to worry about archiving and separating it out onto something like a Ray Blue Ray DVD for archiving purposes. Everything is self contained, and I can move it around. I could give it to somebody else that put on their computer. Double click on that catalog. Everything is there. Okay, so that is where I found the preset for the preference. Let me quit out of light room. Go back to my desktop. Here's my folder. The other thing that I do is I organized my project before I bring it into Lightman, meaning If it's the Smith wedding, it's the top folder than it's gonna be the portrait. It's the service, that cake cutting the drive away and all those things and each and each one of those folders probably has separate folders based upon the compact flash card or something that I was using by organizing it before bringing in the light room. Since Light Room maintains that folder structure that hierarchy, everything is already organized before even go into light room because that is maintained. So I could just say I just want to see the driveway. Now click on that. I've got all those images, so I'm gonna take this folder. Consider that this is the Smith wedding. It's this case. Is this class what we were just looking at over in the bridge. I'm gonna drag it over the icon for light room, which is not open. It's gonna ask me what would I like to do? I'm going to say create a new catalogue. Remember to say please and thank you, right? If if software's bug, it's cause you're copping an attitude not because it's buggy. If you didn't notice that, that's how it works. In case you were wondering. Yeah, it's true. Software is like dogs and Mehlman. They can sense fear. Okay, It's it's true if it's not working. Yes. Okay, so I'm got it, and I'm gonna put it. You can see I've already have a catalog here, but we'll just started here. Uh, room classle. This catalog is inside the folder that has all the images. And now that's a self contained unit. It never I never have to worry about the catalogue being separated from the images. Because, of course, if that happens, you're in deep doo doo because all the luscious goodness, wonderful retouching that we're gonna be doing to the images. Whatever we do to it is gonna be part of that catalogue and not with the actual images themselves. Okay, that is, This is what's known as a procedural editor, not a pixel pusher. Light room, like Adobe camera Raw does not actually deal with pixels. Nice thing about that is that can't change your pixels attacks Absolutely impossible to ruin your original when working in a CR Lightman, because all it does is remember little slider locations. Even when you paint with the adjustment brush, it's all it's remembering is the size of the brush, the shape of the brush, the direction of the brush stroke and it's all procedural. That's all it's remembering, which means it's fast. It's quick. It's easy. You can share those settings between multiple images. It's great. As soon as you in a photo shop, you're in a pixel processor. That pixel processor means it's going to deal with those millions of megapixels one at a time, and work with a what's known as a rast arised version of your image. Okay, if you're shooting in raw as you should be, the other component about working in light room or a CR is always gonna be accessing what you got when you press the shutter, meaning all that potentially billions of tones and colors are gonna be at its disposal. Soon as you're going to photo shop, it's cooked those pixels into whatever you're looking at in photo shop, and you're not gonna have the range that you had when you shut it originally, especially in things like weight balance. Okay, so I'm just gonna simply come over here. The one thing you want to remember. I'm in the import dialog box within light room. I have include all sub folders. You'll notice have multiple self folders in here. So that way again, if it was Smith wedding with the drive away and blah blah, blah, blah, blah, everything will come in if you want. You could put in key words that this was the Smith wedding. And go ahead and type in Smith wedding that we've automatically keyword all your images at that time. You also should come up with a metadata template. So you have some set copyrights, scary warnings such as touch this image and I will hunt you down and hurt you. You dog you so if you don't have a metadata template, which again you can apply also within the bridge. You should, because I hear that some people borrow images on the Internet without actually owning them. I've heard it is the case. Okay, so we'll say import, and that's going to bring us into our beloved light room. Okay? And we'll that comes in here. You see the progress up here? This is the library module, as I mentioned before, Um, it these are the different modules associated with light room. If you are new to light room, this is how it starts off. Life library is much like the bridge for organizing. Sorting. Ranking your images develop module is where we're gonna be doing all our magic. It is the same as Adobe camera Raw. It has a sexier interface. And it does do some things related to the interface that aren't in adobe camera. But it is the same engine behind the scenes, the map and book modules of brand new to light room before they are awesome and fun slideshow, print and web or your output modules that are also cool and groovy. Okay, so with that said, we're gonna jump over to the develop module as it's rendering. Still rendering. Our previews also have related to the interface in like room is we have panels on the right, left and bottom of the screen that, in fact, if you go up here in light room and go under, help and come up here and Adobe has put in an excellent set of help features built into it so you could go into things like the develop module. Each module has its own tips and techniques so you can go to tips helps shortcuts and things like that. So But as a overall, each one of the modules has a panel on the left. This case we've got things like presets, snapshots, history and different collections that you're creating on the right hand side are usually your tools for getting the work done. The bottom is your film strip the nice thing about light room vs Adobe Camera. Roz, this film strip stays with you as you go from one module to the other. So once you figured out what you want to do in the library, you'll go over to develop module. They'll be waiting for you. Then you're ready to make a book. You jump over the book module again. They're all sitting there waiting for you. Okay, All right. So with that in mind, let's get started with optimizing. And for that, um, I think what I want to start off with is what I call my five step tango for instantly fixing images. And, um, here we have it. Actually, let's do a couple things related to the interface. You'll notice that we have these little triangles on the left and right hand side. Here. You can click those down that's going to give us a little bit more real estate. If you move your cursor to the edge, the panel will automatically pop up, so it's an automatic. Reveal a hide and show. You'll also the thing with having these panels. As I mentioned in Adobe Camera Raw, they are go left to right that have all these features in here. Um, and these go top to bottom, which means if you open them all up, you'll be scrolling for a week and 1/ to get down to the effects panel. You'll notice the person who's teaching before me was very, very smart. Whoever it waas and turned on something known as solo mode. Okay, and what I'm doing here is I am right clicking on any word in any of these panels, and I'm turning on Sola mode. And that means that when you open up one panel, it'll automatically collapse all the other little sub panels within that panel that you're looking at. So you're never more than one click away from everything so right clicking on any word. And that goes for any panel I noticed over here on the left hand side. It's not turned on. You can tell it's turned on Bye. See if I've got this. Still, my zooming in and out is not up is not turned on because your