Color and Tone Effects Part Two


Lightroom 5


Lesson Info

Color and Tone Effects Part Two

I wanted to do some more color effects in here and specifically get into one that I like uh and I call an antique ing effect ok, where we're trying to add this what I call a patina and aged patina it's something that's incredibly popular now of course with a whole instagram thing and all these different filters working on your mobile devices so and a lot of that can be done and actually can be um really neat in terms of how far you can push an image this is the sort of thing that we're talking about uh let's go to our snapshots we've got a few snapshots here again. I like using the snapshots um because it allows me to, uh try out different possibilities for whatever it happened to be working on at the time and I think that is our snapshot twelve so if we take our introductory shot let's go find the one that's got our crop to it. I'm gonna dio think that I I've been starting off with the images and saying that I make a uh snapshot before I start the process and then I'll crop and do eve...

rything else when you have you have a reset button in the lower right hand corner of light room which does reset everything including the crop and sometimes what I want to do is I want to compare the image before I did on my jiggery pokery to it and afterward except for the crop, I don't need it too, you know? Undo the crop, so I'm going to do something we've got in effect that we're gonna go for I want to show what the image looked like prior to it, so I want to create that before snapshot after the fact and again, you may want to start doing that as a habit for years as well that you have your beginning part so it's very easy using that backslash key to know where you came from. The problem is, is that this one is cropped, and if I do reset it's going to be an n cropped version of it so here's a little tip in terms of doing that process one, we're going to take advantage of our command, see or control see remember that's going to allow us to copy any of our presets any of our different adjustments to the image, including crop? So we're going to come up here and we're asked going to ask it again this is going to the purpose here is, how can we save time? You've got a crop you've set one to be an eight by ten five by seven something else like that there's no reason the world for you not to have on your clipboard or through synchronized and have that on our clipboard for us to use you could even just as you can see here, turn off the strait an aspect of it you want the have it crop to an aspect ratio okay, so not the straighten but you do want that aspect ratio it'll force it into five by seven eight by ten whatever you're going for in piano, you have a service of prince if you can share the straightened because you're shooting everything while drinking, then you can obviously do that, but we'll just go up here and say the aspect ratio this one I'm actually wanting to copy the exact crop, not just the aspect ratio but everything that I did in that crop say copy I can now hit reset I can now do with a regular pace, which is commander control v and now I've got back to the image that I had so remember if you ever you're going down this siri's of snapshots and go, I like this element about this snapshot and like this element of this snapshot there's nothing stopping you from going back to a snapshot you don't need to take everything from that snapshot I just I love that vignette go to that snapshot copy it, go to a different snapshot or create a new one paste it and you're good to go so now wouldn't come up here and I'm gonna update right click and say update with current settings. So now my, um, uh, entitled zero is current settings, and I'm also going to say, copied that to my before, so I can use that backslash. So now when I come to where I left off in here, I can come up here and used my backslash key, and that will stay with the file. Now that before will always go back to that. Undo. Not every time you open a play room. Remember, as I mentioned, typically, that before is on ly the last time you opened up a light room so it's, you know, it shows you what you just did. If you tweak something, does not show you where you came from a night. I kind of prefer that one. Ok, so with that, let us look at doing on antique ing. This has got a few different things that this is actually, um, you could have some cross processing going on it as well, but we're going to start off with a morte traditional, um, uh, and taking and for that let's, go ahead, and we will use our shadow slider to pull out and not totally optimized the image we could do the tangle is to review of the tango, so there's that auto my middle tone exposure is still looking a little dark and we'll come up here with our shadows to pull out a little bit more detail my clarity I'm going to take it out a little bit and we'll add vibrance because I think we can get away with it and in terms of our white balance we do have a white dress so looking up here at my little preview I can come up here and see if there is something that I can click on that's going to give me a little bit more of what I'm looking for trying to find a combination so we'll say that that right now is good enough for our starting point especially in this case since I know that I'm going to be going on and doing some effects on in terms of anti qing first off in terms of anti qing and actually this one is as I reset it I didn't do that vibrance maybe I just jumped down that I didn't even see that I did it I did it so quick that I jumped down and I did the vibrance without even knowing that I did so we'll go back to our kind of bonilla shot in terms of doing an antique ng I mentioned that I always default to vibrant vibrant says this intelligence saturation but they're all sorts of things you can use to do a special effect in terms of color first off one of the things that you khun d'oh and I am going to go a little bit more blue on this file is just simply d vibrance ing a file is going to take the subtleties and since vibrance works on basically what's unsaturated it takes these subtleties and continues to mute them down even more so and actually since this we got it file that is just pure orange on orange I need to find something that is going to have a little bit more color range to it this is a much better shot ok here's our before and here is our little tango where we did a little bit of our that's actually will start on this one okay, we'll use this one as our starting point here. Okay, so in terms of I like that I like that better. Well, actually is this one as a starting point and set that as our before those were all reviews actually did that all on purpose just so we could review the process of the tango and and howto create new snapshots and set those as our default settings in terms of our vibrant we can instantly kind of do a d vibrance to the image and what it's doing is it's taking subtleties what's already unsaturated and again if we take it