Color and Tone Effects Part One


Lightroom 5


Lesson Info

Color and Tone Effects Part One

One of the main parts of this class is photoshopped integration and going back and forth is something that you do and we want to make sure we cover that we did a lot yesterday and of course we started off the day going right back into photo shop so for those of you who have no desire to know about water marks or doing titles for your video I apologize for that it does obviously take away sometimes from light room the flipside of that is we've got a huge number of requests and I always get enough request for watermarks how can I bring in my mark my identity how can I do versions of it how can I make my brand look cool that's a huge thing for us as creative communicators is how can we brand our work so that's why we spent time in a photo shop this morning hopefully that was a good teaser for you there's more on that graphic design essentials course that we have here but that was the reason why we spent that time with that let's actually start and show how to use those we save those png e...

ase off to our desktop in this case right here you could save him wherever you want but I just wanted to find him I'm gonna go back to where we started off the day we are back in light room I'm going to go in light room or in the windows that going to edit and then into edit watermarks and this is where we're going to set up our water marks as a default it comes up with what's known as either a watermark as a text or graphic those of you who haven't been making custom watermarks you've probably been just setting text in here you'll notice that if we come up here to graphic it's going immediately ask us what graphic would you like to use? So I'm going to come up here and we'll start off with that brush signature logo light remember we just did two versions of it so it finds it we say choose we got this little teeny preview down here, you'll notice that as I move my cursor into the window and it gives me a sample, whatever my image was selected so I can come up here and I can scale this mark to kind of see what I want if I wanted to be in the center of this is because kind of my scary copyright warning we're actually going to use it too, you know tell people toe take a hike we can change his position is going to start off in the lower left hand corner let's let me take it bigger before we do anything else and just zoom up on it to show you the reason why we spent that time with the layers styles palette in, um, photo shop because you'll notice that it has both a lighter portion and inside and has the darker portion on the outside, and it has pure transparency without any pixel artifacts. So that was the reason why we spent the time understanding that pallet and also now you can see by adding both the dark halo in the lighter interior, this mark can read over virtually any photograph, whether it's light or dark. So that's why we spent that time, there is no way to add that subtlety of lights and darks and things like that in light room proper. So that's why we spent time on it and that's what we have. So the other options, once you have gone up to image, we've selected it, we're not doing text, we're going to go down to the water mark effects we built a pass ity into it, both lights and darks. So I like doing that because I want to be able to preview it and get it exactly the way I wanted to. You can continue to make that more subtle. So that's a tip there you may want to start off with it being a little bit more intense than you need it, knowing that you do have a pass ity here, um but again this is a global opacity by fine tuning both the interior and the exterior of those two things the shadow in the interior I could find to that exactly as I wanted it this right here is a global opacity everything is being taken down so but it's good to know proportionally coming I came up here and clicked on this so that is changing the proportional like idea to use the slide or I can do this up here this is what's known as the inset and also the placement so the reason why we have these these air absolute for each image so they will always be as an example if I always want them in the lower left hand corner but I want them in said let's take it down to something more useful I can come over here and I can offset it so it will always be just off that corner right I wanted to sit on the corner I wanted to be inside but it will stay in that exact same position for every single image when I use a water mark these water marks are going to be available in all the export modules hey the book's slideshow print and web is where you have access to these slide show of course is we're going to be doing video so this is the thing that's nice about watermark is we have the ability to use not only your signatures but the titles there's nothing stopping you from having you know, a library of fifty water marks you know smith wedding and whatever you want to do you can have so so that is that we've done hey offset to it we've done are scaling to it and again if it's the scary copyright warning you can put it in the center change that capacity do whatever you'd like to do with it makes sense and we're going to save it when you save it each time you do a variation on it on this one I could have this exact same logo what I'm saving it's this preset is it's not only what the watermark is but its scale and its position in its orientation and its opacity so everything related to that so you can come up here and do different versions of the same logo lighter or darker or some in the center and big some small in the lower left whatever you'd like, you can do as many as you'd like but you will be um making new names for each one of these will go sig the we'll just call it be too okay and save it now that's part of the library when we get over to the slide show in the book module we will touch on the application of those but I'm going to leave that for right now the other thing that I wanted to mention in terms of our light room and our preferences is this idea of coming up with a metadata template for you to come up and add um uh your copyright warning to images and actually since we've spent so much time going through geeky stuff, I think we need to get into some color work immediately we've been doing way too much geeky stuff, so I'm going to come back after lunch we'll start with a little geeky stuff in terms of a meditate a template we haven't done anything sexy this morning at all, aside from some logo work so let's go ahead and do some more sexy stuff and specifically one of the things that we were talking about yesterday was this idea of doing some color effects specifically hand tinting of an image but before I do a hand tent of the image I wanted we touched on yesterday a couple things related to hand coloring if you remember this image here that we touched on yesterday we did this little hand d coloring of the image we took a brush, we basically de saturated the background here we went to our adjustment brush here and we come up came up and one made this case this is our, um we're not on our adjustment fresh water on our radio so we're going to come over here in tampere h key so we had a background that was used to de saturate the image leaving the rest of it full color we also came up here and did another little one where we added the clarity and little pop and exaggerated we actually increase the saturation a little bit down here so in terms of a hand recovering of the image let's actually do that since we've this is our d saturate right? So whatever we painting on is black whatever we erased we erased the girl's hair I think remind you of where we were when we did that let's go ahead and take our a racer and remember your square bracket keys are your size of your brush shift square bracket keys changes the hardness of the feather of the brush so that's another shortcut for you and with the eraser down I can come up here and I'm going to bring back in the color of the models eyes just as I brought back in by erasing the de saturated adjustment back here I can now do that same thing where I'm holding down the option all key that's giving me my eraser ok if I do want if we've talked about this