Additional Local Adjustments
we have some other options in the adjustment brush that air specific toe light room force. I want to be sure to mention those. I'm gonna go to that photo we head of the Creative Live gang here and I will zoom in on a little bit. I just made a classic mistake. I click on the photo to zoom in, but I'm in the adjustment brush. So I accidentally applied an adjustment. Just click on delete and go ahead and use control or command Plus to zoom in space bar to move around. So along the right hand edge of this photo, the photo gets there's like a light coming in from the side that is kind of reddish blue and cast in this case, what I would do is fix the overall white balance in the basic panel, and then I would fix the right side issue using the adjustment brush. So I'll first put the adjustment brush away and in the basic panel set the overall white balance, and I'm gonna use the eyedropper tool so I can either. I guess I already did this. This is kind of like deja vu, but I can click in her s...
kirt. But I can also Probably this white background is gonna be a good guide for for setting the white balance. And I can always try it in different places to see which one kind of gives me better skin tones. So it's looking a little bit yellow, so I'm gonna go ahead and back off on that a little bit, and we'll just call that done. So now I still have this bluish magenta light coming in from the right hand side. So let's go into the adjustment brush and you won't see this in light room three and you won't see this in a light room for in a photo in light room for if you're still in the old process version. But if you're updated in light room four, you'll see that you now have local white bounds control. So local temperature and tent control here. So I'm gonna be shifting the light probably away from magenta towards green, and there may be a little bit moving from blue to yellow. I'm just guessing I forgot to reset my sliders so I can see here that I would be de saturating as well, so I'm gonna reset that saturation slider, some just affecting temperature intent. And I'm gonna turn on auto mask because I think that's going to do a nice job of protecting the edge here. And normally I would zoom in and do this carefully. But in this case, I'm just going to do it fairly quickly. I want to keep the plus of the brush outside of the person. So I've got that Tom look him up to the top here. Now, the top turned yellow. So I'm just gonna do control a command Z, and I'm gonna conclude that that same adjustment in that area is not going to going to be the answer for that area at the top. And I could come in here and get the rest of this shadow as well. Once I got it painted, I can adjust the temperature intent to get the right to right, get the right color cast. It's also a little darker, so I could add a little bit of positive exposure in here. Teoh, balance that out a little bit. Now. I still have some even more isolated local issues, like right down here by her feet. It's a little yellow up here. It's a little dark, so I would just doom or new adjustments. On top of that, I do a second white balance adjustment to get the yellowish part down here. Another adjustment to brighten up this top corner. But that's the new local wife. Ounce. I think this is huge. I mean, it seems like such a simple little thing in here. But to be able to control white balance locally, Um, it's just very powerful. Used to have to work around it in light from three by painting with the opposite color instead of directly with white balance. We also have in here for light room four highlights and shadows. So if there's a particular part of the A photo, you want a paint. But you only want to affect highlights and shadows. You can paint with those a swell. We have new noise and more ray adjustments in light room four. So an example of where I might use local noise reduction is in this photo here, where I have more noise in the shadows than I do in the rest of the photo. I'm gonna go ahead and do that particular example. When I talk about noise reduction tomorrow. But since I'm in the adjustment brush, let me show you the more a adjustment here. Hopefully I've got the photo in here type. Now, if I can't find something in the film strips just too small or I need a better perspective, I'm just gonna type g for grid to jump back to the library module. Okay, here's the photo. Just obviously a very tight crop de for developed, and I'm gonna zoom in a little bit more so you can see this. I'm doing controller command. Plus, there we go. See this pattern in here? So he's wearing a gray shirt, but because there's a line pattern in this photo, the digital capture is producing this thing. This pattern on top of it, this color patterns. This is Cold War A. This is another thing that I would have had to go to photo shop. For now, it's simply go into the adjustment brush, reset all the sliders, go down to Moray, go with positive worry, click and drag. Now is I'm clicking and dragging. Nothing's really happening. But when I let go and give it a sec to do the math, it's gonna magically disappear. I know it is. OK, so why is it not disappearing this time? Well, I'm gonna hit the switch on and off in the adjustment brush here, and I want you to look at that shirt here as I'm doing it. See how it's partially disappearing, disappearing from most places? Well, as I often do at home, I forgot to turn off Auto Mask. And if I look at the mask on this notice how I didn't actually paint the whole thing, it protected certain areas. So if something is going wrong, checking to see if you had auto mastered on is another thing that should be on your list in trouble shooting. So now if I click and drag to paint, it's actually gonna fill in all of these areas nicely. Now. I can't even imagine the math behind these things in the air. Chan and the rest of the team it adobe. My hat's off to, um, but it's just wonderful to be able to do it so quickly. Here in labor room. More questions on the adjustment brush. I want to spend a little bit of time on the graduated filter before we conclude the day question from Freeman. When would you use negative mooring? I can't think of an example of when I would use negative Moray. Now, if I if I think of it, that if I just twist that question into something that I can think of an example for, um with noise reduction, for example, I might use negative noise reduction if on a global basis in the detail panel I had done heavy noise reduction and locally I wanted to back off on the amount, then I would go with negative noise reduction locally to back off on what I did globally. But because Moray, there's no more a fix globally, I'm not sure when you would use that. And a question from Vivian Hyphen Photo is the moray adjustment brush useful for anything other than family? Yes, I don't have the example here, but I shot a photo through a screen door and that again had that line pattern in it. So it had a very obvious, more a pattern that I was able to get rid of very effectively in doing this test photo. Here. I had a relatively small brush size and for the first little bit right there, kind of on the top part. When I did it, the more I went away. Totally. I went down to the one below and I painted with that same relatively small brush, and it had almost no effect on the moray. And then I made my brush significantly bigger, repainted over the same area. And now bingo. Now it's all gone. So it what way is the brush size affect the the removal of the more right parents. I've never noticed that. Let me let me let me try to make it. Let me zoom. But assume in here. Okay, man, plus OK, that's because I'm set on 2 to 1 will go to 3 to really small brush You can barely see it on screen. Seems to be working exactly the same. So I'm really not sure what's going, okay. It seems to be Yeah, it's made something quirky going on over there.