up it takes unsaturated and takes it and balances that with what's already saturated by taking it down it's leaving what was already saturated and leaving it alone and taking the subtleties down now there's not this is a lot of subtlety is going on here in terms of that so it's having a big effect the nice thing is remembering about vibrant if you come down with vibrance you could actually come up with saturation and what you're doing is you're taking the extreme colors in this case the yellows and the sun coming from behind and you're exaggerating what was already saturated so you're exaggerating that total distinction. What I like to do with a antique ing is actually I'm going to take all the color out or the most of that color out with saturation and then take vibrance up and that's going to allow me to take the subtleties of the color well, I'm taking the overall image and kind of muting down the color and again, this is part of this kind of instagram you know, subtlety thing and boosting up a portion of the color range taking the subtleties and bringing them up well overall, taking the color down so again playing around with the vibrance in terms of either um vibrance down and saturation up whatever's left behind that's actually, well actually I think, well I like that one where we're getting the skin tone is getting some color to it and we've basically muted all the subtleties in the file such as this kind of misty motion background um and then I'm actually going to use a white balance here to do a warming of the file were going toe give it almost a sepia tone aspect to it by using white balance not by using a split tone polly use the same image will do a split tone after this the nice thing about split tony where you could do a traditional see peotone as you can use that in concert with whatever color effect you do as with every panel in light room you can combine these different panels to come up with a final recipe and that's what we're doing now we're going to start adding all these different panels together to come up with this more elaborate recipe like the one we just saw and then of course what we'll do is we'll save that is a preset and we'll never have to go through that recipe again since you guys I'm giving you fifty presets of all these recipes, you'll never have to create them for the first point you'll actually completely forget everything that I'm saying in the next hour and just use the preset and go I'm done good thing I didn't have to listen to jack so up here looking at our white balance I'm just simply going to warm the file up by taking up our yellows and are magenta is ok and that's going to again, give us a warming to the file, and I think I'm gonna like that yellow more than okay, so it's an overall you can see it's working on the sky, it's working on the background, it's an overall warming for the file and again like that, I know tell I don't need that much by warming up that file. I don't need that much saturation, so I've done a little muting of it here's my before after you can see the warming that's going on, cool, warm. I've taken out the color in the background, the subtleties, and I'm starting to get this process to when we're talking about anti qing there's two things that can happen to the detail in a file on an old photograph, depending upon the emotion in the type of print, either the emotion would kind of be exaggerated at the edges and would exaggerate contrast look at an old photograph and some of them, especially the pinhole cameras that were so incredibly sharp, you know, these long exposures with a little pinhole apertures on them, you can actually add more detail in those shots, especially depending upon what the emotion and printing technique was or it can be settled. The entire thing fades out, right? It's been left out in the sun or whatever, and the print will will reduce its contrast, and fortunately we have this clarity slider, which, again, we know that we can either take that out and give ourselves our little, you know, muted lowering of the edge contrast, or we can take it up and exaggerated depend upon again what we're going for in terms of what's left behind in the and the and taking process, the same thing can go where the main middle tone contrast again, whether you it's really interesting, this whole thing with mobile aps and the instagram and the hips dramatic and all these things you know, we've been going for in cameras have been shooting high contrast images we've got every cameras got a built in contrast curve too steep in the contrast, and for the first time, we're actually seeing, you know, photography being promoted everywhere with a low contrast ah, loki setting to it, which for may I think is excellent it's actually opening up an entire new area and fears for his much as maybe mobile photography has degraded photography as a profession because every single person is doing, you know, photographs, everything else in some ways, I think, for the creative aspect of us as photographers hopefully it's inspiring and I know actually most professional photographers now, you know, have an iphone and they're they're having fun with it maybe is a matter of fact they're having much more fun with their iphone ah graffiti than they are with their regular photography because that the regular photography they have to make a living with it and they have to deal with mrs smith, right? Sorry troll the missus myths out there and the proverbial wedding, you know, and all the jobs to make money with and we get tow with our iphone or android or whatever we get to play, okay? And there's it's it's pure pleasure, you know, in terms ofthe pornography, I know that you do it the photography as well, because there's no, you know, you don't take it seriously. You take you're on a bloody phone, you click the button and, you know, snap seed you did you know, whatever and you're back to playing and so in terms of things like lowering the contrast and actually having that being a viable option for photography, I absolutely love that, so I'm also going to be lowering the contrast. The idea here on this particular one here is I have lowered the intensity of the color by taking our vibrance way down. I have lowered the edge contrast by taking my middle stone contrast, but taking the contrast down in this case, I'm taking that clarity up, which is actually increasing it if I wanted to you know, soften that as well, but in this case, I'm softening the file up so much I don't mind actually adding back in with a plus clarity, I warmed up the file by using temperature intent to bring it up. The last thing that I'm going to do to this file is go down to the affects panel and actually got to go to two different panels because I want to add a frame to this file. Of course, there are no frames in built into light room, but there are if you know how the sliders work. Um, and what I'm gonna do is I want to come up here and I'm gonna use this post crowd thing yet, but I wanted to follow the contours of my cropped image, and I can