the first day if I want more subtle this is kind of a hard edged mask we can come down here to our, um density and if I take this density down everything that I do after this effect is going to be a more subtle density I can actually go over something that's already one hundred percent and it's going to remove that density and that's either for the eraser or for the paintbrush both have this idea of density okay I don't think I want to at that so that's adding back the models eyes in terms of this idea of targeted re color now well it another one that's used that same sort of thing and we'll start this one from scratch and I've used in the past but it's hard to find a one that has this cliche bouquet where the bouquet is the exact same color as the obnoxious bridesmaidsdresses the match fuchsia and orange and everything else that took a lot and she did that very well this person um but in this case I'm going to do something a little bit different on that one that we just showed you for for d coloring on image what we did is we took a one big brush and de saturated everything and then we punched a hole in it by erasing right that's what we just did we did that yesterday so that was a little quick review I want to do something a little bit different in terms of this one right here this particular effect and what we're going to dio let's make sure that we don't have that turned on is a variation on that so we're on our adjustment brush and this is going to be the concept that we've covered before about these numeric values canceling each other out, and this is going to give you more control. So it's actually is a very useful concept. So what I want to do here is I want to have just the bouquet in color, everything else, black and white, and I'm going to start off the same thing that I did with the the young lady and when I go ahead and I'm going reset all those settings, I'm going to take the saturation down to zero I'm gonna take my brush let's, take that density up, flow everything nice, big, honking brush. I'm going to make sure I see the mask, okay tapped the okie so now and it was already on. Oh, so I'm going to come over here. I'm not using autumn ask anything, and I'm done so big old honking brush and if I tap that okey again, I've seen I've got a nice black and white. Now I could do exactly what I do with that young lady where I can come in here in a race where the flowers are, but I'm not going to do something else because if I erase where the flowers are and I wanted to continue to find tune those flowers you know what? I'm going to spend the time making a mask that's going to follow the flowers. All I did was punch a hole and then I go. You know what? I want to change the color of those flowers? I want to add some clarity to them. I want to add something else to them. I can. All I did was a whole. I have the opposite of control of those flowers. So what can I do? Well, what I'm gonna do is I'm gonna come over here and they knew. And if this starts off zero the saturation at zero, I took out minus one hundred. What happens if on the next brush I take it to plus one hundred it's going to get the color back? In other words, it will completely cancel out the layer that's uncultured by adding super color, right? They full regular color is set it zero that's the normal one. This is just to say these mouth equations of you to be able to take something out. We've been doing this with clarity, right? We've done a little anti clarity globally, and then we've gone back into the eyes and added a little plus a little extra plus clarity for the eyes, so this idea that you can take away something and then add a little bit more of the opposite is actually speeds things up and in this case it's going to give me more control for something like the flowers because I'm not just punching a hole and doing a negative effect I'm actually now going to be able to do saturation or color or clarity or something else okay, so it's a it's a unique you know kind of mental gymnastics is what we're doing here but it actually I think was going to serve us well so I'm not punching a hole I'm not going to use the eraser I can see if my a brush normally again and take my father down a little bit and I am going to use the auto mask and we have been using a lot I typically like the big, soft, subtle brush, but in this case we're going to use that auto mask and we're going to see as a reminder how powerful this feature is the main tip I want to give you in regards to using the auto mask is you want to make sure that your first click of the tool is totally inside the area that you want to mask in other words, that's why it's auto it's intelligent because when you click on something it's sampling at the color of the tone, the texture and saying ok that's what you want me to work on? So I'm gonna come up here and I'm gonna click and just to show you the getting that same issue again when I click um that it is the plus one hundred is completely negating what's below it and adding it back this is not how you workin photoshopped this's a different you know, paradigm in here the fact that we are not punching holes in masks we can actually use math to reverse the process of something so that's again why I'm taking the time here I don't want to see that mask I don't want to just see the color to some of these colors could be pretty subtle, so I'm gonna tap that okey again and mainly I'm just going to go to the edge and you can see how that auto mask actually does an incredible job and one thing I mentioned yesterday is that if you do go outside if it's you know, cut some slack on and you go to the eraser turn on the auto mask and by going outside it's actually going to become mohr intelligent as you use it. In other words, it says, ok that's what you don't want me, I get it now, okay? So it's actually intelligent I'm not going to worry about going on the inside of this because as I go inside it's going to keep looking for edges ok, which I'm not concerned about, all I'm concerned about is this edge right here but you can see even on this this pedal going over the hand you can see the size of my brush hey again I did cut some slack now I'm going to come in here the fact that it can do that good of a selection down to the tip of the pedal with a brush this big again is excellent okay it's better than most masking in butter shop and we're gonna come up here and we did that same thing right there because of our time frame we're going to do it pretty quick and see I find that I get one of the great things about light room if you you know not sure whether the client's going to buy this you can do it if all they're going to do is do a preview on the web you know what some six hundred pixel wide image you're not sure whether they're going to pay for it then you can certainly not worry about the you know final detail when they sign off on it and they know it's going to go above the mantle place then come back in here and fine tune the image for the final you know large oversized print um whatever you do here is going to be plenty for any sort of preview on the web so again until you know you're gonna get paid for that may be something you want to say that this is you know totally fine for what we're working on I'm not going to do the inside of this, so I'm going to turn off there's are a little preview on that of what we're doing I'm going to turn off the auto mask and now I can go as quick as I can on the inside I don't have to worry about the mask or that it's kind of selectively doing portions of the image so used auto mask for the edge do not worry about it for the interior as you can see I had that same kind of issue again what I'm still not quite sure where what's going on with that hold down that option or all and we'll just a race get those areas ok and high that mask and now we have our selective color this is that same sort of thing where you can do this for whole all sorts of different purposes you know where you want to selectively change one color from another this area right here since this is a di saturate it could be that rather than full d saturate I have a little bit of color in there it could be that that background is going to have a little bit bit of um actually you