5-Step Tango

 

Lightroom 5

 

Lesson Info

5-Step Tango

Been doing what I called my tango for optimizing images I'm over the years now, and this is one of the most fun aspects of teaching, either in light room or in adobe camera teach this the same basic process as I mentioned before light one uses the same engine as adobe camera or vice versa, and it because there's over ten thousand options and like room if you go through all the panels and all the sliders and do everything, the question is, what do you do first? And how do they work and what's the benefit of going in a specific order, as opposed to just hunting around, feeling your way via braille on what best to do? So what I've done here is come up with a set steps in a set order based upon how light room works in order to optimize most images and quickly and easily. These are what are known as a global optimizing process, meaning it's going to fix the entire image later on, we're going to get into targeted adjustments, dodging and burning like we did with the eyes and things like that...

just a minute ago. So these air global, this will get you ninety percent of the way there for most of your work, let's just jump right in first off white balancing crop. White balance actually effects not only the color of your image, but also the tone ality of it. So getting that fixed if you're shooting under artificial light and that's, obviously is something to take into consideration if you're shooting in outdoor light without a white balance or a lot of people said it too cloudy, so you have a consistent, you know, white balance throughout the entire shoot, so it doesn't change probably not a big deal, but if you're shooting an artificial light, certainly you can if you can get your white balance in camera. In other words, do a custom white balance in your physical camera by all means, if you're shooting under artificial light and it's a consistent artificial light, then there's no reason why not to why not see on the back of your camera what you want? Ok, as opposed to going well, I hope it's going to look great when I'm done with it. Same thing. If you're shooting tethered, you know, if you're either you or client is judging what you're shooting, then you'd better do it on camera, and then so doing a custom, why bell inside a camera before you shoot is essential and that will come over and delight room obviously automatically crop the reason why the crop is part of this first step is because whatever's inside the crop is what light room is going to look at in terms of the history graham this over here if I were to come over here and change the crop on an image let's, go ahead and go to a different image here speaking about white balance when they're lovely model from light workshops I do do some hands on workshops with helen victoria smith at light workshops dot com awesome school over in let's get over out of that one because I'm sure the model does not want to and that went up there all the time but, uh, lite workshops dot com highly recommended for a wonderful hands on classes myself and been in a number of people well kid it's just starting out in the industry been wilmore you may have heard of him but the crop if we come over here and crop this image, you can see that my history graham looking in the upper right is being affected by what's ever inside the crop. So the one of the first steps after this crop in white balance is going to be to ask light room would you automatically fix the image for me that's based upon what's inside the crop so you're not concerned about the aspect issue of the crop it's just cropping out anything that's not part of the tonal range that your interest interested in meaning if you're shooting next to a window, it gets beautiful sidelight but that's not part of your story crop it out before you proceed or else you're going to get an inaccurate history ram with what you're interested in, ok, so that is, um, the idea, and in terms of white balance, if you are shooting under and I'm tapping, the archy is your crop is your pneumonic device crew up is the art, then something like the uae bell card. I'm just going to go ahead and just, you know, we'll fix it here. Here's my little why balanced tool you click on it over here on the right hand side were in the basic panel. All that we're doing here in the tango is basically in the basic panel, the very first panel and then you just come over here and will in this case turn on are what they call the navigator preview window over here, and you'll see that as I move my what's effectually known as the turkey baster over your image. Um, the nice thing about the color passport is, um, as you hover over with your turkey baster, you'll notice that they actually have different gray panels here grace watches for both, you can see that there, um, either portrait or landscape that's what these air basically showing and these will warm up the image a little bit these will cool it a little bit and so what you do is you just hover the cursor over losing back out now one of these little swatches on the color passport and uh, look over here at your navigator preview window until you see something that is pleasing some people ask, well, is there a numeric value I should be looking at? You can see that I'm getting a rgb readout on here and know this this presupposes that you've got a calibrated monitor everything in light room is presupposing that you've got a calibrated monitor that's accurate whether it's a color monkey and I won or whatever there's no reason in the world not to have a hardware calibrate er for your monitor and do that on a regular basis but I'm looking for pleasing color there's no such thing as a set skin tone we just have way too many lighting scenarios and too many ethnicities and too many whatever's to try and do this so you click on it that set the white balance you can see my before after before after and that's your setting of your white balance, you'll notice that it also changes the history graham if I come over here and again that's purposely, you know we'll click over here, you'll notice that the history graham changes, you know dramatically with what you do with the white balance that's why that's important to do it and again it could be creative process here is a shot from my hometown of san diego looking at my navigator window over here if I click on the horse you can see that I can completely neutralized the color cast now I like that purple so that again gets us to this idea of a creative use of white balance we're going to be using white balance not only for fixing an image but adding certain lotina's like antique ng an image but actually warming it up um rather than adding it with a split tony it's one of the ways you could do it so creative use of white balance is certainly a thing too taking the account so back to our tango why balancing crop next hit auto and our auto is going to be um where light room and let's find a image will use I think we'll use this one over here and let's go ahead and we'll do a little creative crop on this here this is actually is a iphone panorama which absolutely love because it's such a great little airstream you know well adam here so what happens with when you hit auto? His light room is going to try and take a stab at these ok six items right here exposure