use either highlight or color priority I'm actually going to use highlight priority for this one, and you're going to see why in a second, and I'm gonna take that amount and I want to take it up, and this is where you can see the difference between these different, almost blend modes. In this case, you can see where this is going on in terms of the highlight priority it's actually saying, I want you to leave that highlight alone, and yet do your vignette. That's where you see that distinction of having that setting as opposed to color priority where it's this more subtle as I mentioned that's why I use the color priorities you don't get these sudden, you know, okay, I'm not doing it here, so I typically go with that, but you can actually use the highlight priority depending upon what you're doing with the file and what I'm doing here is I'm going to take that mid tone down the roundness down and the feather down and that's going to give me my framing that little nice, cute instagram rounded frame now in the olden days, they actually an old print reason when we like that is that they would put basically the paper into a little in larger and it it would have a little edge to it so you could grab the paper you know, and not touch the actual print and that's why we had, you know, uh, framed or edged photographic prints for a million years is that had a very practical use to it. I'm going to take that further up if we zoom up on in here because that was actually done at the enlarging stage, that feather process is actually the old prince actually weren't a razor sharp edge had a little bit of a light leak to it someone add that to the process and I like that but I'm also want to add a vignette to it ok, that wasn't a consistent exposure across your film playing with an old camera that a little pinholes and stuff like that I just used my vignette okay for a frame now you guys know that we should have two other vignettes at our disposal, especially since we're in light room five where are we going to find one of those vignettes? The lens corrections absolutely right lens correction has a built in under the manual setting it has lens vignette ing and this is actually is an excellent been yet it's a very good dodge and burn as opposed to some of the other ones they have this you know um I going toe play nice or not so taking this down oh, this isn't going to follow the crop, but if you've got it big enough it's, you know, still going to affect your image now whether you take that up too faded out were already kind of going toward that romantic scene so it could be that we do out or in this case I'll do a more traditional one. What we're going to come in that midpoint again, we come up here and determine how far it comes into the image that would be based upon how you cropped it and stuff so we're using one vignette for the frame we're using our lens correction been yet for another one. What other sort of vignette do we have at our disposal now? In light one five the radio filter exactly right? Especially since we now know that it has this really cool and groovy little feature up here where we come in, we said it will take our exposure down, that if we hold our command key on the mac or control can the pc doubleclick it's automatically going to add the vignette to the size of our what's known as a canvas size which we can continue to find tune? We have our feather at our disposal that's showing you where it actually is coming in so it's coming in from that area that's something to remember that the feather doesn't start from the center and go both ways a lot of times that's what traditionally you think of as a feather, the feather goes both ways. This one is a feathering on the inside, so it's outside is not being affected by the feather it's just coming into the feather. What I'm going to do here on using this vignette is going to take advantage of the idea that our focus it was also not consistent across the film plane in an old camera. In other words, we had a d focusing of the file, okay, almost what you'd call that you know what it's not really shallow depth of field it's just that the glass, the optics of the older camera would not allow for sharpness edge to edge it's just part of the optics of it and you'll notice in here this has come up before. Here is our edge in terms of the transition from focused out of focus, but it's not making my frame any blurrier. And this is again going back to this procedural concept of that you can do this in any order um and it's going to do its thing. In other words, I'm not actually blurring what I'm looking at. I'm adding one little procedural adjustment this radio phil where the softening going on so okay, so well, god, we have that we can continue to move that out if we wanted to. So it's just going to be softening the edge game not a lot going on in the edge here, so I like that. I think that is good. We could add attempt to it a lot of the times what you're seeing in our instagrams and hips dramatics, it is actually not only are you getting a vignette, but you're getting a tent to defend yet it's a warmer or cooler than yet, so I'm actually going to do that as well I'm going to come up here and do the same thing that I did the final I'm going to kind of exaggerate that vignette and now you can see that I'm warming up the edge as well is darkening it. So actually, I've got now three vignettes, one vignette that's adding a color which you can't add with the other vignettes, right? The other vignettes don't have any color component or sharpening, so this radio filter is going to give me the softening effect and the ability that's kind of it we're going to exaggerate it for teaching purposes, so I'm adding a softening and warming with this fun, yet I am using the lens correction vignette to do a nice dodge and burn on the interior and then amusing my post crops and yet to give me a little border frame. The last thing what I'm going to do is back in this area of the facts when we found her post crafton yet is also where we're going to find our grain. We talked about the other day when we imitated a little foe in for it and this grain we can kind of see that over there in the corner you can I'll take that up just so you can see what it's doing it's different from noise it's clumping the noise a little bit together to kind of imitate the grains of film the silver that would, uh the sensitive things that are making us be ableto take photographs and print photographs, so we're going to take that up. The thing to remember about grain is you can take your roughness and that's going to exaggerate that klum penis, but size is actually going to be will blur your images, okay? Just like if you had a really high I esso film and it had really large grain, it would be softer by definition, so the default setting for that size is twenty five. I wouldn't typically go above that, but you could take that roughness. If you're really going for something, you can take the roughness up that will not change the detail or the sharpness of the