Retouch and Fix
Very glad that this has been a useful day. We're just getting started. The rial fund is going to be the next couple days. This is laying the foundation for it, there's so much that you can do, and hopefully in seemingly that's. What from the comments were getting, you're realizing that your workflow can be radically changed radically changed in terms of what you khun d'oh, how much you can get out, how fast you can do it on, because you're going to see in the next couple of days how creative you could be in the terms of your going to be able to have mohr options for solving visual communication challenges than ever before, and all of it without needing to go into photoshopped or third party filters and things like that there's great, their party filters and stuff we touch on those as well, but for the most part, it's, just amazing what you can do. So with that in mind, let's do another targeted adjustment. We've done a couple of the other tools here. What I wanted to do was a quick lit...
tle, um, graduated filter, by the way, this is shot taken, I'd mentioned the light workshops dot com in morro bay, california, this is more iraq, they put on event every year california photo festival, and they higher horses to run in the surfeit sunset and ten million people shoot him was actually probably fifty people on the beach right here at this time and it's wonderful place it's in the fall, and the california photo festival, also known as click, is a new excellent resource of live training, shooting as well as computer work. I won't be there this year because I've got another previous engagement, but it's an excellent source, and again, hala victoria smith and light workshops are excellent excellent teachers, instructors, photographers ok, so with that here's our image let's do review one more time our tango, I'm just going to jump right toe auto automatically sets my tone. I like that. We know that I like clarity we're going to do are clarity there? We're gonna go ahead and do a little saturation, actually let's use that vibrance. I don't mind that it's going to be little cautious with oranges, so right, there's before, after just literally, you know, three clicks let's, go to the graduated filter, come over here and it shares the exact same settings as the radio filter in the adjustment brush. Matter of fact, if you make one change in here, if I take, you know, exposure down and let's, say clarity up. And I jump over to another one of the tools you'll notice that it keeps the exact same setting which is actually really nice because if you do something with the grady and then you want to find tune it with a brush you're right there okay it's going to add it to it it's going to be an additional adjustment but it's right there in this case I've got exposure down and highlights up this idea of using a graduated neutral density filter on your lens graduate india's it's called ifyou're for me or that is excellent the ability to balance out and exposure where you khun darken the sky and light in the foreground is excellent and it's very very easy to do because obviously all you really need to do is set your explosion of course you can change it after the fact I also in addition to taking the exposure down I usually take that clarity up because yes, I do like my clarity especially when it comes to clouds so I'm just going to click and drag and you can see as I click and drag the distance is how smooth the transition is and obviously the direction is determined based upon how I'm dragging so I'm going to come over here and click that out the h key remember the h g is going to allow you to hide or show those pins I can change them after the fact in terms of any of these parameters, one where they are, I can change the rotation by moving just slightly outside of the pin and you'll notice that I can change the rotation after I've already completed it. If I move further away, I'll have a little bit more control in terms of control. Um, and again the transition I can click and drag on one of the points to change it, and in this case, let's also will take that saturation up and maybe even warm it up a little bit, okay, so going to add a little warm it or from really greedy one of those people that not only uses a graduated nd but adds a smoky color graduated filter to it. By the way, if I hear of any of you using those in the middle of the day trying to make it look like a sunset, you will be hunted down and hurt, okay, we've all seen that on bad tv shows we're going dude, it's twelve o'clock why you put in a smoky rose anyway, don't get me started, but I've come up here and let's just take a look at what we're doing is we're going to add one more I've done temperature, I've done exposure, I've done a little clarity up and now about ready to come up here and add a little color tint because I do have no morals and I were clicking here and I'm going to come up here and you can see that I can add that little rose color to the sunset so I've just done a half a dozen little adjustments and here we go before after before after okay so quick easy fast if I do a lot of sunsets right and I go that's great I never want to do that little radiant again maybe well let's add another well maybe want that highlights highlights down maybe you could you know again you can get highlights up in exposure even more down so away the clouds stay light come appeared um I never want to do that again it's got all these different parameters to including color right here where it says custom just like you could make a preset like we made that de saturation preset and we saved it over in the left hand side you come over here and click on this you have a bunch of presets built into light room which is great when we get into on fashion retouching will be making our own there's some here but I want to come over here and you see I've got a few messy ones that these were brought in from previous versions of light room you see I've got blush and de saturated and softened but anyway let me zoom back out because it's a little bit here when I come down to the bottom save current setting as new preset they all come up alphabetically alfa numerically so named them based upon the kind of the grouping that you want you don't have subcategories so if you have grady ints that are specific to sky grady ints than maybe it's you know your initials grad sunset grad midday grad whatever so name him exactly as you'd like because that's your organization so we're going to call it we'll call it you know sky sunset one crate and now we've got our own grade it we never have to make that again that preset will also be available if I go to the adjustment brush and I want to paint in that sky the nice thing about the brush versus the radiant is auto mask if you have an irregular edge a skyline of uh you know tree line you could use this for a sky without this nice move you know grady the other thing that I'm going to do here well I've got this is that grading is still active right if I want I can come over here and then just click and drag and I've just added that to my foreground now that's a little bit more than I needed to in terms of having that little purple it's nice that it shares the same color is the sky but I don't need that much so I could take that saturation down, okay and right there what that did is that gave me the little darker darkening of my foreground and docking of the sky so click drag click drag up I just made two of them as long as you move away from the original pin I just clicked and dragged it didn't have to do another one if I wanted to add something right around the horse I can go to my radio will come up here and say affects new we'll do a little bit of an exposure click and drag again I got to get used to doing that invert if we wanted to be on the inside yes clarity poor guy and uh we'll go to saturation and what's the shortcut for hiding that pin hiding showing all pins h for heidi exactly right? And then there is our before after because there's our story so that's a combination of both the radiant and a little radio just plugged it and I could have just as easily have painted that in with the adjustment brush. But again I like the grady ints question you were seeing this on screen now this was to be printed do we see the overlap of those three adjustment pins or no, they're actually nice and smooth I mean that's the benefit especially with these because there is no edges they all have feathering if I wanted to hear is that feather that's I'm still active so you can see that you know, there it is with none it's a really nice move edge that's why I like it even more so than the adjustment brush because it reminds me of the olden days with the enlarger so you are responsible for that that's why a calibrated monitors so good again, this monitor back here, I believe, is wait contrast ing and is not accurate