contrast highlight shadow whites and blacks it's goingto take its best guess at that using its own little artificial intelligence okay, it will not do white balance and we're up in the basic panel and it's not going to do what they call presence clarity, vibrance and saturation so it's just going to be these six of basically exposure is your mid tone value and these all changed in light one for if you're coming from light room three environment these are all completely different in terms of light room for in like one five they're exactly the same of what they do and you'll notice that they all start dead center now and the past like when three and before they start someone the left, some of the center some you know, wherever and some you know you couldn't go to the left because it started on the left and now they start in dead center you khun up or down either one which is great exposure used to being like moon three used to be your highlight, but everybody was using it as if it was your middletown exposure. Anyway, adobe has fixed it it's now exactly the same in light one five as it wasn't for exposure is your midtown we look at our history graham here you'll notice that as you move through your history graham actually each one of these you know different six sections is actually going to be labeled as you come over it okay so as we come over here is our middle tone value I mentioned is your exposure so that is what exposure case we'll actually start up here here's our whites here's our highlight it's what are known as you kind of hear three quarter tones exposure your middle tones your shadows and your blacks you'll also notice one thing that's interesting here that you're if you're they became a raw user you may not be from a with my cursor is a little left and right hero and that means that I can actually click and drag right within my history graham toe a just a particular quadrant tank so I can come up here and change any of these different areas so here is my shadow and there you go so let's go ahead and I'm gonna, uh reset that right now and uh again a zay mentioned before resetting a panel find the area that's associated with what you're wanting to reset in this case out of these six areas that's part of tone double clicking on the word tone will reset it hitting auto you can see that it's making its stab at these different areas here and double clicking on the word tone will reset it but let's go backto auto so I mentioned that exposure is your mid tone contrast is the distinction of those mid tones what's exaggerating the um hills and valleys of that mid tone area and you can see that's why they're separated in the mid tones right here. Highlights, as I mentioned, is kind of those three quarter tones shadows is your quarter tones back down there on the bottom area, whites and blacks are your whites and blacks. You can now go both up and down on any of these makes an incredibly powerful the nice thing about letting auto take a first stab at it is that things like contrast that's a very you know, hard thing to judge at times how much contrast do I want in terms of adding at removing it, especially in concert with the ability to remove highlights or take them down or take shadows up? So it's actually a fairly elaborate adjustment that it's doing here and there's no reason for me not to let it take a stab at it. I do mention over here, going back to our little tab that if auto doesn't work, you can undo with a smiley face. In other words, cut it some slack. It's, a bloody computer has no idea what you were shooting it doesn't know whether it's the black cat nicole mind white canary in the snow doesn't morning after it doesn't have a clue remember, computers are just as happy if you unplug the monitor and let him chew on numbers all day. The fact that we're looking at pretty pictures they could care less that it's analyzing the image and doing a really good job for the most part and it's a great starting point. So actually, I think I'm gonna come over here. Tio, this file here actually, let's find a raw file since that was a a, uh a j peg file it's not really giving us a good representation of what we can do with the file. You'll notice that I just did a little little trick here. Fight. Come over here to an image. This is a d n g ive converted these images here's this wonderful or shot here and it's they d n g which you may think is a raw file. Okay, on import, they were converted into d n g that's dan she does not mean raw dmg means adobes proprietary file format. If you come over here, this is a little sneaky thing for you and you go over here to your white balance and if you click on it and if it says as shot auto and custom and it starts in the centre zeroed out you do not have a raw file. Okay, this is a j peg file, even though it's a d n g this is how if somebody you know takes an image, re touches it saves that it is the dmg sends it to you saying that here's your raw file if you come over here to white balance and it says thes three options you do not have a raw file somebody has messed with you okay it is not a raw file if I come over here to this image over here in copenhagen and look at my white balance you'll notice it has all the settings for traditional white balance these are true why balances and you'll notice that it's now being done in degrees kelvin okay these air not numeric values starting dead center at zero on a j peg you're actually just changing the tent of a file you actually don't have access to a true white balance inner j pay one of the main benefits of shooting raw is you have access to the actual color that was there when you press the shutter a j peg of course when you press the shutter it cooks whatever settings you have in your menus of your camera your white balance or saturation your sharpness your color space you're contrast those five things we're all cooked into the file permanently when you shoot a j peg those five things are not permanently put into the file when you shoot raw you can change contrast white balance saturation color space sharpening after the fact because it's wrong really, really, really professionally cool professionally good looking to use the lander phrase okay so that's why you'd want to do and there's a little trick just so you can tell whether you're shooting or working with a raw file or jape ok, so let's come over here and I will maybe do that white balance so let's start on those first two steps I'm going to go ahead and click on my little asphalt even if you don't have a great reference in here um just coming over here, I think I want to warm it up a little bit, so click like that there's my white balance I'm going to go now to my auto button click it's going to take a stab at it in this case it's pretty subtle okay it's actually coming up here and it's taking my highlights down its thinking and wanting to maintain all this information so again find it didn't hurt me if I wanted to, I could undo it, but in this case I'll use it that takes us to our next step and let's jump back right over to now manually fine tuning these different quadrants of our tonal range exposure, as I mentioned, is our mid tone values. You'll notice that in terms of mentone values, I don't have contrast in here usually it does a great job of setting that contrast contrast is a very