file. It's just that roughness of the grain and I'm basically putting in just enough to get what's known as a tooth, a little bit of an edge to the file and that's how I use grain. So we've got a muted image here. We've got it before. After before after, we've got our warming going going on, even though we've muted the color, you know what I think I may want even a little bit more color because it's a beautiful again, this is friends of mine I only shoot friends it's nice that you know, not be a professional photographer because you don't actually have to worry about money since you do everything for free for your friends they're never going to come back to you and say, you know well, you know and for me you know, don't you hit that whining? You just wanna slap a client? You couldn't get more complaints from my free people that from really oh, yeah friends and family are horrible match you got to trade up uh, okay, so we've got a little effect here and I'm going to come over here. I'm going to click my little snapshot, we'll do a little too so I can always say that any time you see something nice, you can save it. If I thought that I was ready to save this as one of my presets and kind of an antique ng, I could use it over again. First off, I may just try it to see if I like it. Another image before I save a preset because I really take my presets is something that you know has really used to me, so I'm going to do that command see, come over here, I'll check all in this case and look through, you know, it could be that I had spot healing on this the crop now from saving it is a preset there's no reason to save crop as part of my copying and sharing it. I have done some tonal work on it in terms of some basic work to it really it's not part of this effect, you know, it's not like I did some exaggerated total effect, let me actually turned that off. I'm going to use thie white balance because I did use that we're going to use tone curve in a second to do a true cross processing effect. It's one of my favorite effects so we can use that we use clarity we didn't use sharpening we did dio color in terms of our vibrance and vignette, we haven't used split toning again, I'm going to go through, and you got to think through this possible process of this recipe in here, we did use the radio filter. The nice thing about that is that you can actually have that, uh, be saved as part of the presets, so it'll automatically drop in that radio. You will probably have to resize it. That's the thing to remember with all of these things any time you make a preset, though your likelihood that you're going to click on a pre set and go perfect is next to nothing. Just because there's image is always going to have a different color or tone or crop or especially if you're doing targeted adjustments, we didn't use any of our noise reduction. The only thing that we did in terms of our lens correction was a vignette. We did the post crap, we did the grain, the process and calibration. We didn't use anything in there, but this is using stuff that's taking advantage of the new processing engines, I'm gonna leave that on there, and there we go. So I'm going to copy that, and then I can go to a different image, say, over here and then do a command or control v now here, I could see if you remember one of the things that I did on that last one was I added clarity because it was kind of a muted thing so that I can immediately see on this one as much as I, you know, made kind of like the effect of portions of it. I don't like the fact that it's got the clarity to it. I'm going to take that down for this studio portrait shot. I'm also going to take my vibrance down, so here I've got that background, uh, taking advantage of this, this is going to be now my before, after before after I've got my warming going on I've got my different vignettes I'm going to check my vignette to see where that is on this file let's go ahead and see how much cropping so that probably this little feature right here in terms of our radio filter if I click on it is so far out there that's really not having a any effect so again keep that in mind I had cropped weigh in that radio filter that was on my clipboard is doing what it was on the original it was almost a full frame so it's still a full frame so I'm gonna come up here and this is going to allow me to bring in my thin yet that was darkening the file and we're going to get to that other pin that's off the thing you actually have to kind of cheat and bring it up this one if you remember this been yet, I had gone in and done quite a bit of work in terms of adding at color to it which again is not is pertinent tio this file but I do like the softening that's going on, so we'll say that this is my fine tuned a version of that antique before after before after I like can still I don't need that much let's take that vibrance down for antique really wantto mute it more okay, so I like that this now is a very different recipe than the other one. So now this is a new one for me to potentially use as a pre set, and I think this one is useful enough for me to use that I'm going to save it is a pre cents so let's, just jump right over to preset and come over here and again. What we're going to do is take advantage of whatever we just used so white balance let's remember in the last thing I did, which is what I caught a copy to the clear to the clipboard. Clarity have not used that just checking to make sure everything is fine there's my radio filter len's been getting post crop and yet create will call this antique one and we're gonna call it creative lives. I know I already have ones, and we will put it into our creative live folder that's the nice thing remember you can organize your is based upon folders now and create, and now I've got that antique one I one going back to that other antique that we just did in terms of a where was our, uh, woman that we were just looking at we did hurt was that where we started with it wasthe this one sorry s o I'm going toe save this one pasted it I saw was a starting point even though it has the clarity up, I'm still going to save it, so click on it call it anti to live hyphen o two it's using those same settings ok, now I've got another present and the nice thing is is that you can just hover your cursor over each one of these presets that you're making to see where you're at let's, go ahead, I've got another one that we did here actually when I click on it, I know this one has the same basic things and here going for it, it's the same basic recipe, eh? Auntie I q this is where you can jump around either between individual snapshots that you have maybe in one file we're doing other effects or in this case, I'm jumping two different files here's another one here, this is the one we're going to actually create in just a second, but go ahead and save it as a preset, and this one definitely has our instagram square crop and everything else. Jack, can I ask a question? You can this from john d who who says when creating a preset, why not