Retouching and Enhancing in Lightroom


Lightroom 5


Lesson Info

Retouching and Enhancing in Lightroom

I was kind of sneaky over here when we're using these pins, and I created this area for for one eye, right? And then, well, that pin was active, I jumped over, moved over to the other eye, and then I continued on, and then I went back and I did the iris areas over here. And then I mentioned that what I used for the whites of the eyes of the same thing that I can use for the teeth or slight variation on it. But I went down to the teeth after I jumped to the iris, and the question is, how did I get back to those settings for to use for the teeth? So the thing to remember about these areas of adjustment is that they are just like layers and photoshopped. The closest thing would be to think of them, as you know, adjustment, layers and photoshopped. If I wanted to get back to this one watching over here a tw, this the panel for my adjustment brush when I click here, it went back to the de saturation in the select frightening, so that mask areas still active. Now I just scrolled down and sta...

rted painting in on the teeth, and that is all that I did, so you go back, you can go back to any pin that you have used and you're basically going back to what would be an adjustment later and photoshopped remembering that in photoshopped you'd be doing this with a multiple sets of adjustment layers if you're doing both something like brightness and contrast or brightness and de saturation so that's the thing to remember I'm also going to go back up here and mention one thing these air kind of unique eyes you'll notice that on this area here it's a real sloppy adjustment I didn't want exaggerate it's not studio lighting so it's not like I'm going to get this really exaggerated but just like I didn't before if I wanted to I can use that eraser and kind of fine tune this you know well basically crescent that I use for lightning the eyes so I can you know make those a little bit more less geometric but in this case it's still fairly subtle when I did that you know when you look at this those lightning of the iris are not that dramatic last thing I'll dio give you a little tip here if you wanted to change the color of someone's eyes but this came up yesterday that I can only there's no ability to have a chess eleana brush I can't shift everything over here I do have my color tint and temperature this isn't really white balance remember this isn't even though it looks like it's the same colors white balance it's not it's just a tent slider so it's it's not true white balance is not getting to the degrees kelvin it's measured in zero it's not like the tango white balance but I can't come over here saying new I want to do a new adjustment aiken reset it I can come up here and paint over the entire I let's just go ahead and do the entire eye it's almost going to change that a little light in the speculum highlight I'm going to tap the okie so I can see that mask so now I'm going to come up here and just do a real quick adjustment over the iris the color of the iris hide that mask I haven't done any adjustment to it yet and basically what you do is you have this color ten and now we're going toe or after lunch we're going to do some hand tinting and this is what we're going to use to do a hand tinting and this is where we can shift the colors to whatever we want not just in this case I could add blue okay and I could you know start getting it toward blue if I wanted to in here and I could take that shadow slider you know I can start getting what would be a pirate aqua so I can you know if I wanted to I can do that kind of effect but if really if I want to change anything any color? We did this with a car yesterday rather than do that temperature intent situation here what I'm going to do is click on first off the saturation if I'm wanting to add a different color, I first have to remove the green that's there because if I just come up here and add a tent it's going to be a tent at the transparent tent on top of something else, so what I did just there is I took out all the color by d saturating it next if I wanted to, I can also come up here and use that kind of shadow slider I'll make them a little bit lighter and now when at a tent so now I can make them, you know, blue or green or whatever color I want if I want them to be kind of an aqua color, I can come up here and do this tent I removed the color that was already there. Now I can do whatever I want in terms of this in terms of setting the eyes, getting a little carried away remember if I change the that the brightness of the eye too much is going to look like she's demon possessed and we're gonna work on a pupil of the eye a little bit later, so anyway, the idea of changing the color of the eyes and that again is going to be a little bit too much you can come up here and uh do it by we're moving the color that was already in whatever you're working on I car product tennis shoes whatever you remove the color by taking the saturation out and then adding the tent here so that is giving us our changing of the eye colors yes once you have a mask set up like almost eyes right now but what if you wanted to expand the feather of that can you do that after the mask is honored to have you ok you have to do it now again that's a really good point that this entire thing here let's go ahead and take that pin um no