elaborate little adjustment, so I'd love the fact that it did that for me and remember any time light room does something nice for you to say thank you okay feign ignorance if you want I didn't know that that contrast is what I needed thank you so much and adobe will be pleased okay, so exposure is there going to be a midtown? Clarity is going to be what we work on next because clarity is not part of those quadrants over here remember that was down here under what they call presence clarity is your edge contrast ok it's the halo where it's looking at an area that hasn't here in contrast and it's going to exaggerate that kind of like sharpening but on a larger range you can't find tune it it's a little bit what when I call high pass popping over and photo shop it's a great way for bringing out detail the thing with clarity his clarity is so powerful that it has the potential of actually plugging up detail in those edge areas and that's why I do clarity before I do shadow because shadow will pull back in any information that you may have lost because you are so greedy with excessive clarity clarity is great for things like a landscape or architectural work you khun take clarity and also put a negative value in there and that can actually be useful for something like a portrait oftentimes will put clarity into a brush and use it for skin softening um but that's, the reason for doing these things in this order exposure is your overall mid tones clarity you'd want to do fairly early in this if you know you're going to use it because shadow will allow you to fix your greed induced state based upon your clarity and highlight also is going to allow you to bring back in detail that may be missing and you would certainly want to do that after you do clarity in case you have a problem. Okay, so with that exposure clarity shadow on highlight let's, go back over to our copenhagen scene, you know, close up my panels here and do exactly that now I can tell already that my overall mid tone I'm goingto take up because I don't mind that son going a little bit, you know, hot can that's what sons are I'll leave that contrast where it is, it is a landscape or in this case architectural so I'm gonna take my clarity up they want to add quite a bit of pop to it. You can see how much I can do in terms of pulling out detail in that file, and I'm going, I am greedy, I am one of those people that I was talking about myself I will use a lot of clarity since I know how to pull back that detail with things like the shadow slider ok, I am going to be cautious in things like a portrait, but I for a landscaper, architectural work, I love it. I'm going to come up here now. I'm going to use that shadow slider. You can see if I needed to pull in more shadow detail. Ok, I've got that at my disposal. I am looking up here at my history, graham constantly to make sure that I'm not doing things like plugging up that shadow detail. Okay, so this is me reading me. Of course. This is the darks. These are the lights. Wherever you see a spike, that means that's being clipped. And in this case, of course, that's our son. We're looking directly into the sun. I'm looking down here. I really want minimal clipping taking place. These little are little icons up in the upper left and upper right. If you hover your cursor over, it actually shows you if there's any clipping or you could permanently turn it on by clicking on both of them that's showing me where the clipping is taking place. In this case, that highlight is completely devoid of pixels. Actually, you don't know if it's completely devoid of pixels, it just tells you that one of your red, green or blue channels is being clipped. It doesn't actually tell you with all of them in this case it probably is if you want to see which particular channel is being clipped, which is really useful let's say you've got a shiny spot on the forehead and you're getting this highlight warning comes up it could be that you've got clipping in red but you still have pixels in the green or blue channel and in other words they will still print with a dot on your paper so you may not be too concerned about it because you still have some kind of dot there. How do you do that? You come over here and you're going to hold down the option key on the mac or the old can the pc and if you move your white slider, it actually tells you what colors are being clipped and in this case, if we look just to the upper left of that son, you'll notice it's a little red okay that's saying that it's clipping and just the ricin with icy white it's being clipped in all channels and like I said in this case, it's pretty much clipping everywhere if I wanted there to be some sort of dot even in the bright white son which you don't need obviously a speculator highlight shiny metal the sun water reflections appear white with snow newspaper white is totally fine you don't want it on the forehead okay, you want some kind of dot there's, something like that? So right there I haven't dot right there, I know all the way through and that's because I turned on my little warning up here in the upper left in upper right, and the same thing goes for the black, if I take this over and drag it, why see pure black while holding down the option of the old key it's telling me, it's clipping in all channels, if I see something like blue or red it's clipping in one of the three channels or combination there of so if I wanted no clipping whatsoever which again there's, no problem with some of your shadows being clipped, shadows or that's, why that's what they call shadows if you're, you know it's totally fine for you to have it, you just don't want it where you want detail, so in this case I can come over here and I've got when I asked light room to set this automatically by hitting auto, it had no clipping in the whites or the blacks, aside from the pure son, so did a great job over there. By the way, if you go well, you know what I want you, I don't want you to do all six of these for me as part of this step, we'll go ahead and we set that I would like you to set just the exposure for me or something like that if you shift doubleclick on any of these sliders, it sets just that particular slider based upon adobes algorithm so you don't need to do all of them ok in this case I like them they're starting point they're so easy to change there's no reason in the world why I don't use that as a starting point and again, I don't mind having some clipping as long as I'm in control of it. So those the ways to preview of the clipping click on the upper right or upper left or just have your cursor over it and if you need to see specifically what channels being clipped, pull down your option key on the back of the old king the pc and dragged your black and white slider ok, back to the tango we've got that clarity up a little bit of shadow that's probably more shadow resuscitation than I need, and we'll even take our highlights down if we want a little that there, we've got our white balance good that right? The backslash key over by your delete key is giving you your before and after, okay, actually I don't think I need that much exposure I like the fact that this is a sunrise I'm scene let's go back and continuing on with that tango whites and blacks, whites and blacks to taste this especially is useful when