Lightroom 101

Lesson 6 of 13

Working With Images in the Develop Module

 

Lightroom 101

Lesson 6 of 13

Working With Images in the Develop Module

 

Lesson Info

Working With Images in the Develop Module

So we're in the developed module again and we're going to talk about mohr of the develop tools so I brought up this picture because I think it's hilarious I love this picture so this little thing is so slow and it just go but kids loved it so we're gonna work on this image all right remember we talked about the basic module so I'm going to go through and adjust images in the basic module andi we're just going to do a little bit of adjustment here not nothing nothing super crazy but I wanted tio be right so we're just normalizing the goal the goal in the the basic module is to normalize your image such that it looks correct and that's the first thing that you do in the developed module is you normalize images and this bye bye incidentally is what people like shoot dot ed it will do for you they're going to normalize images they're going to do what is is right scientifically right so they can match the skin tone they khun you know they're going to just get normalized and then you can add...

whatever secret sauce you want to add to it but they're going to normalize everything this the part that takes the most time because you have to judge temperature intent and you had to worry about whether or not you got skin tone and they're just going to normalize it for you but we're in the normalization process right here, so I'm going to do a little bit of that and once I've finished so that I'm normal, then we start adding style to it we do things to it and all of that kind of stuff occurs down here in the tone curves and below so let's just go panel by panel and talk about each one so first is the tone curve now the tone curve I'm a close the sister grams so that we can see the entire tone curve and on a decrease the size of that ok, so in the tone curve you have various ways that you can deal with things you can just move the sliders so you can take the shadows down you can take the darks up, you can take the highlights up or down just kind of moving around but this is the contrast is a very simple way to create contrast, but this is the more elegant way or fine art way to create contrast it's the elegant solution to contrast but if you're used to photo shop you can also come down here to the point curve and just click on this point current now it becomes a photoshopped curve so now we can just grab on to points in the curve and just create a nice point curve and we convey his detailed as we want to a cz well, there and by the way we can then change the channel to say blue and we can bring the blue up or down so we can work on our color balancing as well inside of the channel curves that the same way we would in photo shop have you guys use curves and voters shop to work on color it's a great place to work on color s oh that's that's available to you here so just be aware of that sea and and and it layers on top of itself so the rgb is working on just the exposure basically and then the breads greens and blues can then, you know, split those things up. So for one of poll you know the reds down a little bit and let's say we only want to pull the reds down in the shadows more so we get see that so we get more blue in those mountains see if I go up see how the red it shows up in those mountains I'm going to pull it down so that it becomes more blue in the mountains but then we'll leave some of the warmth up here in the sky so we can work on the point curve and that's a very you know, intricate little point curve now most people are not going to speak I want to spend that amount of time working on something each time and that's that's as it should be shouldn't really spend that much time on multiple images you should once in a while you come up to an image that's really important and you'll work on it like that but in most cases you can come up with about three to four curves their work on every image you have a flat curve you have a uh medium curve you have a heavy curve and then you have a super heavy curve and that's generally gonna work on all images and so what you're going to do is you're going to create your curves and then you're going to create presets based on those okay so thie other option or tool it's available to you inside of the tone curve is the adjustment point curve so this thing is a target adjustment if you click on it you get this weird little cross hair and if you click on a specific tone so if we look at the mountain and pointed the mountain and I scroll down with my mouse wheel it darkens that particular see see that point on the curve is it's grabbing that point and knows exactly what that tone is on the point curve and if I happened to be in the regular tone curve with sliders if I pointed them out it starts moving the slider that's associate id with that point on the curve okay so then I can go to the cloud and pushed up so I'm brightening up the whites ok? So I just kind of move around and say ok, well this is a specific white where is that white? Well I can brighten it up or I can darken it and I'm just getting that little spot that little bit of white okay but it's it's global it's doing the whole thing globally but it's sze registering that tone and it's bringing up that area on the on the on the curve okay, so that's another way to be working on your images is with that little target adjustment you also have the ability to change what where mid tone is and where kind of your highlights begin and where your shadows begin and so this this curve will change based on this so if I if I if I shift this around it's going to determine where does my white where did my highlights and my lights began and where to my shadows and my darks begin and so as I spread this out now the lights and the darks air here and the highlights and the and the shadows air here so it's determining that there's a difference between I have this the shadow area over here and I start playing with the shadows see how the curve is affected all the way to that that that point so watch where it's affected see out pulls it down like that but if I dragged this over here now watch what happens with shadows it on ly deals with that so it's sze basically determining or or registering what constitutes a shadow what got this from here to here is shadow from here to here is dark from here to here is light and from here to here is highlight and you can see that they have different colors this is white this is gray this is darker gray this is dark, dark gray so you khun you can alter those and it changes the way your curve looks so if you're working on a curve remember you can also play around bests and that will help to change your curves well but that being said you should never spend as much time as we just spent in the tone curve you should spend the time making the tone curve you like and then make a preset out of it and then make another one and make a preset out of it and you should have four five presets from the tone curves and that's it and then you