Advanced Editing In Adobe Lightroom CC Mobile
you can do everything that we did on the phone, but you have a larger screen. You have a slightly different interface, and a larger screen means more pixels. It means you're sliders. Have a greater range. So think of it is a more precise editing environment. Um, okay, so what I'm gonna do is I'm gonna choose this image of my wife that I shot with the like a Q. And I could tell you, um, you're going to see all sorts of shots that look like I don't work at all. A full disclosure. I recently had a sabbatical, and I took seven weeks off so that it is true, but it's not. Not my normal life. Here's picture. My wife riding a horse and it was a stormy day was one of these rare days where we actually got some rain and I I got the image off of the camera. And as good as the pictures look off of this, you guys probably experienced this all the time. There's what you saw, and there's what you shot. And there's just this enormous discrepancy between the two. They're so far apart, and I believe that...
editing serves two purposes. Yes, you can restore a reality. You can make it look like what you saw. But you can also make it look like what you felt right. You can you can earn embellish it a little bit. So for the sake of demonstration, we will do that Here I will recover all of the tones, but also go a little bit overboard. Everything is a little hotter on the monitor eso It'll probably look even more ridiculous, but we're starting with a completely flat file one way toe confirm that is to come over to the far right and just say reset. All Okay, everything. Everything is cleared off and here's my image now, just to show you where all of our controls are because we have again we've got about 90% of the functionality that we have on the desktop, but we do have a slightly different interface in the lower left hand corner is a very important little toggle. That little lens aperture there shows your different controls, just like with white room on the desktop. Most of my time is spent in basic. I'm gonna do a lot of stuff in basic always going to start there, and it is a pretty linear workflow I worked down through those. For the sake of explaining how this stuff works, I'll show you how each portion works. But my main workflow is basic color. Um, and I'm a big fan of lens correction to Okay, So again, you guys all know where I'm gonna start because I belabor did earlier. I'm gonna start with auto tone. It will sometimes aggressively open the image up. That's absolutely OK. Um, I want I want to get all the information in the file. I'm gonna recover the highlights. What I'm hoping is to see the detail in the sky. I know that it was this very stormy day and that didn't come through at all. In a perfect world, I'd under exposed the image and I'd light it with a flash. But I can do that in post. As you'll see. There's a lot of information sitting in there. I don't need open the shadows at all. The whites and blacks, pretty self explanatory there the brightest and darkest areas of the image. Only caution there is if you are gonna print, remember those air kind of like clipping sliders. You could very easily clip the whites or blacks if you monkey with those too much. So just be mindful of them. Clarity. Any of you have been using light room knows what You know what clarity is or camera raw. Um, just so you know, light room camera, raw cameras, the plug in for photo shop, light room. We're talking about the develop module. They have feature parity with each other. They both have the same powers to briefly jump off track and just describe it, cause I think this is so cool. They came to be many, many, many years ago, and I distinctly remember when this happened. Thomas Knoll, the guy who were originally came up with photo shop. He did it to avoid doing his homework. Essentially, he really did came up with photo shop. Nobody really know what we were going to do with it, but it became this amazing tool Will. Years later, as digital SLRs were taking off, Thomas took one on vacation, and he hated the raw conversion software that came with it. So he came up with his own. I mean, only Thomas Knoll would write his own rock inversions software on vacation came back and he showed it to us and said, Do you think people would like this? We were like, you know, of course, that became camera raw that became late. Rooms develop module. Sorry for the Segway. I just think it's I think it's so neat that that's Ah, lot of the innovation that happens is out of frustration, back to clarity back to what I think is probably the most overused tool in light room, because you can do this crazy I bleeding super crunchy stuff here. Essentially, what it's doing is it's amplifying mid tone contrast. If you take it over to the left, your effectively smearing vest lean on the lens, right, you're softening everything. Um, for those of you have been involved in photography for a while. There was a time when we literally smelled gasoline on the lens. That probably seems pretty medieval now, but this is the digital equivalent of that. If you have a portrait of someone and you just want to do some skin, softening a little bit of negative clarity is a good way to do it. My general guidance on clarity is tread lightly. Just don't go too wild. But I am gonna bring a little bit in because it's giving me what I want. It's giving me that mid tone contrast. We used to call this punch. That's Ah, that's essentially what's happening there. Okay, um, I could use vibrance here, and vibrance is great. The difference between vibrance and saturation is vibrance knows, with skin tones look like and vibrance respects the color gamut a little bit more. Which is to say that if I take saturation and I pegged that to the right, it looks like another planet. My wife skin gets all out of whack. The green looks crazy. Most of what I use saturation for is de saturation. I will often add a little bit of vibrance and remove a little bit of saturation. I'm not going to use vibrance here because