leave everything checked even though you didn't use all of them? Is their disadvantage obviously leaving them all check doesn't require you to try to remember all the things you applied it's a very good question in this case we'll use this one as an example this is a nighttime nighttime shot of a carousel um at in san diego so the original file is actually very dark so for this one I had to pull out a lot of shadow detail and also because it was so dark it's going to be a high I s o so mike noise reduction and sharpening and shadow slider are all going to be for this image only if I were to click all and save this as a pre set and then use it for say that beach scene just a second ago with all that nice white background what is going to do is not only going to do the effect that I did but it's also going to apply that exaggerated noise reduction the exaggerated shadow correction everything that I did on that is going to be used on that file so by just isolating these color effects here and not that shadow information or not the noise reduction I get the flavor of this image this this colorful image let's go ahead and save that and I'll just go ahead and show you the before and after here's our before after so there's no reason on all that I had to do to pull out that tone in that horse and changed the color and everything else in the file is not pertinent to the beach scene so that's the reason it's a very, very good question it's much easier just remember if you were to use that thing of saving everything as part of your pre set, the amount that you're gonna have to fine tune is going to be radically better radically mohr also, if you just spent, you know, five minutes on the tango getting it optimized and now you're ready to enhance it and you click on the preset, it will throw away everything that you just spent five minutes on because it's using the optimizing for this image so I would really, you know, try and not do that on ly sometimes when I'm doing these exaggerated hdr, other effects, what I really am changing everything possible slider, what I do everything and actually brings up a really good point. I've got a little frame on here, and I've got a little vignette on here, and I've got a little softening on that edge. Forget the color treatment I'd like this instagram frame effect going on here. Can I make a preset that is not based upon the image itself, but it's just a component of it then yet presets and we talked about before making presets for things like a skin softening brush would be a preset that brushes not fixing the image it's fixing the skin tone if I want a frame preset then I can come up here and do that same thing I'm going to click on the preset and now I'm just going to check on the things that I used to make that frame which may be a lens vignette ing and maybe a post crop in yet it may be the graduated filter if I used one and that's all that I did I can see that I also did a little white balance in here but let's say that that's it that's all that I wanted to do so we're going to call this um frame lite insta no one for instagram ok and that's all that I'm going to save on that one I like it the benefit of having that framing if I come to a different image and want to apply just that framing structure to it I now have that exact frame that is different from say the anti king effect ok so I can isolate one from the other or here is the d set I've added the frame there's my d south the one that we made the other day since I used the d set for the black and white we can go over to that hs l saturation come up here and you are cool little you know re color a portion of the image so that case we did a frame we saved a preset click done who had a preset for d saturate click done. Now I'm gonna customize it just for the sky, and I manually adapted the image, so isolating out presets for specific things not over, not just overall color looks, I think is israel really useful? Okay, let's do across processing one, because cross processing, um, is also part of what is being done a lot the's days, and for that let's, go ahead and choose a different image. We use this image right here on the shot taken up, but light workshops, and basically what cross processing is if you're not familiar with the concept of the charm. Cross processing is, when you in the olden days, would develop print film as if it was a a print film, as if it was a transparency or negative film, as it was a transparency or transparency, as if it was a negative transparency. We're talking about color now, so a slide film you develop a transparent slide, as if it was a color negative and vice versa. In other words, you messed up the chemicals when you were developing it on purpose. Usually it was actually a first accident, but if you took slide film and developed as if it was a negative, you would get this weird, freaky resulting image, and typically, what you're thinking of in terms of across processing is the the highlights in an image go warm and the shadows of an image go cool that's kind of it you've got this kind of orange, purple kind of look to it and the way to do that there's two ways to do it and, um, let's start off with the better way for cross processing. You can also do it using the split tongue slider, but the way that came in with light room for which was great was the fact that we now have access from light room for two color channels in terms of our curves. Before that, you had could use curves for tone, but not for individual color channels and that's what we're going to do here. So for the first time in our class, we're going to go into our tone curve panel, and we're going to do something unnatural to it, which I love. The topic is coming up with that cross processing effect you have to looking over here in the curves panel tone curves panel down here, the bottom you got this is actually a little icon, and it shifts from your point curves from your kind of automated interface that's actually kind of really explain this a little bit. Because it actually has we since we haven't been using it for tone, I mentioned that because of the tango, you have access to all the different quadrants of your image or highlights you made tones for shadows for whites or blacks almost impossible to damage the tonal range of your image, using the tango and what's in your basic panel ridiculously magically able to take these different areas of your history graham and move them in different directions without flattening your tone curve really is freakishly magically powerful before that advent of those different sliders inside of the basic panel curves was your best friend, because that would allow you to go into your shadow detail and say, basically, I want to take this portion of the total range and take it up, brighten it this portion of the total range and take it down, okay, but you'll notice if you wantto take your highlights down and you want to take your shadows up, ok, at some point, what happens? And again, this is impossible to do in the basic panel I mentioned