will add those to your photos at will. So for instance, if I were looking at this shot and I had normalized it so we're gonna brighten it up just a little bit give it a bring the blacks down little clarity and we're going to make it nice and and blue and the thing is, well, we'll talk about that a minute, so I have a friend who who tells me that I I I should should I should stop showing pictures of people on creative live because the the landscape and architectural photographers out there feeling left out so we'll just look at this one for now. So this is this is for all of you landscape and architecture photographers out there who get sick of it seeing pictures of people. There are no people in this shot, so we're going to just work on this for a second. So in this situation, once I've kind of normalized, this is kind of where I want this picture to reside. Maybe I'll bring up the the highlights just a little bit, okay, so that's kind of where I want to start with the picture, then I can go in to my presets and in the presets I'm going to have a curve and you can see that I've got curves here. I've got a medium tone curve, a high tone, curving, a local stone carved these air, all the presets that actually come with these rpg keys. So I'm going to just click on a a medium curve there, see that's much faster than going to the tone curve and working on it. And generally speaking I use three tone curves I use a kind of a flat one medium one on a heavy one that's it okay all right so I've got my tone curve on there and now we're going to go to the hs cell area which incidentally if you go to black and white then your it's your black and white mix so this is essentially the same as putting on a red filter or something when you're shooting black and white film so you have the ability to then look at if I was doing this is black and white I would obviously want obviously I would want the sky to be darker so I would if I were shooting black and white film I would have put a red or orange filter on camera so in this case I khun take the blue and bring it down said that so I can bring the blue down so that that happens or if I'm not too interested in figuring out what color that really is target adjustment tool is still there click on it pointed the sky and scroll my mouse down so that so it's actually figuring out what those specific tone are those colors are and notice that it's moving the purple down a little too because apparently there's some purple in that sky so that's so when you're in black and white, the hs cell area has a black and white mixer and it also has an auto when you click on auto, it tries to determine itself, but you can see that the auto is not very good because it actually increased the blue, so it obviously doesn't know what this picture is and how this picture would be best seen. So that's why I never used the auto black and white balance when I'm converting an image to black and white, and when you you're working on your preset area and your preferences like setting up your preferences, that preference is right in there it's apply auto mix first when first converting the black and white I turn that off because you've seen how poorly the auto actually works. It doesn't because it just doesn't know what colors should be and shouldn't be taken care of. Okay, all right, so so we bring the blew down a little bit so that we have a little stronger sky there if we're doing it in black and white. If not, we can always have the option key, which turns it to a reset button up here and click the button and it resets are black and white, but let's go back to h s cell because we actually want to keep this color this works in hs ella's well, we click on the adjustment, our target adjustment again, and instead of choosing saturation, we're going to choose fluminense fluminense's going act the same way that black and white filter was acting and as I grab on to the blue it's going dark in the blue stuff see that's I'm darkening up blue that's good now there's some purple and stuff in these mountains so if I want to I can go in and saturate and then look and point it that purple and kind of saturate and you can see how the blue and purple are kind of coming up together but I don't want the blue to come up so in this case I'm going to just grab the purple on bring it up just so that I get a little bit more purple out of these mountains okay, so you can also do that with you so if the blue is a little off it's not quite the right blue that you want just point at the blue and then just start moving it back and forth until it becomes the blue that you want it to be so that's the right blue for me so I've changed the sky to a different blue then I'm going to go I can also go with saturation aiken up and down saturate so all of that stuff is available to you either as sliders or as a target adjustment tool but let's see what it looks like and by the way all of these panels you can turn him on and off so if I there's what I did to if I click on this little toggle I could turn it off and then turn it back on turn it off, turn it back on right so you can see what you've been doing on a particular item ok, so that is the hs cell area color is another way to do that so you can choose a specific color like let's say blues and then you can tell it I want blues to be a different hue or I want them to be a different saturation or different luminant but it's just a different way of doing pretty much the same thing I prefer the sages cell view because it's much easier to operate in ok so that is the hs cells split toning spread toning is important because often times we turn things the black and white make sepia tones or science types stuff like that but it's also important because a lot of the times we can use it in our color images most people don't use split toning and their color images and I don't think they it's a very useful tool that way. For instance, in this case we've got a lot of shadow here and all that shadow is kind of blew in nature so if I want to intensify that blue I can go in and I bring the saturation up two hundred percent notice there's highlights and shadows so when the shadows I'll bring the saturation up to one hundred percent and then I'll grab the hue and find the right hugh or if I want to find a specific you, I can always click on this little color box and it pulls up a color picker and then I can pick a hue or if I and you've got follow this closely if I click on the color picker and hold the mouse, click down and as I'm holding the mouse, click down a drag off now I can pick it from the actual photograph so I'm picking the actual colors from the photographs so if I go up here and say blue, I want that tone of blue to be added into my shadows so here's with nothing and here's with extra blue sea that I'm adding blue to the shadows so what I'm going to do is I'm just going to increase the blue a little bit so the shadows air even more blue, but then I can alter the highlights and the beauty of having a split tone is that you can use color as a contrast ing agent so right now what you see is blue sky blue shadows, white clouds if