you're doing special effects like high key or other things like that you being able to be in control of setting that dynamic range if you got greedy, especially with things like shadow pulled out a huge amount of information you wanna have permission to get back to setting the in points of that history? Graham okay, the whites and the blacks oftentimes you don't need to because that auto does a great job of setting that automatically. But you have that there, especially for, um fine tuning it and the last vibrance and vignette, vibrance and vignette. Vibrance, of course, is intelligent saturation when you use vibrant and again this is part of the pro presence down here. Vibrance looks at the colors in your file that are less saturated and balances them out with what's already saturated saturation takes whatever is unsaturated and saturated and brings them all up in a linear fashion, oftentimes taking what was already saturated up over the cliff of reproduce ability in good taste screaming to his death right, and it will sleep well at night after it does so vibrance cares by prince kids a couple things yes, I mentioned my jokes exactly the same as they've been for one hundred years the thing to keep in mind with vibrant, vibrant says not only intelligent in terms of knowing what's de saturated to what's already saturated, it also is going to be very judicious with skin tones, all skin tones, no matter what ethnicity falls into the orange range it's very cautious with that because of that it's actually not really good for things like sunsets, because what it will do is it will take everything up except for the orange. It'll take the yellows and the reds up, but not the oranges it's, not linear, a sunset you don't want all of a sudden why's the orange in the sense that not saturated in the yellows and the reds are so there are times when saturation is actually better. Also vibrance can get really excited about blues, so again, sometimes in landscapes gets a little carried away with blues, so vibrance, even though it is intelligent it is, is not necessarily always the best answer, and you can use them in concert with each other to get your work done so but in this case will take that vibrance that's going to give us quite a bit of pop after we take another break we're going to do are global local adjustments where we're going to be able to find tune things like the blue sky or anything like that, so these are all global adjustments, something that you can do quickly and easily, so there's our vibrance, the last thing that we're going to do is, um, been yet and there isn't for one adding of then yet as part of the tango is, you can pull so much detail out of the shadows using that shadow slider again that came in with like room for but that is so powerful, and you're going to be tempted to use it as you should, because it will actually do a lot of you're dodging and burning for you. The fact in a slider, you can pull out detail in the model's hair, even in eyes and all these different areas and a in a subject matter is fantastic, but of course it can't differentiate between the dark hair of a model and the dark background behind the model it's going to lighten all of them so then yet is useful for taking the things that are not part of your subject matter, usually things around the edge and throwing them back into the shadows where they belong. So using a vignette as a dodging and burning technique is actually very useful in this case, their two main ways that I'd recommend doing dodging and burning of your edges, and one that is the effects panel that's where you're going to find this post crop in yet okay, the nice thing about your post crop then yet is I can come up here and my favorite is color priority of holler, highlight color and paint overlay paint overlay is inherently evil. It was the only post craft and yet available before like them to him before color priority is more subtle version of them the reason why you still may use this even though I mentioned the new radio filter, maybe your new best friend is I take that down and aiken darken that edge, but I also can just get it toward the edge or I can come over here and I'm going toe come over here and take that roundness down the fact that I've got a roundness option and let's, go ahead and move all these down just so you can see what's going on I have a roundness option is something that you will not find in the new of radio filter, so I can't hug the edges of my image. There are always going to be an oval or circle using that one. So sometimes in this case I may want something to kind of hug the edge of my image a little bit more so and not be radio I really wanted to have a little bit more of a framing going on, so the post crop and yet in this case I've got a color priority the amount is the darkness by mid point is how if I move it to the right it's just the edges if I move it towards here it's coming in toward the edge roundness if I move it to the ledge to the left it's going to start hugging the edge and actually is more of a framing effect feather I'm always and add a lot of feather because I want to hide this you know little attribute that I'm doing and highlights is great one of the reasons why uh vignettes have a bad reputation is because of highlights getting muddy right? If something is a cloud that goes off to the edge and you've been yet it and it goes to a muddy gray it's a natural and it's it says bad yucky no good no biscuit and the light room slider and the highlight slider is going allow you to pull back in the the purity of the highlights is a go toward goes toward the edge in this case because of the sun it's not doing a whole lot there and so here is our effects and here is our before after before after and here's our pre and post tango okay, so now what I want to do is I want to do that tango toe a bunch of different images so you can see it in operation because each one will be slightly different so why balancing crop white balance does affect tone? You want to do it? A special under, especially in the artificial light crop sets your history graham it's important to crop out anything that's not part of the total ranger actually going to use auto is going to set those first six sliders in terms of your different quadrants of your tonal range exposure, clarity, shadow highlight is going to find tune those different quadrants whites and blacks to taste is going to be again for special effects and vibrance and vignette is going to allow you to throw your background back into the distance and then been yet is your color tweaking so let's? Go ahead and do a few here white balance crop looks fine jump right in you don't get extra points in heaven for doing more steps than you need to, right? I've checked it out with bob upstairs on and it's true, I'm gonna hit auto, okay, so auto automatically did all those things that's trying to keep my highlights in their great love it fine it's a great starting point for me. What was the next thing after auto exposures? My mid tone values? Actually, you know what? I'm kind of liking that there it's a little darker, but it's backlit I don't mind it what's next clarity that's going to be your pot that clarity is going to be that my it's your exaggerate clouds you know filter by take it down it's going to give me a little