but a very good point ok, actually let's do one more thing, speaking of which let's do that shallowing making a shallow depth of field I'm going to come over here to that, grady int we're going to come up here to our sharpness and it looks to me like this image is using the two thousand ten process if you notice those sliders, we're different, so I'm going to tell it to be the two thousand and twelve processing engine that gives me all my viable new options here, so I'm gonna come over here I'm going to do that sharpness what I want to do for these giant lily pads and I wantto blur that this is my story right here. This is the star of this story I want to blur my foreground and blur my background, so I've got my sharpness here and aiken actually do combined these different effects, which has also come up in questions so if I come over here and click and drag, you'll notice that I'm getting my blurry dh foreground, but I wanted to get blurrier and blurrier as I go forward, so this starts at one hundred percent of the effect and stops before it gets to the flower just as it gets to the flower if I click and drag here I've now this is now two hundred percent and then goes up to here if I click and drag here and click and drag here I've now just done a radical shortening of the depth of field on the file I could do the same thing up here where I'm going to do up here here here each one of those is adding to it if I tap my h key, this is what I just did, okay? And for those of you who are working with the earlier betas of light room five, adobe has done a great job of fine tuning this feathering of something like the anti sharpening or what is technically a blurring and they've done a really good job. So now it's actually quite useful device for changing depth of field, you know and it is it's a faking of it it's not a lens blur like you get in photo shop but it's really good and by understanding that you can combine these I think gives you a lot of flexibility I've got that last pin still active is there any reason toe not go ahead and take a little exposure down to again have the I draw toward the center and maybe click on this one and also dark in that down to further exaggerate that maybe again go over here to our radio filter and maybe take our highlights down invert that mass so it's going to do what's inside of it and now I'm going to come up here and now I'm just you can see how it's affecting the lotus so there's my highlights or coming down by mid tones can come up clarity yeah why not ok that's why god made clarity right okay so there is our before after before after tapping our f key gets us into our new full screen mode and it's another way of telling the story graduated filter very good for doing our graduated neutral density effect also sharpening effects you know I'm using an exaggerated version of this for teaching purposes so if you go dude you're hurting my eyes and I would never do that amount of blur cut me some slack you know I'd rather make it exaggerated for teaching purposes and they go ok so continuing on uh we've got I think enough of the radio that's just we'll do another one here another brooke crystal shot here which is just great going back to our radio one and uh again let's do that exposure down, we'll do that custom. Um, then, yet will call it what was the shortcut to automatically make a vignette that's going to cover your entire document command double click in the window and it automatically makes your radio automatically fits the size of your document. And now you're getting that ability to make your custom grady it now because the feather in here I like that feather again, we you know, I want that feather it's coming into the groom here in this case, I would come up and drag it up, I can even drag it, you know, away from them this is something that you would never do with the post crops and yet totally customized. I'm also there's gonna darkening that I could even if I again taking a dead horse, I'm using another anti sharpening on here. I'm going to come over here say, new double click on the word effect to reset it. I'm going to set the exposure up just a little bit and invert mask remember, this is acting like I've been yet is it didn't as a default, so when I invert mask it's going to be the inside a little bit of exposure, I just want to draw the attention to the face of the bride and the groom. So as I click and drag let's go ahead and zoom up so you can see what I'm doing you can see the tone right it's kind of neat that you actually see and it's a beautiful soft edge and I can well exaggerated just again for teaching purposes just ever so slightly and again him hide them and here is just what we just did with those two okay soften the background dark in the background lighting them up a little bit while that's still active they would come up here even do a little bit of shadow shadows going toe pull in a little bit more detail sometimes I use that instead of exposure because that's going to help with eyes helping them pop the eyes a little bit because that's right where obviously the shadows are the dark around the eyes so I can use that and again here is our before after before after the radio filter cool awesome free worth the price of admission if that was the only thing that came with the new light room five ok uh let's come up here and do another one adjustment brush will save this for some yeah let's do the adjustment brush because this also came up in terms of that targeted we calling it now targeted we coloring but it kind of is going to be a teaser for our time tomorrow I'm gonna come up here adjustment brush reset it this was from a shoot at photo fusion if you're an east coast person the equivalent of the california photo festival over in morro bay is something that's been going on in palm beach, florida for a million years called photo fusion f o tio fusion and it's wonderful another place that I teach at hands on they did great workshops and stuff like that with the model shoots that you get to participate in like I said, I don't normally do people that's why it's great for me both of these is they allow me to shoot, you know, models without, you know worry about it. So anyway, so we said it, I have the adjustment brush I'm not going to use the auto mask and what I'm going to do here is I think I'm gonna do what I did before where I'm going to take an automatically paint over the entire file and I just did a d saturate so now it's a pure black and white file if I tap, they what's the key to hide and show the mask. Oh ok, oh and I don't know monica vice I was gonna say if it was why? Why? Because we'd like you then if you're old enough to remember the mickey mouse club anyway, so there is my black and white what's the shortcut to get the eraser I have no idea it's been a long day for me too if you will down the option key on the mac or they all key on the pc that automatically gives you the eraser and now again I'm not going to use the auto mask I can see that mistral spot here I'm just going to come up here in a race and I'm gonna pull back in and yes, you go I saw you do this when I was six you have and um but it was done in photo shop and I love pulling in old projects that were done in ten steps and now I'm doing them in one step okay in photo shop and I'm going to come up here and that's where I get that and let's zoom m remember the really nice thing about the adjustment brush is let's get rid of that noxious screen is that as you zoom up it doesn't um and let's take this size or brush down when you zoom up, it doesn't zoom up the size of the brush, so and I'm going really kind of sloppy and I'm holding on that option team will do that is your pen pressure sensitive? It is pressure sensitive and I'm purposely don't do that because again, just for the same reason that I don't do flow um I don't do um uh the pressure sensitivity because I'm usually working so quick I'm not trying that's not what I'm trying to to do is do subtle as you can see here that's anything but subtle right so there is a little targeted re coloring to it it's the background which is being selected right it's the de saturated so there's nothing stopping me from coming up here with the shadow I'm pulling in shadow in the metals eyes she's young enough that I can maybe even get away with a little bit of clarity I think I'm going to add a little bit of contrast in here they were asked about that you know high key so we're going to do a little bit of a high key in here I don't like the extra contrast so we're brightening it up there and then uh let's go to our again new best friend the radio filter and will reset that exposure down you guys now know that that command double click I'm now darkening that background that's all I need to dio I'll say new but now lighten a little bit and we'll do that I mentioned that thing with the eye hopes to