we take the saturation on the highlights up and we just grabbed like, say, yellow kind of an orange is yellow and then we bring it back down now weaken slowly bring in a contrast of yellow in the highlights and what happens when you have blue and yellow you you you contrast, right? Because blue and yellow are opposite actually blew in oran drops that, but they're close enough to opposite that you, you end up with the contrast between the two, right? And so in fact, if we wanted to be more opposite, we would go more towards the orange and less towards, you know yellow, but I kind of like that right there and it's important to go to one hundred percent saturation so you can choose the actual color you're working on and then bring it down to zero and bring it in until you feel comfortable with what you've got. So here is before to that and now here is after it just has a little bit more warmth in the sky, even though I've been doing all this effort to to make it blue, I've been making I want to make it cold looking, but I want the sky I want the sun that's coming in to feel warm and so using a split tone to do that is a fantastic way to get that warm into the sky but push push the blue into the shadow, so use the split tony not only on your black and whites but used on color all the time and by the way, you don't have to do this all the time you can make a siri's of split tones that work for most everything I have a syriza split tones that give me in pre cents that give me a blue shadow and a warm highlight and then I've got some that on lee give me a warm shadow which would be c peotone and then I get have one that gives me all blue tones for a science type and then I've got and I really only use baby five of them but I've gotta siri's of tones split tones that do all sorts of things including the split tone is perfect for making cross processed images so if you want your images to look cross process you're going to actually do the bulk of the work in the split tony and so we'll actually talk about that after lunch we'll talk about the presets but but when you're making a preset you're going to make a preset with split toning and then you'll just have five or ten total split tones use and you'll really only go two like three of them most of the time ok, so but in my presets like I have an entire film pack of presets and that entire film pack is filled was split toning that turns things toe look like film it looks like cross process so it's put tony is really important tool to use so that's split tony let's go to detail now on detail I'm going to shift back over to an image so let me just go to this image here um sorry landscape photographers and back to a person all right so here's here's the kid and we're just there were normalized let's zoom in and I choose this image because it's got an eyeball in it and so on the eyeball we're going to go into the detail and talk about sharpening so sharpening is the act of adding contrast on a minute level because that's all contrast is just sharpness army sharpness is just contrast that's all it is so if you can make the black look blacker and the white look wider right next to each other the line becomes more apparently sharp and that's what sharpening is doing it's looking for places where it can create a contrast between lines and those lines will then appear to be sharper so if you take the amount up watch what happens you see all that like picks elation and I know it looks like uh like a like a sweater texture or something what's happening is it's finding all the picks alleges and and it's it's it's weaving its way around all of the picks alleges and the little inconsistencies and pores and scan and whatever and it's increasing those so that you get this pattern and it's really ugly so that's what amount does is it just increases the amount of sharpness everywhere okay, so generally your amount is at twenty five so in fact I'll bet you that every person that if you open up your sharpening right now on whatever image you're looking at as long as it's straight out of the camera and said its basic default it's a twenty five because that's kind of the default amount of sharpening to make a digital image look normally sharp digital images are by nature soft and the reason they're soft is because there are four pixels that described one so you actually have a square with four pixels in it and each pixel records a different color so you have it records to greens and then a red and a blue and so then it has to take those four pixels and determine the correct color and then put him together as one point as a color and so it's soft so when you have a soft image like that you have to do something to sharpen it so your natural sharpening point is twenty five that's generally what all images coming at if you were to take this to zero you would be a little bit soft and you can see that this has become just a little bit soft so we always start at about twenty five and then at a radius of one but now let me show you what radius does so you saw what sharpening does sharpens down at the pixel level pretty much if you take radius up see that there's that patterns not there, but the eye gets sharper. Watch the I say so watch right here is the important thing to see is right here in the eye. If you take the radius up, you'll start to see all of those those eyelashes start to get a little bit sharper. The black gets a little blacker if you take the detail that also works. See that now. Now the detail is grabbing this area right here, it's it's deepening this shadow, which makes it look sharper. So then radius and detail but I mean, there are one hundred percent and three, so you're that's pretty pretty drastic, but you don't see that weird pattern occurring then if you were to take the amount, start to increase that, then you really start to get crazy. Okay? So it's important to just understand these sliders that the amount is going to work on the smaller, finer detail and then the detail in the radius they're going to work on larger blocks of detail. So generally speaking, when I'm working on trying to make something just a little sharper, I'm gonna start with the detail, then I'll go to the radius, then I'll go to the sharpening in that order she start actually lower and go higher because the amount is the most damaging tool so you want to get as much as you can out of these guys before you move into the amount and start going in the amount and so if I'm doing heroic sharpening and polishing a ter that's out of focus right? And I've gotto got to get this thing back into focus, I'm going to have to start with the detail and that's not going to work and then the radius isn't going to help and then I'll have to bring him out and suddenly I've got that it looks like someone's doing a stippled drawing right? And when that happens we have to then go to the next tool, which is our luminess noise reduction and so are luminous noise reduction actually is going in the gate. The problems that we've created with are sharpening and so if I increase that, see how I'm but watch what happens, you make this look really bad, okay? This