well the thing with the new radio filter it's a perfect circle now her eyes there are quite open but usually I lives going toe come over it I could probably get away with messing around with the radio filter because your eyes are so open but still this is a use for the adjustment brush I want to come up here but keep in the back of your mind the uh radio filter and it could be that we use the radio filter um to change that uh pupil know we're here let's go ahead so I'm gonna come up here with the radio filter and basically the concept with the radio filter is you want to change the middle tone values and get them real dark without affecting the highlights in other words, there's oftentimes a speculum highlight that's going over a pupil so let's actually go in a little bit closer I'm going to start in the center don't come out I'm going to hold down the shift key so it's a perfect circle I've done no adjustment yet so I'm going to take my exposure down groups remember we're going to invert that mask is a default it starts off outside it's a vignette tool basically so now I'm going to take that exposure down I'm gonna take that feather down and what I'm basically going to do is I'm gonna match the softness of the photograph okay? So I can come up here and this is what's great about this particular technique right here is you can do it after the fact if you do a brush exactly like you were asking and you change it, you're gonna have to repaint it if it was too hard or too soft you're going to have to repaint it. So I've got that radio here darkening it up but I hide that over there and I want those highlights ok to stay light in other words, I want to be able to see the highlights that are below while taking the middle tone values and taking them dark now the thing is is that pupils really aren't pure black you know they because again just like the claire on my glasses there's a natural diffusion of the light the ambient light is hitting the surface of the eye so it's not going to be doesn't need to be pure black let's go ahead and we're actually going to scale that up and reposition it I'm gonna gonna open up that I even more so another thing to remember is often times depending upon where the camera is in relationship to the iris they're not always perfectly centered on that's a little disconcerting sometimes you you start to increase the size the pupil you gonna go so just keep that in mind let's move that back over here and I just increased the size we're going to make that a little bit harder you can see that I still have that speculum highlight I can still see that in there we could even take our contrast up there I'm taking that clarity up a cz well that's exaggerating that edge contrast so I can still see basically the horizon line inside the eye. So I've taken the iris and opened it up, which we all like right? Beady eyes, beady eyes or bt for a reason and not liked for a reason and the cool thing here though is that I've got the exact signs I've got the settings I've got the softness I've got everything and now what can I do to duplicate a pin? First time we've been able to do this and slight room five you hold down your option key and command key at the same time in drag or control ault on the pc and I'm actually making a duplicate so now what I'm going to do is move this one with all the settings intact over here which I'm still able to see that speculate highlight zoom out hide those pins ok that's kind of scary you know that's dark a little bit too dark so again I'm going to take that exposure on both of those I don't need them some would click on both of those and there is our before after before after let's zoom out even more because you're gonna have to see it in context ok and again I can make those maybe a little bit too big she's outside you know that our mind says ok you're outside your people they're going to be a certain size basically if you're in a studio setting your honor bright lights going get real beady eyes which we're going to have in the bride in the second and the trick is as you guys know is that you shoot it and then you have the person close their eyes and then open it up and you shoot the shot before they get a chance to the idea of you know so that is that's going to take a while for us to look at that for them to seem natural because right now they're kind of freaking me out that they're big but as opposed to them being small, I think that's actually is going to be a benefit yes, these targeted adjustments are great my photo shop minus looking at them as individual layers what happens when they start overlapping? What takes precedence? The order that they created it's exactly what happens you absolutely right there are times and it works when we get into retouching as well if you're using the spot removal tool now known as the advance healing brush when you have one adjustment over another one, whatever is done on top last is going to be on top so when you especially gets a little tricky when you get into retouching because you can patch an area that's already been patched, so yes it's you know we'll ask his on top but that is a good idea especially when you re touching a patch on top of a patch to check that when you're all done. Because if you click on something that's older sometimes in the past and light room a previous when that you clicked on will jump to the top because you've clicked on it to make an