invert that mask so now I've got the eye again I would like the fact that I can come up here and brighten the eyes had a little bit of clarity is actually going to make them pop highlights I can actually brighten the whites of the eyes so right now with this adjustment is doing by doing exposure is brightening the overall area again the eyes recessed in the socket so needs a little lightning I'm lightning just the highlights to it which it's already knows where the lights are in the eyes so it's doing that clarity is edge contrast that's going to darken the rims of the eyes and also around the eyelashes okay so this right here is doing a big popped the eyes and of course I could save that is a preset same thing that same custom right there I could come up here say that is a preset but the nice thing is is that can hold down what are the keys to duplicate a radio radiant idea it's command and option you normally would do option is that is option or alters duplicate but that's being used if you remember right here if we zoom up here that's allowing us to change that intensity so you have to add basically the command an option and that's going to allow you to click and drag and get both of the eyes at one time and hide those pins so here is our before after before after and again I'd find tune some of those mass so there's a targeted color ninety percent of that is the adjustment brush my big old d saturate brush d saturate brush right here there is the background there's the world sloppiest mask if I want I can come up here since we've got a little clarity on here, we could even take a little you know, anti clarity if I want to do that if I take anti clarity on that background which is going to soften up kind of everything but what I do, I go over to those pins on the eyes and, uh, exaggerate that clarity so you can see that I can come over here and exaggerate that clarity maybe even well, that one still active I'd like it and I'm going to come over here. Is there a short cut to fill the entire image with the mask like in photo shop where you would, you know, all delete or control delete for foreground background color to fill a mask? No. Uh, no. The closest thing that I found to a universal one is that radio fail word automatically puts the radio phil on everything but there's no hand painting. I'm amazed because as a procedural editor that it's even allowing you to paint with such a beautiful, you know, seemingly pixel based mask. Really, what it's doing is it's remembering what you click on the size of the brush, the amount of feather in the and the path in which you painted it on so even that is still procedural and is not pixel based, so but, you know that would make sense uh let's do one more in here because the other thing that I would do you know what I'm going to dio whatever not done enough of on this file you guys are learning you are learning because this model's hair is so awesome that I can actually come up here and exaggerate that here as if it needed exaggeration so here's our before after before after and even can let's just you know, crank it up to volume twelve so there is another mask in this case what that has the world sloppiest mask it is clarity and some saturation as well as a little bit of exposure so again over the top and I think I don't like that anti clarity on that model okay, so that was on maura target adjustments this is a teaser for tomorrow when we get into special effects tomorrow is really where we're going to get into fashion retouching special effects and I wanted tio show that too this is another one in terms of that blurring the background um this one in terms of snapshots just to show you this is that same adjustment brush and using one simple uh background again using that auto mask and this case changing the depth of field and adding one other secondary one to focus on our subject matter over here let's take this down so you can see it show the pins again again big sloppy mask what does this one have? Yeah, clarity yeah, you knew that was coming this over here the background contrast down exposure up sharpness down in other words, I'm flattening the background to draw attention to the foreground and what that gave me is that ok, the fact that this is not being done in photo shop no pixels or harmed in the making of this project okay and a couple of more things related to global retouching as opposed to tomorrow when we get into more fashion retouching I mentioned we've brought up our new spot removal tool now known as the advanced chilling brush we have some dust spots here coming up let's look at a this image here and whenever you have this big sky like this, you have the potential of sense of despots, especially in this this is way old long time ago where nikon sponsored event where everybody sharing cameras and lenses and playing around and it's just it's a mess so you have to spot retouch it. We've all been there and you go through and it's think you've got it and then you do a print and you go oh no, the thing to remember with subtleties what may be subtle on screen is going to be exaggerated on print your screen has a gamut reproducible range of colors much broader than any print dimension typically because of that, what subtle on screen when you go to print is going to be exaggerated? It doesn't have the subtleties in print the gamut, the reproducible range of colors so what may be a settled transition between one cone tone another it is going to jump from one tone tow another on print because of that it can be difficult to spot so what has it'll be done to help with this process right down here visualize spots okay, visualize spots so you turn it on and what does it do? It visualize is the spots you basically said the pressure all the setting until you see the spots that are problematic the nice thing is if you've got an entire shoot that has this situation going on guess what every one of your images is going to have the exact same problem so you only have to fix it once and then synchronize your spots. Okay? The nice thing is because you can visualize it if I do one here let's, go ahead and take our spot removal tool and again will come up here and in this case because it's just got a sky, I'm going to use it much like it we did in the olden days when you just click you'll also notice that it's faster than it used to be even without clicking and dragging so I can get rid of it we've got that here we can actually obviously retouch well, we've got our visualize spots turned on and then we can turn that off there's our fixes we could just make sure that it did everything right but there's all our spots fixed I can now shift click through the rest of the images or commander control click if they're not next to each other and then go ahead and do the sink I think we don't want to check everything we want the spot removal say synchronize and now all of these images when we click to a different image it's now updating all that that's actually a lot for it to patch all these images well that it's due it's a little work so here is our other image here's our spot we can use that same command of control h the thing to remember is that you're responsible for making sure that you're not you know when you synchronize bunch of spots there's something now here I don't need that spot fixed I click on it and hit the delete key no one's going to see the spot it's hidden by texture or detail it's not an issue okay, so you are responsible for making sure that your images so I'm just going through and now I'm going to delete spots that are now overlapping a different one okay don't need that one okay and good so I just spotted all those images by using synchronize and then delete where I don't want them that's the new visualize spot option in terms of riel dustin scratches we've going to antique shot one I used this one for, um how to fix riel dustin scratches now this right here is a lot of dust I am not going to be going and using the spot removal tool to do that I might as well just shoot myself, but I am going to take advantage of something that's built into photoshopped four hundred years and to do that what I'm going to do is open up my film strip right click on this image in first offense actually go ahead and do our tango and so here's our basic here by the way, I kind of jumped right in because I didn't want to get too bogged down with the interface, but you'll notice that when I come over here and I click on these different interfaces panels over here on the right hand side in hs l and I click on split tony h es el automatically collapse and now I only have split toning in other words, when I open up one, it doesn't keep opening up all the other way one's meaning I don't have to scroll for a week and a half to get down to my camera calibration that's because I'm in what's known as solo mode ok every one of your panels in light room