little arrows become a grayscale kind of dotted pattern. So if I right click on here, go down to solo mode, you'll notice that the arrow becomes now a series of dots. And that means that Ive now started solo mode for this panel over here on the left hand side. Okay, so that's a couple of things related Jack to the interface. Yes, I never knew that. That is very exciting Moment off already. Today, I'm always spending so much time scrolling up and down both sides. That's incredible. Thank you. And because you mentioned that here is something just for you guys. If you work in a studio which you guys do here, hopefully nobody else. That creative life is watching this. But if you come over here, right click. This is showing you all the panels that you have at your disposal. If you go to something like basic and turn it off, it's gone. So you're gonna go to everybody here in the studio to their computer, right click, turn off the basic panel, then offer to have a competition. The 1st 1 to tweak five images, you know, pays for dinner. Yes. This is the digital equivalent of cellophane over the toilet seat. If you didn't know it, that that is a great, painful evil trick plan people. Okay, there's a quote for the day digital. That means I I win the price. Okay, so what we've got going on, um, is the basic panel. And here's the five step tango for instantly fixing all your images in five seconds or less, we won't actually get into how many clicks it takes, because Colin tried that yesterday, and Ben was very cruel to our beloved Colin yesterday. So anyway, what we've got going on is actually have put in the interface for Adobe Camera just so you can see that the basic panel in adobe camera raw is exactly the same as the basic panel here in light room, all the settings, all the sliders, air named the same everything works out the same. So that is going to, um, allow us to teach, even though we're in light room. If you are an adobe camera, raw bridge user, everything we do today is gonna be appropriate. When you touch on video at the end, that will be when we get into something that's gonna be a little bit different. Okay, first step. Why Balancing crop? You only need toe white balancing crop. If you have an issue related to white balance, you're shooting under artificial lights indoors, your camera said on an auto white balance isn't doing a good job. White balance First went balance does effect both your tonal range as well as the quality of your color. If you're shooting raw, you can shoot something completely out of, ah correct white balance and get perfect color after the fact. If you were to do that as an example here, let's go over here to our panel. This is a, uh, moon set with streetlight foreground in Hawaii. For some reason, my Nikon does not have a white balance setting four moon set with streetlight foreground. Okay, I think Canon does, but not my Nikon doesn't. So we'll take our gray eyedropper here. If I have shot this as a J peg, it would be an orange file. It would be an orange file in all the dynamic range. It would take it down from the raw file down to what's known as eight bits per channel or 16 million colors. I shot it raw. It has all the color that was there when I was looking out the window three o'clock in the morning. And it also has potentially 60 billion tones in it, versus 16 million because it's using 12 bits of information per channel versus eight, and we all know to to the 12 power is a lot. Okay, so I'm gonna come over here and I'm going to one. We'll start off with the one of the interface differences when the light room versus a CR is, you'll notice that there there is this navigator preview window and it has a lot of uses, one of which, when you're doing a white balance, I've grabbed the little white balance turkey baster over here in the basic panel, moving it over something that should be a neutral gray. In this case, I know there's a little lava wall, and you can see as I move it around the cursor that my little preview window is automatically updating based upon whatever I'm moving over. If I come over and move it over the Great Wall and click, there's the actual what I saw when I press the shutter. If I do a little quick tweak of my parameters here, you can see that I can actually get a huge amount of information because I shot it raw. I jumped into the tango early, but just to show you white balance, if you don't have an issue with white balance than bypass it, don't worry about it. Your camera, if you're shooting outdoors, is probably doing fine crop. The reason why you would crop is part of this first step of this tango is that whatever is inside the crop is what's gonna be inside your hissed a gram. Okay, So if I were to crop, this file is an example. If we take our little crop tool here and I come in, you'll notice that my hissed a gram is changing as I crop the next step. After this, the very first step is going to be me asking light room. Would you please automatically set my tonal range for me? And that's based upon what's in the crop. So if there's anything in your image that's not part of the tonal range, your gonna keep meaning. You're shooting next to a window and you know you're gonna crop out that window. But it's part of your seen crop it out beforehand, because that's gonna affect your history. So this first step over here in terms of our tango, white balance and crop. Oftentimes you don't need to do it because everything is in the tonal range you want. You're not worried about the aspect ratio for your print. So again, oftentimes you can bypass it. Auto auto has gotten a bit of a bad rap because sometimes it doesn't do a good job. It's going to try and do all six of these little settings over here. It's gonna try and do exposure, contrast. Highlight shadow of whites and blacks. It's gonna do its best to do all of those. It may or may not do all of those. Well, I'm really only concerned with its setting my white and black point, the dynamic range of the entire scene. It doing that for me is actually a big help. So I know I have the full range and it's going to do it without doing any clipping on the highlighter shadow end. It's gonna do its best based upon how I shot it. It may or may not do the other things, and that's where the rest of the tango comes in. But I like having auto as our first step because it gives me that ability to know my dynamic range is set. Okay, you'll notice. I do have undue smiley face here as an option, So if it doesn't do it, if it's really whacked out, you have my permission to undo it and just move on with the rest of the tango. Third exposure, clarity, shadow and highlight and actually me back up one second. If you've been with me before in the past, I've had a four step tango before in Light Room four and W Photo shop CS six We have a brand new engine, and this new engine, even though some of the sliders sound like they're the same, is actually a completely new engine. So if you've used my tango in the past, this actually is a different tango based upon this new engine. And it's radically better in the sense of what Adobe has done to allow you, especially to pull out shadow and highlight detail is mind bendingly freaking lee awesome. Or, as you now know, the technical term is be a chip. That's right. So that's why this is slightly different in this third step. Exposure, clarity, shadow and highlight. And I have these in order specifically for a reason. Auto, as I mentioned, is gonna set my black white point. Exposure is now. Your middle tone values what was called brightness in the past. It used to be exposure was your highlight OK, but people didn't understand that they were using it as if it was exposure, and therefore they were running into a lot of problems because they were using it to breaking up their image and they were blowing out highlights and then having to do recovery. And it was messy and death and destruction all around exposures now your mid tones. So it is great clarity. Clarity has the same name as it used to have, but it is now completely different. A whole new processing, um, algorithm behind