Lightroom 5


Lesson Info


I thought I would start off this morning doing a little review of what we did yesterday for those of you um, out we have a new, uh, class attendee that wasn't here, I'm going to start off with the tango that was the foundation for yesterday. How can you quickly and easily optimize all your images in five steps in five seconds or less? Once you get used to it actually the tango and the secrets and the reason for the sequence, hopefully we'll help you dramatically cut down this concept of optimizing your images. So with that let's go through this right here and I'm tapping the new option that's in light room five, which is the f k for full screen mode. Just tapping the ft automatically hides all of your different panels in light room and gives you a full screen mode with a blacked out interface great showing clients or spouses that you don't want to mess with your work. So here the five steps were doing a tango. Why balancing crop white balance does affect atonality of your image? Do tha...

t before you do anything else. If there's a problem, this is usually when you're shooting into artificial light, is there any kind of, you know, significant change crop? The reason why we crop is because whatever's inside the crop is the total range that light room was interested in the very next step, step two is auto, and that auto is going to look at what's inside that crop and automatically try and set your black point, your white point, set the entire dynamic range and actually go into your quarter in three quarter tones and mid tones. Try and fix those as well. It may or may not do a great job, hence the undue with a smiley face if you need it. In other words, it may or may not it's a bloody computer, cut it some slack if it makes it great for a stab at it. Awesome. Oftentimes it will do one thing really well and that's the main thing I wanted to do and that set my dynamic range, the black and white point, very easy for it to go in there, find out where the edges are of your instagram, said that for you, without clipping in any significant way, and then they'll take the stabat the middle tones because it may or may not do those successfully that's where this third step comes in setting your exposure, which is your mid tones, pride to light room for one, two and three explosion used to be your highlights that was kind of erroneous and confusing, so now it actually is what it's supposed to be exposure is your mid tones clarity is your edge contrast, and it has been changed in light room for which like him for like one five years what's known as the two thousand twelve processing engine polite room clarity's excellent, awesome! Fantastic! As we found out yesterday, I have a addiction have an issue with clarity because I love it because I do a lot of them do a lot of portrait work, but when I do use portrait, which will be starting with this morning, we're going to be using an anti clarity because its edge contrast that also means that a reduction and clarity is what's going to reduce the edges on things like wrinkles so it could be a skin softening brush. We're going to use that in a brush to target where we want to do some softening, but clarity is so powerful that it can actually increase too much contrast along an edge you can get carried away and a concert to plug up on edge. With that, I would do clarity before you do shadow and highlight shadow on highlight is going to be able to pull out huge amounts. Ridiculous amounts of information can be pulled out of a challenged file we'll call it using shadow on highlight, but by doing shadow on highlight after clarity in case you got a little carried away with clarity and got a little bit dark along those edges. You're going to find that the shadow and highlight filter slider going allow you to pull out that detail again, nick step whites and blacks again, he even if you used auto hit, maybe that you want to find tune it today, we're going to be exaggerating or tone ality in the image, doing things like high key images, and at that point, the whites, the blacks actually are kind of being used for a special effect. So having that in there is going to allow you to make sure that no matter what your I'm total range is set and then I step vibrance, which is intelligence saturation, it takes what's unsaturated and balances out with something that's already saturated as opposed to saturation, which is linear. If you got de saturated and already saturated files saturation, we'll take them both up, and that means you're already saturated. Files go up over the cliff of reproduce ability and good taste screaming to their death, as we mentioned yesterday, vibrant scares violence will try and balance it out. Vibrance is ex excellent at portrait because it is very judicious with the orange range of the color range and all skin tone, no matter what ethnicity fits into the oranges range, so it's very good for portrait's. And but the other we're going to be using both the saturation as well again today we're going to be getting into some color facts and special effects and will be using both vibrant and saturation been yet is now part of a tango I've had that in there since light room for because that shadow slider is so powerful you're going to be tempted to pull out shadow detail let's say in a face and hair and eyes with a little slider that will also be doing it the same thing to a background so knowing that there's actually now there's five different vignettes available in light room, most people don't know that you know that you can use those vignettes to throw that background back where it's meant to be so it's no longer fighting with your foreground then latest vignette and my new favorite one is this new radial filter of radio the grady and filter came in light room for and, uh the adjustment brush and now we have a new targeted adjustment the radio filter and we'll go into that again today actually it's go ahead