is gonna look horrible when I back out I mean it's just that's just that's just gross looking right? But it looks like a kind of like a drawing or something, so so you can you can really creative if you want a decree a painterly look you could certainly do that based on these tools it's kind of the same concept and photoshopped his poster ization who's seen that effect gone it's an effect that really shouldn't be used for visuals poster ization is great for like finding edges and stuff in the process of doing something else, but in the end you get rid of the effect that you just created with poster ization so inside of white room you khun create that look but it's not advisable to do so so let's go back here and deal with him normally so we'll bring the detail up bring the right radius up a little bit and the sharpening khun stay right about there and so that's what really sharp now remember, this is at six forty I s o because getting nice and dark out there so it's got a little bit of green to it that's it's a natural grain now if you want to add a little bit more sharpness, you can always go up into your tone curve and grab shadows and bring him down and watch how that helps the sharpness too doesn't it? Because that's all stealing is it sharpening up these eyelashes? Because it's creating a contrast between black and white? The problem with that is that you might lose this, but I don't think we're losing that we still got plenty of detail in there so we're good ok while we're while we're in tone kerr we have a few questions about that specific block marion from romania asked to the changes in tone curve stack up with the shadows highlights et cetera in the basic model or do they do the same thing katie photo asked the slider for the tone curve are labeled similar to the ones and basic adjustments similar question how is the fact different and is it or is it simply a more powerful basic adjustment and then end each better ask what are the advantages of the juncker is it better than just sliding so really some of the question so the best answer to that is if you're in the basic area dealing with those types of curves those are more drastic adjustments and they arm or its zx the difference between a on acts and a scalpel so your basic area anything you do there especially if you're dealing with contrast it's like using an axe which is is important cutting down trees but then but then there's a time where you need a scalpel to like deal with you know heart surgery and things like that where you need to do fine adjustments and that's where you go into the tone car because the tone curve is subtle it's it's a very fine movements it's more targeted it's very specific on bits and it's very it's fine art s so it's the difference between the basic adjustment is hillbilly are and then the right and then the fine and fine art is in the it really is it's that's the difference is just the the tone curve is much more subtle and much more directed at specific you can find a very specific tone and move that down, especially if you're in the point curve like we were you congrats that tone and it's it's very specific I could bring down just one tone and then brighten up and if I'm in the tone curve here I can bring down this tone but then I confined the tone right next to it and bring it right back up so I can really get you know specific on these tones as opposed to when I'm in the blacks I'm just sliding all of that group down so that's the difference you know the question was do the stack too and yes, there is a stacking effect that occurs, so if you look a tw, if you look at the way it's laid out you've got the basics, the basics become the underlying image and then everything else that you add to it after the fact is kind of overriding are not overriding it was overarching those things so it's kind of like you're looking through cellophane so you've got your basic adjustments done and then you're going to take tone curving put it over the top of it and that's affecting what's below it and then you're taking your your you're a chess cells and you putting out over this and you kind of affecting what's below that and so you're kind of calm pounding things as you go and they affect each other so for instance, if I work on the tone curve and I start, you know, bringing down the tone curve too much, you know, here then all of a sudden I start losing that detail, but then I could go back in the basics and if I start with less in, you know, less black there, see how aiken aiken negate what's happened there so they interact with each other. But doing this is a bad idea because remember, the underlying image is the most important thing that's where all of your that's where you keep the image stable, you know where you keep noise out and so if I'm having to come to the blacks and brighten them up, I'm introducing noise and the blacks in order to counter act something I did hear that was overbearing so that's, why you always start with your basic adjustments first so that you get the underlying image normalize you get it accurate, then you start adding stuff on top of that sort of related question with presets so they all stack one on top of each other or do they reset in between and so you can change them from the city we'll talk more about that after lunch, but basically a preset onley stacks on top of something if you command it to do that a question about the the point tool is their way to adjust the radius or is always just going for that I was going for a small point ok, so you're looking right at that it's not it's it's taking an average of that area but it's pretty small so it's pretty pinpointed, accurate and really quick the chat rooms were wondering if you could clarify what masking what I'm asking yes, I'm I'm glad that we are reminded to get back on track so we're in the details and the sharpening area is how much sharpening so your detail in your radius determined like how how much like how many basically radius is asking how far out do I go? How many pixels out do I look for the contrast and then detail is just looking for larger, bigger areas. So you notice that with his eye the detail worked on this big wrinkle here above his eye which is his you know, the island and then the radius kind of helped more with his eyelashes which are smaller and then the amount dealt with like the pixel level amount and so that that's why we started detail and go down masking is simply telling it when to start looking for contrast so for instance, if I took amount all the way up to one hundred or one fifty guests and then I started the masking, I can tell it okay don't sharpen his skin because there's no contrast there on ly start sharpening when you see contrast and now you can see how that horrible effect is on ly happening around his eyeball because that's where the contrast exists but in the sky in the skin there's no contrast and so you've you've set a threshold of contrast and light room won't start working on it until it sees that threshold met, which is right here in these contrast levels here because skin has very little contrast it doesn't get sharpened so