it. It is very, very powerful, so powerful, so that it's this edge contrast. You can actually overdo it. In other words, you're allowed to do, like crank it up to Volume 12. With that, you may start actually plugging up some detail within this Edge contrast area. But next, uh, after clarity, I have shadow because the shadows slider, all brand new, actually can pull out a ridiculous amount of shadow detail in the file. And because of that, do clarity before because that way, if you do get a little greedy with your clarity, you'll be able to pull back in that information by doing shadow afterward. Highlight is also powerful. That's getting your quarter tones or highlight detail and again, if necessary, you can pull that back in that four whites and blacks you confined tune that, especially if you're doing special effects. You can bring in your whites and blacks to reset that tonal range. And we're gonna do some high key stuff to show you what you could do with that. The last steps have five vibrance and vignette. Vibrance, of course, is intelligent. Saturation was known as a nonlinear saturation, its intelligent saturation many. It looks at the areas of your image that are I'm using my into us for tablet, which is, um, giving me that lovely little bug. Ah, it looks at areas of your image that are already less saturated, and it balances out with the areas that already have full saturation versus regular saturation. If you'd crank that up and take up your unsaturated with your regular saturated, these ones that were already saturated, of course, now we're going to go over the cliff of reproduce ability and good taste screaming to their death. Right? Vibrance is going to take this and take your unsaturated bring it up to match, and it's gonna be very judicious with skin tones. Anything in the orange realm is gonna be less manipulated with vibrance. There are uses for saturation, special effects and things like sunsets where you do want it to be global. You don't want the oranges to be separated out from the reds and yellows. So things like a sunset, you would use saturation, not vibrance. Okay, then. Yet I've never put vignette into a um I'm going to turn that off on the break. I've never put a vignette in to a optimizing step before because normally we think of vignettes as one obnoxious and to a enhancing, right? It's something that's beyond the story. But actually this four different vignettes built in delight, room in adobe camera raw, all of them very powerful, one inherently evil and bad. But three of them actually are very, very useful. And if you know how to use them, they're actually very powerful, Especially since you have a shadow slider that can pull out a huge amount of detail. And the thing with a global slider like shadow. If you pull out all the detail, let's say in a model's black hair or even their eyes, it's also gonna be pulling out detail in their background. The nice thing about vignette, if you know what I use it, you can throw that background back into the distance where you actually designed it to be and do that in one fell swoop. So vignette actually is very practical, Special if you know about the different sliding options. Okay, So with that in mind, let's go ahead and do this tango and we're going to do it on this shot by Brook Crystal this wedding trash, the dress shot in that Brooke did. And she has, obviously, with a shot like this, we have one chance. It's obviously under exposed, but there's probably a good reason if you had one chance to get this. You can't shoot this twice. She has a fraction of a second to get it. You've got a white shiny dress in the middle of the day. You'd better under exposed it to make sure that it's gonna be grab correctly. So she did a phenomenal job, but it's a little bit of a challenge image. So let's go through that tango. The first step of the tango is what white balance and crop like I kind of cheated is five steps, but some of them have more than one step, so I cheat, Um, so white balancing Crump. So here's my white bounds tool for some strange reason Brooke did not have hurt. Sit here with a great tag Macbeth color chart on her chest for the initial shot, so we're gonna have to deal with something else that should be a neutral gray, white black. Whatever it is, if it's toward the light end shooting something like a color passport or great Tiger Beth color chart. Kodak's watches great. In this case, there's something known as a white dress in white water. Usually you can find something that's neutral, even if you just get close. You have your sliders at your disposal so you can see over here again my little preview. If I go over her skin tone, that's not going to do a good job. I go over the dress click. I did a little white balance. It also tweaked my tweaked. My hissed a gram as well. Crap. Everything in here is in the total range that I want. I don't need to crap going to the next step. What's the next step? Step two Auto click. Watch what happens to the history. Okay, Completely reset the dynamic range for the file standard that dynamic range, and if we turn on We've got little icons here in the upper left and upper right of the hissed, a gram that is showing any potential clipping of your history ram, meaning that tones have gone off either side. You can see that there is no clipping taking place. If I take my exposure up, you'll not start seeing these warnings showing that something clipping is taking place. But in this case, by simply hitting auto, it's at the dynamic range for me. You can see here's my whites and blacks. It tooks my whites up plus 36. It even took my blacks down, which on or under exposed shot you go. But it did it, and I'm going to say Good on you OK, especially since I know the rest of these sliders and what they can do. That's another great thing about working with the procedural editor is the order in which you do things in photo shop is very important because if you pull out detail with one adjustment and then you'd go into another adjustment and try and resuscitate what you just lost by what you just did before, that's not the way to work these sliders in light room and a sea are actually, or it's just a series of mathematical equations. So if you take out exposure here and then it's a go over to the adjustment brush and added, back in there, they cancel each other out. They do not degrade the image so I can actually have those blacks at a certain point and then use my shadow slider. Take that up is I'm gonna do in a second and not be degrading the image because it's always accessing that same original raw data. OK, so just related that I'm gonna turn off that clipping you can, by the way, that shows clipping in some channel. You don't know specifically where it's taking place. If you hold down the option of the all key and then click on things like this white or black slider, you'll notice you get a preview that looks similar to the other one. But now it's color coded. So now you see exactly where the clipping is taking place because it may be clipping in something on Lee like the Red Channel or on Lee, the Blue Channel. And if you have some dot pattern in some channel that may be all that you need again. If there's something like a skin tone or something like that, you may be fine with that. So you don't necessarily need to have no clipping whatsoever. You can have a dot pattern and still have that. What's Nora's gamut warning by turning on those little options in the upper left and upper right corner history. Okay, so I did auto fine. And it did. Also did my highlight and shadow for me in this case, it did very little to it, and, uh, the exposure took way up contrast. It actually took down contrast is very difficult setting the fact that it did it for me. I say thank you, and I'm ready to move on Next. Step free in the tango exposure clarity. Okay, shadow and highlights. So we're gonna go to exposure the explosion. You look for your middle tones. The middle tones in this case is the skin. It looks fine. Move on. Don't need it. I'm not worried about the overall tone for the image. I'm looking for the