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All You Need To Know About Adobe Lightroom® CC

Lesson 8 of 16

How to Use Local Adjustments

Matt Kloskowski, Jared Platt

All You Need To Know About Adobe Lightroom® CC

Matt Kloskowski, Jared Platt

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Lesson Info

8. How to Use Local Adjustments

Lesson Info

How to Use Local Adjustments

I have an awesome feature that I have been wanting is four years. This is big. So there's a big one. If I go to the develop module, I have a portrait here. Um, and I have three portrait's. I've got one of her kind of walking. I've got one of her standing still and another one of her looking down like that. But on all of them, I want to brighten up her face a little bit. And so the first thing I do is I go into auto sync mode so that anything that I do is done to all of them at the same time. But the best way for me to bright number face because I don't want to brighten anything else up. I just want to brighten your face up. I would go into the brush and the brush tool is where I would choose, you know, to do kind of Ah, uh, kind of a smart dodge type of situation where I'm brightening her up a bit. I'm going to go over and start painting, so I'm just gonna paint a little bit brighter on her face and down her arm. Just a little bit and then right there on that set of flowers. So now I h...

ave a brighter face and you can see what happens. If I turn this on and off. You can see that I've brightened her up, so that's that's really nice. I like it. Can you see that difference? Okay, so now that I have that difference, you can see that it's been done toe all three of these at the same time. So if I click over here, it's been done here. But it's in the wrong place. And for the longest time, you didn't have the ability to move that pin. You had to delete it and start all over again. But now with light room C c, I just simply select this image. Grab that and move it to be on her face. And now you can see that the brush has been moved to her face still goes down arm. Unfortunately, if I turn on the Maskell related can see that I've kind of that that obviously didn't get in the right place because she wasn't holding it exactly the same. So at that point, I can come down and erase, so I just you can do it two ways. You can come down and click on here at the bottom of your brush tool. So here's the brush tool. If you go down to the bottom of it, there's a brush, a be any race. And if you click on a race, then you could just simply erase that extraneous peace and start over on that. You can also, if you just hold down and this is the easier way to do it. If you just hold down the option key while you're in the brush tool, it turns it to the erase. So when you're in the race tool, if your flow is 100% just hold down the option key and erase that and then come back and then re get those flowers. Then I'm gonna go to this one here. This one is the one we originally did. So let's go this one and notice this one's off, so I'm gonna move it up a little bit, and it got pretty close to the whole thing, but I still need to get rid of that. So I hit the option key and erase out here and then finish out those flowers, but you can see that if you have a burning or a dodging job to do, the fact that they've allowed you to now move that pin around is critical. But remember when you have the pin, it used to be that you could click on the pin and then you could change all of them in the same time, same time so you would change the in total effect because otherwise you'd have come into the exposure and bringing exposure down and contrast down and highlights down and shadows up clarity down and like, you'd have to like kind of budget yourself. But now, in order to get that, you have to hold the option key down, and then you get that little side by side museum and you get that little side by side line with the two arrows, and that tells you that you will adjust the total effect that you've created. So just remember that because they've allowed you to grab that pin and move it, you now have to have the option key to get your, you know, increase or decrease the total overall effect. So that's a really big deal in the brush tool. Now you have a question on that? Yeah, the pens. How do you hide? Show the pins when you're working on it. So you have different options when you have pins open. If right now I have it on auto. So when I hover over the photo, the pin shows up over on the bottom left hand side. It's his show pins and its auto always selected or never And then also right next to it is that check box that should show selected mask overlay so that if you want to see what the mask is, you can see that red. I can turn that off by clicking on this check box, but it's nice to see where it is when I'm doing some masking that I need to take care of. For instance, we're going to go into another photo here and now I'm gonna show you something that's even cooler than that. And I know how cool that waas. So I'm really, you know, setting the expectations high, by the way, the your Jared to show you the auto auto is really the best one, because it shows him when you move your cursor on and hides them when you move it off clicking on that. But it just leave it on auto, Yeah, The only time you need to see it is when you're over it. And then when you go to the when you go over to slide a slider you wanted to disappear so you can see the face that you work on it. So it really is the round. So now I have a beautiful old English house and you can see I've got the wedding dress hanging there in the groom over there. And by the way, this was not a set up shot. I was actually out in the yard taking pictures of sheep, and the groom had come to the window and was watching me, curiously wondering why, at his wedding I was taking pictures of sheet and I turned on this guy and I saw him, and I was like, Oh, my