yesterday. If this tone curve gets anything close to flat, you're basically saying, what was this tone? And what was this tone now is one tone and you've completely destroyed your image now the thing is, is any time you do it in a subtle way, you're suddenly settle supple italy destroying your image in other words, you have to really know what you're doing in order to not damage the file with curves especially because you can flatten the tonal range so easily so let's go ahead and we set uh we don't want we set the entire file we want to reset just the, uh, curves okay, so they're powerful though now one thing that you do have it your disposal when you're clicking on this and switching between you're channel mode and your linear mode is not only can you come up here and click on a portion of your total range and then adjust it but you also have sliders which actually make it a little bit more you know is your toe work with so I can take just the shadow slider and it knows where the shadow it's our on this file so this is something like the shadow slider, but if you look at it, I'm actually flattening see what's going on with that shadows that's not pretty it's doing exactly what I'm asking which you please take that shadow area and take it up without affecting my mid tone but as I'm doing that, what is it doing it's starting to flatten that curve and therefore thrown away all that luscious detail in that transition between a shadow and what's you could say is your mid tones that is why I don't use curves or rely on curves to do my heavy lifting it is at your disposal and you can use it for fine tuning that one tip that I'll give you aside from those sliders is each one of these quadrants okay your shadows you're darks your lights your highlights you can come over here and actually change what is considered to be a shadow so if you really just want to effect that darkest darkest shadow you come over here and you click on our little let's undo that sometimes when I'm in zoomed up mode my curse that may be one of the reasons why my cursor keeps freaking out is that I use this keep zooming up but I come over here now what's considered the chateau region is just this little teeny area here so if you do want to find tune you can move what is considered a quadrant by moving this here now this quadrant right here known as darks ok coming down here is now being adjusted by this slider or in this case this tiny little area here is what's being affected by my shadow slider and we'll trying to a smooth transition to the other ones that's what it's doing it's doing a little parametric curve anyway that is the powerful feature of curves I don't mean to downplay it in terms of how powerful they are and how much they have contributed to the history of computer graphics but um I just want to let people know to be cautious if they are going to use it, we're not going to be using this linear fortune portion of the tone curve panel. We're going to come up here and use what's known as the rgb channel option, and we're going to do our special effects in here. So here it is the recipe for doing across processing one way of doing across processing effect here in light room. One point to remember and for those of you going, I'll never do this. I don't like those trendy things anything you do in curves you khun due in for video your shadow's slider in the basic panel can't be used for video. We love our basic panel. We love the thought that we can tweak video you can't use certain sliders in the developed module for video. The shadow and clarity and things like that aren't a viable option. That's makes me sad knowing curves is going to help you, because now you can use curves to a video and that actually will give you a lot of the power. You just have to understand those sliders that I just mentioned to you, okay, let's, keep that in mind even though you go, I'm not using curves, I don't do that. Curves are available in the video portion of editing in light room, as is the h s l panel, which we're going to do in just a minute. Okay, so tone, curve come up here and we're going to effect the red, the green and the blue channel independently of each other, that is what we're doing. We're purposely messing with the color, just as if we were purposely messing a transparent piece of film by putting it into a chemicals meant for a negative piece of film. So what I'm gonna do here is I'm going to do what's known as an s curve. I'm going to take the red, the green and the blue, and each one is going to be slightly different, but it's a very easy formula if you want to write it down now. It's easy, red, green is an s curve and the blue, you're going to flatten that curve. Let me show you what I mean by that, so I'm gonna come up here and I'm going to ask the reds portion of the images to be lighter. I want the shadow portions of the reds to be darker. I'm taking out, read out of the shadows you can see is I take this down on, we're moving it, you see how that is cool if I ng those shadows you can already see just if that for no other reason that right there for some people in different effects you're seeing is a, um cross processing effect. So whether you use one channel or multiple channels there's so many different color things that air you know being done now, especially in this whole hip somatic kind of area but anyway, so we're doing an s curve in the red channel I'm going to go to the green channel and do the same thing up and down okay, that is by balancing those two out I'm now getting a kind of a more natural orange from my mid tones, but I'm definitely cooling up my shadows I'm also giving myself this nice kind of, you know, it's just a nice flavor to it and get any one of these times if I see something vaguely useful, what am I going to do? I would first I'd save a snapshot well, only until I'm done well I save it as a preset it's kind like when I how I use a virtual copy virtual copy means I'm ready I got something cool, I want to use it for output same thing with a preset pre set is I don't just make a preset everything I see cool, I've experimented, I find tune with it but I can always come up here and do that command and for new snapshot and just give it a name here we'll just, you know, say seven so snapshots or so easy, but doing a quick command and control and any time you see something cool, so I've already got two different color effects. I could have saved that first one and read the last one is I'm going to go toe blue and blue, I'm not going to put in the s curve, I'm actually going to ask it, would you please take blues completely out of those highlights? There are no blues in the highlights, leaving behind the warms of the red and the green, and I'm going to say, would you emphasize or darken not that point? Take that very lois anchor point and move that up and I want you to take the shadows and I want you to take the blues and darken the blues in the file. So by taking out the cools in the highlights, I left behind the beautiful warmth that I got by what I did do