has the option of solo mode meaning that it only opens one pan little panel at a time great, awesome, elegant much more like adobe camera raw where each panel is separate it's called solo mode you right click on the label or if you can't get to it because you don't have a right click you khun option double click on any of the arrows if you zoom up here if it's a white arrow that you're not in solo mode if you turn on solo mode it's now going to be a dotted hero okay the dotted arrow means that you're in solo mode you can turn it on for each one of the panels in anyone of the modules within like room okay very, very cool and groovy I'll try and give you those interface tips as we go along in here so uh that was hs l so basic auto we can come up here and use a I'm looking at over here in my navigator preview window you can see I can come up here I like that right? They're beautiful like that up clarity why not mandatory and we'll do add a little bit of vibrance so there is and we'll do maybe a little bit of blacks and we might as well take advantage of the fact of the best sharpening I already mentioned to you that he's sharpening here and the color noise removal is going to be better here than in photo shop. We have no sharpening on this image, it's a little soft, we'll take that radius up. Do we like detail or not be real careful of detail. I'm going to take that and make that minimum an optional click so it's just on our edges. So here is our detail, ok got nice way down the path of fixing this image and again, back to basic and our tango. So here is our before, after before, after tango and detail got rid of the noise covered of the luminous added some sharp me so far, so good make sense you want to come down here to the bottom right? Click edit in photo shop no open as smart object and photo shop any time you know that what you're going to try and do in photo shop is use a filter to do a fix, go ahead and open it as a smart object there's no reason in the world for you, too apply a filter regular filter to an image in photo shop because that, by definition will be destructive. This image opened up is a smart object you can see right here that icon is telling me that it's, a smart object that means all filtering and photo shop is nondestructive which again is great it's great because it doesn't hurt any pixels it also means that and come back and change it later it also means that I can share any filter that I do on one image with any other image by simply dragging and dropping that smart filter from one document to another tomorrow we're gonna make smart filter recipes where we're going to add a bunch of different filters together do some really cool effect and then we'll literally without writing an action or doing anything else we're just going to drag that smart filter recipe from one document to another and be done again that idea of automating your workflow so there's a lot of reasons for smart filters this right here is what we're going to do filter noise dustin scratches and this is if you've been with me in the years past you know this is also what's known as a beard five o'clock shadow beard removal filter it's awesome in this case we're going to use it for actually fixing an issue the reason why some of you may have never used dustin scratches as a default if you come up here and mess with it it really is of limited value because it's kind of like smart blur looks for edges and blurs subtlety but where this becomes really useful is in this threshold setting down here it's the same concept as throughout the first the threshold slider in uncharted mask you're not going to be using on sharp mask ever again because you couldn't do all your sharpening in light room but this threshold setting is very, very useful because what it is is it saying at what point does the filter kickin meaning I want all the noise the digital grain of the file there but I don't want all those little, um okay pieces of dust and scratches okay, so there is the dust it got rid of the dust really well but it also got rid of everything else in the file so what I'm going to do now is come over here and move the threshold setting and see if I can move this so I can see it the threshold setting is at what point does this filter kick in? Meaning I can say as long as I'm polite say would you please bring back in the film grain without bringing back in the dust in scratches? So what that did not mean zoom back out is it allowed me to get rid of ten million pieces of dust in one fell swoop you take the radius this is the formula the radius is big enough to cover the problem the threshold is high enough to get back the subtleties but not so high aye that it brings back in the dust you see as I keep moving it I'm now getting back the dust so I want that as high as I can get it and I'm looking for subtleties around the chin here where I'm still getting that dust but I've gotten rid of all the other dustin scratches in here okay? So before after before after now how I like to use this filter and I say ok is one this did not affect my original it is tucked up inside that layer that's what smart filters do there tucked up inside my original so right here you can see that it is this nondestructive filter and it comes with a free no cost, no obligation layer mask so you can apply it where you want, which is exactly what we want and in this case what I'm going to do is I'm going to do kind of what I did in light room oftentimes I like filling a thing with a mask and then I paint in the effect so I'm going to use a shortcut to fill that mass with black so I have no filter showing it all it's hiding the entire effect in this case destin scratches and I'm going to give you a keyboard shortcut in photo shop now are for first time in photo shop the keyboard shortcut for phil any type of phyllis humanly possible is shift delete or shift backspace shift delete lets you feel with foreground background content aware pattern history black gray, white anything that you want so shift elite is really good to know in this case we're going to say fill it with black will say ok now I don't see any of that so now I can simply come over here and take a nice big giant paintbrush at one hundred let's get rid of that green thing over here and by painting with white is my foreground one hundred percent big soft brush I can now come over here as fast as humanly possible and get rid of all my dustin scratches and taking my breast down a little bit staying away from the speculum highlights in the eye right cause that doesn't know the difference between that going around the chin and now I've gotten all my desk in scratches done and here's my filter I can find tune that if it's not good enough and of course it's going to take you years to learn how to make a mask that beautiful but you may eventually get that good okay big slop ugly masque this is the same way you get rid of a five o'clock shadow if you're real nice, I'll show you tomorrow you can actually paint out an entire beard beautifully with this okay? And then what I'm going to do is I'm going to just do a commander control w and I'm going to say save and it said it didn't ask me what I want to call it didn't ask me where do I want to put it? Where did it go? Yes, it went right back into light room because of that photo shop integration that's the reason why photo shop is so such a great companion toe like move it is perfectly integrated right into that workflow. Ok, jack there's a quick one. Yeah. Do you happen to know if that's with six or just with cloud that that back and forth it goes with any version of photo shop? That integration is gorgeous in terms of our smart filter recipe, it has nothing to do with cloud it's not using the cloud to synchronize between back and forth. It knows it came from your library that location on the hard drive when you go up and back, it will put it right back, which is awesome. So you could make some more adjustments in light room now and then take it back if you wanted to adjust that mask a little bit. Well, now that's a really good point and I was going to cover that tomorrow. This when we come over here and look at this option here a couple things one this is a well is a tiff file. This could have been a raw file. It could have been any thing that was scanned filed so it was tip this one that has the noise removed is also a tiff file basically what even though it has all the layers in the masks I opened this up right now I confined to that mask or I could do any adjustment that I wanted in photo shop but you'll notice this one right here here's the image settings over here on the right hand side it's exactly how I find tuned it from my original here's my before and after when I come over here if it's made a trip into photo shop and back it's now a composite that's on top of the layered photoshopped document photo shop uses what's known