could see this right here I can tell that's an old processing engine so I can take that background that selected and I can you know warm if I if I want to do kind of almost like a little see pia that's just going into that background there okay, so here I'm actually warming using a white balance to it we could use our anti clarity now it's going to be all you know glorified it's black and white remember with black and white you could get away with a little anti clarity right? Because it's not going toe wish the colors so this is completely separate from this right here and this we can say you know what? Not only do we want that obnoxious um, color, but we're going to take the clarity up so you can see by the fact that we didn't just punch a hole in that other mask we now have a lot more creative options at our disposal that's really what we're talking about here when we're talking about enhancing and going beyond the capture this obviously now is a different story than the picture and I'm afraid now is photographer since every single person on the planet has got a camera strapped to their hip twenty four seven sometimes it's now going to be these interpretations of a moment an elaboration on the story of the moment where the person is going to say I'm paying you because your story teller not because you can take a sharp, bright, colorful picture of course we know that you're bright sharp colorful picture is of course beautifully lit and you're using your depth of field you're using your focus you're using your people skills ten million things went into that shot beyond the fact that it's in focus the problem is that a lot of people and I know you guys have worked with clients there's this struggle why am I paying professional photographer when my you know son billy just got a new dslr from costco and it's awesome you know so sometimes it's this elaboration on the story where the person goes that's gorgeous I don't even know what exactly I'm looking at but this is something I want to spend time with that this is something I want on my wall this is something that I want to interact with and that also is going to give you guys verb ege when you're dealing with your clients what you're offering to them you're not the you're not a photographer would even be careful with in terms of using just the term photographer you're an artist your communicator, you're a story teller, you're using photography and now video you're doing all these things to sculpt and experience about an event or a couple or person or something so just you will need those things that ammunition in your belt as you continue this process as things have become war democratized in terms of who can take a good sharp picture ok, and you will continue to use all the things in your at your disposal. So you're your lenses and your depth of field, and you're lighting and your strobes and everything else. So there's my little sermon for the morning? Yeah, you know, I I love watching this technique because while I might not do a selective color type of photograph, that brush is amazing, that auto selecting the way you mask that I know I would definitely use that of my photography for doing my, you know, for lightning areas, darkening areas and just using that as a selective, selective toning so that that I think that's a great use for that the auto mask is amazing. They really did a good job with that. And again, that was a quick and dirty version of it, but the fact that you can do that much that quickly without, you know, it's one tool with setting, and you just have to remember the main things that your first stroke is totally inside. What you want a mask and remember that you can use that racer in the automatic mode and will become more and more intelligent. So you're absolutely right, and you could use that for burning and dodging, correct like, instructive areas, you certainly could. I would be careful any time that you're going to use that mask because it is a hard edge you can't come back and feather it after the fact you could painted feather you can turn it off and come up back in and soften a little bit ok, you do have to you're responsible for the quality of that edge so you could use it for dodging and burning I use it for these color effects um I use it for changing I'm depth of field this one right here we're, uh groups ok and that's excessive zoom that's actually not define what this is our um one right here so here is our image let's do our, um snapshot take advantage of our snapshot here and we'll do this one and again I'm going to ask it please use that as my before and here's my after so this right here and again we can hide our little pins by tapping the hp and be able to see it that auto mask we'll take a look at it and in the second here's our before after before after and you'll notice look at that hair okay, the hair wasn't we didn't have a professional, you know, hair stylist there and things like that so we've got a stray hairs and things like that it's distracting I would have much I prefer to shoot at a one eight f stop with my portrait lens and been able to get this sort of focus on it. That's, you know, very unique and normally you do go that do that in photo shop, but in this case, tapping that h key so we can see our pens and let's see where we've got our pens here. You don't want to go back out let's, go back to our fit and back to our pins and tamping are ok, there is our mask for r d sharpening again. We did this yesterday in here, and we did our little touching, but taking a look at that mask that's going toe re risk there, that's using the auto mask and the fact that we're doing that and the fact also that's nice, just like the lens blur in photo shop that normally if you were just to do a mask and what people did in the past, a gaussian blur of one copy and copied it to another, you'd be getting his halo effect. The fact that we can do that and have it go from out of focus to focus it's kind of freaky, cool now you are responsible for it and that's, like I said, I'm usually a little bit cautious about doing, um says the sharp edge. Because you're responsible especially if you're going on to some kind of coded stock where that pixel in the number of pixels peopie I that we talked about earlier is going to come into play you know you have canvas rap when you kind of hide that edge by the fact of the texture and the diffusion of light on the scene but the fact that we're doing this in light room it's exactly there's that all we do is the tango if we look at our skin tone justin review for those of you who didn't see that this is our background this is actually our skin tone if we look at this this is our anti clarity is using it to soften the skin tone I did a little bit of a dodge uh this one right here there's a little in terms of the eye makeup it came up here and kind of soften the eye makeup there's a little bit going on there so I did an anti clarity on top if you remember I used anti clarity to do circles under the eyes that did the same thing here on this one and then this back all we've got is three adjustments on this entire retouching job and the other one is the background and that is our darkening of the shadows as well as eighty sharpening of the image so cool and again if we go back over to our healing brush you are going to see a number of little spots throughout but this is taking advantage of the new spot healing tool, the advanced healing brushes they're calling it and being able to do strokes so if we come up here and turn off the visibility for our blemishes, you can see that we had a number of blemishes here if we go back to our before you can see how much the blemishes were actually fixed by that anti clarity that softening of the skin tone right now there are no healing brush dots on that thing. What we're looking at is pure clarity the difference between that and that is just using an anti clarity brush I did that wasn't good enough for the job and so by turning this on the little dots that I put on there took care of it, okay? A couple questions yes, certainly so a question from stanley when should this use of de saturation breaths brush be implemented in the tango just after cropping and white balance? Uh, no, you're I'm always