I'm gonna do it manually. I want to show you guys how to do that manually. But before I jump out of here, there is one other thing that's bothering me. Um, the crop is a little bit off. There's nothing wrong with my inner ear. I had a horse running towards me. Um, it looks pretty mellow in the picture but kneeling down in front of a horse with a 28 millimeter lens. These things happen. So I'm just going to rotate that until it it looks good to me. Remember, every single thing we do here is not destructive. I want to change the crop later. That's not a problem. Gonna go ahead and commit that. This is full resolution file. Lots of information there. Okay, Back in to edit. I've gotten as far as I want to get in basic here to show you how it works. The tone curve is just like the tone curve in light room, which is to say that it's what we call a parametric curve. We've carved it up into four quadrants and you can move them by sliders. So if I wanted to take another stab at recovering the highlight detail, I could pull that slider and yeah, it makes it a little bit better if I think I've got a little clipping in the shadows. Uh, I could open that up here as well. You can do most of this in basic, but if you want to go even deeper, you can do it here. I don't want you guys to feel like you have to do this for every image. I just want you to know that it's there. Okay, so let's let's move down. I'm gonna jump out of order here for a second, and I'm gonna come down to color. There's a lot of control here. Um, I do have a little bit of a problem with the interface, which is that we start at Hugh. I don't know if you guys have ever adjusted the hue on a TV again. I'm dating myself. I don't think anyone has any cause to do that anymore. But if you do, what normally happens is it just looks really weird. And you don't know how to unwired it. You just have, like, orange skin tones and green hair and stuff. I don't love that we started, Hugh, because you can really mess an image up. You know, if I come in here, create example, right, she does not have green skin, so I don't love starting in here. I'm gonna encourage you guys a minute. You jump in here, jump out of that on let's move over to loom in its and the main thing I want to talk about Here is the sky and the flowers. So the sky is blue and you can see that by isolating a particular color. I can definitely get some of that information back in this guy. I'm starting to get my stormy sky. It's all sitting there. You just have to know where to look for it. Um, the other one is these flowers, the flowers. What kind of flowers they are. I'm sorry, but they're they're purple and they don't really pop here. And the color is all wrong. But I can adjust the limits of them really quickly and easily. I want them to be darker. I want them to be a big part of the image. Things get a little squishy with the yellows and greens. I encourage you to just try it out and see where they are. I want the foreground bright. Um, and I want the background a little darker. This stuff is all season to taste. Do what looks good to you. Don't get too hung up on, you know, the proper exact colors and whatnot. I'm sure people will disagree with that. It all depends on where the final output is. But if you're editing for yourself, do what you think. Looks good. Okay. Saturation again. I'm often going toe under saturate colors like that. The grass in the foreground, I think, is a little too nuclear green where I'm still looking to get that feeling out of the blue sky. So I'm gonna add some of that in, and I'm hoping to give those flowers more pop. So I'm in a open up the saturation there. As far as her skin tone goes, something is a little weird about it. But I don't think it's a saturation problem for this stuff. I am gonna come into Hugh again. I think I've prepped you accordingly for this one. But just be careful with you. Let's start with the flowers. We know they're purple, cause we adjusted the limits and the saturation. So I'm gonna use that slider, and I could do a good job of getting those looking the way I want to. That that looks much better. That's how they should look with, uh, the only thing I'll say about purple. And this is a very specific example. Purple is usually noise in your image. Purple doesn't exist. A whole lot in the world. You find it buried in the shadows as noise. The reason I mentioned this is you can use it to suppress noise. If you have a bunch of noise in an image, one of the things you could dio is you could go in and you could just darken the purple area. So in this particular case, there is purple in my image. Okay, The other thing. Let's try these flesh tones. There a little strange. I play around with orange. That is what I want to work with. She's a little green when we're over here. Um, little red when we're over here. So maybe somewhere in between there, then what I might do is having the hue correct. I might pop back over to the saturation and bring that into it, looking pretty good to me again. The display Slightly different than what I see here. But that's looking pretty good. We'll talk about black and white in just a second. Okay, Now, as before, when it comes to D Haze, if you have a picture that's mostly sky, you could use D Hayes globally. If you have something that's out the window of an airplane. Perfect example. By all means use D. Hayes for that. The problem with using B. Hayes here is that as I pull this over to the right, it does look way better. It looks so much better. But the problem with it is that we're applying it the whole image and were darkening the whole image. So almost always with D. Hayes I want to use this is a local adjustment. So we're gonna come into local adjustments, and I'm going to show you two different ways to do it. One as before tap on the screen, I pulled this down and then I pull the lower slider down to sort of feather it, and you get a red overlay of what's going to be affected. That's probably gonna be more than enough for this image. And I can aggressively