diffuse you know, sexiness it could be that I can actually paint in a kn anti clarity around highlights to get this little you know, light spill around different edges but this case is going to take it up because I love clarity if I want more clarity what can I do? My all my target filters we're going to get to it later like the graduated filter and different things like that you're not limited I got to one hundred and I go I want maura you can have more it's ok, we'll get to that later on clarity what's after exposure clarity shadow ok shadow you can see I can you know pull out but I can also take down if I want to exaggerate you know that highlight in the clouds that you know god raised thing going on or bob raises their technically no known as um I've got that so I'm going to find tune that highlight again this is my quarter tones I can either lighten that if I want to blow out those highlights okay, which I think I wanted tio I'm gonna actually blow that out a little bit more, so I'm fine tuning those different six areas next whites and blacks fine tuning and I can come up here here's my highlights of shadows there is actually no clipping on those highlights whatsoever in there so it's fine like I said it's set that a plus thirty three on the whites in a minus one on the blacks I say thank you and I move on I don't need to do it it's fine I'm looking at my history graham you can see there's no pure blacks and there's actually no pure whites which is pretty good considering this white you know, silver silver lining that I'm getting in my story next vibrance and been yet vibrant ok, so I'm going to go crazy now I mentioned that blue thing I'm here and also the orange I've got a little warmth in the center this is a case where I may want to go with saturation rather than with vibrance just because of that or do a combination thereof but I'm going to go with saturation it's actually, I think a more natural blue for a lot of skies last thing that vignette let's do that other version that I mentioned before my new favorite up in yet is we're going to use our radio filter what was the shortcut for automatically resetting all your sliders in any panel it's going to be just double click you can shift doubleclick that's going to automatically set it to what adobe thanks for any slider I'm going toe affect reset all these different sliders so double clicking on the word effect if I haven't done here, if I hold down that option or all key, it turns into reset. So if you get if you're trying to figure out what away, click to reset it pulled down the option or all it tells you where to click it now you just need to double click it and, uh, resets it. So I'm going to do a little exposure down, knowing that I can change it later in the radio filter I come over here and just hold down the command key on the mac control can the pc doubleclick automatically sets it for me it is sticking, even though I reset it it's sticky to the last setting in the terms of this, um invert mask as a default it does to the outside think of it as the default. It is a vignette tool. So here is now going to be my been yet. Okay, so now and I can take down that filters so you can see where it's starting I confined tune it if I want, by making it in a larger there's nothing stopping me from going outside of that and I can, even if I wanted tio, I've taken my exposure down so there's my little been yet again, I like it to draw my attention into it and maybe even take, you know, that cleared if I wantto kind of soften that, defuse it to draw the eye into the center of my composition, that maybe even a little anti clarity, something I couldn't do with the post crop and yet, okay, so there is my tango later on, I know I'm already here in my radio, grady int I'm just going to sneak over here so there's my tango, I got it, but since I'm already here, right, I'm a greedy little percent of again, so I'm gonna go over here and say new and I'm going to take reset that and I'm going to take that saturation. That inverted mask means that it's, whatever I click on is going to be affected, so now I'm coming up here, I'm going to go right in here and I'm actually going to add a white balance to it, so now I'm going to actually add that double clarity so here's, my double punch of clarity here is my picking up of the temperature and you can see I can, you know, make that as exaggerated as I want well, I've got it here, let's, you know, go ahead and make it a little bit bigger, okay? I kind of like that in terms of the warmth and I can also see that I should have done a different crop because I think my story is better suited with a like that'll think bob raise over here, but I think it needs to the whole thing needs to be well tighter ok still mess about with that. So here is our that's actually is that before that's another way of tweaking it that's my tweet where I went ahead and added some war white balance throughout actually didn't do that white balance that I is that let's say if I wanted to aiken finding that white balances that first step I want to add a little bit of warmth to it so I did have some other one so let's go ahead do that yeah oh here is here's the are let me make a snapshot of this one so here is our before and here is our after that can go yes, okay by applying the crops or early in the work flow I just saw how you cropped in tighter. What have you decided you wanted to crop out larger? Would what you have done affect the the whole raw inmate george that just limited to being up the crop in tighter, very good question in the sense that would I, um because auto is based on what's in the crop if I crop after I've hit auto, will it re do anything? No so again that's actually it's a really good point if you know you're interested in a particular area you could crop into it said auto duel that tango open it up and will not change any values whatsoever ok? And now you have that window and whatever so no, it will not affect that very good question ok, I'm gonna do a couple of years I almost a still life, so here let's do this with the tango so I'm gonna come over here we'll do our crop in this case I'm going to use the little angle tool that's built into the crop tool and I'm just dragging that out again that is up here built into the panel when I click on the crop tool, these little tools just like the turkey baster and white balance or things that I can click and drag on okay, so there is my straightening of the file white balance will say for now that looks good I've done my crop that's do auto okay dramatic difference there if we look at our history graham let's undo that you can see what it's doing extending the entire diamond dynamic range of the image auto to fill in and I like that like that great now what are the four steps after auto exposure clarity, shadow highlight explosion like the middle tone value I can come over here and make sure I'm not clipping anything, just hovering my cursor over here got it clarity love, clarity. Okay, huge amount of pop that I can do right here love it great! I'm greedy. Uh shed on highlight shadow I like where it's going in here, maybe a little highlight, you know, I don't think I need actually like it since I'm not getting any clipping with it don't need anything. So actually, it's auto clarity was the only thing I touched on this