as maximize compatibility makes a kind of flattened version of it on top of it and that's what's brought back here so one I can continue to work, but I'm starting from scratch I don't have access to those sliders again and if I do tweak this if let's say that I go into this and make this a black and white version here and increase my you know contrast or whatever if I now want to go back into photo shop and as I read it in photo shop it's now going to ask me okay dude, you gotta help me out here I can either keep it exactly as you have it now black and white and you're starting over okay, okay, this up here ended a copy with light room adjustments. It's going to leave that one alone so I've got another copy I can't go back to it, but what I'm gonna work on in photo shop is going to be a copy and I can continue to do that, meaning it's not going to when I get into photoshopped, it will not see the layers won't see the smart filter it's goingto be what I'm working with here ended a copy light room adjustments will not be visible. In other words, it's going to leave what I just did alone open up a copy, but it will be exactly what I'd opened in photo shop before I won't see what I just did the black and white, but I will see the smart filter and the mask and everything else, or I can edit it exactly as it is right now, I will not see what I did in light room, but I'm working on the exact same file that I just did, so you have those options, but you really can't have it all. You can't say I want this black and white and I want the layered because what was in photo shop was not black and white, so it says, you got to choose a very good question, ok, very good, yes question does it say like where is that saved when you bring it back in it goes right in the same folder and automatically imports it into your same catalog but what about this settings you changed like when you hit control w that saves as a preset all right when I did command control w which is just close that's the shortcut for close all they did was closed and it says do you want to say that I said yes so that's what that company didn't do anything special I could've been command asked I would've done the same thing commander control s I just did w because it saves the step closes it and asked me do I want to save it? So in terms of what was there brought the layered actually a layer to file is default a default like room goes and saves a file from light room into photo shop has a sixteen bit tiff file with layers as an option. So when in did all that stuff brought it back into light room still with the layers intact and then I could continue to try and work on it like I did when I converted to black and white um or I can just say I'm done typically in terms of work flow do everything you can in light room, which is what I recommend you need photo shop going to photo shop tweak it, bring it back you're done because that way you can still have access to it if you want to if you want to you certainly can continue to use whatever tools you want light room it's a hybrid depth file potentially billions of colors still at your disposal but that's up to you so it's back in your catalog with all that information you will notice that when you look at your history and things like that because it's bringing back in there it's latin copy from flattened version of the file from photo shop it doesn't have the history won't have your snapshots it's a it's starting from scratch from that standpoint yeah, good question yes, we're making all these color based adjustments and everything we set up different color spaces or I c c profiles within right light room well, it's working space is going to be this lab color space when you want to export, you're gonna have to want to know the profile for where you're going so again. Excellent question since like room four you have soft proving you may have noticed that this big this button right here in the tool palette again tapping the tea is the tool pallets will make sure that you know t because if you're going, how come I don't have solved proofing in mind that came in with four it's because that the tool palette the soft proofing is based upon a particular profile and a profile is a printer of paper and ink, so if you're going out to a particular printer, most printers these days have backwards calibrated their systems work with s rgb, which is an awful way of working. So ask your printer if they've got a custom profile that you can use because it'll give you a much wider color gamut than srg be. But that's, what you would do is you'd set up the profile, and then you'd use the soft proofing toe see if that profile is working, but in terms of the working space within light room, there are not different working spaces as there are in photo shop says it doesn't use pixels, it doesn't need to have that kind of space. The lab is the biggest, you know, color space that it can work in when it goes out as a default. It goes in as a pro photo sixteen bit tiff, giving the most possible color as you want. This is in preferences or in edit in light room and that's where you can come up to your external editing, and this is where you're going to set up what your color spaces and your bit depth and stuff like that really good question, especially with what we just did by going into photo shop. Aa lot of filters and photoshopped do not work in sixteen bit mode, okay just says way haven't rewritten the filters to work in that mode tomorrow we're going to do with oil painting using a filter. Um, that does not work in sixteen bit. You'll notice that even though the default is sixteen bit pro photo, I have changed mine to eight bit adobe rgb to go in. I've done all my color in tone and light will eight bit eighteen, eight bits per channel total of twenty four bits is sixteen million colors. If they're all in the reproducible range of colors that you want, you've done all your color and tone, you've done your tango sixteen million is great. Most of your printers can't even print sixteen million, so a bit is fine if you know you're going to go into photoshopped do a lot of color and tone work, which you're not, because now you know, light room, you could keep it in that sixteen bit for the billions of colors, or if you're printing out to a twelve color printer that has a very large game, it then you could continue to use the sixteen bit and maybe even use pro photo remember that pro photo it's almost impossible for you to preview that on the monitor that's even beyond it monitors dammit! Reproducible range of colors. So, anyway, this is under preferences under external editing. You can set that up if you ever go into photo shop and you find that your filters aren't there it's because you haven't set to sixteen bit, which is the default, and oftentimes I'll leave it at eight bit because that works grateful for my work flow. Very good questions. This is also where you're going to set up your external editors up here. So if you want to have in that right click, go ahead and automatically open into something like snap seat if you were lucky enough to get snapped seed before google, uh, took it away as a desktop app. It's, a awesome little external editor because it's basically all of nick software in one little plug in and it's very, very cool so you can still do that. If you do a google search for snap seed download, you may find it if you actually bought it but accidentally threw it away. You can actually read downloaded again so that's, just a little tip, but that's where you can set up your external editing jack, do we talk about the color space that you you use it all, there was a question about that. That's what we were just talking about I used the adobe rgb because it's aiken preview it in photo shop it's reproducible for most printers and eight bit since I'm doing all my color in tone and light room that's sixteen million colors of two to the eighth power times three just you always you always leave it that's my default setting, they'll be rgb eight bit. The default setting is pro photo sixteen bit. You have to just be very, very careful on that because it's very hard for you to you can't preview pro photo and sixteen bit means that a lot of full filters aren't available, but that's up to you, since you do all your color and tone in light room for me, that eight bit per channel is fine, and actually I'm doing most of my printing anyway from light room, so I'm going into photoshopped to do filtering and stuff like that. I want to have the filters available, they're only going to be a filled available, a lot of them in a pit mode, all right, perfect. And then in terms of output, the other time that color proving comes in, which is we just mentioned, is when you get to soft proofing and going after a specific printer either your own printer epps in watercolor paper, matte black ink you know those air