that's what I'm asking is you get to choose at what point will we start sharpening things? And so that looks really awful but that's the that's the point is that you can you can choose at what point it will start now you're not a never do this what you're going to do is you're going to do something like you know that and you're going to increase the detail in the radius. And so now the difference is is here's before and here's after? So you've got a little extra sharpness around that eye, but the skin states move okay, so that's what I'm asking is for a lot of the times once you've done some if you're if you have to do some heroic sharpening to something a lot of the times then the best way to deal with heroic sharpening it is you do the baroque sharpening you add a little bit illuminates noise reduction to kind of get rid of some of the picks elation look and then you add grain on top of that so that the grain masks all of it but still has that underlying shark nous so polishing a turn requires three things it requires heroic sharpening it requires luminous noise reduction and grain and then you can actually create fine are out of crap okay with three things with that it is business there is the takeaway for today with three things in light room you can create fine art out of crap on the three things are luminous noise reduction sharpening and green tio tweet that's a quick question before we move on do you have jared's I mean forgetting about polishing the turn but do you have jared's default sort of numbers the four numbers in this area that you say I start I usually start here well, I started twenty five amount one radius and well, I mean, I just start where they're so twenty five one in twenty five that's the starting point because that is basically a normal image, so if I'm doing my job getting focus that's where I start then if I go beyond that here I'll even pull in so if I go teo medium sharpening, it looks like that it's thirty amount its radius is one point nine and details thirty so that's kind of a medium sharpening but if I really need to go like heroic on us and that's, this is high sharpening its not heroic it's more sharpening so then it's fifty twenty four and forty but then if I goto heroic sharpening which is held on, we'll find it here it's in my everyday favorites which if you buy the course, you're getting the everyday favorites so you will actually get the polishing turd option, which is called heroic sharpening as opposed to polishing and turn on say, sage there we go so see that's called sharpened heroic sharpening so I click on that and it's like so notice that actually brings the amount of the sharpening down it because I brought the detail up so much and so it's still not it's not awful, but seeing the noise there is some noise in there and so then once you've done the heroic sharpening you immediately go over to your luminous noise reduction you add a little bit of that kind of soften it up and then once you've done that you go on add just a little bit of grain but notice that all of the presets that I just clicked didn't require me to look for them or scroll for them at all because I was able to click on my sharpening here then I added to my luminous then I added migraine why would I why would I organize why do I spend I think someone yesterday asked me how I spend my time and I really don't spend a lot of time adjusting damages because I'm really fast at it well the way I spend my time is thinking and writing and lists and putting like I use notecards so all right note cards of like things and then I'll put them in order of where they should be so that they're close to each other and so why do I have the grain and the luminous noise reduction and the sharpening all in a very similar area because they always get used together see that so the way I spend my time is organizing efficient methods of getting things done you know so I spend hours upon hours upon days determining the fastest way to get something done you know some and then when I do it it's super fast but it takes a long time to get the method down so anyway but that's so that's why they're organized that way and we'll talk more about organization later especially you know with the snack pack because you have to that's your assignment so you have to get the sack pack and then you have to organized so noise reduction is simply a way of removing noise especially noise that comes from my so so if I go here to this image which is kind of noisy because it's a twelve fifty s o which actually if you think about it that's not a lot of noise for twelve one hundred fifty s o so let's see I like that one okay, so there's the noise that we get at twelve fifty eyes so off the mark three noise reduction generally at about ten or so you've got a pretty nice noise reduction that gets rid of most things if you go up to say you know like forty or fifty or something it's that looks pretty amazing and notice that his eyes were still sharp so by the way light room three if you're using noise reduction it's no good my room three was just just softened everything and then I think light room to was horrible it was awful so you never wanted to use it but light room for the noise reduction is absolutely astounding and if you take the detail up you get more sharpness back in in the areas around you know the eyes and the you know, places where you need that detail s o detail and then of course contrast allows you to add more contrast to those areas and so you get a little bit more detail at the edges so just detail in contrast will allow you to bring some of that contrast back that's lost when you do eliminates noise reduction but generally if you stay from fifty below, your noise reduction is going to be pretty amazing without having very many negative the facts however when you zoom out it gets a little too clean for my taste some people are so a p I think people who grew up on digital don't they can't they can't deal with grain they don't know they understand it it doesn't make sense to them and so they just see things in this glossy world you know everything's supposed to be super like perfect skin and smooth and whatever I just don't get it I am not that way I whenever I add luminous noise reduction whenever I had luminous noise reduction I immediately code of grain and add it back and I'm like I need that grain back in you know god that's how I want to see the image I don't want to see the image like you know like that it's just too soft and so I want to see the image like this with just a little bit of texture to it so I'm always adding grain back over luminous noise but the beauty is that the luminous noise in the color noise reduction helped to solve some of the camera noise look and then the grain is a really the grain is beautiful and it goes over the top of it and kind of put makes everything equal again, especially if you start getting like areas that arm or noisy here and less noisy here put grain over the top of it, and then all of a sudden all things are equal, so and since we're there let's, skip past lens correction and go to effects, and then I'll come back