and start with that and just do a little preview or a little review actually on the tango using this image here since we're talking about tonga one of the many islands and tonga and hears those five steps so first white balancing crop apple in this case uh see we'll take tap the archy have already done a slight straightening of the file when into the crop tool and it has thie angle tool here so just dragged drug addicted is the technical term along the horizon line and that is going to straighten up the image again. Tapping the archy is a toggle goes back and forth from your crop tool and out white balance if I wanted to if I open up my navigator window and take my little turkey baster up here, you can see is I drag it around the file checking up here in the navigator let's turn back on our little of noxious green arrow as they turn it around here, you'll notice that that navigator preview window is showing me what would happen if I were to click down now if I wanted to warm up the file. Obviously, if I click on something that's already cool it's going to try and fix that coolness this case by making it warmer. So if I go down into the blues, you're going to notice that the image is going to get warmer if I click on something inside that little island up here little what's known as little mo to, um it will cool the file more or I can warm it just slightly so in this case usually there's something neutral gray for some reason I didn't have the time to put a great tag macbeth color chart on the island so I'm being forced just to hunt and pick until I find something I like and of course I have the sliders at my disposal over here where I can come up in the basic panel and add a little warmth through it okay so crop white balance and needed the next step is auto hitting the auto button is automatically going to set the dynamic range we look at our history graham up here we click auto that automatically sets my point if I want to confirm that I haven't gotten any significant clipping by turn on these are actually icons up here it showcases if I look up here I can see that little blue that showing me that there is some clipping in the file it doesn't tell me if it's being clipped in red green blue or all three of the main color channels in this case if I hold down that option key on the mac or the all key on the pc and click on that black slider I can actually see where the clipping is taking place if it's black it's being clipped on all three channels if it is yellow, red, green or whatever it's a combination of the different red green blue channels if I want I can come up here and actually dragged that if I wanted absolutely no clipping in my shadows then I could move that up there's really no problem with having some clipping and they're either in a speculum highlight the whites or shadows I mean it's a shadow you're not looking for detail in there, so if I wanted to I can move that slider I can also without holding down that option are all key I can do that as well, but I don't mind having again a little clipping in that shadow in that area is totally fine another little reminder from yesterday if we take that slider over and actually if we want to set these manually if we go back and re set that tone ality back to where it started with I can also ask light room if I don't want it to do all six sliders for me which is what these areas of the tonal range or being a justin when I hit auto exposure in contrast, highlight shadow whites and blacks when I hit auto it's going to take a stab at all of those if I reset that by clicking on the tone button double clicking on it, I can also shift click shift doubleclick actually on any of these sliders and it will automatically just set those to what light wind thinks are appropriate so if you go auto never works for me, I don't like it could you just set the dynamic range for me? You know, give that to me shift double clicking on whites and blacks will automatically do that for you. And there again is what it said I do not mind that there's my dynamic range here's the difference when they hit auto and it's actually going through and bringing in shadows and white blacks, and does my highlight detail and everything else. So those are a few things there you can see there's a the slightest bit of white clipping there if I wanted to find tune that once I've hit auto again, as we mentioned before, whites is part of my tango, I'm going to turn off those clipping warnings there and continue on a hit auto what's the next step after auto exposure exposure is your middle tone value. You are responsible to it that's where most of your story resides again like room does not know what you start with a light image, dark image, what you're trying to communicate was it a foggy morning? Was that high contrast you're looking into? The sun doesn't know really doesn't care it's going to take its best stab balancing out these total ranges? I look at the middle tone value I ignore the shadows and the highlights when I'm tryingto figure out what to do with the exposure slider. And especially with a portrait that's going to be the skin tone? If the skin tone looks great, I don't mess with it, even if it is a little too dark or light in terms of the hair of the background, exposure is just your mid tones ignore everything else. The mid tones here look great. The explosion looks fine what's the next step after exposure part of that third step in the tango clarity clarity again, we've got issues with clarity. Clarity is that edge contrast, and you can see almost the three dimensional aspect that you can get by adding clarity. This is a landscape I could get away with murder, you know, for me, I like it. You are going to want to make sure that you, uh and again so here, double by the way, double clicking on any slider, not shift doubleclick, but just double click resets any slider in light, so another essential shortcut, and we give that to you again. Every single