going to get the image perfect separate from a special effect that's a very much a special effect. So in terms of the tangle which goes all the way through to clarity and color, I am leaving port portions of it in code color so I would do it after I'm sure I've got the most beautiful image the most beautiful rendition of what I wanted when I press the shutter so I get that then I determine is it going to be a more potent image based upon this elaboration this embellishment the special effect this trendy piece of gaza that we're doing here and I speak chinese firefly hey you guys not watch john sweden's firefly tv show okay, stop show it stop watching me right now our spacecraft right it's the western side fly speak chinese and they speak chinese so you can now look up what goes up means in mandarin chinese young people think these effects are ghosts and you got that from that tv show you've been carrying that with you, huh? Yeah. Homa yeah, I like that show just with hossam show. Okay, but we digress. Can I ask one more quick? Yes. You get the right people tomorrow. Okay? Ptt u k says does the amount of feather on the brush have any influence at all on the auto mask? You notice that I actually had a feather on the mask and and yet it still made a razor sharp, so no, it doesn't in the sense that you're not gonna have a softer edge on it, you could take away that feather since on what I'm working on is a hard edge, but since it's looking inside the image actually don't mind the soffit I don't want to be lulled into a false sense of security by having the hard brush because they're not be looking at the brush that I'm painting rather than the paper, the paintbrush that it's creating that the the breast stroke when I'm fine tuning it that's exactly what I'll do because it again depending upon what edge it's trying to find it may or may not be able to do the best job, so coming back either with the brush or the eraser without auto mass turned on with a hard brush, so I'm actually doing what I was doing photo shop a good old fashioned paint job so when you're painting is when I would take that further down and fine tune that edge yeah, but I don't mind it well, I'm autumn asking, but didn't you also say that you're using the center of the brush to actually control where it brushes versus using an edge of that brush? Your remembering our lick if I were is that yesterday liquefy that concept is when you're working on an edge it's best to grab that edge that you want to move using the center of the brush in this case what I mentioned is is that you want to make sure that your first brush stroke is completely inside the area that you want a mask because that's that for a sample I'm going to mask out the woman's face with hair I'm going to make sure that that first stroke is not anywhere near the edge I'm telling it skin tone says, oh skin tone and then it becomes a skin tone selecting brush so that's the things you want to make sure that first it's not related to the area of the brush just make sure whatever that brush it is completely inside the area I'm asking for that first stroke and again if you then a race completely outside of that area and then you're telling it uh now I'm getting it okay great question any other questions out in the virtual audience? I think we're good ok, good another one related to targeted coloring effects before we go into a hand tent we did this one I mentioned my first born male child yeah, that is a good looking kid so we did this yesterday so in review talking about color effects, we did the story we when we did the color of the okay, we had to selectively do that because it was the exact same color as the bridesmaids dresses I couldn't selectively do one without doing the other in this case if I want to have if I've got the school colors the school colors and I want to do a cool little effect, we've done nothing on this image this is straight out of the camera and I come over here and yesterday we made presets and we're just we're getting ready to go do some presets we're going to go through the fifty presets. I haven't really been emphasizing it because we've been talking about how to make them when we do a lot of color effects will be using these presets, but in that jack davis wow facebook page there's fifty light room four compatible and five compatible they're all called the davis liking for presents this fifty seven they're going to go through a ton of these effects that we're gonna be covering, especially after lunch. We made this one yesterday the d sat preset which again, coming over into our hs l panel this is where we came up and de saturated the image we did not click on black and white. We were in a chess al we went to the saturation portion. He wanted to zoom up here for the people at home hs sale panel saturation portion we took all the saturation down. And then when we were done with that, because this is going to be a very practical preset for you, we went over to presets clicked, and remember the thing related to that is you always want to just save the components. Related to the effect that you just did I don't want to save everything because the tone of this image and if I did have been yet or something else is irrelevant it's just the color setting and I called a d sat and I put it into another setting the reason why that's powerful and this is where we came into that you've mentioned the ta ti tool this little teeny teeny time lately it's a bitty rezaian was ana donna a little tool right here is incredibly powerful, but so many people miss it and the neat thing about it is it's going to know what I am going over? So if I click and drag on the colors for the school, it knows that now it's so close because there's other, you know, color is going on here it's getting that background it's also getting the fact that my son yes has the scholastic award and every other award that you could possibly do is a four point eight g p a and student body and everything else. Not that I'm proud or anything, but anyway it is choosing, although aiken come up here and I'm going to selectively say, you know what? Even though there is some orange in there, I don't need you to do orange so I can come up here and selectively choose what I want oftentimes if there's subtleties in color, I won't use the t eighty tool coming here and I'll use this we could even see I don't think there's much in the way of magenta in there but can't so in terms of red so I can come up here what if I'm getting a little spill back here that's where I could just simply go in with that adjustment brush just d saturate just those areas but I got ninety percent of the work done here and it's cool and groovy the other thing related to this if we remember that we also have illuminates there's nothing stopping you from going up and you know, lightning up skin tone or other areas of the file we can even lighten up that read if we wanted to change it or dark in that red hs l has so many powerful features and it because that is we're working in the lab color space okay luminous plus an a b color the fact that we have access to true luminant ce rather than lightness in photo shop is fantastic. We can do an amazing amount of work here and here and if for some reason that there was a huge difference, you can come over here and, you know, change the school colors which we don't want to do but purple would look awfully cool if we wanted to do that yes, in full photo shop, you can change your different modes that you're working in an elbow have is one of the mosaic and work. And do you have access to this, or would you have to go into the filter to get back into the camera? The camera filters toe get those sliders you you now have in light one five the ability to do a readout in the lab color space this right now have switched this over. So these numeric values over here are in the lab color space. You can actually change the color space in which, like it works, it works in lab, whether you like it or not, when you leave light room it's going to ask you like when we're looking at our export module, what color space you want to be in a photo shop? Because photo shop wants to be in an rgb color space, you actually can work in lab, but it's not it's default