to lynn's correct, I'm so inside of the effects you go to the grain and inside of the grain you have three options, you have the amount which tells you how many pieces of grain get like how strong that grain is. The size tells you how big those pieces of grains get, and as you increase the size, it blurs the image and it doesn't blur the image because it's actually creating blur what it does is as you increase the size, the pieces of grain are going over the top of a line. So for instance, his eyelash is a line, but if you're grain cuts across the line, suddenly the I can't follow the line anymore. That's blur so soon as your eye can no longer follow a line you create blur and everything seems softer because you're I can't follow these lines even though the lines still exist, they just have other things crossing them so the grain is starting to blur things because of that it's crossing over those details so you kind of have to determine how much if you go high like this you're suddenly creating those older film looks as you create those bigger size grains. Now I prefer to keep my size grain down a little bit and then the roughness I like a lot so the roughness just gives me a chunky look so it kind of gives it almost adds contrast to the pieces of grain okay, so you got the amount of grain which is how many how how much granular stuff there is in the picture and then the size of the grain is how big those chunks are and the roughness is just how much contrast there is between the pieces of grain. Okay, so now I like that a lot. I love that great. I think it's really cool and it just gives you that nice you know, old older film eight hundred you know isa or sixteen hundred eyes. So look and so and what I've done is I just kind of created my own grains here because there's no reason for you to go in and work on grain you should never have to touch the grain area here. You should just click on two hundred eight hundred sixteen hundred or thirty two hundred or whatever like to make your grain and then live with it you don't have to come in here and do you know adjustments okay so we'll stick with two hundred drain on that actually go to eight hundred grain yeah, I like that that's that's nice. Okay, so uh let's see now will go up to our post crop vignette ing post crop than getting it well let's let's actually talk about lindh's correction vignette ing before so if you go toe linds correction vignette ing in light room for it's changed a little bit and now you have all of this stuff inside of lindsay of the profile here toe automatically fix your linds vignette ing you've got a color picker here that will allow youto help dif fringe the edges and then you've got a manual which will help to change you know like your vertical you khun kind of mmmmmmm so you can do a little bit of that you can you can do some scaling if you need tio like there's just all sorts of stuff you can do here so but in it isn't lin's been getting on the lens vignette ing allows you to either creative in yet or tune a gate of in yet it was originally made to negate vignettes that was the purpose but what they realized was most people were creating vignettes and so they worked on it a little bit harder so in light room for it's really well done most of the time, what I'm going to do it, I'll go back to something a little bit let's go back to our our landscape, aereo back on our landscape so on our landscape, if we go into soft proofing mode, you can see that there's a vignette here vignette their vignettes quite a bit so let's, get rid of the vignette by coming down into the profile and just clicking on enable profile corrections, which, by the way, you can also make a preset for so that it's just over here and you just click it but we'll click enable profile corrections it automatically determines the camera and the lens and so it fixes it based on that so let's, turn it off, turn it on see how the mountain is bending right up here at the very end, if I click it it said that so this is the thirty five millimeter cannon it's the l siri's lens and it has a little bit of ben right here and right here at the very edges, but otherwise it's a pretty good lens it's it's pretty straight, but you see that it's got a little bit of and yet there now sometimes I like the vignette that's already on the lens like the twenty four seventy I hate the bend on it and so I want to correct the ben but I don't want to correct a vignette because actually like the vignette help falls off so that allow they allow you that here so you can keep the distortion correction at one hundred percent and then you can take the vignette ing back down so that you don't lose the natural than yet but it fixes the it fixes the the the bending kind the warping or you can go the opposite direction and say I want mohr distortion correction and you can bend them the other way if you like so if you don't have if you have a lens that it doesn't know you can always make a profile for that lens adobe makes a profiling software you go to the adobe dot com and find the profiler and then you print out a little target and you stick it on the wall and then put a camera there and you take a bunch of pictures of it and then you run the pictures through this and it will create a profile for that lens so you have the ability to do that I just happen to use canon cameras with canon lenses and so it knows all the profiles okay in the color area you're looking for different jing so a lot there's a sea that friends let's go to eleven to one and look at that fringe that's there see that fringe on the edge of the mountain so you can different by simply clicking on the removed chromatic aberration when I do that, it'll probably get rid of it so does a pretty good job, but if I find that it's still leaving something behind, I can click on our little color dropper and going find that specific issues so you can see how it's but here see how the color droppers filled with white and then when I click on the purple, it turns to purple that tells you that I'm looking at purple so if I click on it so I got rid of that purple, so I'm able to determine but if I go over here to the green it's going to change it to the green cannot set, we'll see what they're so it's it's your choosing a color, you're not choosing your not like negating five colors choosing a color, but you choose whatever color you think is most offensive whether it's purple I would say that this green is more offensive than the purple so that's what I would I prefer so let's let's go and say that cannot set the purple I can't read that fast oh, so it can't set that specific, huh that's interesting? Well, anyway, we d fringed it! I don't know why it can't set that specific color but ought to investigate that but you notice how easy it was to just choose a specific color. But in most cases, when you remove the chromatic aberration, it just does it. Usually I don't have to do anything else because it figures it out. So chromatic aberration is that if you if you want to adjust it, then you can always buy manually, you can come in and say, ok, well, we want the amount of that green