adjustment so it now becomes gives it priority so if you patch in an area that had been patched you know it's, almost like it's, which the order of layers and photoshopped. But for the most part, it's. Not a big issue. But it's it's a very good point. And especially remember that numerically, if you have one value here and then you had the opposite here, they actually cancel each other out. They're not operating on top of each other. They will actually cancel each other out. Is there a way to send it back? The layer that it originated from when you created the change? Well, then you would click on if you did have that in terms of a patch where it was below. This one was patched afterward. Then you clicked on this one in in the sense that so it's, acting as if it's up here, you would just click on this panel and it was reverse it again. Yeah, very good questions. Okay, with their questions from the studio audience from that last session you want to do now before I jump into a whole new project, we could definitely hit on a couple for sure. Let's do a couple because I'm gonna move on to another one. And because people may have had questions related to that project, we just did let's, let's do that if you have them. That leads owns great, so karen h asked, how do you remove depressions from glasses on the side of the nose? I cannot remove for the life of me in photos any advice on that you're going to be doing the same sort of healing and patch? We're going to do some more work related to that coming up in a matter of fact, I may show an old project right now that has more since this since this model has no blemishes whatsoever it's an awful one to do for that basically in the case of a depression from an eyeglass um that's probably a complete removal. The one thing I mentioned yesterday about were touching is that you have to remember that there are two basic steps to re touching a reduce and remove okay oftentimes all we want to do is reduce something if you have that smile lines on your eyes, you don't want to remove that because that's part of the person a mole may be part of a person you can't remove it, but if the mole is distracting, you want to minimize it that's a reduced not to remove so the depressions on the side of the nose is going to be a patch basically going to remove that and you're going to move in area from one area to another, so actually let's do that before we get into our bride this is one that you guys have seen me used over the years, and it is a great one. We're not going to do it because we just did our little skin softening on it. Um and it is this one, right? Yeah. This is another job. And you go. You kind of been with me. You've seen this one before. This is the original shot. This is by hala victoria smith of light workshops. I mentioned them yesterday, a few more blemishes that we have going on here again. Another beautiful young model. This is the exact same image retouched in light room, doing exactly what we just did, just adding blemishes. You can see in this case because this is studio lighting. They exaggerate exaggeration of the, um, pupil. It's not we don't need to add a radial to their here is our before and after you see the whites of the eyes and things like that. So this topic, though of retouching the nice thing is, with the new healing brush advanced feeling brussels still labeled as the spot removal tool if you hold it down still called the spot removal tool again, it has this ability to now not only click like it's had before and again, it's choosing this is one of those situations were obviously it's choosing something from way over here, that's out of focus and I have no idea why it would choose something that doesn't definitely does not match the texture, so you just move it into a location that is possibly better. I mentioned yesterday a little shortcut is that if you use the forward slash key, ok, we don't have the adjustment brush active, so it's not the forward slash, is not switching a and b brush. What it's doing is that switching to different areas on the image to use a samples for some reason it's getting really excited about that out of focus area and that ain't helping me. So again, in this case, I'm going to click and move that if you have a larger areas or things that arm or linear, we can take our size of the brush down, and we mentioned before click and drag and again that's going to be in this situation, it actually did another one, so there is it chose correctly again so you can do a little linear thing that's the new feature and, like, five that you can now brush a stroke with that brush, which is excellent. So again, if it was something like this, which, again, don't particularly mind this. And using another area that's close by, so that is going to do it. The thing, though, is if you have something like we have here, we've got a mole that I can't I don't want to get rid of because that's actually part of the model, the issue and this maybe not related to the depression of the sunglasses of glasses on your nose. But this is where you could click and re touch it and then take advantage of the opacity slider built into the settings for the spot removal tool and then reduce the capacity. So now this is now a reduction or reducing of of a distraction, not a removal of it, and so you simply come up here and where it's perfect purposely getting rid of it completely. I'm now going