mid tones because that's what exposure does. So next exposure clarity cleared his edge. Contrast Usually not something you want to add for a portrait, especially of Ah woman. If you're doing the high school football team portrait, so you wanna go for the grunge look, knock yourself out, you can add it. This is basically what we're talking about here. You'll notice it's doing a lot of pop to the water here, but it can actually add too much contrast in things like smile lines will call them. Some people call them Rincon's wrinkles. We always, obviously there smile lines. If you take out clarity, you can see you can get a nice little diffuse glow that can actually be very nice. The nice thing is about clarity, as with most of these settings, is you can put it into a brush. So when we get into that retouching and enhancing in our later on in the day, you're going to see that we can actually use this anti clarity for skin softening and special effects. High key, diffuse glows, all sorts of things. In this case, I really don't need to take it up or down, so I'm not gonna use clarity at all in this file. Shadows and highlights is the last part of this third step and this is where the new engine in light room comes in. Really, what sets it apart? Because normally I becoming in here in doing some hand dodging and burning to be able to pull out the detail in the shadows in the bride's hair while trying to not blow out the subtle details and things like the dress in the Whitewater. But now, with the Shadow slider, Aiken simply come over here, and I can pull out a huge amount of detail in that shadow area. And it's keeping that portion that quadrant of my total range, distinct from the other tones. That's really what came in with a new processing engine. The ability to work on these different areas highlights shadows, mid tones, clarity and not get artifact ing between those segments those quadrants of the tonal range. And so where normally I would be doing hand work in order to pull out detail. I'm now able to do this with a simple slider, and this actually is incredibly powerful. If this is the only thing that changed in the current light room, it would be worth upgrading to it. In a heartbeat is the shadow slider that by itself. I do have my highlights. That's the next last step of this. You can see I can pull in more detail. So why balancing out that highlight and the shadows? I can actually get a huge amount of tonal range pulled out of this file. Next step in the tank. Except for yes. You guys have work to do whites and blacks to set it. I'm looking at my hissed. A gram here. I'm looking at my tonal range. Looks fine. Great. Move on. You don't get extra points in heaven for doing more work. Okay, if your tango is two steps, that it would be another great quote. Um, your tango, maybe two steps and maybe auto. Fine tune shadow. Done. Okay, You got 50 shots that have the same tonal range. Select all 50. Synchronize you ditch did the entire shoot. Okay, two steps, three clicks and you were done. So again, the tango. Just because it has five steps doesn't mean you're gonna need it. The last step in here, vibrance and vignette. We're gonna go down here to Vibrance. We're gonna move that over. You can see I can bring in a lot of punch to the file, bringing out that the water there without the skin going radioactive. If I would use saturation, you'll see that skin. Congar Radioactive real quick, right? I should be looking over my shoulder to make sure that what I'm doing. Yeah, that's running even a little hot. So I'm gonna have toe TV sets. Obviously, are a little bit more toward the saturated, so I'll just do a little bit here. I can actually see, um, that white balance now that I've pulled out my tonal range and go back in here and fine tune that white balance a little bit more just by clicking on my turkey baster again, OK, in the very last step of that fifth step is then yet Vignette is down here, found under the effects panel. As I mentioned, there are four types of vignettes. There are highlight color paint and one built into the lens correction panel. That one is actually the best one out of all of them. It's the closest thing to a true dodging and burning, but it means that you haven't crapped your file to get a symmetrical vignette. So I actually my favorite is color priority. It's the most subtle out of these right here. I can come over here and, um, toned down to draw my eye into my subject matter. I could maybe move that midpoint off to the edge a little bit more, so I don't get anywhere close to the bride. Let me. I'm gonna actually exaggerate this just to show you why it gets a bit of a bad rap and rightfully so. Vignettes that come up here that have white going off to the edge. Maybe it's ah, skin tone or its clouds. In this case, the white water. It obviously looks like gray something. It doesn't look natural. But remember, you've got a highlight slider in most of these vignettes. Which means you can come over here and say whatever you do don't affect my highlight as it goes off the end of the page. So I'm ableto add a vignette, but not get the corrupted muddy edges toward the end. So I take it back up to a reasonable level than this right here is giving me a little vignette to draw my eye n without getting a muddy edge. Okay, makes sense. Nod your head enthusiastically. Okay, Good. Okay. So here is our before and after. I'm using the preview option in light room, which is the backslash key over by the delete key. And that's giving me to wherever they file started on this session versus where it is now. So before after before, after. That's the tango. Okay. Makes sense. Good. Okay, so with that, let's actually do that on a couple other images. Um, just because I know you guys don't believe me, that it really has incredible power and this one just to show off, I'm gonna do toe Ajay pig. So this does not have billions of colors at its disposal. This is a a bit per channel compressed. J peg. Let's see what we can do. You'll notice the person is not looking at me. That means I took the picture. I contact. I don't. So OK was the first step again. My balance and crap looks fine. It's all the tonal range I want. Not gonna crop it. White bounds looks fine. Outs, doors, auto. White balance usually does a good job. Next step auto. Great. Maybe a one step tango. Okay. Auto is great under a smiley face. if you need to. Next step exposure the exposure of the mid tones. Looking at the cowboys skin looks fine. Not gonna worry about it. It's good to go. Clarity. He's a cowboy. Okay, That means I can probably get away with a little bit of ump. Okay in there. If I want to add a little bit of secret sauce to it, I can What's nice? Even if I took it up to 100 if you look at the brim of the hat in the old version of light room and a CR, you would have gotten an exaggerated halo on those areas of contrast. So you can actually get away with murder. We're not gonna get away with murder. We'll just add a little bit of clarity. Get a little punch to it. I'm highlight and shadow. You'll notice. When we did auto, it automatically took the shadows way upto a plus 50 automatically for me. It knew what I was going to dio It took the whites up to make sure that they were the right range. Great. The explosions of mid tones that did that. Fine. Awesome shadow Highlight. Highlight. Highlight. Looks good. I could probably take the highlights down even more. Took those down minus 50. So I can actually take those down. Getting more detail in the sky. Next step for whites and blacks. The instagram looks great. Love it. Don't need it next Vibrance. It's a beautiful spring day in Aspen. When I took this, we'll take our vibrance will add a little bit up to it, Which whoa. Okay, so I believe the folks on the feed are watching my actual computer. They're not doing that. So those of you who are looking over my shoulder and saying that that should not be what you're seeing and this is drug induced and okay, we may tweak that during the break the TV just to bring it more into a little bit align. So I'm gonna, actually, since you're going