Lessons
Day 1
1Pre-Show Banter
07:02 29:00 am - Introduction: Why Lightroom®?
13:23 3The Lightroom Library Catalog
16:42 4Staying Organized
15:00 5Backing Up Your Library
11:12 6Importing Your Photos
34:20 7Preferences & Settings
28:57Settings Q&A
10:49 9Reorganizing Files and Folders
33:25 10Using Views and Labels to Evaluate Photos
45:00 11Filtering and Stacking Photos
13:37 12Assigning and Managing Keywords
31:42 13Keywording Q&A
12:43 14The Metadata Panel
14:38 15Searching for Photos
20:54 16Creating a Collection
15:25Day 2
17Day 2 Pre-Show Banter
09:09 18The Map Module: Assigning Locations
43:33 19The Develop Module
11:37 20Fixing Your Photos: Histograms and Cropping
22:02 21Fixing Your Photos: Spot Removal Tool
33:25 2211:30 am - Upgrading to Lightroom® 4
12:14 2311:45 am - Basic Developing in Lightroom® 3 & 4
21:29 24Basic Developing Part 2
19:43 25Color Adjustments
23:36 26Tone Curve Panel
18:59 27Making Subtle Adjustments
13:22 28Lens Corrections
10:54 29Local Adjustments: Partial B&W
13:03 30Local Adjustments: Portrait Touch Up
26:05 31Additional Local Adjustments
09:55 32Graduated Filter
24:24 33Bonus: Day 3 Preview
01:19Day 3
34Day 3 Pre-Show Banter
12:44 35Bonus: Recap of the Develop Module
08:44 36Virtual Copies
08:58 37B&W and Creative Effects
20:50 38Noise Reduction
12:23 39Sharpening
18:33 40Sharpening for Portraits
08:46 41Syncing Changes to Multiple Photos
17:53 42Autosync
21:09 43Creating and Using Presets
15:53 4411:45 am - Lightroom® and Photoshop
22:49 45Sharing Your Work
08:42 46Exporting for Web
16:59 47Exporting for Print
26:06 48Workflow Recap
40:50 49Thanks + Credits
07:02 503:00 pm - Lightroom® 4: Publishing
20:52 513:30 pm - Lightroom® 4: Video Editing
12:38 523:45 pm - Lightroom® 4: Book Module
19:36Lesson Info
Local Adjustments: Partial B&W
we're gonna talk about local adjustments. So as far as making global adjustments to your photo photos, you know, other than the kind of unique black and white situation we've talked about the global tools that you have available to you. So we've gone through the basic panel. We've seen that with the tone curve, we can isolate particular ranges of tones with hs l. We can work on individual colors. But now, beyond that, if you want to affect your your photo part of your photo, you're gonna need to resort either painting with the adjustment brush or using the graduated filter. I thought that Ah, fun way toe to introduce the adjustment brush to you would be to convert all of this photo black and white except the the glasses and the nose. So this what we're going to dio is used the adjustment brush, which is located right here. I'm gonna click on it and my mouse becomes a circle tool. Now I'm gonna go ahead and increase the size so I can make sure that everybody can see this all collapse th...
is panelas Well, now I have two circles. I have an inner circle and I have an outer circle. So the inner circle is going to be fully affected by whatever instruction I give. It could be darken. It could be take out the color. Whatever it may be, the outer circle is going to be feathering. So for the sake of demonstrating this feathering, I'm gonna say that what I want to do once I open the adjustment brush, I have a bunch of sliders here which allow me to make the local adjustments. So what I'm gonna do is I'm gonna reduce exposure dramatically just for the moment to show you what this brush does. But notice that as I slide the exposure slider in the adjustment brush, nothing is happening in the photo. So I'm sliding this slider. Nothing is happening in the photo because I'm saying what the what is? I want a darken, but I haven't yet said where, so I can't see anything happen to the photo. So now I'm just going to click and let go. So I've applied a circle of adjustment, right? It's very It's a very soft edge circle. That's because my brush has a very wide area of feathering in that outer circle in the brush. Let me go ahead and hit the delete key to delete this adjustment. I love that cloud symbol and I'm gonna come down to the brush section here and I'm going Teoh Inc or decrease the feathering. I might take the feathering all the way to zero just to illustrate this for you. Notice that I have no outer circle whatsoever. So there's no feathering if I click and let go, I'm applying that negative four exposure and it's got a very harsh edge because it has no feathering. So that's what the outer circle is is the feathering and depending on what kind of edge you're going up against, you're going to change that feathering. So this pin is active. It's the adjustment I'm currently working on. So I could hit the delete key and I get the nice Cloud again. Okay, Now, for this particular photo, I don't want to darken, so I'm just gonna double click on the word exposure to reset. What I want to do is just take all the color out of the background and out of Troy and just leave the glasses in the nose in color. So I'm gonna paint with the instruction Negative 100 saturation, and I'm gonna go ahead. Really? Feathering is not gonna matter right now. What? I'm gonna go ahead. I'm used to seeing some, and I'm gonna paint with the largest brush that I can get away with while I'm away from the model. Okay? Or while I'm away from the glasses rather, if I want to see where I've painted, I can turn on this show Selected mask overlay. Click on that, that I can see exactly where What I still have to dio. Now, as I get close to the areas that I want to protect, I'm gonna turn on an additional feature. And it's here on the right hand side in the adjustment brush panel, and it's called Auto Mask. So I'm gonna click on Auto Mask, and I'm gonna make my brush a little bit smaller here. Now, my goal is not to let the plus in this brush hit the glasses, hits something that I want to protect. If the plus hits the glasses, it's telling light room, go ahead and paint that area. So if I keep my brush outside of her might plus outside of that, do you see how a nicely light room protects that edge? I use the space bar. Okay. I'm in the Mac zoom thing. Um, okay, so I'm just gonna come ahead, come up to the top here. You just go ahead and do this fairly quickly around the edge, because auto mask is on. Next, I'm gonna do controller Command. Plus to zoom in. You could open your navigator panel. I'll get the space bar, and I'll come over here. And there are some issues with auto mask in that you can see some areas you may be able to see that it protected that it