with those first two curves and then am I going here to this blue one and taking it up? I'm saying, would you please take what was this darkness and make it even darker as it goes up? This is getting darker is if it goes down it's getting lighter, so I made the lights took them out by taking that down it's just a straight line on the blues and here's our before after before after on that one let's just use the tone curve so you can see this particular effect ok what's the technical term for that that's bitchin it's trending it's you did it so trendy I would never do that to my photographs you just messed up a perfectly good photograph from may I like it I like it it's pretty I don't care I'm doing this for myself where I don't do outside clients I can tell you though, that all your clients are being weaned on instagram in hips dramatic and if you can take this beautiful gorgeous studio shot which I actually did take it's not a brook crystal shot actually do shoot people in studio sometimes if you can take that and do that for the clients and not only do they see the beautiful story of all the wonderful lighting and the shallow depth of field even as you've done to it, but you've also taken it to another whole level of this wonderful patina or and, you know, cross processing effect all the better I'm going to a command in control and I definitely don't want to lose that they're ok and this one I also may want to immediately I'm just looking at that all I've done is the tone curve if we just look at the tone curve, ok, that is the only thing that's being done in this process right now, so if I'm I go, I like that that works for me. I can't I don't have to hesitate. I'm gonna go right over here to presets and come over here and I'm going to save this and we're gonna call this cross processing one. We'll put it in here, check none, and it is going to be our tone curve that is all that is being done on this file. I wanted to add to it if there was a vignette, I can tell that this probably post cropped and yet there's, probably other things on it, so I'll go ahead and add that to it as well, just because I have a funny feeling that there is maybe a lin's been yet and some other things, so I'm going to add that to the process the great thing about that that can be applied to video, as I mentioned, curves, works, plays nice with video and for me, that's very, very cool. Okay, we're going to get into video in just a little bit. We may even tease video before we get into our last break of the day jack last question you can ask two questions if you're alright mary in fallujah rest romania asked can you stack the effect of highlight shadows, etcetera and tone curve with the ones in the basic panel absolutely they're not they don't fight against each other the fact that I did this effect here if I come over to any of my different effects um no matter what panel that they're in if we come over here and we go you know what I want you know well highlights going to blow that out remember we've done what we did high key yesterday it's one of our effect so if I wanted to do that they worked beautifully together okay no problem whatsoever in terms of stacking that effects well actually we're going to do a split tone right now on the file and that also is something that could be applied to video and also can be stacked to another different element. So but again that we've got our image here if we go to a different photograph let's go to this shot here which we're going to do and we've got our cross processing one so here is a you know, cross processing on our little effective before after before after really exaggerated blue on this one and again to answer the question can we come up here and you know do a little shadow resuscitation or highlight this one had have the tango applied to it so here is our image here before, after before after so power of presets this case the creative use of curves ok, let's do a cross a split toning effect and for the split toning effect that's actually come over here and go our collections and do tone. We've got another image here that may work better for an antique ng I like this file here we did our little faux infrared, so what we'll do here is let's take out that go back to a pre cents and we'll do our d set so we have a aah! Black and white image however you get to black and white, go ahead and get to it. We'll use this as a starting point to it. I can tell I'm going to do maybe a little more shadow. We've got our clarity up and, um, that works for me actually let's do that h s l and we'll do our luminosity and we'll take that sky down and maybe the greens and yellows up okay, really exaggerated. We did this the other day when we talked about a faux infrared that hs help panel even though we're still in a full color mode here, we can have access to the luminosity, so I'm taking the yellows up on that foliage here's our before after before after, in terms of this black and white so now the topic is split tony split tony is what we typically think of as our c p a tony are tinting of a black and white image the nice thing is about the split tony is you can do it to an image that has color there's nothing inherent and saying that I can't apply a color effect using split toning to a full color image. This is also I just mentioned there are a couple ways to do cross processing a lot of people do across processing effect by using split toning rather than going into curves. I just love the look of what you get with cross processing using curves and actually, since you're dealing with the color channels themselves, it's a muchmore closer rendition of true cross processing because that's what was happening you were messing at a at a rgb color level with chemicals. Ok, I can see that my explosion would take that up there. Okay, so this is the split tony panel right here, and you do need to know a few things about split tony in terms of how it works. By the way there is no split tony and photoshopped, there are different ways to tempt and photoshopped even the black and white adjustment layer has a tent option, I won't recommend it it's buck bad, yucky, no good, no biscuit don't use it if you view stenting also on h s l u saturation and lightness and photoshopped, you've got a tent option both of those don't take into account the tonal range of your original they add the tent throughout the entire file, including your highlights if you've ever done tempting and photoshopped using any of those little buttons, you've noticed that you've actually gotten that kind of a muddy color inside your highlight it's it's hard to get a clean highlight in a tent inside of photoshopped trust me um and that's to me what makes a good see peotone is where you have control over where that color relates to the totality that's already in your file I don't want to muddy highlight I don't wanna brown highlight in my cb atone I want a nice rich color the a true cv a tone that was done chemically in the past was based upon what the actual tone wass that created the photograph