to be seeing this and for recording purposes, look at the shot of my screen. Not at the TV set over my shoulder. So there's a little vibrance. The very, very last step of step 55 b will call it is what then? Yet and yet I'm gonna do that same thing. I like color priority. We're gonna take that down here. Maybe take that recovery highlight kind of recovery slider up. But I can still take that down. You can see how it's gonna draw my eye into the center of the composition. My tango was done. Here's my before after before, After on a J pig. So even with J pegs, you can still go to heaven and shoot J pic. Just better beginning it right in camera. In this case, not right in camera. And yet you're still able to get away with murder. Okay, so there's the tango. I just show a couple other images. We won't go through the tango. But just to show you this one right here, this is a file that I would normally use to teach. This has taken over in Molokai, Hawaii, where I teach that creative photography for the soul event plug, plug. Um, and this is a five shot HDR typical combination where I'm shooting a whole series of bracketed shots to try and capture black lava, backlit black lava as well as looking directly into the sun. So this is you know, you would not try and get this in one shot unless you were using the brand new engine in light room or a CR because this is what you can get with the single shot. Okay? And again, that's painfully right up there. Even for for this fun, it's will take that vibrance. You can see you got a little carried away. But anyway, the ability to go from this to this in a single shot if you have been using HDR doing bracketed pairs or sets of images Ah, lot of you may not be doing that, especially with moving objects like the waves here, because what you can pull out in the new shadow slider is mind bendingly cool in the, uh, the new light room and a CR Okay, another one a little Do another landscape. So before after single shot The fact that you could do this without any hand dodging and burning there's no targeted adjustments or anything else is incredible. Okay, you get the idea. Okay, so that is global optimizing. Taking advantage of the five step tango. Here is ST Peter's Cathedral. Last one before and after. Okay, So what you can get out of files based upon the miracles that Adobe has put together is awesome. Let's do this actually to a portrait, a much more typical file because it's unlike the other ones. I'm going to do this quick so we'll do this one just because it's gonna be a little bit different than what we've done in those last ones. I'm gonna come here. White balance and crop step one don't need it. That's fine. Except to auto. This is where some people would go. That's why I don't use auto because it's a little bit aggressive. Okay, in that it's trying to figure out there's so much darkness. Another Hala Victoria Smith shot. So it's a little aggressive on that. I could use this as a starting point, go through the rest of the sliders, and it actually would work out fine. But I'm actually gonna undo it to show you that you do have my permission to undo it and move on to the next step. Okay, exposure, exposure, clarity, highlight and shadow exposure. The mid tones look fine. Skin tone, great clarity again, in this case, maybe you take out little bit, soften it up a little bit if you wanted to were getting a little bit. It's a very contrast image with how it's being lit. So I'm gonna take clarity out a little bit to soften it up a little bit. Shadow. This is where that shadow slider Normally, I'm gonna be coming up here and doing some retouching around the eyes to pull out some detail more. There's quite a extreme shadow underneath her eyelids because of how it's being lit. But I'm gonna use the shadow slider, okay? And I can pull out. Detail will focus in on her eye right here so I can pull out what would normally be a retouching job in her eyes. Okay, so I'm using a global slider for that Back out. That's giving me too much of my background detail. As I mentioned, that's the reason why the shadow slider You have to be a little bit cautious of it. I'm gonna jump down. I don't need whites and blacks. My hissed a gram looks great. My whites and blacks points is fine. My vibrance has got more than enough going on here, so I'm just going to jump in terms of this tango right down to that post crop vignette, and I can throw in that then yet to throw back out the background back where it was meant to be. If I'm certain to darken up that shoulder, which I don't mind as if it's getting a little shadow, remember that highlight. I could make it so the arm is not being affected by the vignette. So again, this is a much more settled. But you can see how I'm softening up the overall contrast of the file. And there's the tango there. Mainly, what we did is we did auto shadow and 11 yet really, of the only steps related to this file. If I had shot 50 images at this point with the same lighting, we could select them all in our film strip down here, use our synchronised button here and would be done with the whole shoot because we did globally, we didn't have to go into the eyes, went at a time. That's the power of using something like a global set of instructions to do basic optimizing, because if you can do it with globally and don't need to go in individual images, you just you know what? You just got out The door went up exponentially. Yes, well, I just want to say we had a question from Dar Sean, who asked precisely that. Um And in addition to that with plug ins, my question is that when we create a plug in or color correction setting for a photo, can the same setting be applied for each and every image for each and every image? Yes, you can synchronize that. We'll just do it. Well, actually, let's do well, we'll jump. I'm just going to pretend that I've got to images here that we're not gonna actually synchronized. I'm gonna hit the sync button. And basically, what synchronized does it allows you to come up here and choose what you want to synchronize? So, as an example, if you the vast majority of the color and tone was fine. But maybe you'd also done on this one you've done some special effect, like somebody had converted to black and white. You could say, please synchronize everything but the color options so you can selectively say do everything or don't do and including the crop. It could be that the last thing you would want to do is, you know, synchronize a crop because you may have fine tune those. So yes, the synchronized button down. Found down here at the bottom of the right hand panel lets you choose what you can. Um, synchronized. You could also make a preset. Now, this brings up a really good point here. You've got something that you like. It's pretty Any time you did you Any time you go Ooh, Here comes another good quote Any time you go Ooh, Save it as a snapshot, OK? Any time you see something that is vaguely interesting to you, come over here to the left hand side. Click on this little plus icon right here and make a snapshot. I don't even bother naming it or doing anything else for it. But what it does is it saves every single thing you've done to that file. Color tone sharpening, special effects, framing been yet whatever. And you go back to it. It's part of that file. Forever. Takes up. No, virtually no memory. Fantastic. There's no downside. Okay. And, uh, the virtual cup, which gonna get to a virtual copy in a second. I've got to remember this shortcut for take a snapshot because there is a shortcut for snapshot, a keyboard shortcut that I'm gonna have to remember, But it's not coming to me now because I'm having a brain cramp. But there's no downside to making a snapshot if you see something that you want to output. If you've done a version of it, let's say I'm going to come over here and make a quick black and white version of this document. Okay, now I've got a different version of it. Come over here to snap shot, click return. I've now got a version of that. So now I've got two versions of it. In order to soak the client for more money, I mean to