uh, next step whites, blacks don't need it looks great history great, no clipping love it next vibrance and vignette again that vibrant it looks totally vibrant since it did so much to my contrast number, whenever you increase contrast, you also increase saturation by definition you steeping up your mid tone curves, you are increasing the saturation, so in this case I've got plenty right here. I don't need it now that I can actually see what's going on here in terms of this color, you can see what the white balance has done haven't done a white balance, but it could be that I, you know, add a little bit of warmth after I can see everything so in this case when I got down hitter vibrance it's got plenty of vibrance to it ok no, I could if I really wanted, you know get it psychedelic I could add a little bit, but in this case once I'm now seeing the full tonal range I confined to in the white balance so there's nothing sacred about not going back and find tuning the white balance. The last thing is that vignette and in terms of the vignette it could be in this one I really don't need to die very like like the graphic nature of it I'm gonna tap the f key to get into that full screen mode and here is my um and you have to get it back out of it here's my before after before after okay, I can see we're going to get into some spotting later on there got a little spot up in the sky we're going to get to that when we get to the healing brush and the new visualize spot option, which is awesome another new feature I did not mention so there's the tango on that one let's just do a couple more to get it that are a little bit different let's do our model here I fixed the white balance here on this one probably I'm not going to use this shot at least in her report folio this shot here does not have a the reference built into it the color passport it does have plenty of blacks, there's nothing stopping me from using that, but basically how you do it, use the passport is you find tune it by taking your turkey based are clicking on it and then this will be the first time we've done a synchronize here in this file in this lesson and I can shift click between any two files down here in the film strip, and as soon as I have more than one active, you'll notice that they sink button became active and by the sink I can click and say, what would I like to sink in this case the only thing that I've done so far and click none and say white balance ok and say synchronize and now this file has gone from that is again that before and after let's, go ahead and this is the before so before after before after in terms of the white balance yes, if you adjusted to images and you turn to sink them which one takes precedence, the parent is whatever is in the main window and what have you click on was the child so to speak, that is the master a couple of the things that's going on here one or that you could do is one you could, uh save this is a preset white balance preset now that changes so often usually I don't do presets for things that are variable you know that one project I'll use it another project I won't I save a preset when I want to make money with it I'm going to save it because I'm going to use it and a commercial way it's it's a I can use this again white balance just changes too often you could do it for a particular studio environment but the other way of sinking aside from clicking on a pre set and then applying it or clicking in their film strip and synchronizing it is to do a command see or control c on the p c a lot of people don't know that you can just do regular copy and since there are no layers and light room it says ok, what am I going to use command c four all my developed settings okay, so I come over here and then click on whatever I want here's my white balance it knows whatever I lasted I say copy that's now sitting on my clipboard so now if I've got different shoots okay where every time I go I've got this light could be that I turn over here and now I'm shooting next to this light different white balance I don't want to synchronize the entire shoot, but every time I come back to this environment, aiken shift click on another image ok and let's actually come up here and we'll go back to our little preset here and I just do a commander control v in this case because I already told it what I wanted to copy it doesn't ask me what I want to paste it just pace it because that's the only thing that's on the clipboard so copy and paste is a great way of also synchronizing settings between images and we're going to use that in just a second okay, so there is the portrait okay, we've got our white balance you can see that I already did a crop on it we can hit auto auto is a little bit heavy handed here because there's so much black and there's so much shattered detail it's bringing in more detail that I want again it doesn't know what I'm trying to do so it's trying to pull a shattered detail so this is where I mentioned you can use undue with a smiley face and be fine it does not get its hell feelings hurt okay, so auto is allowing me to do that let's go ahead here and next we're going to do exposure the overall middle tone value looks good I can have her my cursor over the upper right on upper left portions of my history graham there's no clipping great but the exposure looks good clarity in this case I certainly would not want to do it on a portrait it's on ly good clarity for high school football teams okay, boys right where you want to grand defy it for you can actually we're going to use it for fashion, but I'm going to use it for high key black and white high key image you can actually get away with clarity even on a portrait of a woman because you've gotten rid of all the subtleties in skin tone by blowing it out with a high key but you could soften it up if you wanted to. The thing was, if you do a global declared defying, you're gonna want to come back in and added back into places like the eyes with some targeted adjustments, so but maybe I'll do a little bit of anti clarity here just for fun, okay? And maybe I will do that exposure I do want it a little bit, you know, a little bit richer and here, so exposure, clarity, shadow highlight that all looks great highlights if I'm getting a little bit of shine, I may want to experiment with highlight to see if I can pull it out flatten the face a little bit if I'm getting too much shine on here but that look is looking good whites and blacks again if I wanted to nail that down and make it up sure shadow on here I can come up and do that especially by hold down that option are all key you can see how far I can take the shadows before goes black and that's how far and you can notice that it's green that means that's still not being clipped and all those channels so taking that shadow I can take that down quite a bit if I want a nice rich black and they're still going to be a dot there so there's my setting my black my last step is going to be vibrance and been yet so vibrant again it's already got plenty of color to it if I want to give that a little bit of richness I've got that which vibrance do I want which shadow let's go ahead and do that effects post crop and yet a like color overlay I wouldn't do that amount down and maybe further up that highlight you khun kind of see the shadow you see