slider in light room you can reset to its default value by double clicking on the little slider itself, so there is clarity and double clicking on it resets that zoom up here, we'll do actually a fill a little bit and here is our clarity slider, you see, I'm starting to get a bit more of that shadow plugging up. We'll go ahead and turn on our highlight shadow. You can see that when I move that clarity slider, I am getting a little bit greedy now that is why followed up after clarity is the shadow so it come back up here with shadow and you can see that shadow is going to allow me to pull back in that detail that may be compromised with excessive clarity. Yes, I know that it is excessive. Ok, so that is let's again turn off those the clipping warnings. So again, here is the shadow slider by itself. Next is highlight and again highlight is up to you what you want to do. The nice thing is, is highlight like these other sliders here start in the middle. I can actually add highlight information as well as make it darker. So in this case, I can come up here and what it did. It said it to minus four when I had auto and again looks great. You don't get extra points. Doesn't mention yesterday in heaven for doing more work than you need to if it looks good and auto those six sliders great, you do have the ability to find tune and that's what this next step so exposure, clarity, shadowing highlight to pull that in there, uh, next is what whites and blacks again, if I wanted to find tune that in here, I can come up and find tune that a little bit, it actually took the whites quite a bit up in that auto. So if I wanted to bring that down a little bit again, turning on my highlights here is that white you can see where I could be compromising a little bit. I do want, um, dot in all of my white, so again, that can be used to fine tune the whites and blacks if I want to override that, uh, last is going to be vibrance and been yet so vibrance I'm goingto come up here, vibrance is going to be that I'm nonlinear, I'm saturation, I like it again. I'm getting away with murder, and the last thing is going to be vignette many different ways of doing a vignette I mentioned before my new favorite one is taking are new radio filter, and if you come up here and I'd like to get in the habit of resetting it, you can see that it had been last used on a plus. Clarity in terms of thes settings right here are shared by the radiant filter, the radio filter and the adjustment brush. They all have the exact same settings and their sticky between each one of these, so when I go into one of these targeted adjustments, what I like to do is come up here and reset the effect and that is going to be double clicking on the word effect if you hold down the option or all key and you're wondering what do I click on to reset a panel? Every single panel in light room can be reset to its default or zero doubt settings if you hold down the option king in the magic of the all key on the pc that word will change to reset in this case if you just double click on the word you don't even have to hold down a modifier key just come up here and double click on it and it resets it as a starting point so with that what I want to do is I'm going to do a little exposure down I'd like this technique for doing a vignette because it gives you the most control it's not one of the ones that are found either under the lens correction panel or the effects panel both of these have been yyets built into them my new favorite is this radio one and the shortcut which is essential he's holding down the command came on the mac or the control key on the pc double clicking in the window automatically sets the radio filter to fill your entire canvas area and automatically sets it to the exterior of this oval area that's the default it's known as the mask and unless you click on invert mass, which will be the inside of that oval as a default, it is set to the outside, which is what we want. There is my little vignette you can see up here that I've got, you know, the ability to go excessive, I'll do excessive just so you can see we also have this feather option here so we can go hard edge or extremely soft ege on that it defaults to fifty again double clicking on the slider sets it to its default value thief thing that I like about the radio filter is you are not unlimited. Two following the contours of your canvas, we come here inside of my canvas area, you'll notice that I have that little center anchor point like a half for the other targeted adjustments and there's nothing stopping me, I'm coming in here and moving it wherever I want in the scene, we spent a good tile deal of time on it yesterday will spend more time on it today, but I want I can come down here and actually move it down because I want that sky darker and I don't need the water is dark simply by moving it down, I've done a specialized version of this kind of been yet ing effect. I can also add other things that I can't do with other vignettes things like adding excessive clarity. Yes, you knew I was going there, or do the excessive clarity and pull out shadow detail, so in this case, I can actually darken the exposure the mid tone values on the edge, but actually increase this edge contrast by using clarity. So in this one little adjustment, you can see what I'm doing to the water it's actually brightening the water along the edge, even though it's also darkening the edge at the middle tone values they're getting darker, but the edge contrast is actually getting both brighter and darker, so in one fell swoop and of course, I could even come up here and I can cool it down or warm it up a little bit. You know, every single one of these sliders misters basically, the entire tango is in this one area. Any targeted adjustment, whether the radio filter, the grady and filter of the adjustment brush basically allows you to put the tango into a targeted adjustment and that being the last