setting and it's the filters again, it's it's going to be confusing because you can't output lab. So this is working in the lab color space when you wanted to leave light room and go to into it either different application of got footprint is when you're going to determine what color space you're gonna want that allowed to be converted into so you can't change that in here. All you can do is change this readout here. If we right, click in here. This is where we can come up here and change the showing of the values, but I can't change the actual color space. Ok, good question, yes, I just have one confusion that I'm still going through. Is this an actual dmg files? Can you do the same type of alterations? Tow? This doesn't take j peg correct it is. Do j peg shea do jif and now png and raw night every single thing that you can do to get here when we're going to get into coloring a file right here, we're going to work on this one. This one can't be a raw file because cameras back in the you know, thirties and forties didn't shoot, roll, okay, they use that stuff called film so everything that you can do to a tiff or j peg or raw file you can do to the other. The rial benefit of what you're going to get with a raw file is one. Instead of eight bits of information per channel, you have these potential billions of colors, so you have a broader range of tone ality to the file to you actually have access to the rial white balance of yourself, of your camera. In other words, whatever riel light was there, when you press the shutter, you can get back to it. You can change the white balance perfectly if you have an image that was shot with the wrong white balance and it's blue or orange, it's, blue or orange in a j peg, it's cooked into the file, and you're going to try and get back color, but it's going to come kicking and screaming? Um, but whatever you do to it, to a raw file you can do to a j peg. That question is the tonal range, and some of the color settings will be better in a raw file than they are in a j pig, but actually brings up another really good point about raw files and why you should definitely use raw whenever possible, and why adobe has called their folk file format dandy digital negative. It is the closest thing you're going to get to the negative. It is the raw sensor information when you press the shutter, its pre pixel information and its pre color, in a sense, in the sense that it doesn't even cook the colors into the file, you can still change things like white balance. This technology is changing so quickly as an example, the noise reduction that came in with light room three and was for the nurse and didn't like him for is so much better than light when one into for you if you had a challenged image, what you could do in light room one and two is nowhere near as good as you could get in three and four because of things like noise reduction in sharpening so the exact same digital negative is now going to be able to get you muchmore information out than you ever could with a j peg with the j peg you're pixels were set they were locked in even the sharpening takes place in your j peg in your camera so that noise is actually now part of the pixel structure because I have where all sensor data when adobe updates their technology like they didn't like him for for the shadow slider what you can pull out with shadow information in light one for in five is ridiculously more powerful than you could ever get in a previous version, primarily because I have access to that raw information so that fact that I have billions of colors at my disposal when you shoot a raw basically all the settings and your camera are not part of it, so you're contrast curve is not part of it it's much flatter your color space again your cameras police said two s rgb that is not part of when you shoot raul it's not permanent yes rgb it's pre rgb it's your sensor data and things like your saturation and you're sharpening all that stuff can be changed after the fact with the royal file all of those things will be cooked into the file with the j peg you can still do amazing stuff with a j peg mind bogglingly cool but whenever possible do that raw shooting raw because you will have access tio information down the line when you come back to this years in the future you're going to be ableto pull stuff out of the image that you never thought possible are you able to change or is there an advantage or can you even do it changed a pig tng or d n g yeah j picked it you can there's no benefit to it if we actually look at this file right here this is a d n g it's obviously not a negative digital negative because it was scanned from a print so you can convert anything. Remember dmg doesn't necessarily mean raw it's just adobe's format. You don't gain any advantage to say taking a j peg into a d n g but what if after you've made all the alterations too it now you've put more techniques onto that j peg that isn't is that cooked as well as your it's not cooked until you export it? Then you exported to dmg then again there's really no benefit to it the reason it's a good question because what you're asking of I want to maintain all this nondestructive cool grew venous of the raw file j pegs tiffs and d angie's those air all open file formats so when you do something to a j peg I'm about ready to do a hand tinting on it it will actually be embedded into the j peg file format. It will be a completely self contained j peg my original scan black and white and all my hand tinting my key words my metadata copyright everything can actually be embedded inside the j peg no it's not cooked when you have that j peg you go well, it's already a j peg can't email it to somebody when they open up your email they will get a black and white image it hasn't been cooked that's the whole benefit it's still nondestructive so a j peg a tiff or raw you're always going to have to export it, cook it to send it out into the universe when you open up in photo shop, it automatically cooks it when you send it out to email or print anything you will export it it's a very, very good question j peg tiff or wrong no matter what anything that leaves light room, you've got to cook it and that's going to be the export module you're watching the color but I just got this question that came up through this discussion here j pigs as you save them they did great overtime you at least that's what I've been I've learned is the more you say that you're going to get no degradation of that file is that true of the d n g if they were to convert a j peg you know does that stop that degradation when if you convert the j pic to a d n g because I know I saved a lot of times I receive a j peg and I do some work to it I'm gonna when I save it toe do continue you go to a tip so stop the degradation of that pile your thinking pixel pushing things in pixel processing and it makes perfect sense because you're absolutely right if you take a j peg and you save a j peg and then you do something to it and you say that is a j peck and you do something when you say that is a j p each one of those is going to degrade the image a j peg winans in light room is going to act just like a raw file in the sense it is a container of whatever you had when you press the shutter you're going to be changing all this metadata and turning color you're never actually changing the j pic the only time you'll change that j peg or tiff or raw or dnd or neff is when you export it and it's cooked so you can keep working on a j peg in light room till the cows come home do fifty other versions make the snapshots? Do whatever you want you will never degrade the image because it will never again be cooked until you tell it to export and every time you export, you'll export from the original one that has all your luscious cool groovy nous on it and each one will go back to that original will be as good as is possible so you don't have to worry about it. That is why if you have jay pegs, you really don't need to convert them into d n g it will store the information inside it's a safe is is possible it's already compressed, so it's going to be quick so if for some reason you were shooting in j peg it's a fine for our file format, if you're scanning stuff like