use De Hayes there and open up the sky. I'm starting to get a little bit of post realization in there. That will happen when you really, really push it. Um, but it's a great tool if I get rid of that. The other thing I can do is in the lower left. I can choose a radio selection. This one little, little more difficult toe work with, uh, takes a little bit of practice. We move this around on pulling the sides top and bottom. I set this oval on her, and then an important slider is at the top here, which is the feather set that about Midway. And I'm gonna overdo this so you can see what's involved. We're gonna take days and we're gonna really overcook it, and we realize out would apply that to the inside. I think this should apply to the outside by default. We're gonna invert that by getting that key in the upper left. And that's a very dramatic image now, And I'm okay with that to exit this view. I'm just gonna hit, edit, and I'm gonna use three fingers to go back to the original state of this image, which is actually quite different. I'll show that a different image in a minute. You can always use three fingers to see the prior edit or where you started, so that gives you an idea of where we ended up. We took that file pretty far. I'm not missing anything from the desktop in this workflow. A couple things that I might miss that we'll talk about later. If I wanted to sharpen this, I can sharpen it selectively here. But I can't do global sharpening. There's a little bit of global sharpening authority built into it, and it's it's not a problem. I mean, if we zoom in, the image is definitely it's not soft. Um, the other thing is noise reduction, and that's an interesting one, because cameras air generating less and less noise. But at the same time, the sensors air getting smaller in a lot of cases, and the I S O is getting a lot higher. So, uh, it noises stole problem boys isn't going away. And when you really open up a file, you're going to get noise in the shadows. So noises another thing that I can currently combat locally with a local adjustment in Lycra Mobile. But I can't do it globally. So in my mind, those are things I might want to tune up on the desktop. Later, we'll revisit those more in a second. But I do want to show you guys a work around, Um, so here's here's one for you. This is an image that I did a whole bunch of stuff to on the desktop. It's edited on the desktop. All of my desktop edits are reflected here. It's all sink. So everything I've done to this file is here now, one really cool thing to know is there are certain things you can do on the desktop that you can't do in light from mobile. But because it's all described in this lightweight little text file, you can do a sneaky trick and you can copy it and you can paste it on to another image. Okay, so this image has sharpening. This image has noise reduction. This image has some special sauce that I could only do on the desktop. All I need to do to leverage this is touch and hold it to copy the settings and then move over to another file. Same turn, same day, touch and hold and paste settings. And I've copied over everything I did there, Right. This This is your work around right now for anything you love doing on the desktop that you can't do on mobile. Such a fast workflow. Such a great workflow. What I've seen some people dio is they'll have the same file, make a bunch of virtual copies on the desktop and then just apply different settings to it. And they treat those like presets. They just touch and hold to copy it, and they apply it now again. What's so great about this? It's totally non destructive. So if I come in here and I say, Well, that kind of wonky crop that I have on the other one, it's not exactly perfect here. I want these to be centered, pull up So we don't have that distracting element in the foreground. Okay, that looks better. Those were really colorful cars. So maybe I don't want this to be lacking white, although I do kind of like that, uh, GT in black and white. But turn that off and it's a color image. I'm not having to do anything else so that it looks really good right away. Already spent all that time on the other image, So I really want to ah, encourage you guys to not just think of these devices as a way of looking at your desktop files but interacting with them because you can do these edits anywhere. I know it's a little bit clunky that copy and paste workflow. But it's actually faster on the desktop, I think, faster on the IPad than it is on the desktop. So that's what that one, um, looks like. Let's just sort of accelerate it, and I'll really quickly show you that workflow mobile, the mobile. So here's what it would look like on an image like, um, you know what? Let's just totally different image. But let's use this one just to show you how we would mix things and say that with this particular image, this raw file that I shot last night. What I want to do with this is I want to choose another one, but let's let's mix it up. Let's take this one that we just did. It's copy those settings from there, and we'll put him on this. This, by the way, is an exercise file are very sick. There's a very similar exercise. Follow this that I share that people can use on their own. It's ah, full rest DMG file off of the like a. The workflow of copying and pasting can be used mobile, a mobile. It could be his desktop to mobile comm. Use it any of the files in your library because those instructions live with all of them. It's really a nice and powerful way to get started. I encourage you to use this even if you don't think it's gonna work because it's a good starting point. A lot of the time when you come into an image, you just you don't know what to do first, you don't know where to begin. And again you got that safety net with light room, where you can always undo things later. One of the thing that I'm missing in Lycra Mobile I'm gonna be really candid. I love being able to create virtual copies on the desktop. One of the things I do on the desktop is all