the I mean the shoulder that are in the lower left where I'm pulling back in that highlight okay? And I don't mind it actually going dark is the eyes you know no longer going to see that so and let's pull it in and I'm gonna pull it in a little bit even war to the center of the file I don't mind the hair going in there, so here is our before after before after the tango that even got rid of some of the flyaway hair we're going to do that more when we get into targeted adjustments like with the radio filter that would be one benefit of doing your post crop and yet let's, go ahead, reset that not used this vignette as I mentioned before, my new favorite effect here is take that radio filter command doubleclick make sure that it's using the outside here and this is a situation where I could come up, take my exposure down, get something very similar to what I had before, but also take this sharpness down and the sharpness the nice thing about that is I can actually start to blur these flyaway hairs, and I could even take those highlights down and that's also going to allow me to possibly get away with not needing to do as much retouching. Of course, I now have a retouching brush like and just do a little hair and fix it so again there is the benefit of the radio filter and ah, and there is our image before after before after the tango ok, makes sense. That was what we were going to cover here let's see another one? I'll just do I'm going to show you another few images and cause I've got snapshot so here's before shot that I did on my local beach across the street beautiful family here is after all, a bit more subtle since I have a whole range of shots there's nothing stopping me from doing just one shot doing the tango on it shift clicking on it and in this case I could do that same sink in this case I'm going to say all including the crop is going to use that as a starting point it could be that I already cropped these day by ten because I know that's what the client wants synchronise and it's going to go pop pop pop pop pop now I can go through each one of these and just refined the crop because obviously maybe not obviously um I am down on um I'm running with the family and my camera is actually down by the sand that's how I'm getting the you know, the reflections and stuff like that so I'm just going to find tune each one of these crops and now I've got all four images retouched optimized tweaked crop and they're ready for print and we needed to do one I only did the tango there's no targeted adjustments on here two thumbs way up okay before after just that that tango you saw that one in terms of that yes excessive clarity but just you know, deal with it okay so again here is our before and after you'll notice that my little backslash trick does not work in full screen mode and I'm going to take it that that's probably not something that adobe likes on that they'll probably change that because there's no reason why you're before after doesn't work but that's just the tango on that and last but not least I got this great image here I love shooting with a gopro this is also out in front of my house in cardiff, california san diego lovett gopro image the new gopro three is just absolutely amazing I already did the tango on here okay, that is that the term is its bitching okay let's actually come over here and as is that right click copy snapshot to before that's why I like taking those snapshots so here's my after before after it's just the tango that's just the clarity if we look at it here in terms of our basic panel there's my excessive clarity there is pulling out a lot of shadow taking down my highlights to keep those highlights um before after before after if I look at my film strip I have all these different images right here this entire shot it shoots thirty frames a second by the way full resolution the hero three that's crazy. Okay, full rez it's twelve megapixels thirty frames in one second I'm gonna come over here and shift click on all these images and actually we'll shift click on all these and you'd ask the question if I have all of these selected, all of them are selected here and then I shift click from the end to the end all of these images thirty fifteen of these air selected I hit sink whatever is in the middle is going to be the parent sink I'm going to go ahead and get in sync everything including the crop I didn't use any spot removal synchronize and now I've got every single one of these is going to go through and update them it's going to take its time to do that and also use that's actually do in case they weren't next to each other I'm gonna copy next to him there they are they're coming in anyway they were taking its time and I'm going to still find tune these especially in terms of the crop but here I'm going through each one of these and because I'm you know, ninety percent of the way there I come over here let's find this image right here and it's primarily going to be an exposure because this is looking directly into the sun. It could be that that's all I need to do in terms of doing my you know, before and after so thiss synchronizing of settings is going to be huge in terms of speeding up your workflow came questions in terms of the tango garrett as when you sharpen very good that's there are two things that we haven't done yet in terms of, um, optimizing your image was the number of things that we haven't done yet, um, but the camera profile that we're going to talk about after our next break after the summer and the sharpening, so I would do the sharpening after I have gotten my color in tone, basically after I've done the tango and that's going to be specific to sharpen his specific to your output there's basically three different types of sharpening this was known as an input sharpening where you're compensating for the blur that comes in with the camera. Most cameras have ananta alias sing, you know, a demos aching filter on it that automatically is blurring the image so there's a basic sharpening that you want to do to just get back the inherent detail in it there's a targeted sharpening that you're going to do for your story, that you're trying to tell you they're adding or removing sharpening it could be around isa certain areas, you have to be very cautious about adding a sharpening to specific areas because that'll change your noise pattern and, you know, uncertain things like, you know, coded stock, you have to be careful of that, the third type of sharpening, his output sharpening and that's going to be for your specific media you're going out to a uncoated stock or something like a canvas rap, you're going to have to compensate for the dot game, the dispute, the diss fusion of light because the texture of the paper or if it's an encoded stock that dot will actually, you know, an ink jet printer will actually go into the paper what's known his dot game, so you could be a lot more aggressive with your sharpening on an encoded stock on a coded stock where the ankle right on top of it, you will be much more cautious on the talic paper coded stock will be very judicious with your sharpening that's known as your output sharpening so there's three different times of sharpening I would do it after I do the tango, and also something that I would do beforehand is this thing that we're gonna cover