here, I would scan them tiff format there's no reason to automatically compress them and lose information. So if you're scanning any artwork, scan it into what's known as a high bit depth tiff a sixteen bit per channel or ten or twelve or as many as your scanner will hold a high bit depth to file and that will become your new master and that way it won't be a glossy compressed one tiff as a compression is called l z w it's not lossy dan g has a compression as a default it's not lost you can ask it to be lossy when you're ready to export it excellent questions, excellent questions okay, we're going to do now is we're to a hand tending effect I could do it too we could do it to another way we've got one yes and this might grandmother here uh things actually my great grandmother but I think we'll we'll do this one um just cause I like it it's my mom so I know my mother and it's also the thing would have more colors and you know, the sort of thing going on we're over to their adjustment brush I don't need my history, graham where we're going to do is we're gonna take advantage of our little color swatch down here and what you want to keep in mind when you're doing a hand tinting of a photograph at least from my standpoint is I'm trying to imitate a turn of the century and tenting you think of the, you know, forty nine er the gold miners or you think of the civil war, you think of something where you had old black and white photography, pre color photography a lot of people were lined up the studios that did hand tinting had a lot on their plate it was done with a very limited number of colors very quickly these kind of translucent dies and there was not something where people were necessarily trying to make it look like a color photograph nobody's ever seen the color photograph? They wanted to have the skin tone and the hair color and you know niagara falls and you've seen the old color postcards that are beautiful very limited number of colors no more than half a dozen very quick sloppy the edges went they were never masking they weren't frisking they were doing these very quick little dye jobs so you want to work quick with a limited number of colors that will also come across in this story that you're telling that this was hand done it's not going to be a filter effect it's not just taking a full color photograph and d saturating it that's not what we're going for we're going for something that is obviously hand tinted and that's going to be sloppy and limited colors so it actually is a benefit and you know so we'll see how fast that I could do this I'm going to leave that green on just so you can watch my brush I'm going to leave it at a completely feathered brush flow density all the way up at a hundred percent as we've been working on here, I'm going to reset the brush double click on the war effect remember if you're wanting to reset any one of the panels in light room, double clicking on the title for whatever that panel is sometimes it's kind of hard to know what the where do you click on to reset it? Remember that's your option or all key? It automatically will turn it into reset. So now you know that. So from now on, you don't have to actually hold down that modifier just double click on the word and it will automatically we settle the sliders I'm gonna click on my swatch and I would come up here and I'm going toe choose colors for the image and let's say here I want to do kind of a green for the background here and we'll just close it that's all that I need to do, I'm not going to change any other parameters to start off with, and I'm not going to use auto mask you could say, well, can't you? You know, mask out the background of this is going to be a you know, green wall don't need to, I don't want tio they wouldn't have masked it out at the turn of the century, I'm not going to do it here. So I'm going to just come up here I am going to turn on the visibility for the mask because they don't want to accidentally miss a whole if I'm doing subtle colors I'm gonna tap that okay and again remembering that tiki that tool bar we can show that so what we're doing when we're tapping the okies were turning this on and off so remember that tiki there are some things that you cannot access unless you can see that tool bar so another little minder so now I'm gonna come over here I get tapped that oh, and I'm not concerned that I'm going over it here is boom it could be brush and it's down here sloppy, completely sloppy I don't mind tapping the okie here is my green from my background it's a beautiful, subtle it's only putting down color where there are pixels when we get into the skin tone and when we get into the blouse let's do the blouse now hit new remember to hit new so you don't, you know change what you've already done I'm going to click on here and we'll come over here we're going to do a kind of a blue that blue is going to be both the hair and the blouse if you're a comic book affection auto, you know superman has blue hair why? Because there's no such thing as a black it's black you had if you're gonna do black anyway so blue has always been used for a person with black here she actually has kind of burnett so we wanted to we could do a different one for her hair but right now we'll just say that she's got black hair so I've got a little blue you can see it and now I'm going to come up here and I'm going to do with the blouse and I'm going to tap that okey I do want to get a little bit smaller it's hide that green and so I'm going to go here this is the mask, not the green of the blouse so I'm gonna come down and do this this is purely for entertainment value why it's going okay, so tap the okey now we've got that blue of the blouse you go I don't see any blue the reason why we don't see blue is that it's on ly taking and adding the color too where there are darker pixels, the dark of the pixels them or you're going to see it there's very little pixels there to begin with. The pixels are blue it's just that they are ten percent pixels so they're ten percent blue that is where the power of hand tinting in light room comes in real handy because not only do you obviously have the transparent it's a tempting you also have your entire tango at your disposal so there's nothing stopping me from coming up here to my highlight slider and just darkening up if I want to make sure that there's some tone ality in there to receive this tent and so you have that we're going to continue to do that later on. If I want, we could do that same thing with hair in this case, I'll just go ahead and leave it without the mask so you can see what the colors and you can see that even though that green if you remember that green went into the hair it's totally fine the fact that it's blending in there is on ly going to add to that feeling actually that's why you always want to tear the mask because you get that kind of stuff going on so let's change this so we can easily unmask it's out to get me. Okay, so tapping the ok, so here is our hair and blouse have been done hit new let's do the skin tone skin tone comes up here? It's always fits it kind of being kind of an orange reddish mode close this down, I'm going again tap the okies so I can see the mask I'm going to do, uh, the entire skin tone in one fell swoop you can see how quickly if you can't if you can't hand ten an image in about thirty seconds, you're probably spending too much time on it it actually will look better and mohr like a artist sculpted the coloring job the sloppier you are because it will look less like a filtered you know something that somebody hit by buying an app on their iphone okay um that's kind of zoom up here and tap that okey and here's the skin tone I did go over the teeth in the eyes and that's where I'm going to use that option are all key tio change the size of the brush and that's actually add that a little bit bigger I don't want it even on something like this I don't want it to be too sharp and it could be technically because it's kind of a subtle see pia if I wanted to leave that with even a brown tent on it, that would be fine as well, so um there you can see that, okay? We're almost done with this image here we've got lips left over so we're going to hit new when it