offer to my client a different visual solution to the communication problem. Um, for that, what you're gonna do is make a virtual copy, and what I'll do is I will make have one image. I'll make all these different snapshots. You can see all the different options I've already done in this file. OK, so these are all the different things we're gonna get into the next session when we get into enhancing where we'll be doing things like this, um, I'll make all the snapshots in one file and out of my dozen of those snapshots ago. Snapshot are great. I want four out of the 10. So I'll make four virtual companies, which is Commander Control Apostrophe and I could make virtual copies and then each one of those virtual copies has all my snapshots in it. The great thing about that is I go to each one of the snapshots and say, Snapshot four, Snapshot three, Snapshot five, Snapshot seven. And whatever is in your film strip is ready for output. Write those you can output when you do an export. The snapshots obviously are all in one single file so I could go toe one images I've got here, Turn on a different snapshot. Go to this one. Turn on a different snapshot here, go to a different snapshot. Turn on a different one here and you get the idea so that snapshots I usually do all my work in a snapshot. When I'm ready for output, then I'll start making virtual copies. Yes, question. Might want to try see of command and works for a new snapshot or command, control and command in his new snapshot. Thank you very much. You Internet. Thank you, Internet. That's an odd name the two words or one. Okay, so, command. And for new, your pneumonic devices and for new. Okay, thank you very much. That was just a brain cramp. Ah, the other thing related to this ability to save whatever you're doing to a file is this concept of presets, and I will jump into it right now. Here, we'll talk about ITM or later on, and you will find some light room presets. Associate it with today's class. Um, you can import right clicking within your presets area. You could import a set of presets, and that's when you can download at that Facebook. Um, Jack Davis. Wow. Link like that. And that will give you access to my presets so you can import those. But presets are any time you see something that is global enough that you know you can make money with later, okay? Especially something like a special effect. So if you see something, you go. I could make money with that. Then you click. You get the same sort of dialogue box as you did with sinking. You can say I like certain aspects of this. I want to call this. You know, my favorite, you know, high key effect, and then save just what is appropriate to whatever the effect is that you did. Okay, so then you have a preset, so snapshots air per a particular image. Anytime you see something cool, um, you can synchronize those without even making a preset or doing anything else, uh, and presets themselves. Or when you want to do something between different sessions, OK, that you think you could make money with. Okay, so there's a couple things related to that back to our optimizing and for optimizing. We also are going to talk about black and white, and I did a quick little black and white This is going to start us. Also do a tease for our enhancing class that we're gonna do right after this one. Um, I did a quick black and white before just on that image we were just looking at, and I did using a keyboard shortcut, and that is tapping the wiki. Okay, which of course, the pneumonic divide for that is that V stands for black and flight. That's a Julianne cost pneumonic device. Don't ask me. People love that roar with laughter. Thank you, Julian. cost. V is for black and light. It's a toggle. You can turn it on and off, but I'm not gonna have you guys do black and white conversion with that. And, um, you're gonna see why in just a second, But actually, before we do that back to optimizing, we're gonna do the exact same thing. What we're talking about now in what we're doing there and here is we're gonna use in this case, the HSE l panel for doing optimizing oven image hs l. We're still talking about global not targeted, but hs l hue, saturation and luminous. This is completely different than photo shops. Hs l Photoshopped hs Ellis, you saturation and lightness The lightness, slider and photo shop is inherently evil. Useless, bad yucky is the technical term. This is giving you access to the actual luminous of your file, which is very, very different, as you're going to see in just a second. So we're gonna come over to the luminous portion of that hs l panel in a CR or like room, and we're back to this idea of global optimizing. Let's see, what we have over here looks actually pretty good over here. I'm gonna use this little icon right here. This gives me access to what's known as the targeted adjustment tool. Okay, The targeted adjustment tool. The T 80. It's also in adobe camera, raw in the upper left hand corner. Many people. It's amazing how many people have not stumbled upon the T 80 tool, but in there for years. Awesome mind bendingly useful but hidden out of this really nice gray on gray on gray interface, with three pixel high icons clicking on it when I bring it in. You can now see the icon in here because I'm in the luminous portion of the panel. When I click and drag on something, it's going to analyze it based upon color, and it's going to allow me to adjust particular start interrupt. People are asking what the wheel is that keeps popping up. That is part of the intros. Four. It's one of the preferences. This isn't my computer, so it's preferences are set up for any time. There's hesitancy. It thinks that I'm thinking so it's giving me an option. When I bring that up, I can click on it and Aiken cycle through different options within it. So it's one of its great feature of the into us for But because it's not my computer, it's an annoying little feature right here, which I will change like there. And I will change that at the break so it doesn't keep popping up. OK, so you're welcome here. We're doing a global adjustment. I'm gonna affect all the blues in this file. Um, so in a sense, it's targeted. It's just gonna be the blues. But I'm gonna click in the sky and dragged down, okay, that's giving me access to even if they're subtle colors you can see in the panel over here, it knows that it's actually blue and aqua, and it's allowing me to change that. I can come over here to the skin tone, click and drag up, and I'm lightening up the skin tone. Okay, so in a couple clicks, I can come over here and do a total change that is now both going up and down. That's not the highlights that are being affected. It's the blues. So it's not something like you're getting with the highlight or the shadow slider. You're actually able to go in and adjust things based upon what you're clicking on based upon their color, and it's giving you true access to the luminosity. So let's jump over here, which is where I was heading in a second and we're gonna use that same hs l for doing on optimizing of the image. But also, we're going to start in two special effects. And to do that, what we're gonna dio is the first thing I want to do is I'm gonna dio a different black and white conversion than using the wiki. And for that, let me zoom up here and we're gonna make a customized cool, groovy, otherwise known as Bitch and way of doing Black and White Conversion in light room and a CR And that is not going to black and white and clicking on it, not tapping the wiki. But coming over here and this is gonna be a little bit hard because of my zoomed in views. Let's see you do it here. I'm gonna take out the saturation manually for each one of these sliders. Okay, so they're all at minus 100 By the way, de saturating and photo shop is an awful way of doing black and white conversion because of how it handles luminosity in light room and a CR de saturating is totally fine matter. Fact, this is gonna do a beautiful black and white conversion and now zooming out again Here we have our black and white. Now, why did we do that? Looks