gosh, that's awesome. So then I So, um, but I want the sky to be a little bit more dramatic. So what I would want to do then is I would take the Grady int tool, and I'm gonna use the preset. I'm gonna have a preset that I call Blue Sky Burn and I'm gonna grab that and drag it, and you can see that I am creating more drama with that sky. I'm gonna do it in an angle so that I kind of get all of the sky in that sky. But there's a problem caused by this, and that is that the house is getting burned as well. So I think it's really dark. What's at the chimneys get really, really dark. This this is doing OK. Everything else pretty OK, but the chimney is definitely dark. Um well, now, in both the Grady Int tool and in the radial filter tool, we have the ability to turn on a brush. So I've already got my burn. That's happening here is a Grady int, and now I can turn on a brush and I can negate anything I've done. That's cool. So now I'll turn on this over last, the over the mask overlay so you can see you can see where that grading is burning in. So now I can come in the brush and turn on the erase, and it's going to erase the entire effect from anywhere that I erase. So now I could just simply come in here and I can just start erasing this Grady int anywhere that's on the house here. And then as I get closer this chimney, I'm gonna turn the auto mask on factor. That's the kicker. That's that little guy right there when I turn on the auto mask and I'm gonna zoom in here so you can see what's going on, and I'm gonna select right here in this chimney, and I'm gonna start erasing, but see how it's staying inside the chimney without going outside of the gym. And then I'm gonna go up to here, and I'm a click on here and erase that little part of the chimney there. And I could get, you know, pretty thorough about this is well, but the key is to select the areas. Um and I may have spilled outside that area, but the key is to select the area that you want to work in and work on that and then go to the next area, click on it. You notice that I did the red brick and then I let go, and I went up and clicked on the white area there so that it can cause is registering a new point and saying, OK, anything that looks like this, I want to make sure that I'm only working on that. It's automatically resizing the brush, then No, I'm doing that with my my finger. So I'm scrolling up and down on the mouse, and that's what's creating the size of the brush. And then I had come over here and do a little bit of work on this, you know, area here. The key is, is that little cross there in the middle, Like what? That goes over? It's what it's sampling from, so that will cross there in the middle, goes over something else. Bad things happen. Okay, so now you can see that I've got a pretty good selection around that and let me show you the before after now. So if I turn it off, there's the sky, and there it is with the the Grady in, And this is true both in the Grady in and in the radio filters. So no matter where you are now, whether you're in the brush, the radio filter or the grading, you can always burn something or dodge something and then go in and kind of extract the areas that over spilled and did too much or did too little. Or you can. You can Manasse it, which is something you couldn't do before, and it changes the way you work on a photo. It makes it much faster to do something this complicated. I don't have to go to photo shop to do it, so it's a huge deal. The last thing 1/2 to mention mention it have to mention it is that you also have in the red eye reduction, which I've never used. You also have pet red eye reduction, just so if you are to taking pictures of pets and you're using a flash that's going directly on the camera and you happen to get those demon pets, you can remove that. And they're green sometimes, too. Yes, so, cashew, a bonus tip on your brushing. Yeah, all right. So another little known enhancement in the latest version of light room when you're brushing. So let's say, you know, I take my adjustment brush, bring the exposure down and I'm clicking and painting. If I click here if I shift, click it connects the dots. Oh, yeah, Yeah. So it creates a straight edge you got like which is which is a common feature in photo shop and in design and all those things. You can do that, but they've just transferred it over. They call it, connect the dots. That was that was the result of scouring the release notes this morning. It's funny in that little that's an awesome one.

Class Description


Adobe® Lightroom® Creative Cloud®, is an essential tool for working photographers. The super efficient organizational tools and quick retouching capabilities found in the latest version of Lightroom make it an indispensable addition to a photographer’s workflow.  

In All You Need to Know About Lightroom® CC you’ll spend two hours exploring the new features and functions found in Adobe® Lightroom® Creative Cloud®. Matt Kloskowski and Jared Platt will give you the inside scoop on all of the changes that come with the Lightroom® Creative Cloud® release and show you how to work with them. 

It can be a challenge to stay on top of all the ways Lightroom® can assist you in your work. Learning how to use Lightroom® in this crash course will ensure you are up-to-date and getting the most out of the latest release of Lightroom®


Brought to you by On1 Software.



This course is part of the Adobe Lightroom tutorials series. 


Reviews

Tucker
 

I fell in love with lightroom about three years ago. Making it better is alway nice. Thanks for sharing the information on the up grades. Also making it fun to watch.

Sean HIll
 

A great intro, this class convinced me to get the Lightroom/Photoshop software on the monthly basis. Mr. Platt is very good at presenting the subject matter and getting you interested in doing more, both in camera and with post processing. Great job guys!