to take that opacity down, and basically, if I started nothing, I'm adding makeup over that mole until I get it so at march still has the mole it's no longer distracting like the eiffel tower sticking out of her face. Ok, so that's the idea and that's excellent it's the same thing that you would do in photo shop when we get into when I was doing retouching in photo shop, I would get rid of everything that's remove I would add another layer, I would get rid of everything else that's a reduce and then I actually changed the opacity of that layer down to change the intensity of something like wrinkles so that's an easy way of doing a push up the exact same thing is being done here. I see, says clone in hell on photoshopped, we've got the spot healing, russia's content aware tool, and then, you know, the clone stamp or were actually have control of what we're doing. Is that what those air, therefore, what they're they're here for, and that's let's, bring up another project that we have here that's got our issues on it, and this one I can see this issue right here has got some chromatic aberrations on it. I'm going to get rid of using that little pato option there, and we're going get rid of the purple fringing we mentioned this yesterday that you can turn on chromatic aberration and then tell the intensity. In this case, I've got a lot of purple fringing was taking place, and so I could get rid of that. But in this case, let's go here to fit and reason why we have two different types of retouching. If we go back to our spot removal tool here and we'll take our past me back up two hundred percent, hell is the default setting that's what we were just working on. And we come up here and we take a nice big brush, and we're going to come over here, and we're going to go, would you please get rid of? We'll just do this area and fixed that area and at hell that's a pretty good job, but you notice that what it's trying to do is it's trying to match the color of what was there? This is actually light room five a much better fix them before, if you noticed in light room foreign before would have been a white blob, because it says, ok, I want to take the texture, but what I do is hell is I take the texture, and I try and match it to the tone of the area. That's, why does such a great job of retouching and skin and says, I'm taking this area, but I'm gonna match the tone ality aiken sample from a dark shadow and still do a good patch on the skin, but in this case, it's now much brighter because it's trying to match that it's no longer that blob that it used to be, but what I want to d'oh in this case, if I wanted to get exactly what's here and not get the lighter blob is, I can switch over to clone, and now it's going to replicate exactly that area it's going to say I get that's the area the problem with here is that what it does is it does a feather to transition between that fix. So in this case, that amount of feather and let's come over here, we'll just get moved my a tool over to the panel that feather is not helping me is not giving me enough feather to hide the fact that they're different tones so one aiken retouch that transition again, where the hell probably not the right place to choose. Okay, so I can come up here and I can choose a different area for that and continue to do again. This is doing that that cloning not healing still it's giving me that hard transitions that's the reason why it doesn't default to clone because you're you're responsible for it, it does allow you to physically move one area and move it to another. It does give you a nice feathered edge, but in this case, probably what I'm going to say is that with light one five, you can actually get away with that he'll option because it is doing a much better job of doing it in this case, the fact that it's not matching that tone exactly may just seemed like the sun is on those bushes and again, I'm going to manually sample from a different area you see, I'm not doing the entire sky area because I know how much area that I have to patch, so I know that I've got to, you know, be a little bit cautious in terms of that I mentioned also that if I want a patch, another patch in here like I wantto painting here I can't paint because there's already something there but as you can see these pins khun b moved after the fact both the destination and the source can be moved after the fact so if I want to patch this area here I've got another little area I can actually cheat click down here, move it after the fact and I can do that patch on top of a patch which led to this question what about that layering in the order of things when you patch an area that's been patched keep that in mind you know you are responsible for the order in which you're doing it, but that what that did is that allowed me to do, you know, before and after if that color is not bothering me that's fine, I can obviously, you know, do it the little dodge and burning there or it could be that I actually come up here and do a clone version of it and then just reduce the opacity since I have the capacity as an option in here I can also take advantage of capacity as well, so but in this case, I'd probably come up here to my adjustment brush and do I get a little reset exposure and change the size of my, not the radio? I want the adjustment brush, thank you very much. And I probably, you know, match that tonality in there my