profiles that you would prove to before you hit print so that's been in light room since like before you believe yourself proof good let's teoh one more patch one mention that again we've got patch one hundred percent we're going to come over here you mentioned it before okay it automatically can choose a spot you can see what go ok I want uh the area there like it a little dark okay so that patch I mentioned also that if you used forward slash key it will automatically keep hunting for you so you could just kind of look at it until you see something that you like ok so that is a viable option I don't like that it's it's semi intelligent sometimes you go it you know jumps ten miles down the road and chooses a person's face and I go I don't know how you came up with that but anyway it's a very cool that you can just do that by using the forward slash key to that so the patch tool is there the other thing I mentioned if you wanted to straight line you could actually click and shift click to do a straight line but there is a tsh to hide your image if you're getting a little duplicate here remember that you can you know come in and just kind of get rid of the things that are replicated also if you go ok there's an area here I want to get rid of that duplicate I go I can't paint inside it already has a brush right so what you can do is you can just click over here move that pin after the fact over it and now you can't paint a breaststroke on top of a breast stroke can you have to cheat though don't tell anybody you can move it back into position ok and let's see what he did that one this morning one more photo shop they were going to do a uh teaser let's do a head swap ok that's a great one here this is not the sort of thing that you would be doing in like well in terms of patching one you can't work on two photographs there's no such thing as layers so you can't say take this from this photograph and move it over here ain't gonna happen so if you've got something like this situation where this guy's just a little bit too happy game and you've got this one here where this guy's just a little bit too sleepy okay but he's now looking great and you want to do some head swapping and maybe hear these guys look great but that's not helping with the portrait you guys get this all the time right there's no way you're going to get a crowd and get everybody looking good so how do you do this quickly and easily you're going to shift, click now on two images we did our little beard fix, we're going to go now, that same sort of thing where we're going to right click okay and come up here edit in photo shop, but now you're going to notice because we have more than one item selected weaken, go in at it, open his layers and photoshopped so it automatically take both documents and bring them into photo shop, brings them in copies and paste them brings them all into one single document and you're good to go. You're good to go aside from the fact that they're not in alignment and they're not really helping you at all, by the way, this is my church staff in case you're wondering who would submit to this sort of thing. So, um so now what I'm going to do is obviously when it changed the opacity of this two, fifty percent change it to the difference blend mode, do a free transform and get these images to align, it'll take about a week, so if you can be patient, we'll do that. Oh no, actually we're going to select both layers go edit auto align layers, otto align layers have been photo shopped for one hundred years it's awesome it's cool, it's amazing how many people don't know that you just go auto you don't have to worry about vignette or geometric distortion this is more related to creating a panorama stitch just hit auto come up here it ok and it will automatically twist, rotate, distort automatically align your images you know it's not going to align all the individual people but it automatically took my background and aligned everything which is awesome got us ninety percent of the way they're so now we're going to take our somewhat sleepy person here and all we need to do is obviously we have two layers he's fine below give animation there yes it's at the end of the day thank you for the courtesy left and what we're gonna do is we're gonna click on the add a mask icon go over to our paintbrush make sure that it's filled with black by the way in terms of photo shop shortcuts be obviously gives you the brush tool good old fashioned brush tool that day deaky gives you the default settings of your colors of black and white you had pink and green d gives you the default colors ex exchanges your foreground colors so you can go from painting a mask to hiding a mask so d gives you the default colors ex exchanges, your foreground and background colors be gives you the brush reason why give you those nebula shortcuts is you're going to use those all the time you're going into photoshopped from asking you better know how to select the brush said it to black and white and switch back and forth between black and white ok and let us go down here we've got let's get rid of that green I can use my little square bracket keys change the size of the brush I purposely turn off the intros has that in terms of its click wheel for automatically being able to zoom in and out or change breast size I typically don't do that well I'm teaching just because my hand goes over it and it gets a little annoying so I've got my um mask active black brush set to one hundred percent and I just simply paint in the new head or in this case I'm actually punching a hole allowing the old head to show through okay so we got him we got that we'll say that that maybe this guy could be a little bit more smiley you have to be come over here and I'm going to use a smaller brush those I come up here at some point you have to determine it where you make that alternative ex keys so I can kind of come up here at some point it just gets a little bit you know it's a slippery slope on how far you you touch this out so well you know go ahead that that is good right there let's see anybody else okay you fix us again big soft you can get away with a big soft brush and without getting all freaked out in terms of that there we go okay there we just punch those holes allowing those fixes the main thing they're we use auto a line we select the two layers in flight room we've of course done the tango did we have to do the tango to two separate photos? No, you do it the one synchronize it to the other one great already done ninety percent of the way there right click open his layers and photoshopped comes into photo shop how did we select two layers you just shift click on two layers if you didn't have two layers selected you went I know you wouldn't fly and auto align is an option because it says dude because you do gay dude select the to edit how to align layers once we get auto align layers what the option auto you don't need bin yet or anything else you've aligned the images the backgrounds are in perfect alignment and then you simply punch a hole allowing one or more images to show through if you needed three or four pictures because you've got a big group and there's kids involved can you open up three, four, five different layers so you find each one? Yes, but I'd probably do they're bringing in five layers underline all five layers and then I would use the mask to hide everything so they're on this layer is billy's good face this is susie's good face this is jimmy's good face and you just paint in the individual good faces on one find the one that has the most good faces on it and then paint bring in all the other ones and then you just paint in bob cilman jew to me bobbie jo simi bob okay makes that same thing for head swap we could do the same thing so if we've got let's see there's this one here, that same sort of thing I won't even do it so here that little girl is completely in air we've got wet sand you know, there's nothing better than sunset wet sand I mean, this is literally across the street from my house my house is up here and but the it was actually you know, I wouldn't need to it but except this one right here that is a really cute face, so if I wanted to the alignment isn't going to be the issue I'm here I can take this one and this one again right click edited consider this a review edit in open his layers and photoshopped the alignment isn't going to be as much of a issue because there's so much movement were down the beach it's not like I was locked down by the way, that other crowd scene there was no tripod I wasn't locked down obviously the background wasn't aligned, but in this case I'm running down the beach so even I'm going toe, you know, not try and get it to to a lineup I don't think there'll be any benefit to that align process, so in this case I'm going to take this head and put it on to you know this body here and that's