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How to Use Adobe Lightroom CC Mobile

Lesson 8 of 9

Lightroom Desktop Workflow


How to Use Adobe Lightroom CC Mobile

Lesson 8 of 9

Lightroom Desktop Workflow


Lesson Info

Lightroom Desktop Workflow

later on the desktop. Wonderful place to be a couple things that I would do here that I wouldn't do elsewhere. Of course, if I had a mobile capture and I liked the look. One of the things I might do is, I might say, Hey and the develop module. I want to create a preset of that. You could create a preset and share it with other images. The other thing you can do on the desktop that I think is really flexible. If I have an image that I like the look of and I want to quickly share it with multiple other images, I could just select one image. Let's take this other image over here. And then I could say, We want to sink the settings of those. Do you want to sing all of that stuff? Yeah, let's think everything except for Crop and we're gonna copy those settings over to those others. Now, this one on the far right is an example of when that doesn't work. But the example on the left. I don't know. I kind of like it, you know, it's it's an interesting starting point. You never know what you're g...

onna get, um, taking the work from one file and repurpose ing it to another. It can. It can save you work, but it can often give you sort of a get you out of a creative rod and give you a different look. Okay, That's one thing that will often do here all the lens correction and everything else that I showed you. Weaken Dio. One thing that I love being able to do here and my work flow in light room on the desktop is I get rid of all of the interface sometimes all hit the l key to go lights out and just look at the image. And what we see here is that Yes. In 2008 if you were shooting a picture in near darkness, you were going to generate a lot of noise. One of the things I like to do here is noise reduction. Um, like I said before, doesn't come up. Is often is it used to? But if I'm opening shadows even on an amazing file like this, you're going to get some noise. We do a pretty good job of profiling it. We profile everything but noises. A thing. I'm gonna show you two things to know about noise. One you can take back to light or a mobile, the other you're gonna want to do here. Uh, zoom in just like when you're sharpening. Look at as much of the images possible, and we're going to scroll down here to detail. And most of this is color noise. And if I move the slider over Wow, that went away, right? That went away pretty significantly. Here's where it was. Here's where it ended up. We We took a long time to get noise reduction, right? We really did. But when we got there, we didn't do this thing where we just wash away pixels, you'll notice that we preserve the glow of the neon lights while getting rid of the noise. The other thing you would do is you get rid of luminous noise. That's the crunchy noise that you see around there. Okay, now, the other trick I was going to show you, though that I think works really well, is let's let's get rid of this stuff. The default, I think, is around 20. But let's just turn it down even further. Let's say I'm on Labour Mobile or something, and I want to get rid of the noise. Think like the noise, right? Think about where the noise is. The noises purple. Often it's also in the black areas of the image, and this is a great example of when I might want to open up all the shadows. But do I really need the darkest, blackest Inc of the night to be opened up? No, that's where the noise is hiding. So the best way to get rid of it in a case like this is to come down here to the black slider and just compress that. So just hide it just just tied the noise because the noise isn't is obvious in these areas, like the light sign. So if you don't have noise reduction, you can either de saturate the purple or you can darken the black area. So one way around that Okay, um, two other ones I wanted to show you. Let's let's go from removing noise toe, adding it, which is a sharpening workflow sharpening, is always sort of a polarizing subject. People have strong feelings about it. Um, I think a lot of people who do sharpening do maybe a little too much sharpening. Um, thing that I want you guys to know is, especially as you're on the desktop. If you feel the need to do additive sharpening, which a lot of it's not necessary, there's some. It's built into the camera. It's built in the files. It's on by default. You don't need to do a lot of added sharpening. But if you want to do it and you want to do it on the desktop No, that you don't have to apply it to the whole image. Okay, you can apply it to just part one of my favorite parts of light room. Always has been. I'm gonna come into the develop module again when I'm sharpening. I want to be at least 100% on a cruise in a lot of detail there. Let's move over so we can see some of the softer stuff in the background. The Boca there and I'm just gonna move down. I think this is actually an IPhone capture and was sharpening. You have these sliders that it's not necessarily obvious what's happening. A sharp in that. Okay, get sharper. I've got this little widgets so I can see a preview of one particular area radius all of that. It's not immediately obvious what's happening. If you're a seasoned user, you know that Radius expands it detail, does something with the detail of it and masking well, who knows? Well, if there's one keyboard shortcut you remember on the desktop, it's Option or Ault. It's gonna temporarily map this two black and whites that I can just focus on the detail. And now I'm going to see what Radius does. Holding that key. I'm going to see the effect of how many pixels I'm going to see. The detail detail means that I'm also sharpening noise or not, and this is the best part with one thing. There's always one person in the room wasn't seen this. I love this, Um, if I hold the option, are all key and I pulled the masking slider. Everything white means everything is sharpened. As I pull this over to the right, I'm building a sharpening mask, right so I can just sharp in the foreground and not sharp in the background. The black areas will not be sharpened. This is super handy. Let's back up to look at it in the whole image, right? You can just sharp in certain areas of your image. In addition to thinking this is really cool. I want to take a picture of that like I want to use that Scharping mascots. Sometimes it comes up with a really neat result. You can apply sharpening just where you want it. So noise reduction sharpening. Those were a couple of things that I like to do on the desktop. I don't believe we live in a world where we always have to do those things. I can't talk about the future without my bark collar zapping me with 30,000 volts. But I will tell you that were devoted to bringing powerful desktop work clothes to mobile devices. Looks like just a couple more that we would do. We talked about lens correction. We talked about how you do that on the mobile device. We can absolutely do that here. The same profiles. This might be interesting. Having looked at it on the mobile device. If you do enable profile corrections here, you'll see Yes. GoPro hero four session. You could change these. See that we've got them for all versions of the IPhone and whatnot. Um, one of the problems that this is, the lenses tilted. And so this is where I would use upright. If you guys aren't using this, any architectural photos really benefit from this. I'm gonna click auto, and it's just gonna look for the lines and it's going to stand it up. It's kind of like a tilt shift lens after the fact works really, really well for that. You have full manual control over here. One of the things I love about the mobile experiences. It's just very just touch, control and go You don't you don't necessarily have all those manual sliders, But it does just work you saw on all the examples that it really does just work the only other things and this I want I want to reflect back on where we started. Um, I love this device. I really do. I shoot with it constantly. I probably shoot five times as many files as I do with this, maybe 10 times as many as I do with this with me all the time. Absolutely adore it. But two things I can do with it that I don't like doing our panel on hdr Pano. Really neat, magical panting experience. But if anything moves, it gets weird. It's like we're back toe civil War era photography where someone blinked, You know, it just comes off looking strange. Same with HDR. Really cool as long as the world stands still. But if the grasses blowing or the clouds are moving forget it just comes across those ghosts. So I don't love the built in solution for those I do those things on the desktop. I still shoot them here, but I edit them on the desktop doing Pano and HDR. Here are super, super easy. Um, let me just say quickly how it works here. I've got a bunch of images. You'll notice that I actually have a duplicate images. Well, I'm just gonna shift Click on those, and you could either control click or come to photo and photo merge. Either one will work. I'm gonna control click photo merge and say panorama really quickly. It's gonna build a panorama. It just works. It always works. I haven't pulled it yet. I actually re numbered these. I put them out of order. I thought for sure it would. Smoke poured out of the back of machine or something would go terribly wrong. It worked just fine. We automatically crop it. Remember, this is a raw file. You can un crop it. One neat thing about it is even if you're starting off with individual J pegs, the end result is a DMG file and what that means. It doesn't mean that you suddenly have color channels you didn't have. It means that you have a natively, nondestructive workflow, and you could un cropping and whatnot. It becomes even more interesting with HDR and the way that HDR works. Let's just take a look. I'm gonna select four images to do in HDR. All you need is three exposures under exposed somewhere towards the middle and overexposed on. The idea isn't to do this. I bleeding crazy stuff. It's to give you something like what your eye sees, which is a full dynamic range. As amazing as this camera is amazing is this camera is if I hold my hand up in front of a bright light source and take a picture of it, I'm either going to get all the detail on my hand and it's gonna be bright white behind it, or I'm gonna get a silhouette for the proper exposure. Not going to get both baking multiple exposures together. Let's just look at these dark, less dark, correctly balanced and blown out. Same workflow control. Click photo merge. HDR says all GPU accelerated. Super Super Fast gives me a great result. Now I've asked it to automatically align the content. You should shoot with Tripod if you can, but if you don't, that's all right, and I've asked it to automatically tone it, which is why it looks different now. De ghosting was on by default. If it were off, you'd see two things. It's a bird flying through the image. Like I said, the world moves and you see that guy walking through the image. But I can automatically remove both of those just by de ghosting it again. These air my images. It's not some amazing image. Thes aren't canned demo acids. This stuff really, really does work. I don't ever have to go to Heidi ghosting. If you want to see the overlay of the ghosted area, you can do that when you merge it. It's gonna take a second, especially if it's a full rest file because it's gonna give you a true DMG true raw file. So what that means is that if you're shooting raw captures on this, the HDR that you'll get will be a true raw HDR with full flexibility. So let's just look at the the end result, which is this one here. This is a true DMG file. What it means as a DMG reset. It just so it's totally flat is you can get tremendous range on there. That's auto throwing some clarity, some vibrance. Let's open up the shadows. Um, we could even do a graduated filter on the sky. That's maybe a little too much, but you have a lot of information there. A ton of information? Um, hdr is It's a lot of fun. It doesn't. I know I over cooked that one. It doesn't have to be this crazy over the top stuff, so I've gotten us to about where we want to. I hope that you guys see that mobile has really changed, and if you're a traditional photographer, it means you can edit anywhere. See your images anywhere. If you're someone who's falling in love with photography for the first time or just finding that you shoot more with this, you can do so with higher fidelity than you've ever been able to.