step in the tango would actually thrown a mini tango inside the rial tango, which gets really confusing by adding that been yet, but this is actually my new favorite way of doing a vignette and so here is what that one vignette did darken the outside again I don't need to cool it I like that and uh there we have it before after before after if you like certain vignettes there's another thing we mentioned yesterday and spent time on if you do something that you like I do this sort of in yet all the time I'm like the edge dark and I do this I do shadow highlighted clarity what I d focus I blur it maybe I take my shark sharpness down that actually is blurring the entire edge you know, whatever you do it could be that you come up with half a dozen vignettes I just love and since you all you need to do is command double click to apply that cool groovy it would be really nice to know that you could come in here to any one of these settings for any one of these targeted adjustments and this little area where it says custom if you click on it it gives you a bunch of presets but at the very bottom save current setting his new pre set the whole point is if you ever do anything that is vaguely profitable not to be capitalistic but if you look at anything you go I can make money with that I can save time with that that makes me happy ok figure out howto repeat that happiness okay, that is what we humans do. I like that happy I want more happy how do I save and have more happy at my fingertips save current setting his new pre set and I would come up here click on that and say these are all going to come up half a numerically within the little menu that we were just in so keep that in mind don't call it my favorite then yet because now you're gonna have my favorite fifty different things so you're going to call it you know maybe it is this is just going to be used as a vignette so you can save in yet and it's dark and b is descriptive ah darken clarity um I there be as descriptive as you want the nice thing is is that your client will never see this so misspellings are encouraged it proves that you're creative by misspelling so dog clarity et cetera created and it's and it has now something that you can access you know real quickly yes love that's been handing feature in light remind it's just so much quicker than tryingto do it in photo shop can I go backwards for my photo shop I'll to light room does just do have been getting you said I think a crime like moments ago I wanted but have been yet on it in light room because it's so much faster more efficient than you hood or if you had new photo shops sisi which was just released last night um adobe camera raw uh is now the brand new adobe camera which was also released last night, which is the exact same engine as the develop module in light room is now built into photo shop you don't even have to use adobe camera raw it is now a filter within photo shop which includes this vignette so everything and I just got chicken skin okay? I just got goose bumps because that's how cool that is every single thing that we're doing in light room if you're in photo shop and you go ok this infomercial jack told me that you know hand pretending hand you know my sharpening features this vignette feature everything that is inside the develop module here virtually is inside of photo shop now because adobe camera is a filter in photo shop and we'll do that when we get to photo shop later on this morning so it's an excellent question is matter fact that would be if for no other reason one of the reasons to upgrade to force fcc because now you're really adobe camera is updated to the same engine is too as the develop module in light room but also double camera has actually been built into photo shop itself as a filter which is just a brilliant way of doing that plus all the new other new features and cc and again remember mentioned yesterday there's all this talk about the the cloud and the cost of subscribing to everything when we don't need everything remember adobe is allowing a person to subscribe to the cloud of a single app and it's ninety five ninety nine a month so that gives you photo shop it would give you twenty gigs of online storage space it gives you be hands adobes you know site sharing and it gives you their training material it gives you you know, a ton of stuff access so in terms of you know, should I have great to photo shop? Cc yeah, because again that ends up being one hundred twenty bucks for the year, even if you did it so that's cheaper than the two hundred bucks a year, which is what normally it is step great to a new version of photo shop so there's nothing to be fearful of it, it just loads right onto your computer and you know for what I'm paying, I have everything now premier after effects and it's just opened my eyes to a whole new world that's a great sales pitch right there. If you're using more than two programs than the entire subscription, not just a single app is again a no brainer what you get for it is easily pays for itself, so but at least they single program is certainly a deal. So there is the tango if I wanted to I could continue while I'm here. I couldn't come up here and see you something like the grady and it's still set to all these different parameters. I can click and drag with the grady in't if I want to make that more dramatic and there I've just done kind of this moody storm about to come in and here is our tango before and after let's go ahead and make sure that this is my before. So here is our before tango after tango before after okay in that last thing yet if you wanted to, you could use the effects and he's one of the other ones but that's what we covered yesterday that was our starting point. Any review questions from yesterday? In terms of the tango, it is the foundation can great continuing on with a little bit of also review from yesterday we started off. We left off with this little project