shouldn't have protected. So I can either leave auto mask on over here on the right hand side and just make sure the plus in my brush hits those areas. Or I also have the option at that point of turning auto mask off and just carefully painting in the areas, I'll go ahead and zoom back out. Controller Command minus. I'll turn off the mask overlay here, and I can see that I wasn't paying attention down here, so I'm gonna go in turn auto mask back on. Get the bottom of the face here. So it takes very little time. Of course, I could go ahead and decide if I want to convert the but the the blue to black and white as well. But that looks kind of cool. All right, Questions at this point on on that in the audience. Great. This is early. Quick one. How do you delete it? Okay, good. All right. So this pin let me go ahead and do a couple things to this photo. We're just gonna really mice will make this wacky. It's getting towards the end of the day. So first of all this pin, if you wanted to lead it, see how this pin is black? That means that anything I dio is is to this pin so I can hit the delete here, Veliky. Okay, I'm gonna do control a command Z and actually do a little more before I take more questions. Um, All right, one more over painted and need Teoh, erase some of that massacre. Overly. Yeah, I should have gotten a little bit further with more. Uh okay. So let's say that I did in fact, paint into the glasses here, and I converted this The black and white, and I realized that that would have looked better as blue down here in the adjustment brush you have in a race brush so you can click on a race. Or you can hold the alter, the option key down that will also give you the minus sign in the side of your brush so that you can get back that area that you didn't mean to spill over into. Let's do a second. It looks like Let me go ahead and turn on the overlay here. It's a little bit hard to see. It looks like I partly converted his nose. Yeah, I did too black and white there. Now we have the nose fully back. Now, let's say that I also just for the sake of example, I want to darken the front of the nose here. So I've made one adjustment. I have one instruction that says minus 100 saturation. I'm gonna come to the top of the adjustment brush, click on New and start a second instruction now in the panel here, Light room remembers what you did last time. So if I start painting on the nose, I'm gonna be painting negative 100 saturation. So any time I start a new adjustment, I always reset all the sliders. First, you could double click on each one, but that's not necessary. You could just double click here on the word effect, and it will reset all of the sliders in the adjustment brush. Now I can say, Well, I want a dark in the nose, so I'm gonna go with negative exposure, and I'm gonna paint Stark in it a little bit now, once I've painted. Really? When I said that exposure slider, I had to guess on how much I wanted to darken because I couldn't see anything happening in the photo. So once I've painted as long as this pin, this black pin is active, I can slide the exposure slider to adjust it so you can always find tune it after you've started painting. Now I'm reconsidering whether I wanted to convert this completely to black and white or just take out some of the color from the background. So I want to go back and work on this other instruction that I have. When I hover over the pan, it shows me the mask that's handy for just reminding me. OK, that was the pin that converted most of it to black and white, So I'll click on it to make it active. And with it active, I could continue to paint. For example. Looks like I missed a little bit of, um, I still had some color under his nose so I can take that out with the pin active. I can also come and adjust any slider I want, so maybe I don't want to add all the color back, but maybe I just want to add most of the color back so I can bring the saturation slider up. Or I could leave all of the color out, but say that not only do I want to take the color out, but I also want to dark in everything that's affected by that instruction, meaning everything except the glasses so before, after Okay, doesn't look so hot. So go ahead and reset that. But you can if you can have multiple instructions for one area in 11 adjustment, a mask overlay. It's especially hard deceive, since the nose is red right? Let me see if I remember the shortcut here shift. Oh, there's probably there's a menu away as well. But shift A will allow you to do that. Other questions. Um, debit 72 is asking what are flow and density for? I'm gonna show those honest on a different photo. We're gonna work a portrait while you get to that part and a question from redhead 17. Can you change the color of the mask? I just did that. Always are. It's OK. It's OK. It's I got to be hard to read and listen at the same time. Um, shift. Oh, shift. Oh, or shall I say you show us? And then Doreen is asking, Can you delete just one pin when you have more than one? Yes, definitely. So this instruction here this pin is black. So if I hit the delete key, that instruction goes away. If I also want to get rid of this darkening of his nose, I need to click on that pin to make it active and then hit the delete key. And that will go away if I want to get rid of all of them. I can also hear in the adjustment brush down at the bottom. There is a reset button that will get rid of all of my adjustments on the photo
Class Materials
bonus material with purchase
bonus material with enrollment
Ratings and Reviews
Miguel Lecuyer
Great workshop! New to Lightroom and found it very helpful. Saved me a couple hundred dollars and time by not taking an evening LR class. Creative Live workshops match my learning style perfectly. Laura is awesome! My only complaint is maybe Laura can use a PC next time which is what she seems more comfortable using. Her shortcut mix-ups on a Mac were making me a bit dizzy :)
a Creativelive Student
I cannot express enough how impressed I was with Laura and this class. I learned more in the 3 days of this workshop than I did in all 6 weeks of a class I took online that cost three times as much. I left not only impressed by the class but MOST importantly - refreshed and energized to put my new knowledge to use! Thank you for that!!!
a Creativelive Student
Excellent workshop bar none. I learned more about Lightroom than I did from any other tutorial/workshp that I previously encountered. Thanks Laura!