come over here to that swatch going to go to a little bit more of a red tint and here and uh let's zoom up and we've got our brush I'm going to take it down with zoom up even more. They wanted toe get not to get too sloppy around the lips. Happy. Okay, so I can see my mask. This is one area where spill of color probably is not a real big feature. There is the red of the lips. I want to do a little blush in here. I'm going to come up here. Nice, big, soft brush here I may I mentioned also that I use density if I want to reduce the intensity of effect, the lips and the blush, I want to be the same, but I don't need that much red. So by taking down the density, I have the exact same adjustment. Click, click and I've got a little bit of a blush to it if I want to. If that's you know, uh, one little bit more red tap tap will take that shop. I'll take that up just so you can see it. So I'm gonna hide those pins and here's my before actually before and after is a different job. So let's do that. Um, snapshots. We'll use this one as our before that copy that's when I use a lot. I remember I was take snapshots before I get started for you want to make as a default? You're before, after that little backslash key over by the delete key goes back to the way that light room was opened. So that's a before and after to what you just did on this current, you know job that you're working on if you wanted to go back to another snapshot on you need to do is right, click on it and say, use this as the before and that way you can take advantage of that backslash key to do are before and after so here's before and after and now what we can do is we can actually find tune this we have all our masks sitting here there's that last one that we just created, right? So let's find tune that so I can already see that that skin tone looking at that other one, I want to make that a little darker, so it could be that I can intensify that orange little bit if you do have saturation and hugh hewitt's left and right saturation is up and down. So what if I come over here? I can make it a little bit more saturated. I can come over here and two that background maybe make that a little darker this time I'm not going to change the color, I'm going to go to exposure and now I'm going dark in that background again in photo shop each one of these would be a separate adjustment color would be one levels would be another one now I may want to take that clarity down which is going to give me a little glow halo around the hair so that right there now I've got already three layers and photoshopped to do this one would have been a blur through a mask with special blend mode when would be a levels through a mask and another one would be my hand coloring through some sort of mask probably so really cool that we can do this here is our blue maybe the blue for the hair and that we also take up clarity so right now that's going to make the hair you know more shiny and the blouse we've got are careful we want to give her a ten we can take the you know exposure down but I don't think I like that I think her care color is fine we have the lip color looks fine our background I confined to in any of these masks I can see that you know I want to find tune that mask and here is our before after before after that his hand tinting in light room if we take a look at another I got a snapshot here let's I had another one so we have that saved here is a variation on that one okay after we take our lunch break, we're going to get into split toning and taking and soupy tony those sorts of things we've got one more little antique ing and this one we've got on an image that, um waas a full color image and I thought it was there and just to show you a modern picture that's obviously using an image that started off and uh black and white so here is an image another brooke crystal shot and here is our snapshots so here is the actual full color image this is coming down and, uh let's actually go and here we've got some other features in here here is it turned into a black and white and then doing our hand tempting to it. So if we take this as our before here's our four after before after a completely different story it started off full color there's nothing wrong with it it's a beautiful color that is a very different story that is going to have a different price point with your client to put it mildly and she's obviously dressing out trying to care make up always the reason why you're doing something is to strengthen your story toe make it more powerful this kind we've already got kind of appear period piece going on here, so the antique color was exactly what was wanted so this metadata that you're creating can that be applied to any other adobe programs, for instance, like after effects? Could I take that on one frame, hand tinted and then be, like, apply this tow other things with tracking? Where is that? I know that what you've been tracking other programs that do allow for tracking, like a premiere or other things like that that's going to kind of layer based so there's certain things you can do and photo shop where that layer activity layer information will translate into after fix or premiere, but this meta data taking really, since it's not layers it's not something where you can go in there and at this point use that metadata eventually procedural processing will take over the planet pixel pushing really is done ok, our digital cameras are dumb, the fact that we shoot such big files with three different colored pixels next to each other and then blur them together to make another pixel, you know, as opposed to something like the phobia on chip, which has each color sense on top of each other, so every single pixels razor sharp, you know, we're still as cool as this is, and his awesome is the technology is we're still, you know, back in the dark ages with this technology that being said this in comparison to, you know, the turn of the century you know this, if we were showing this to somebody working in the dark room of the turn of the century, we would be so start tracking, and, you know, the people would be bowing down, worshipping us so it's all kind of relative but dancer question procedural processing, and this concept of being able to access nondestructive information is the future of computer graphics. The idea of have us having to push through millions of pixels to get something done is silly, and that won't be taking place. You think of things like the lycos camera that does field photography light feels when you focus that the picture after the fact that's, kind of the sort of thing that we're going toward the way to capture data, the fact that you could make it pliable after the fact is where we're going right now. The hard wiring of millions of pixels and pushing them around is not the future of computer graphics. That's, actually, one of the main benefits of this class right now is by you learning light room and hopefully learning the right way to use light room and how far you can push light room you're getting a handle on how computer imagery and graphics and digital darkroom works, I think infinitely better than a lot of people who are still using photo shop and layers. And they're using a jackhammer and their chiseling away and spending an hour on an image because all they know and all they've ever learned was pixel processing on a layer by layer basis what we're learning in this class thes three days the whole purpose has been to see how you can use these procedural sliders to do a huge amount of work with better quality flexibility and speed so it's actually that's for me the most exciting thing about this class is you're actually are learning a different paradigm for how you work with your photography it really is a different way of working and once you understand how far you can push light room that ability to use that paradigm to get more work done better more creatively it is amazing it's it's again chicken skin it's awesome I know it's such a stigma tive to bring up pricing but ultimately all these things are things to help you in business not in a hobby so no not necessarily depends upon me for for a lot of people you know but how do you even begin? What is thehe pro tsh to begin