to begin with so the chemicals were affecting you know that the cpi a portions of it or the saying a type of whatever. So I love that control and that's what we have here in split tony, I say that you can't do split tony and photoshopped, but of course now because you can put a cr as a filter inside of photo shop, you actually have the entire power of this develop module inside of photo shop so you now have my permission to do split tony inside of photo shop okay, so we were separating out the shadows from the highlights you actually if all you wanted to do was a traditional see peotone you don't actually need to use the highlight slider. What you want to do is you're gonna put color into the file into do if you just move this slider over here or this slider or do anything else to the file, nothing will actually happen over to your image. What you first need to do is tell it, okay, I want you to have some color to the file and well exaggerated just so you can see it well close up like this, you can see that I'm actually getting this, you know, red color just defaults toe adobe rent and so it comes over here and we were add a little bit of saturation and then you find tune it where you want to find your secret town obviously see peotone is an orange color, so I'm just going to move that over and now let's zoom back out so we can see what we're getting so here is our without saturation were telling it what you please ad saturation, we can go all the way up, and this is the sort of thing that you're more likely to get in photo shop in terms of tinting even show you in a second what you would get in photo shop in terms of your tempting this isn't bad you are responsible for how much saturation you choose and of course that's how much good taste you have be careful with that the really powerful thing about split tony is if you go I love rich rich brown sepia tone the problem is is that you may muddy the highlights this is the powerful feature and split tony the balance slider because this is where you get to say I want you to emphasize the color throughout you can see that it's now in the highlights this is basically what you get in photoshopped this is why I don't like in photo shop I don't like this is actually what I would consider a muddy highlight it's got the color throughout but if you come over here and go lean over to the right, what it's going to do is it's going to keep your highlights pure, not muddying it's still brown throughout it's a perfect transition there's brown throughout this entire file but I can actually keep my highlights clean, crisp they'll print out beautifully in terms of not being muddy and by actually taking the color, minimizing it out of the highlights I can actually add mohr saturation to the file let's choose a little bit more that and I can actually make a richer sepia tone without getting the money highlights because another words I can increased the saturation more than you normally would because I'm telling it what I really want is you to emphasize that in those shadow areas not in the highlight areas that's yucky this's pretty ok bad bitch and bad pitching yes question yeah it's actually kind of comments last question one of my favorite adjustment layers and photo shop is the grady and map going under the photographic toning is this basically what this is doing? It seems to be very similar but you you're having control of what colors and intensity here where there you've got twenty presets and some of them are really nice they're very very nice about I would not say that they're different this is on ly working at the colored level using a radiant map is going affect your luminosity on the image so it's actually doing double duty it gives you control over that tonal range and how you're going to map a grady int to the existing tonal range of an image so it doesn't work the same way could you get a similar result? Yes and is it more powerful than other ways and photo shop of mapping an image? Yes so it's very cool but it's a different kind of concept of it it's a different way to skin the cat as opposed to doing the tent it is in that sense because you can affect it and you can choose the grating that you want. You can say, I want more color in the shadows and lessen the highlights you so you'd be doing it manually. We're doing it now in these two sliders, okay, so actually, this would be better. And remember, if you're here and you're working on a raw file, your pre rgb on this files who actually have access toem or information, even when doing something like this monochromatic effect, okay, the last thing that I'll do here, that is people haven't even touched the highlight slider that is a nice, traditional sepia tone and it's going to be a little bit exaggerated again for teaching purposes. I'll put it in here, I could make that subtle again. I can just use my saturation slide slider to say how much I want here's my before after before, after the highlight slider is where a person could come in here and do a cross processing effect. So if I wanted a cross process something like this, what I would do is use probably a cool color in the shadows, and then I would put a warm in the highlights, and then I would probably balance out mohr. And we have to take that saturation up so I can see it so this is going to be and it could be you get kind of us scientist type or other things like that someone take that up at my saturation and then balance out. So here is one where I've got a c, b a shadow and a warm highlight in this file. Now for a true if you wanted to use this sort of thing across processing, I would not have gone up here and de saturated the file, right there's no reason for me you would at it as something on top of a colored effect. So what I'm doing here, let's, take this down a little bit by doing this split toning using a couple different colors. What I'm doing is I'm adding a color cast on top of my color photograph, I'm cooling down the shadows and I'm warming up the highlights, leaving it in full color. So that's another extremely useful use of split tony it's, not a c peotone effect. I'm now using it to add this color caste again, the instagram, the hips dramatic adding color casts to your image you have a lot of control, it's simple, just shadowing highlights slider the easiest way to get to it and it's easier than understanding how to mix colors in the rgb color space, which is what you're doing with curves. You know, when you have, you make yellow from red, green and blue, you know, that just kind of hurts our minds when we try and figure out how to do that. So it's. Nice in terms of the split, tony, because it gives you that ability to fine tune these color casts as well as do our sea peotone effects. So that's things relate to it. And split toning is completely available within our video within light room. So split toning and curves are two great way to add color effects within video in light room, as well as the h s l panelist completely available.

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