simply going to be that same sort of thing where I'm going to come over here and I'm gonna mask out everything but this face right here in other words, I want just the floating head so I can put that on top of their the easiest way to make just this floating head right here as I want to add a mask and photo shop, I don't want to go to all that trouble of making a mask and then filling with black I would just take way too long and you guys already know how to do that because I just did that a second ago, so I'm gonna give you the short cut optional role click on the add a mask icon automatically makes an inverted mask option on the mac often the pc click on the add a mask ice icahn automatically makes that mask and now what I'm going to do is come over here and create my floating head I'm not too concerned about it be perfect and now what I'm going to do is move that head into position and I would have to be a little creative with that commander control t I'm going to get it a little bit closer because of the uh her shoulder you get the idea and then again with that mask active now I'm going to paint with my paintbrush and with black so I want to hide they have too much and I want to use that here no I don't think I want to somebody used x in that slippery slope of how far do I do it that's quite a bit different let's x that we'll say her ponytail does this I'm going I'm gonna find tune this later when I'm done you get the idea we're gonna find tune that hair I could you know what there's nothing stopping me from getting rid of the ponytail altogether I'll probably even do a little patch on that so there is no one okay so again we're having our floating head and that's going to allow us to get that I'm gonna can find you in that over here ok you get the basic idea game we're gonna we're fine tune that later and again weaken just simply close it go back into light room and there is our new head waiting for us and do the same thing with this coconut image but you guys I've got it I love this shot I love the motion blur but with the motion blur hand held you know I'm obviously in the water that's out of focus okay waited a second got a nice razor sharp this one on this image and obviously I do the exact same thing bring these to both into photo shop take the infocus lay it on top of the slightly out of focus and I've got a razor sharp image any time you're doing motion blur if you're like me I love motion blur I often don't carry a tripod so one do it at a slow shutter speed click get the shot changes shutter speed to freeze the action click you've got two shots very easy to combine those two get just that razor sharp that you need of the subject with the motion blur because of the slower shutter speed so another thing how to get around the fact that you're not traveling with a tripod or something else like that are you cheating? Yes are you hopefully telling a more potent story with your image e yes I'll give you one last stories we open up for questions vincent santucci you may know world renowned photographer also part of the photoshopped world dream team we've got photoshopped world coming up that I teach at and one time I was sharing with him some images of portfolio review and consider him a mentor and going through stuff and he's looking at seven's nice and how come this branch is here in the image and that this was probably ten years ago? This is way long at the advent of digital when manipulation of an image was a bad word right? That was when everybody's in minutes not real photography and I was doing that it's not really photography it was really there and he's going that's the stupidest thing I ever heard you're not a photo journalist it has nothing to do with you recording historical element for posterity you are creating a piece of art for someone to enjoy to put on their wall that they can climb into that they can't live with that they can experience your job is to make a beautiful piece of art and if that means retouching or doing whatever it is that's your job you are creating an experience for someone to enjoy so whether you're swapping heads or doing whatever again you look at ansel adams state adams right when we all admire if you've seen his original work before and after his own retouching that was done all throughout the process negatives prince you know and everything else he retouched up the wazoo okay roads out cars, everything he did a lot of retouching on his beautiful beautiful work and then he would re shoot it and that would become a new master negative um and when digital came on, before he passed away, the side tax and stuff was out and he was going two thumbs up, he knew that his job was to make a work of art for people to live with. So in all this stuff that we're doing, especially tomorrow, and we'll get into enhancing images and special effects if it makes a more potent story if it strengthens and support what you're trying to tell with your imagery, great. If you're throwing in effect just because it's cool, then there's a good chance that effect is actually distracting from the story that you're trying to do, so always keep that in mind. Whatever you do doesn't tell a more potent story. Is it something that's going to make it mohr likely that a person's going to want to live with your art because of what you're doing in light rumor photo shot great two thumbs way up if it's not if it's just another effect than think twice and figure out, how can you tell a more potent story that is your job as an artist to tell the most potent memorable story that you can last month, we do have a class that is here a creative live I did on graphic design essentials. I spent the whole time a lot of the time talking about u s peace, unique selling propositions how do you tell the most potent memorable motivating message in your graphic design and advertising? I was again my original background and that is our job as photographers as well if you are not creating art that's memorable why you doing it right there's enough visual pollution on the planet to add your picture to the pile of flotsam and jetsam on the universe is really not necessary right? If you've got something unique to tell or another piece of beauty that's going to add to the world or another message it could be something that's sad and potent but it's adding to it you look at sandy putsch you know in all her work with now I lay me down to sleep at some of the most gnarly images you ever see these little babies that are terminally ill and will never leave the hospital and photographers come in to create a portrait for the families that's a use of photography and so anyway, whatever you're doing with your photography and however you're doing it, sandy does the same thing I sort of sandy before it she always gets teary eyed anyway questions jack I actually don't hosted uh huh now I lay me down to sleep workshops so awesome I had a very hard time getting through that day, so yeah, I know exactly how you feel but was amazing amazing really amazing hats off to sandy and all the ceiling and she's actually coming back of the end of the month the teacher yeah, fantastic yeah I'm looking forward to that. All right, we do have questions we have any final questions from the studio audience you guys have been great today, all right? Take it away and I think jack the majority of what we have is like just stuff we picked up throughout the day yeah, so I'm going to start with from keith when jack says do everything in light room before photoshopped does this mean sharpening vignettes and I mean ever like everything everything yes, everything humanly possible to think with anything with color or tone if you know where you're going with your sharpening then yes, by all means do you're sharpening as well but like I mentioned those three different types of sharpening your input to get his sharpest possible based upon the fact that your cameras probably blowing it targeted sharpening for the story that you're going to tell going into it but it's that output sharpening so that's up to you whether you know enough about how your image is going to be reproduced you know it's only gonna be newsprint you know it's only going to be coded stock you know it's only going to be a metal print you won't know it's only going to be a gallery rep canvas if you do do everything in lightning before you go into photoshopped, it doesn't excellent job is sharpening in light room is magnificent better than what you've been doing photo shop if you're not sure about that, then you can do that save that for watch out what you're going to go into photo shopped for, of course is going to be your things like we just did, combining different images tomorrow we're going to get into liquefy and doing some body shaping and that sort of advanced we touching anything related to filters you can get some diffuse clothes and some kind of you know