after lunch, and that is our camera calibration, and this is where you're going to come up here and, um, see if you can find a profile that is associate it with your camera. So here are these were all taken with old d two x, and you're going to find your profiles that adobe has made to get the cameras close to landscape neutral portrait standard or vivid, these air settings that are usually in the menu settings of your camera, and we'll talk about both the camera calibration settings and sharpening as another aspect of this optimizing your image after lunch very good question all right, can we ask a couple questions going back for the whole section? Absolutely. All right. This is all on tango are optimizing images in general. Okay, great. This is from dotson who lives in los angeles. What is the difference between color priority and highlight priority been yet ing uh well it's trying to tell you which is giving its priority but that's a little bit hard to explain in terms of obviously one is giving priority to the highlights and one aspiring to the colors the way that I like to look at it is the color priority is both of them where they use color highlight have the highlight slider as a viable option color is the more subtle out of the two and so using that in concert with highlight slider highlight resuscitation shadows like highlight slider if you want to think of it in that way is my preference but it's by color you're getting less pollution of the color in your file it's giving priority to the color and therefore it's being more cautious with the color and because of that it's more subtle so and the fact that I have a highlight slider means that I get the benefit of being careful with the highlights thank you and let's see so simcox from loveland, colorado ass he finds on his windows version of light room five he can hold down the shift key to get a much more finer control all adjusting the sliders do you use that too especially with the clarity sliders um he's going in the basic and here we've got a shot here got cardinal and um clarity with shift uh I'm not one I'm not familiar with it okay? And two I'm not quite sure by mohr since you're dealing with a scale of one to one hundred no shift versus shift uh looks about the same well there's no change in the numeric value so it's very interesting if you can ask him what when he says he gets more detail or mohr fine tuning I'm not quite sure I've noted that there may be a hidden feature maybe a windows thing he's on windows right he's on windows probably one of those cool things were worse it's hot it's probably making up for it by adding some cool occidente false relation feature cool sam cox is a regular so I'm sure he'll chime in good good thank you all right another regular marion who is from bucharest, romania can you make a preset toe auto adjust just the white and black points for example or any other slider? No um if you you can have auto as a pre sent but then it's odd auto does all those six of those you couldn't ask it, would you please auto, do just blacks and whites for me as a pre set you could you could change blacks and whites as a preset, but that would be a specific numeric value you could you can't intelligently say, please just do those for me, it's a great idea there may be some, you know, way in the future where adobe could, you know, find tune that but I don't know of any way of saying, just do auto on that it's all or nothing in terms of the auto, which you can use is a priest that I usually don't, because oftentimes again, it's not that intelligent where I'd want to do it. Also, if you do bracketed sets of exposures, auto will, if you have light, medium and dark by hitting auto, all of them will share now will try and be neutralized, so using auto to a whole series of images, if you've been bracketing means you can't see what was bracketed, and you don't know that you pulled out excessive detail in the shadows because they all look the same and that's the caution you want to have is if you have really two dark, you don't want to, you know, pull out more detail than you need to, especially if you have other exposures that you're disposal so sam did chime back in and he said the slider moves more slowly with the shift key pressed okay, but you have met and that may be the case more slowly so more precision and dragging the slider was shift than without well it's following my cursor it's not like you would think on the mac it's not doing any difference whether I'm doing it in other words, it wouldn't it wouldn't keep up with my cursor it would as I moved it, it would lag behind that must be what's happening on windows is that shift and you can actually drag farther, but it moves slower so that's very cool it does not appear to be the case with, um, the mac all the windows users or life finally, finally, absolutely we're at an advantage exactly. Ok, so one more from danielle nicole is there a good rule for sharpening if you're delivering your client's digital files and not sure what the picture will print on whether it's canvas or glossy sock and we may be going into that, uh, we'll talk on trapper team or when we go through the sliders and you could basically you'd be really cautious, the last thing you'd want to do is over sharpened if you didn't know where it was going to go because there's no way to back, you know if you're delivering to a client, you're not delivering raw files, you're going to burn those using export into a j peg or a tiff. If you burn an open, sharpened file, there ain't no way you're going toe, you know, compensate for that. Um, since sharpening can be done at the printing level, what I would do is say, be cautious at it and on lee do what would be considered that input sharpening. In other words, you want to compensate for the demos aching that's taking place in the camera. You will not do that final export sharpening, or you're going to be very, very cautious with it. So that would be the rule of thumb, but the amounts in terms of what the sliders and the radius and things like that that's based upon the resolution of the file, you know that a twenty four megapixel is that it, you know, eighteen megapixel what it is. So there is no set setting for radius or amount that really is based upon your lens and your camera in your sensor and things like that.

Class Description

Lightroom 5. Master the tools needed to enhance, refine and even retouch your images using quick and easy non-destructive image adjustments! From glamour skin softening, to eye and teeth enhancing, to skin color unifying and special effects like luscious high key black & whites, selective hand tinting, cross-processing and even changing depth of field, there are incredibly powerful features in Lightroom that allow a huge amount of the polishing of your photographs to be done right there, without ever having to go into Photoshop!

Learn how to create magic presets and perform syncing tricks to quickly apply these optimizations and enhancements to multiple images (and now video!) all at once to dramatically increase your productivity. You'll leave this course knowing how to cut your processing time in half and craft even more stunning, creative, and profitable images at the same time.


Software Used: Adobe Lightroom 5

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