where we did a two different shots here we had some or somebody. So it was little excessively happy in this one and this one was not quite eyes open and we went into photo shop and combined the files using that auto align feature which is great another one that I wanted to mention today we showed it yesterday and that was something like this we're doing a little motion blur. Take the shot. No, tripod. I'm not only is the, um let's. Go ahead and close my little targeted adjustments here. I got the wonderful motion blur on here. But of course, the subject matter is a little bit blurry here again, waiting another second, changing my shutter speed back to a regular shudder, you know, five hundredth of a second got razor sharp. What I wanted to do, wass combined those into one where I've got the razor sharp coconut and the motion blur as well, and, of course, needed to add some little topography. So we're going to mention that those of the sort of things that you can do that's, a layer style applied to life type you. I have that whole set of wow presets if you go to that facebook page of mine like the page, and then click on the little star jack's freebies, there's a whole set of layer styles, brushes, patterns, textures, my first born male child, everything I could is put into that little set there was also mentioned yesterday. If I wanted to get back to this, this obviously is both this shot and this shot combined to make this shot, I want to get back to this layered file in photo shop so again, as a review let's, go ahead and do it with you and actually let's do this review on another project one of the ones we're going to cover today I've been looking for a really another great example because of you have been with me in the past you've seen projects that I've done on retouching and things like that specifically how do you get rid of glass glare? You go have already seen that project in that tip, you know can't you find other glass clear? I do have my shot my daughter just for this and it's not quite as good at sharing the subject matter. The subject matter is how do you get rid of glare on glasses? And this is the exact same concept that we did also yesterday when we took and took a shot this portrait we did yesterday where I had the little girl was looking down. I wanted to combine it with another shot where the girl I was looking up also last night I went in and added the father into the scene. So how we did this shot right here is exactly the same as what we're going to do with the glass glare removal here is our new little girl's head over here as well as the dad in the scene and that is going to be taking advantage of this ability to click on one shot down in your film stripping light room click on another shot right click on the to selected files edit in and now anna open his layers and photos show and we did this yesterday we're gonna do the same thing right now obviously the hotel's web connection was not fast enough for me to download the new c c this is the, uh, beta of sisi but this gave me on my two images here and that actually I've got to mention the whole concept of this technique is the way that you get rid of glass glare on a portrait is you get the shot you set it up person his glasses you don't have them tilted fifteen degrees and have their ear is going up could you look away from the light and you know there's ten million things or remove the lenses from your glasses could you please you know, just shoot the shot, get the expression make it as beautiful as possible go great love it thank you once and could you just take off your glasses and look over here click because this has inside the glasses it's not like you even have to match the expression or anything else like that in this case what I did is the exact same thing with myself I got the shot here it's not aligned it's not the same expression but it is the basically the same lighting in the same basic angle and what we're going to do is we're going to combine those two into one even though they're not matching the same resolution at the same scale factor or anything else I can do a huge amount with these two files even though they're not in alignment by going number up under edit auto align layers otto I don't need vignette or geometric geometric distortion correction that's for creating panoramas and that automatically aligned scaled rotated the two files into alignment cool groovy the technical term is bitch that's right? Right by the way that feature has been in photo shopped for one hundred years why hasn't anybody else shared it with you? Because nobody loves you as much as I did you take the main shot that has most of the people correct put it on the top layer you have your fix the person that that was not smiling and that smiling person is below sea change the order of the layers to whatever is appropriate and then you simply going to come up here and create a good old fashioned layer mask this is the layer mask icon down here and what we're going to dio is simply take a good old fashioned paintbrush it's a big soft brush up here I like using usually a big soft brush in my capacity is at one hundred percent I am using a walking let's get rid of our green circle here and basically what you're going to do is come up and punch a hole by making sure that your paint is black remember I mentioned yesterday some shortcuts tapping the geeky and photoshopped sets your default colors to black and white if you're working on masks, which is one of the main reasons for doing photo shop, you should know the geeky you also want to know the ex key looking down here in the lower right okay, tapping the ex key exchanges you're foreground in your background color so you can both add or remove from a mask d sets it to the default colors okay be gives you your brush since juan shortcuts right now, tapping just the bee key gives you the brush let's get rid of that green circle if any brush is active in photo shop