duplicate an image I'll make a virtual copies. Five to DMG files have one black and white, one color. The workflow here is to save out another file, and to reimport it, I know it's a little clunky. Maybe someone knows of a better way to do it. That's my workflow. For doing that. You can also have multiple collections so I could have a collection that has a color representation and a collection that has a black and white representation. But I love that virtual copy workflow kind of touch and hold and just be able to duplicate that image. Okay, so let me show you a couple of things that you wouldn't expect to be able to do here. And then we'll sort of talk about the world in between Mobile on the desktop. Okay, so here is Let me start with a mobile example. I mentioned that I went on sabbatical recently This me and my dad went on a fun trip. We share a passion for cars, and I've been playing around with a GoPro GoPro Super Super fun triggered from your mobile device. I'm having a lot of fun with it. I'm kind of an imaging nerd. I don't like the Latin. I find it distracting. It's not flattering. Um, if you have a person anywhere near the edge of it, suddenly they have a strange shape knows, or long arms. I understand it's the signature. Look, I understand. It tells you that it's a GoPro on. It does allow you to get some pretty unique perspectives, but it kind of drives me crazy that it looks the way it does. It's actually really easy to fix in the same way that we've got a library, hissed a grams of a library of lens profiles. So if you come in here to edit, this is this is the GoPro image. Just a zit came off the camera. Come down here to lens correction. I'm just gonna toggle that on. I'm not gonna do anything else is going to turn that on and it fixes the image right away. Um, it's it's really cool. Really, really cool. So what I did in this case is I was just shooting with the go pro and then I was wirelessly transferring those onto the mobile device. Brought them into light removal just the way I did with these. I just had them in the photos and I told it which one? I wanted his favorites. And if I want Ungh Oh, pro it. I'm just applying lens correction you guys may have seen last week. There's a new GoPro hero. Five shoots raw as well. It's like I feel like all this stuff's happening at once really exciting. We've got the ability to shoot raw with the cameras we needed on the most the ones with the tiny little sensors. And we can edit raw too. So I'm having a blast. There it is on a GoPro. Let's look at it and something a little more realistic. This is if we noticed that I as a two finger click, we get different information. If I one finger click on that, I also get other information. This is a PSD from 2008. Definitely dates it. Um, I remember this was the kit lens, Uh, tell you just how sad my life is. I remember everything about this kit lens off of the five D, the original five D with a 24 to And it's it's got some problems. Like any zoom. It's a bit of a Swiss Army knife. It's trying to solve a lot of problems. And so there's distortion. So with this one, if we come in here and we edit it and we go toe lens correction again, I'm gonna just touch that button and it's gonna fix it. But if you look carefully, there's actually a few different things going on. The corners were dark in this one, and they're not dark. The buildings. Obviously distorted, it's not distorted. And if we had, say power lines in it or bright light, you would see chromatic aberration, which is just a very nerdy way of saying you'd see color fringing. We can automatically remove all of those just by touching that button works just the same as it does on the desktop. It's another one of those things, like auto. I want you guys to just bake that into your workflow. It's really a great way to work with your images. There isn't any reason you wouldn't want to apply it. Um, I'm not a spokesperson for like or anything. I just happen to love this camera. It's It's awesome. It's amazing. It has a 28 millimeter lens, which isn't super wide. It still needs Glenn's correction. When I shoot with this ice 50 on my five d, it's still needs lens correction. Every lens out there needs a little bit of lens correction. This with to fix lenses. We've got profiles for that and still do lens correction there. So just one of those things you can do here and it works really, really well, Okay, um, a couple of other things Well, let's look at a really extreme example. Here's another PSD. This is not my shot. I think it's the only image here in here that I didn't take. Uh, this is a fisheye. It's what, like a 15 millimetre 15 millimetre lens, I think. Really? Yeah. 10.5 millimeter, which I think works out on that sensor, works out too close to a 15 on D three s. And we can fix that to just know that when you're combating something like this, you're gonna lose some content. All right, The building on the left is going to disappear, but we are straightening it out. You get into another problem here when the cameras tilted off access like that, we'll talk about that on the desktop because that's something I want to use upright for. And with an image like that, it's so extreme that someone is going for that look. They're going for these wildly converging lines. Uh, software can only do so much. Can't completely change your perspective. All right, so we've talked about this sort of end end raw workflow, professional work, but you can capture raw on your android or IOS device. You can import raw files. Of course, it works with J. Pegs. PST is paying is as well. You can see that you can do about 90% of the stuff right here. So invariably someone will ask me. Well, what about what? The other 10%? What am I missing? We talked about it a little bit. We talked about noise reduction. We talked a little bit about global sharpening, brush based edits. But most of what they're talking about is retouching um, healing, which you can do in light room, some pretty powerful stuff we're really used to doing on the desktop.