the consideration of pricing into these things and I bet there are pricing things that creative live dot com a great web site if you go there but you can find all sorts of things on pricing that's that's your market that's your experience that's your background that's you know where you live there's a million things the main thing that I can give you in terms of your ammunition in terms of that is that you are a artist your storyteller do not sell yourself as a person who presses a shutter you've seen that you've seen the groupon's of all the photographers were offering a photo shoot and a disk and prince for fifty bucks and that it god bless and I understand that but it doesn't disservice to the fine art of being a photographer and you sell yourself as an artist you as an artist as someone who has not only the technical skills but the storytelling skills um yeah that's the best thing I could tell you more but kind of getting back on this you know the way the programs work I'm liking how light room you know the procedural method works you know premieres the same way it doesn't touch a pixel until you actually exported but no after effects and photo shop you're pushing and grinding and jackhammering is using you know how long before you see that this all comes together it's kind of frustrating because adobes making all these programs some of them worked very efficient some of bomb you really got to know what you're doing tio make it do what you wanted to do I don't think there's an easy answer that the one thing like with with smart filters were doing some blurring and different things and smart filters are dustin scratches we did that beard removal using a smart filter that's adobe is taking the power of pixel processing, which we needed to do at a pixel level and putting it in a procedural processing, taking advantage of the power of the new computers to say ok, you're doing this pixel processing but I'm going to put it in a non destructive variable slider share a ble you know, just actually a lot like what? Like wim works, but we're doing it with pixels so adobe is actually I think done that been at the forefront of taking this combination of what we need to do it it picks a level liquefy and things like that liquefies now a smart filter liquefies now completely not destructive even though you're moving around billions of pixels. So they have really champion this idea of doing using the technology that we need to get the job done and now figuring out a way how to make that as quick and easy and flexible and non destructive and creative as possible. So we're moving in that everything that we're doing is kind of moving in that direction so there's no set I don't think we'll ever get there, but that is the way that we're moving and certainly the concept of using meta data and sliders and procedures rather than strictly pixels is where things were going and that is exactly what we're doing here. We want you to think in terms of the process rather than just grinding another pixel into submission, you know? Okay, shape k from spain asked what happens when you go with the color over another color? Do they mix? Does the last one prevail over the older one? They mix they mix is matter of fact, we go back to our image here tapping the f screen. We're in our full screen mode and we go back to are my mom going here? Let's, go back to color and we go back to this one, so I'm backto are snapshots and back to our option here if you wait, look at where the green goes over the blue it actually I'll go over each other or in this case, a great example is the blush, okay? The blush was put over the brown of the skin tones read over brown and they mix just like a transparent tent like a die, so it's just exactly the same there is no priority to them. They're all translucent, transparent they're exactly what you want, especially since you have in combination with them, if again, if we come over here and tap our h key, the fact that you've got, you know this as its own separate almost like a layer and see how sloppy that one was and then come back up here and change you know any one of these components not only the color but the tone and you know clarity, you know, soften it is stick so that it works just like I would want it to work they are translucent, they're transparent, they do not cancel each other out and that blending of the colors I actually think is a huge benefit because it shows that it was done by hand and that's what you're selling and actually the price point going to your place point the price point of a hand tinted image as if you had really done a hand tip tinted image should be reflected this is not a cheap, you know process I would I would charge top dollar for hand tinting the fact that used the computer versus dies is is irrelevant, it's the story told, hey, this is a good spot for us, david g from san diego would like to know is possible to name the pins you can't. The closest thing that you can get to it is the fact that if you hover over a pin you don't have to click on it, it shows you what it is affecting, so I'm now I'm not clicking on it you notice that the pin isn't becoming black I just simply hover over the pen and it tells you what it's affecting so that's the closest you can do but it is actually a very good point I will try to and didn't use it on this one I try and put the pins that I know we're going to do the same thing in the same place so if I have a pin if I often do a tweak to a background I always put that pin in the upper left hand corner that way if I see a pin in the upper left hand corner it's my background pin if I see a a pin on a nose that's a pin that's going to affect the entire skin so I can go I don't have to choose because I may have you know a cheek and an airbrush and a dodge and burn and I could put you know the skin one anywhere on the face as the first wherever I forced click so the the idea of getting into a habit of putting the pin if you do things in a certain order I skin background put him in the same place that way you always know my background pin is always going to be in the upper left hand corner yes that's the closest thing you can do to you know would be the equivalent of naming it okay let's ask one question before we go to break j j okay who I think it's from oklahoma says when and why would you use a b brush? And then sam cox had asked from loveland, colorado are their keyboard shortcuts for selecting the and be brushes yes, the difference between a and b brush what we're talking about is right here over here in the adjustment brush specifically again the engine in the tool the radiant filter, the new radio filter and the adjustment brush or all the exact same the only thing that's different is that you have for the adjustment brush the brush settings, the radio you have that feathering but this is what we're talking about here in a and a b brush and a race or those of the three different things that you have and typically what I would do is that a brush maybe a bigger brush with a full feather and your b brush could be a smaller one with less feather in other words, you're going to use that for editing or fine tuning a mask the way that you can access those once you click on either a or b those air whatever you last did in that brush stay sticky for until you change it and it's the forward slash key that lets you change between those brushes automatically so yes there is a keyboard shortcut it's great to know the other brush there that eraser is holding on the option of the all key and it will automatically change to your eraser. It's. Also sticky, if you wanted to. For some reason, if you do love that auto mask, that when we shift from a two, be it's going to turn on off that auto mask so it could be that you use a and b, not four size and feather. But one is auto masking one's. Not so as you're cleaning up a mask. It's, you know, painting with it, turn it off, do the interior, just like I was doing so it's up to you, what you use the and before and before, but that's, why you'd use it. You set it up for whatever you wanted to be. And then remember that you have a racer and that's the option key on the mac or the old key on the pc.

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