Class Description

It’s now possible to access Adobe® Lightroom® CC not only through the web, but also on your mobile devices and Apple TV. Bryan O’Neil Hughes, Adobe Photoshop Hall of Famer, will show you how to put all of these new platforms to work for you. 

He’ll cover:

  • Best practices for capture and culling
  • Basic and more advanced editing within Adobe Lightroom CC
  • How to bring in raw files from traditional cameras

You’ll learn how to share, collaborate and put together an amazing slideshow so that you can show off your work no matter what device you have on hand.

Don't have Adobe Lightroom yet? Get it now so you can follow along with the course!

Software Used: Adobe Lightroom CC 2015


Anna Newman

This class was my favorite of all the 2016 Photo Week post classes. Bryan is a great teacher approaching his topics from a working photographer perspective, as well as an Adobe insider viewpoint. I starting using all the material Bryan covered immediately after the class, and have already sold a stock photo. I am completely sold on his reasoning about taking the time to organize your catalog. I highly recommend any class past or future Bryan is teaching.

JIll C.

Bryan's passion for the Lightroom Mobile workflow makes it easy to understand and adopt. He demonstrates with easy-to-follow examples how to capture and edit in the field on the IPad or IPhone. (Though not mentioned during the class the Android app is equally facile.) I am now ready to fully adopt LR Mobile and apply is to my workflow. Bryan is an articulate and natural trainer, and makes this topic completely transparent and approachable.

Sasha Alexandra Ordanian

Easy to follow and implement! Great class!