highlights down so that the downstream home clone and he'll heal is going to try and match it in terms of its texture and clone is going to actually move that image over there, and instead of blending it in, it uses a feathered edge to do its little jiggery pokery, as we say, other questions that were from the we're good. Ok, good. Well, then let's get into that heavy lifting one here because this one is going to be fun to get another brooke crystal shot and chris, we're going to do that tango. So now that you guys know the tango, it is quick and easy, we're going to hit auto. I like that a little bit bright in terms of my overall skin tone that's my exposure exposure so I'm gonna take that down, okay, that is my mid tone values here next shadows, shadows look fine highlights if I wanted to flatten it out a little bit, I can go to those highlights and again take those down a little bit to get rid of some shine um you know, looking at that I don't really mind that maybe find turning a little bit um clarity again in here let's go ahead I'm going to do a bit of that same global clarity down knowing that I'm going to come back into the eyes to bring that in so somewhere between twenty five and in this case they skin let's take a look at the skin value in here this is what this clarity is doing you can see how it's going toe you know, minimize things like the wrinkles under the eyes and it's softening our skin tone we're going to do a little anti clarity there whites and blacks looking at our history graham again is looking good we've got the entire tone ality of the image I'm looking by just hovering my cursor over these little I couldn't get to see if there's any clipping taking place I don't even have to click on them so there's no clip clipping taking place back down to our vibrance and our vibrance here I can add quite a bit of vibrance to it to make the hair pop adding vibrance to it the last one is vignette now in this case let's again use that new uh radio filter making sure that we don't have it on that invert setting we set it by double clicking on effects we're gonna do exposure. What was a shortcut for automatically applying it? Full, full canvas eyes it's actually command doubleclick in the file or control doubleclick there's no fault in the equation just just keep hitting it until it looks good is basically what you're doing, you know? And, uh, we'll open it up a little bit there and let's also do let's let's do that de sharpening zoom and you always want to zoom in when you're doing that d sharpening, making sure that you're not blowing anything that you don't like, but here is that before and after it's just giving me a little bit of softening in this case, this image is going to need all that taken all that it can get much in before you get started. When I did this file and again, we're going toe end up. Uh, and I'm gonna take snapshots all along the way, so we get back to it. But when I did this thing for teaching, when brooke gave this to me and I did the final where we're headed and she showed it to the bride, I was a little bit concerned because it were the person think that, you know you're not thinking that I'm pretty why so much retouching and the pride loved it she gorgeous and above the mantle place and the husband loved it and you know, the nice thing about retouching in light room is that it is you can't go too far right? I'm not throwing on a filter I'm not, you know, changing the shape of her nose I'm not doing things that's the exact same photograph as it was before it's just been, you know, polished so anyway okay, so we're still working on the tango we've done a d blurring of it there and on this background that is still active that little vignette uh we've softened it up a little bit let's see how far we can, you know, push it and again that feather how far we want that to come in so there is our tango now this in terms of the tango let's before we do our significant retouching, there are other things that I haven't mentioned yet that could be used for um skin tone and also for this issue of slender rising a person, whether that's their body or their pro baskas and all of us none of us like and having, you know, shot with a wide angle lens and we mentioned this yesterday that we have this ability so let's do two things that are typically not part of a portrait retouching but I think are really good in terms of what you're able to do and that's, we're going going over to the lens correction and we're going to go over to the manual setting over here and these are what we were looking at yesterday. We spent a lot of time out here with the new basic it's known as the upright option, which we don't have to work on, but that was great yesterday. Today we're talking about manual and this top one here is what's known as a pin cushion to barrel distortion correction, and this is basically getting rid of the fact that you shot with wider class what a wider angle lens and you'd like, especially in a studio we maybe have limited space where you can back up you may be tempted to shoot with a wider angle lens, the other thing that's here that could be useful that for this slender rising is this aspect ratio this is brand new to light room five this is going to allow us to, you know, slender rise, not tenderize, but slender rise and what we're gonna do here specifically is we're going to de emphasize the nose a little bit weird to