glamour glows, but there are some things that actually photoshopped does better, but in terms of doing ninety five percent of your work in light room and one hundred percent if possible yes there's no benefit to go into photo shop let's say just to do a levels or sharpening or black and white conversion you really should never ever, ever, ever, ever ever have to do that ever again. Amen that's bitchin jack all right, I'm going to ask this question there the word saturate is in this question four times, so I'm going to see if I can say this correctly, john mcdonald said what is what is the difference to what is difference to de saturate saturation slider versus black and white mix versus hs all saturation de saturate the colors were talking about in light room. Yes, on dh because light room uses the lab color space de saturation is slightly different from hitting black and white because even you de saturated leaves it in full color. It's just taken out the color of the red, green and blue channels. But it's it's still using three channels when you hit the black and white it's actually turning it into one channel so there is a slight variation on it. Both of them are good and there's not necessarily a good or bad. You could do both of them and go. Actually, I prefer this one on this image, and I prefer this one of this image photo shop you would never, ever, ever, ever de saturated image and photo shop, because that does not use the lab color space and it would throw it away and has the potential of making it very muddy. So it's an awful way of doing black and white conversion. The main difference, as I just mentioned, is why you would not turn into black and white and light room is you still wanted to have access to the color channels and as this example in h s l we did that targeted, recovering a portion of it that would be the main. If it there either way whether you d such rate in hs l or whether you go to black and white and h s l you still have access to the luminosity portion of it so you can still lytton skin tone darkened backgrounds and do all that so either one of those ones you still have access to sculpt that black and white anyway that you'd like doug from downstairs asked where we're going to more now they had computer access time all right that's pretty good probably dial up so all of the everything that we see in light room all of this masking all the blurring is it still not destructive and not adding to file size yes and yes virtually that the size of these little pieces of metadata these sidecar files or whatever you want column are minimal they're just little teeny text files so it's virtually no addition to size everything by definition in light room is not destructive because it doesn't deal with pixels it's actually impossible for you two right over your original in that room that's not how it works so no matter what you do it's going to be non destructive so it's awesome as opposed to photo shop where obviously you can be very destructive and photo shop because as soon as you go from anywhere in the photo shop it's needing to create pixels you started with the raw file it had to throw away tons of information just to make it into pixels and once it's in pixels, it's cooked everything into that file that's the difference between a raw and a j peg, even in photo shop, even if you have a high bit depth file, basically, you're cooking it like a j peg, so photo shop is destructive even though they are moving into more and more procedural aspects of it. A smart filter technically, is a procedural adjustment in photo shop it's, a non destructive filter because it's real remembering the sliders in that filter and allows you to undo that so photo shop is moving more and more to procedural effects. Thie blurring of a mask in the properties panel is a procedural gazi and blur so photo shop is moving that way, but still much photo shop is destructive, whereas everything in that room is not destructive, driver, forty nine, had asked, and I believe what they're asking is, if you're using two filters on top of a photo, is there any way to adjust them both at the same time or a way to group filters? No, if you're doing an adjustment, um in light room, let's say you've got to radiance and two separate grady ints doing different things, can you select both? And have both of them operate around at the same time no um you can't not that I know of unless somebody knows some secret mickey mouse club handshake pretty sure you you know everything I think well I don't know the closest thing is the thing that is new is the radio filter because you can now command option or control out and drag over you still can't link those too, but at least you can have them and share them as opposed to something like the adjustment brush or the graduated filter you couldn't you couldn't you know do one eye with the adjustment brush what you can do is you click on that and then click over here and you know anything you do with one adjustment brush until you say new they're all kind of linked together but the one thing that they've added with the radio filters you can duplicate a spot and then fine tune it or reverse it and do the background like we did earlier awesome thank you rachel would like to know once you've taken your image into photo shop and then back into light room do you have any of the raw image information available to you any longer? Yes depending upon how you went into photo shop if you when you right click in photo shop and you said open and photo shop as smart object by definition a smart object remembers wherever it came from if it came from a raw file in light room and it went into photo shop, it still maintains all that raw information. If you go into photo shop and maybe do that filter, we did our destined scratches. Tomorrow we'll do an oil painting if you want to get back to those raw sliders. If you double click on that little icon for your smart filter in photo shop, it actually will open it up in no dopey camera raw with all the sliders and everything else that is at your disposal. So if you had full color, raw file opened a smart object, you can do all your filtering and all that stuff, and then you go. You know what I think this would be great is a black and white. You could double click on the icon for the smart object. It opens it up into a dopey camera raw turning into a black and white fine tune it close it that brings it back into photoshopped re applies all the smart filters and you had access to that raw data. When you bring it back into light room, close it again. Now it's going to be working on basically the flattened tiff version of it, you can still access the raw data if you want to. But you would when you say right click edit and photo shop is going to ask you you want to go back to the layer documented photo shop and forget anything else that you've done here in light room or if you dunmore tweaking to it, you're gonna have to decide which is more important to you know, keep what you the secondary you know light room photoshopped back it's up to you whether you want to maintain that but technically if you bring from light room into photo shop as a smart object, then yes, the raw data stays with that document for the life of that document even when you come back into life cool all right, one final question for the day a question that had come up earlier jack is would you ever consider writing a book or do you have any plans to write a book? Got about fifty books out right now? Ah about two million copies and twelve languages but I'm no longer writing books just because the publishing paradigm is one challenge these days and two I actually I love video training. The nice thing is you're probably finding out here able to cover what we already covered today is way more than any of my wrist the books if I covered a recipe I would cover five points and I could give, you know, background cover on the topic and you'd have to know all those five steps because there's, probably between step two and three there's probably a two point five that presupposes that you knew how to do that when I say invert the mask if you don't know how to invert the mask you're stuck in a book, I'm going to tell you here, and also you're seeing you're watching so it's it's impossible to get lost, hopefully in a video, I can elaborate until the wise behind the well when we do live training, and also, to be honest, this for may for this creative lives the first time I've taught in front of a live audience and it actually helps a lot. I love it the fact of being in this environment because it's much like it's, his clothes that you're going to get to a live work shop, which I love doing so for all those reasons, I have not been writing books, and I don't have any planned right now, even though I love books and obviously there's a bunch of great authors who teach here a crate of life.