topping, tapping the member keys automatically changes thie opacity of that brush, so if I tap the five key you'll notice up here it's now at fifty percent I don't want fifty percent I want two hundred, so I'm gonna tap zero qi if you don't have a brush active than tapping the number keys changes the opacity of the current active layer another great shortcut it's how to change the capacity of a layer so now back to one hundred percent black paint the mask is active you can tell that the mask is active I'm not painting on my face but the layer is active because it has this white edge on the border and I simply come up here and I paint in my regular I ok come over here holding down the space bar if there is a slight misalignment in terms of these eyes here and I can again come over here I can turn off this mask over here by using the shift key and I can see that my eye is probably I could move it the fixed eye or the eye without the glare could go up into the right just a little bit again the alignment is not an I align minutes the alignment of the two photographs so with that in mind I can click on this bottom layer give you another shortcut I don't I'm not I don't give nebulous shortcuts if I give you a shortcut it's because it's mind bogglingly useful the wiki which looks like an arrow right gives you the arrow or the move tool so by tapping the wiki you have the move tool and photo shop and then you're up and down arrows can be used to nudge something into place so now when I come up here I've got my eye in alignment I can even click on that up and over a little bit more I'm just using a nudge shift key is turning that on and off on and there is the, um, glare removed from the glasses before after before after okay, what were the steps? Take the two shots get him both in camera do your magic select them in the film strip down in light room right click open his layers and photoshopped select the two layers you need to tell it what layers to use we're doing a crowd scene again we could select five different layers right in light room do five different shots of course you're going to do the tango on one shot and then what are you going to do to get the other five fix that have all the other five kids that are messing up, innit? Select them and then synchronize hit the sync button and now that tango that fine tuning it you did the one will automatically be applied to all five take those old five they're still going to be selected right click open his letters and photos shot they come into photo shop select all five layers auto align they're all going to be alignment and then you're going to use this little trick to paint in or out whatever faces you want I'm gonna give you one last advanced trick because you guys are obviously very, very cool groovy people that was great! Oh no, we're not done yet it is very good and the way that people have been aligning photographs for one hundred years and photo shop by changing the opacity use the free transformed warp chris do use the difference blend mode you know, do the hokey pokey left foot in right out I do a line it's been in there forever why people don't use it because nobody loves you as much as I did that the last thing that I want to do here in terms of the eye is I'm going to use a little adjustment that a lot of people don't know about and that is I'm going to come up here the bottom layer is active, I'm going to click here and I got to do a levels adjustment, the levels adjustment is obviously going to affect what's below it on this level here and the thing with this little technique is that there is no diffusion of the light through the glass there's always going to be some change in the light through glass typically especially in an outdoor portrait there's going to be some it doesn't look natural it's too potent there's actually too much contrast going on inside the eyes here, so I'm going to use levels but I'm going to use again another feature that's been in levels for one hundred years, but most people don't know about this right here again let's turn back on our area so this area in levels is where you do here is showing you the history graham, this is your whites your blacks in your mill tone value most people to change values in levels will use this little slider up or down to find tune it which is fine but what in the world is this and why have I never used it before? It's actually incredibly useful this changes your dynamic range in the file it says what was fifty percent? I now went darker but what was fifty percent? I now want lighter. It actually changes the values in your file if I come over here and move this over what wass light in the file in this case let's say this was a in the scale of two fifty five this up to ten percent is now going to be pure white. I come over here. What was fifty percent? Gray is now pure white that's how levels work? These sliders compressed the tonal range by move this over here all this tonal range over here is thrown away clip thrown away screaming to its death this if I come over here and say what was pure white I now want to be a grayish, takes the remaining tones and doesn't throw it away it actually compresses it into this range, so you're able to decrease contrast without losing any detail the creative use of this is to create what's known as a rice paper effect a ghosted flypaper where you want to compress the range is if you're looking through your photograph, we'll show you in a second but let's zoom back out and what this is going to allow you to do it didn't come up here and in this case we're going to take what's dark and I want to compress it and basically you can see what I'm doing is I'm not just lightening the file, okay, which is what I'm doing over here or lightning the file by doing this, neither of those I want to do because those air actually be changing that the tone I'm gonna actually kind of compress the tonal range using this levels by moving this