say it that's going to be coming up here and not going this way that's, what is going on with the lens, right, so actually taking it down we're actually going to slender eyes everything in the eyes it's going to take and just kind of minimize that entire area now by doing that it's going to stretch the images it is it's doing this what's known as a pin cushion distortion is actually reducing the size and I mentioned this yesterday and that's why you have a scale slider here, the scale sliders going allow you to basically bring it back into the aspect ratio of what you had. So this is what that lens correction khun do and we don't need quite that much scale I don't mind it skilling in a little bit, but here is our change in terms of this reducing of the center portion of it and again, if we wanted tio exaggerated a little bit here and then I'm going to change it back because that's going to be, you know, too much, okay, so it's that's subtle, but you can see it it's interesting it's also looking like with the scaling of the file it's actually scaling up my this adjustment as well that's actually interesting that it is scaling that adjustment ok, so we're going to do that and we don't get we don't need that much um on there, I do kind of like that we're seeing that edge of the hair ok, so that is one and while we're doing that, I'm going to come back here tow this one and make sure ok, that looks good and again, if you were back in this, um, lance correction area and what is a great out okay, so there is we're previewing it uh, you can also do this aspect ratio, and this is where, again, it would be more of a figure but where you can actually change it, you know, again, you don't want that, but you could actually come up here and, you know, we get just a little bit skinnier and and I do like that okay, back to that, so that is that in the last thing is under detail in detail, we have something that's not really our skin softening situation, but it can be used to such now in this case, I don't have any color noise reduction or luminosity don't really have any noise issues on this it's there was plenty of light, and so it's s o isn't an issue, but by upping our color and it's going to be subtle here, you can actually get rid of some, just as you would be getting rid of differences in noise structure in a file that had noise, you can do the same thing for little irregularities in the skin in other words, this setting here for color you'll notice in the past it would actually can a blur color if you if you look at the the color in the iris here if I take that too it's still blue eyes but I'm losing the fact that she has a little bit of variation on color in there so it is actually it's what it's doing it's kind of you know, smoothing out color in the old and photo shop three and before you actually get that blue would be blurring out into the whites of the eyes so it no longer does that but it is going to be used for kind of overall softening of skin tone throughout in this case it's the luminosity here that can be used for kind of skin softening in other words, what we're doing is where this has meant to get rid of noise in this case can actually be used to kind of soften pours in the skin so again a little bit of noise reduction in here if you do want to do sharpening this has no sharpening on it before we get into working on the poor structure and skin softening in general you could use some show opening in here I'm going to take my radius up I mentioned yesterday that detail is the opposite of what you want for most portrait retouching cz that detail is that going to exaggerate the noise hence the pores in the face and also you're going to want to use that masking feature so that you're isolating, you're sharpening just two things like eyelashes and around the eyes, and that mask is going to make sure that you're not sharpening subtleties like poor structure great awesome you've got a visual reference again better than what you have in photo shop, so those are two things that we've added to a retouching scenario is one that lends correction if you want to kind of minimize the center either by using aspect ratio or distortion to give a little pin cushion and when you get into sharpening or in this case softening by using the detail tab weaken, just soften ever so slightly that skin structure as well. So continuing on that was kind of our basic tango here's our before after before after using that basic tango now let's, go ahead in here and work on that uh actually let's instead of skin softening before we do that let's do some of these since we now we do have some blemishes, so when you go to our new advanced healing brush, I am going to use the healing portion of it I'm going to start at the capacity at one hundred percent I do want to completely remove some elements and again so I'm changing the size of my brush I can do that kind of dot thing again not what I want to do space bar is you're moving of it so I'm going to come over here and do a little dots you are responsible for making sure it doesn't since it really doesn't know what you're trying to match sometimes it can actually use one blemish to fix another blemish that said, well, this texture kind of matches and kind of defeats the whole purpose of what you're working on there's some things out of here that's probably part of her that kind of a mole but that may be distracting in this