virtually exactly the same as if I tap the wiki you're going to see in just one second. But before we do that, I went to all that trouble. I took seconds and seconds to move all those sliders over. I never want to do that again. I just made what I consider is gonna be a really cool black and white conversion. So this is a great opportunity to do a preset. Any time you think that you can make money with something, figure out how to save it, so you never do it again. That's one of my also quotes. Okay, if you do anything that you like, figure out how to never have to do it again in the sense you wanna automate that process. So I'm gonna come over here to my presets. I'm gonna click on it. The nice thing about presets in light room vs Adobe camera raw. You can actually use sub folders. You can come up here and create little sub folders Will just put it into the user setting. We're gonna call this one d sat. Okay, we're gonna tell it. The only thing that we want it to save is are color settings. It's all that I wanted to do. In other words, if I had a vignette or anything else on it, it's not part of that. That way, when I apply this preset, it only does one thing. It only does this black and white conversion, so to speak. They create, there's my d set. I have that for the rest of my life. I never have to go through that process again. The reason why that's useful is that I'm still in that hs l panel in this case instead of luminosity, for right now, I'm gonna go over to saturation, okay? And I'm gonna click on my T A T tool and I'm gonna click on a portion of the file like the background and click and drag up. So what it's doing because that t A T is isolating portions of the color. It's doing a targeted adjustment. It's globally. It's all the blues in the file. But I'm able to just manipulate that portion of the image that I'm clicking on again. A combination here of blues and Aquila's Okay, if I jump over here and I could take that back down, I can click on her skin tone. So now I've just done another effect. Journal Ankles. Take that skin tone down will do that background. Jump over to Hugh and I go. If I make this purple, I can suck my I mean, I can bless my client with her favorite color by simply moving the hue. But you know what? I'd really like that into to be a dark purple. And that's because I now jumped over to the luminous portion of the HSE l panel, and now I'm asking it politely, Would you please take those blues and change their luminosity values? And that blues, of course, is a combination of both aqua and blue. By the way, I've already done three things that I like and I went over. What should I have been doing each time I went to? Not a preset preset, we're not sure yet where there were were and do it. So you're absolutely I'm right that, um I want to use my scroll wheel here because we have a lot of presets. It's where we're going to use a snapshot. Okay, The snapshot is not the preset the snapshot click, and that saves everything with a file. It's not associate with just color black white, whoever So whatever. So snapshots anytime you see something cool. So if I like that Great. Now I'm gonna go over here and go. You know what? I really think that would be nicer with a light background, Okay? And I'd like her skin to be lighter as well. This is a mind bendingly useful feature here in terms of optimizing your image. Because even if you're not doing black and white conversion, your ability to lighten skin tone independent of everything else in the file. Hello? Make fly. It's awesome. So, for optimizing your image, it is great. Okay, well, even take, I'll just jump right back here. So here's our image. Without doing the special effects. I'm in that luminosity. I can come up here, enlighten skin tone or dark in the background. And here in terms of optimizing in one fell swoop, which again, that's gonna go radioactive. But, um, I'm able to dark in the background and lighten up skin tone. And I could even do saturation. So, you know, come over here and do it saturation. Make that a dusty or blue background. Okay, so the HSE L panel is actually incredibly useful for optimizing your image that, in fact, let's do one more here. This kind of fits into our retouching that will do it here. Okay, this is a friend of mine. This was actually is a real estate person, and this is his business card. And when I saw it, I said, Dude, because we live in San Diego. Dude, I need that image. He said Why? I said, you'll find out And I went to the Kinko's who took it. And yes, the copyright is embedded for the Kinko's, but it's very hard to find somebody with both wars, Asia and jaundice at the same time. Oh, my goodness. We're definitely remind me at the break. We're gonna be changing that. But you guys air hopefully emphasized those of you who are doing the editing or emphasizing what I'm looking at rather than what's over my shoulder. But here we are. We're in that HS l panel and this, even though that this is kind of an extreme example here of doing a new image with a inconsistent skin tone. None of us have consistent skin tone. No client of yours has a consistent skin tone. We all have all sorts of things going on. So how often do you need to take things like the red? It's in the magenta, as you know, even though baby pictures, even newborns, they're gonna have circulation. And there's all sorts of things. Freckles, acne, razor burn, Rose Atia, John does. There's a 1,000,000 little things that if you could balance out the tone ality of these different portions of skin tone, I would be bitchin. So what we're going to do here is we're gonna come over here to the hue, and the great thing about this is, I want to say in the hue panel, would you please take the yellows and move them or toward orange? Please take the reds, move them or toward orange, have the meat in the middle, shake hands, kiss and make up. How awesome would that be to do in a global fashion without needing to do hand retouching? So let's come over here. Zoom back out. So what we're gonna do in this case, I'm gonna use the sliders rather than the targeted adjustment tool. And I'm gonna take the yellows and move them toward orange. I'm gonna take the reds and move them towards orange, and you can see just with doing that slider what I'm able to do if you look around the cheeks and just below the cheeks, what we're able to do their again. This is overly sharp and so on on screen. You're seeing this right there. The thing was, Cantona mentioned. This also works with razor burn and freckles and acne. And things like that is that red is a darker color than, say, a traditional skin tone. And this doesn't matter on ethnicity. All skin tone fits into the orange range, no matter what ethnicity a person is. So this is relates to all, um, skin tones. Red is also darker, so I'm gonna go to luminosity and take that read up a little bit. In this case, I'm gonna get rid of his cheeks altogether. which normally when there's nothing wrong with nice, rosy cheeks. But just to show you how far you can push it will take the red up where it is also a more saturated hue than orange or yellow. So I'm also gonna take the saturation down for the Reds. And that is where we can come up here and now in one fell swoop, you can do that sort of dramatic change. Okay, so here we're doing global adjustment, in this case, doing skin optimizing, taking advantage of the HSE l panel Incredibly useful. We're gonna use it for special effects in our next session. We'll definitely use it in our retouching in the session after that. And we're even going to be using this for video. There is no access to the H S L panel for video in light room unless you know the secret Mickey Mouse Club handshake, which will be doing toward the end of the day. Okay, I think we're up. Four questions, absolutely. Question from in Iraq is for that image you did with the wall that you're changing. If she had blue eyes or blue stone in her necklace with the global changes make changes in her eyes and necklace to Yes, they would. As in right here, you'll notice the, uh, tie Also went from