over so you can see what I'm doing is I am making it look as if the light is being diffused and no matter what it's leaving all that information there it's not clipping it as opposed to if I did something like this or it actually is going to be increasing contrast so this is decreasing contrast and that's going to allow me to do a really good imitation of the light coming through the glass ok makes sense that's a unique aspect of the levels adjustment specifically that lower portion of it which is used to compress your tonal range if you wanted to use that as a backdrop let's say that this was a backdrop and you were putting five other shots of the family. If you did that, same levels adjustment up here. As I mentioned, you could use this again to basically go back your background and now you're dropping another photograph to do a collage. That's the benefit of this is actually it's compressing that tonal range even if I go dark it's not plugging up the image. Okay, so it's a very nice way of flattening out the contrast in the image and then you drop your other photographs on top of it. So that's the bottom portion of the levels adjustment I don't want to use that for this image I'm ready to go now. Yesterday again we're talking about photo shop integration commanding control w save it hey w is just closing it. We go back into our light room. Yes, I know I have a few aps and here is our fixed image waiting for us. We have our originals and it automatically brought it into the catalog. It actually brought it into the same collection in which it was not only the same catalog and it's right next to it uh, it's brother in the film strip ok, makes sense and again, same sort of thing here going back to this concept of photo shop integration this is obviously the two coconuts and the motion blur have been combined little piece of life type if I want to get back to this layered photoshopped document I come over here and I'm going to right click down in the film strip edit in in this case I'm gonna edit in photo shop I don't want to open it in any other way because it's already been in photo shop one time it's going to give me this dialog box we touched on this yesterday briefly and the question is going to be it does not know whether I did more work to it it could be that I brought it in started in light room took the photographs tweaked it did the tango up into photoshopped did mike combining of the multiple images added a piece of type brought her back in the light room it's totally fine for me to continue to work on it in light room but if I continue working on her like movements asking me ok, would you like to edit a copy with your light room adjustments and um it's gonna leave the inherent what's on your film strip intact edit a copy of that original file the light room adjustments will not be visible on it it's going to leave what you currently have there but it's going to open it up in photo shop in other words it will not be working on the exact one that I was working on before it will be a copy of it so it leaves the original intact so again to do a variation or connected the exact same one I don't need multiple versions on it I saw a problem I want to fix it I don't need to version so ended the original and again light room adjustments will not be visible not be visible okay so I wanted to edit the original so this brings us back into photo shop here is our layered document which has all our little goodies on it including the piece of type there we have here so there it is you can see here how I did that composite once I did that auto align there is thie auto align the masking of the file so all I did was took the motion blur and with a really soft ugly mask just brought in the motion blur and left these sharp on top so again this is how you can shoot motion blur without a tripod I get the shot in motion blur yeah probably everything's going to be a little shaky switch your shutter speed too fast shutter speed take the exact same shot and then combine them that's if you're lazy and you don't want to carry the fifty pound tripod with you around when you're shooting the surf ok like me this is interesting here this right here is a comm combination of these two layers here and I what I wanted to do here is when I was all done I had the images combined I wanted to do a little vignette in a little stuff to it I love the vignette capabilities of the new uh light room slash though we came a wrong so what did I do? Well actually let's will actually do this we'll do it in the even cooler and groovy away since you guys are super cool and groovy I've got these two layers right here I now want to work on them and use thes brand new features of photo shop cc and I want to do it in a non destructive way so what I'm gonna do is I selected these two layers forget the type up here now and I can come over here and right click and say convert to smart object convert to smart object is going to take one or more labors and treat them now is one layer a smart objects remember it remembers its existence prior to becoming a smart object in this case this two layers were two separate layers with a mask and everything else that remembers that so when I say convert to smart object it now is acting like one layer document the great thing about this smart object is I can now run filters on it and those filters will be non destructive if I want to get back to that layer document, I double click on it, it opens it up in a separate document with the layers intact. Aiken still fool around with those, okay? I'm don't not wanting to do that, but I can now go under filter camera, raw filter. How cool is that? So camera all filled it now this camera, or like I mentioned, this camera, all filter is on the beta, a photo shops, sisi, not the released version, so it's actually accessing the older camera wrong, which doesn't have the grady in't in here, I should have upgraded it last night, but anyway, I can