and I don't think since it's out of focus anybody's going to miss it so that may be a thing where again I would get rid of it as considering it a distraction um we won't go through everything in here if we wantto minimize this there's two ways that we can minimize this a patch which is basically what we're creating with the healing brush is a little bit heavy handed I'd say the same thing in photo shop so you could also kind of, you know, dodge and burn this transition between this area and the highlight that's also a little bit shiny in here so let's just go and see if there's other you know, major blemishes that we want to dio will say that that's good enough what I'm gonna do is I'm going to do kind of more of an exaggerated skin softening here to exaggerate or minimize the contrast what we have here wrinkles air contrast right you can dodge and burn them away or kind of an instant dodging and burning is that clarity? So if I come over here to the adjustment brush I'm going to take a look before soften the skin to actually it's to the entire well to the entire skin first and then see how far that takes us and then we'll see what we do to you know, find tune that but the main thing we're going we want to do is we do want to do it overall skin softening of this romantic scene so we have uh that is for our radio film here is our adjustment brush the setting that used for skin softening and now I'm going to use a preset that we've already got and what I call glamour skin glow I've got a couple here skin glow one you can see this one has the anti clarity I've increased the contrast and he also reduced the highlights on this one in other words, it's going to kind of automatically get rid of shine so let's actually let's do those separately so you can see what they're doing here is that clarity? So we'll just do these one at a time so you can see what they're doing I'll take my, uh brush down I'm going turn on my mask by tapping the okie and in this case I'm going to do that same thing where I'm gonna come over and do all the skin even the stuff that's out of focus that doesn't need it I wanted to kind of match so I'm not, you know, talk amongst yourself so we've got our skin how we're going toe raise the areas that don't needed option so close holding down that option a key is going to switch it to the eraser looking over here, you'll notice that just simply holding it down automatically gives me my racer and, um I'm going to make sure I want to get where there are any hair like a eyelash I don't want to go below the eye because I'm actually wanting to soften that area, right? So here is the eyes again, it's, easier for me to erase detail than trying paint around detail, right groups that said, if you accidentally hold on that shift key, I do want the lips I don't soften them that's a kn area where you definitely want that edge in the contrast that the wetness of lips is something you want to maintain. You know, most think of these anti clarity is putting on a powder to, you know, soften areas and you definitely would not do that for teeth and I keep doing them make sure that I didn't just a race I did so let's do thank you very much. We do its command option with my thing here when command shift izzy is my redoing of this thing so undid the one I without the other day gonna be one of those days okay? And in here holding down that option key I could have sworn I did that in that order affected that undue that's confusing. Okay, so we want to keep that edge on the eye we don't want to solve from that space bar zoom back out that's a lovely thing and said, let me the bride would love that just as that so I've got those areas and that area alone tap the okey zooming in here and now we can take that clarity so you can see as we do this, I'm going to exaggerate it up here, the fact that since I'm not getting the eyes, I can get away with quite a bit without getting the water color what I call the watercolor look so I've already added twenty five in the, uh tango now I'd like that there. If I wanted to exaggerate that, as I mentioned before, sometimes I can add contrast to it that's going to add a little bit of a kind of a glamour glow to it that highlight there you can see that I can take that highlights down to kind of you know, minimize shine but again in this case I kind of like that light that's going on here um it's just the skin tone what am I going to do in terms of saturation? I'm thinking that you know, I could even add a little bit of saturation here without adding too much to the blues so I'm going to punch up the skin tone this is what we've done now with our skin softening in here and that is our skin softening where we've got that here I'm going to hit new now talking about this issue underneath the eye I'm going to come up here and again with a new one we set that take our clarity down and I'm going to see what I can do I'm gonna go to my bigger softer brush to again I'm putting powder in certain areas cnn how far I can do this without meeting to actually retouch out and so here is again our before after of our skin softening and kind of minimizing putting makeup on that area so I did that before I'm doing the spot removal tool on that you know, circle under the eye because if I could do it without actually physically retouching it that will be better you know this is foreign too because typically my skin retouching technique would be in