you know, t changed and we want the hue to be and you can increase the sea the size and scope of that hugh so you can say, well, I want the green to include, you know, mohr stuff beyond green, even into yellow where I wanted to and crew include more blues so you can you can alter the amount like the distance of color that it's looking at the scope of the color that it's looking at. And then you can change the amount of how much it's say, can you see that? I don't know if you can see that. Watch the mountain here. See that? See how it's purple there. If I change the amount, watch how it like it finds the fringe and then it reaches into the mountains that's reaching into the mountain so it's it's grabbing mohr of the mountains, increasing its scope and you don't want to get so far because if you get too far then you all of a sudden see these weird like shadowy lines on things and so you have toe be careful now the auto fringing see there that's a really bad example of it right there so the auto well usually do it right because it knows ok the amount should be one or two so that it you know, d fringes just the fringe itself. So ok that's d fringing and then you go to the manual settings here and you can transform things so if you are getting key stoning so you looking up in a building and it's going like this then you khun naturally straighten it out if you if you take a picture with a fifteen millimeter lens and it's got the boeing on it and stuff like that soon as you could click the profile correction those those bowed pillars will go just like that I mean it's it's really amazing how well it does it on you saw how it did it to just something normal on a thirty five but I don't have anything to show you with a fifteen they boy you put put a fifteen on there and it will straighten him out in fact there's there's a can't show you here because they don't release this for it but if you go on a website there's a shot of a wedding in a chapel or in a cathedral with these big pillars that's got the bride in the dad walking down the aisle this way are the bride and actually is the bride and the groom walking down the aisle was a weird like they had to go the church had the groom escort the bride in instead of the father is a different way of doing that but anyway you've got this in the end that there was a fifteen millimeter lens and the all of it was bold like that but when you look at it it's straight I mean it's just straight so so uh the uh it's a really good tool but if you want to continue to work on that distortion, increase it, decrease it or change the key stoning so if you looking up at something like in this case we're kind of looking up to the sky so you could take the vertical and just kind of make it a little less you know? So instead of looking up like that you can make it look a little bit less it's kind of like taking your anybody use a four by five or an eight by ten camera so it's kind of like doing this is just doing a swing and until on the camera so you can like, you know, increase the size of the rocks and the river like ansel adams does, you know the big boulders that are only really this big, but they look that big, so till ship effects that's, right? Well, I know not till shift effect because it's not going to blurt out, ok, we're done with linds correction then after lens correction, we can go to the post crop in yet in the post crop, vinje is specifically geared to follow the crop because if you crop after you've done a lens vignette, the lens vignette stays where it was ls and so when you crop, you've got half of it vignette it and the other half isn't. And so what you're going to do is you're going to use the post crop in yet, and that will always follow your crop on dh that's just too simple is taking an amount, and I always bring the amount. If I'm making a vineyard, I'll bring them out all the way down so that I can see where that vignettes happening. Then I will choose the whether it's going to be around or whether it's going to be round like that, or whether it's going to follow the square. So once I've chosen how round I want it, then I choose how what where I want the mid tone to be, teo I want it to be way out or do we want it to be in? So if I have the amount all the way down or all the way up so if I go all the way up well, that looks like this looks like that what decade? Oh, hold on. What decade is that? Now we need like, a mom here and then a kid playing a violin here like this and we would be in like, the early eighties late late seventies um, so anyway, I got to get out of the seventies and eighties back into so s o you start at a really high amount of vignette ng so that you can see what you're doing and how much feathering you have. And then once you've gotten that, the amount are the all of the feathering in the mid points and stuff like that, then you pull the amount out and go to zero and then kind of bring it in and that will give you a better idea of how your vignette ing okay, so that's how we're gonna creative and yet the highlight area is just to allow highlights to creep through the vignette so like if you have an arm at the edge of ah of a frame and you put a vignette on it, the arm starts to get darker and then if you take the highlight and pull it back, the arm will kind of creep through the venue a little bit saying with clouds on dh that's very useful because often times it looks ugly toe have something white just suddenly go into a dark area so lets him bleed through okay and finally the camera calibration area camera calibration area is very specific to your camera you can choose different standards for it you can go with the adobe standard, you can go with these air based on the the settings for your styles inside of your camera and so like hammer faithful camera neutral you all know those based on your camera so those were the picture styles that you're using in your camera they've created based on those and so I prefer when I'm doing portrait's I prefer to do camera neutral when I'm doing landscapes and things like that I prefer to do adobe standard those were the two that I use the most I don't use camera portrait I think camera portrait is way off so it it never looks right to me. However, if you were using the color checker passport here, you can take a picture of this, use the software and it will it will read this and install a specific camera calibration for whatever lighting circumstance you're in and you can do specific ones that are specific to this absolute moment. And you can do some that arm or generalized for all shooting all shooting situations so you can create your own with the x right color. Check her passport, that's. A great way to get mohr profiles in there. And then, of course, you can adjust him on your own as well. And simply, you choose the amount of saturation and hugh on specific color tones. So if you're always getting too much magenta and the shadows, then you take the shadow area and pull the tent towards the green. Ok? And once you've done that, once you really worked this out, then you would want to go into your developed menu and set a camera default.