go up here, and I can certainly still dio the regular vignettes, and so I'm going to go to the effects panel just like there, and I can do that color overlay and aiken dio then yet, and they can increase the feather and whatever else like that. But the reason why the uh, radio filter is non here is because I haven't updated photo shops. Sisi to take advantage of the new deal became a wrong. So I've got this and here, and I'm going to say, maybe we'll while we're here, we can again increase that clarity, because we can vibrant because we can we had ok and it now has applied camera raw as a smart filter non destructively inside of photo shop okay, so now you've got that um and I did it to multiple layers normally you would not be able to do that and if I had multiple layers even if I had brought it in as a smart object from light room I could double click on it and it would have jumped it overdue dobie kamerad but I couldn't do that with multiple layers in this case I can take a bunch of different layers composited images maybe I've done retouching, which is what we're gonna do in a minute okay, so I bring up something I want to do some liquefy or some more major retouching and photo shop and then while I'm in photo shop I go you know what now I want to tweet that and with all your different layers I've moved hair around if you know did all sorts of patching and stuff to it, you could do the same sort of thing when you take all your layers, turn him into a smart object and filter all of those different layers that you've used in retouching using this new camera ralph filter it is very, very cool again I can actually it's not close it because I wanted to mention that type this type right here I turn off these effects is just a piece of life type instead of it being fiji, we could call this, you know um wow, ok and reposition it and that these effects are live. They are being applied in real time to the type he's what are known as layer styles and that is part of the six hundred layer styles that are part of that one click well, um, product that I have over it while creative arts dot com but the neat thing about that is with layer styles let's go ahead and we'll change it back to fiji because this is not feeding, so we're going to call it fiji. We can change the font or whatever else that we want to. It is that with that type activity even goto layer styles and in this case I get aa lot of him, but I can change it to any sort of and again, this is live type these air all layer styles that are being applied in the olden days. You would do this by creating a twelve layer document in photo shop, but these air now all being done in real time as live effect, so these air layer styles if you haven't played with layer styles, they are cool and groovy and trendy as all get out, but some of them are actually really useful so they are fun, and now that you're going to be doing more compositing than ever before, you can even do what I call my halo ones, which are kind of more subtle watermarks okay? Or not so subtle. Thank you, khun do all sorts of little now that's not a subtle lot of mark, but you could do something a little subtle watermarks more like this kind of stuff. So later on, we're going to tomorrow going to create a transparent png of your logo that you can use in light room for your water marking or video or whatever, so we'll talk more about doing these sorts of effects and photoshopped. But here these sorts of even more graphic design oriented someones are all being done with layer styles, okay? And you confined to any of these things these even if you don't get that one clip while product, these are part of the free ones that are available. If you like my facebook page and click on the little star of the freebies, you're going to get a whole set of excuse me of layer styles. The nice thing with layer styles they like everything in light room, are also procedural that means that you can change anything at any time. And they're not destructive there live meaning if I come over here there's a little stroke here and I can come over to the stroke and change the size of the stroke I can click on the color I go you know what that color I wanted to match the you know little purple in the water if I go to color overlay on the stroke and click on it and go you know what? I wanted to be that same color as the coconut and I can you know change the drop shadow on here and I want to be a little bit mohr and bigger and spread more so you confined tune you know any of these attributes in a layer style? Yes so in the the live type I've never used that but I have done a lot of strokes one type of stuff when you scale the type does it scale the proportions of everything else according leaders and making kind of fat bubbly when you scale the type it will leave the exact same layers style in other words it does not scale it when you scale the document if you needed to scale the document and said would you like to scale the layer styles at the same time is the document you can't do that automatically but in this case if you do what the topic is if we come over here to the type and we scale it down, and you can see that the stroke is still fat and you go, oh, that doesn't help me, because it's, not the style I wanted, what you do. Good question is that you come over here and right, click on the little cursive effects, and you go down to scale effects, slick, and you come over here and you go, you know, what would you please make that, you know, whatever you'd like it to be, you just saved me a bunch of time. Yeah, it's. Such a good trick to really good that's, a really good show, and again you can, because this is live type, you can come over here and then just said it, too, you know, whatever other thought that you want, okay, very cool, okay, and close it and again, it's going to go right back into our light room, and there is our image.

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