obnoxious Read Too tasteful orange. So, yes, thes are global adjustments. So they're affecting all the blues, which would include the eyes in the young lady. That's where we're going to get into targeted adjustments when we get into enhancing. This was all about global optimizing. So absolutely, very good point. If you have whatever it is, if she was wearing a blue dress, I'm not separating out the blue dress from the blue wall. It's all the blues. In this case, it's all the Reds. When we get into the retouching class, I'm gonna be going in and talking about doing selective changing of color tone for, say, things like, Where is Asia or something else like that? So very good question, Yes, but that's all of their in light room in a CR as well those targeted adjustments for color and tone or there as well. All right, question in the audience. You talk about how good the auto exposure and cetera saying did in setting the white and black points. Um, if I click on the auto and I go, I don't like that. I don't do it. Can you just show me how you would then manually set the white and black points? Certainly. Okay, so let us go back to one of our images. We actually let's go back to something like, let's do our the woman who where are where did our bride go? They're so bright. Okay, so if you want to do it manual If we did the auto and did not like it on again that Presupposes that you still want to do that. You're white balance first, cause that is changing your tone. Total value in your image. I mentioned that your, um, whites and blacks have You can turn on these little icons here, and you can just simply come over here and tell you start getting some clipping, and so that would be a manual way of doing it. When you Soon as you see red, you're starting to clip. You don't know what channel is being clipped in. So if you want to know specifically what channel or if you're being clipped in all channels, option key on the mackerel key on the PC while dragging the white or the black. If you see something that's just blue, it's just being clipped in that blue channel. If you see another color or pure white, it's been clipped in all channels. So that would allow you to set that the same thing with the black. You could come over here and, you know, take it down. You'll notice that in this case that Black was right where it was, is just on the edge of black. It's not being clipped, so it's not like I'm gonna have to, you know, brighten it up. That's how you can see it. The previewing of the black and white point is, by turning these on or holding down the option or old key for it. But you'll notice that even if you did that, I'm so gonna have to worry about I set that white point. The dynamic range technically is set right now, but obviously it's nowhere near set so that what's nice about that auto is it said it, and it also took a stab. Everything else, including things like contrast. But here's a good tip. If you go OK, dude, lets reset this bag that technical term. Um, let's come over here and we're gonna reset all these Double clicking on any of the sliders sets them back to their default. So we have everything zeroed out here, including the blacks. If you go just, would you please just do the black in the white point for me? You tell me where it should be. If you shift double click on white or black or any of these six, it will set those for you automatically without doing the other ones, so that's built into it. That's a very cool, groovy, bitchin tip. So if you just want to see what the shadow double clicking on the shadow slider would automatically set it, here's double clicking on the exposure slider so you don't have to do all six. There's no reason. That's a very good point. You can come up there and selectively say what you please just do X, y or Z For me. It's only for those six portions of the basic panel. Good question. Yes, In the preset dialogue box in the lower right corner, there was what is processed version and something else. What are those? When you come up here and click to make a preset will check none. This process version right here, I said. There's been four different processing engines in light room, the ones you can access a three processing engines if you go over to the camera calibration option here. These right here are what are technically known as the version options of the processing engine. You have the 2003 of the original 2000 attended, updated in the brandy when it's 2012. So when you include that in a preset, it's going to use that particular flavor of whatever you did as an example Clarity in 2010. If you made a preset that does that clarity, which can be really nice for doing kind of a grunge effect, you could save that often. Still, use it on your current files. If you click on that preset, it would say, I'm gonna change it to the 2010 processing engine because you told me to um, so that's why that is in their way. You can add it, use it or not use that processing version as part of a preset. Usually you would turn it on because you're purposely trying to take advantage of the new capabilities of something in there. But that's why I said that you can choose to have it on or not. Look, yes, we dio from free minder. Candlelight room presets be used in a CR No, they cannot, which is a shame. It's because the programmes themselves are different. It's not because the parameters are different, what you can do, and actually what I've done to make sure that I have the exact same presets for both a CR light room right now, that what you can download at that my Facebook Jack Davis Well, just like room. They're not available for a CR because I haven't done it yet. But if you come over here and you make a snapshot with any effect or anything else in it, across processing or anything when you make that snapshot, if you open up that image from light room into adobe camera raw, you can click on that and save that as a preset. So, in other words, that's how you would migrate a specific preset from either a CR in the light room or vice versa. Save whatever the effect is as a snapshot. Open up that file in the other program and you'll be good to go when you are in light room. This is a good tip related to the catalogs. All the effects, including your snapshots, are part of the catalogue. They're not actually saved with a file, even though, technically, if you have ah, adobes D n g j pay Great. If all of those can actually have the metadata embedded into the file if you're shooting with, like, a cannon raw or a Nikon F file, they cannot was a proprietary formats. Adobe cannot write back to them. So a lot of people just for that reason, convert their raw files into DMG so they can hold all this luscious goodness as a default even though they can. Adobe does not right the metadata into those files. Meaning if you were to look at that d n g in the bridge and do try and do that trick that I just mentioned, you won't see anything that you did in light room over in bridge. Unless you do a commander control s well in light room because Commander Control s is saving the metadata, forcing it into the files if it can. Ajay picked. If we're DMG. What ideas actually is a nice little tip. When you're done with a project to a select all command s and it's gonna write that metadata to the files as well as in your primary catalog, you get a backup. So if if ever the catalog is separated from the images, your metadata is in the images as well. That includes your copyright, all your effects, your key wording and everything else. So doing that, you can actually turn it on, so it does it automatically. But then it's always writing the metadata, and that kind of slows it down a little bit, I found, especially when you do a lot of, you know, targeted adjustments. So that's another little safety net. If you want to go back and forth between a CR light room, use something like a DMG file and then do that command s trick in light room or control s and that way your metadata will be in the files and then you'll go into bridge and became Iran. You're going to see exactly what you saw in including those snapshots