Class Description

Join Jared as he takes you through every single module in Lightroom! Learn everything from importing to exporting and everything in-between. You'll learn to edit, organize and share your photos.

Started using Lightroom last year but you just can't get the hang of it, or you bought it but it's still on the shelf because you're afraid of new software? Maybe you've only heard about Lightroom and you're not sure how it works or why you need it. Or you've been using it for a few years, but you've only been using a few very basic modules and you haven't ventured out to discover its full capabilities. Whatever your situation is, you need Lightroom 101 with The Lightroom Professor, Jared Platt. With Jared's simple, direct and entertaining approach to teaching and his vast knowledge of Lightroom, you will be using Lightroom to the fullest capacity in no time. Don't spend months or years discovering Lightroom—spend three days with Jared and learn everything you need to know!

If you took Jared's Ultimate Lightroom Workflow class on creativeLIVE, you learned the workflow surrounding Lightroom. Now it's time to learn the nuts and bolts of every option and every slider and become a master at using the most powerful and simple photo tool ever built.


Software Used: Adobe Lightroom 4

Reviews

a Creativelive Student
 

This is perfect for the person that wants to really understand the efficiency around workflow of Lightroom. I am amazed and excited about the things that I learned, and I am eagerly excited about purchasing this nugget of knowledge for my personal review from time to time. Great value, and an excellent presentation of the material.

John Galt
 

I was only able to watch about 30% of the live sessions but was very impressed with what I saw. I purchased the session. Jared is very knowledgeable and i have already begun to put to use what I did pick up watching live. I thought his humor was interjected just enough to make the presentation very enjoyable. This was one of the best training/teaching sessions I have seen on CL and there have been many good ones no doubt.