photo shop and inverted high pass but if I didn't do the actual blemish removal before I get that I'm going to be left with little marks afterwards here this is cool because you khun hit blemishes before during and after absolutely that's a really really good point the order in which you retouch in photo shop is absolutely essential if you don't get rid of the blur images and then you'd see it's often skin tone you're messed up right? You're exactly right and you're duplicating all this heavy lifting this is procedural you can technically do anything in any order and light room figures it all out for you so right now I'm going to do retouching over something that's got skin softening to it so you're absolutely right so I'm gonna come over here and I'm going to do it's a little bit testy in here so here is our adjustment brush there's our little areas here and I'm gonna come up here and do that little patch you can tap that age key so I can see that area in this case it shows a pretty good area it did it at one hundred percent I don't want hundred percent when I work around the eyes all I'm trying to do is minimize it so I'm going to take it down to zero so I see exactly everything that's there and then I just dial in the amount that I want I don't want to make it look like she's her daughter that she's you know twenty or whatever that's not my purpose, you know, I think the way god made us is great what we're trying to do is make it look like she had a really good night's sleep and she was done good makeup and she's having a really great day I don't need her to look like somebody else that's my purpose, right? So and that and some people they have no problem making her look like a different person, you know, it's a perfume ad, they wanted a different person, but in this case, you know, I'm going to continue on we'll do another little thing here that might be a distraction. So again, and this one, when I do the second one it's going to maintain this is thirty six capacity, so now everything that I do with this brush is going to maintain that thirty six, capacity, so now I'm gonna come over here, I don't want it it was from that area. You do have to be careful because you can see how dramatically the skin texture changes right around the eye, so we'll do just a few more things here and again, it's using that thirty six um in here and we'll do this one more in here and here again is our before and after on our healing brush, which is pretty subtle here but I was fine, I don't mind, you know, settle she doesn't didn't need a whole lot there that's how those pins and here is what we've got so far in terms of softening the skin tone and minimizing those bags under the eyes, whatever you want to call them, okay, I can already tell right now that I'm going to add some, I want some sparkle to that a skin so where we have that adjustment brush going back to our adjustment brush, we're going to say new, and I'm going to do a little kind of a sparkle thing on here, so that's going to be clarity yet and contrast and saturation, and this is going to be a brush that I'm going to use for, um, working on the hair, you have to make sure that I'm on the adjustment brush, so now this is going to be the highlights on the hair I'm kind of coming up here and I'm adding the little highlights on the on the hair. We'll exaggerate that again for teaching purposes. We'll take that up our contrast up and clary, just so you can see it's going to be a little bit over the top, but here now is you can see the sparkle around the hair as well is the softening of the eye. Okay, we're going to come back and continue to do a little bit more we'll do that pupils on there we're going to fix her lipstick after the break we've got a little bit here we're going to intensify give her some real lipstick it looks like there's really almost no lipstick on here and we're going to fix that tone ality on here and do some other stuff but I'm going to try and make sure that we have time for questions, questions, questions? Yes, first of all does anyone our studio audience how many questions everybody's doing? Good. Cool. All right, you ready? You want me to go? I'm ready a jack a couple people are asking about sharpening and at which point you would do that? Lucy asked about it. Is that something that you'll do after you're finished or where would you incorporate that? And then also just dede had asked why is sharpening not part of the tango since all rah rah rah files need sharpening? Well yesterday itwas we did a little bit on it yesterday where we have a five step I don't technically part of the tango because all images need the tango and sharpening is relative to that image and specifically to the output device so when we came up here in this detail, if you remember we did use the luminosity and the color in and we did do sharpening so we did do sharpening on this technique and specifically we did it took up luminosity to help soften the skin tone so I'm gonna do it fairly fairly soon in the process technically you could say that's your post tango you know you've got your pre tango which is going to be you camera profiles which we're going toe get to later didn't get time to that yesterday so pre tangos your camera profiles and maybe on import preset the tango is the five steps to optimize color and tone a post tango could be your sharpening and the thing that I mentioned yesterday in terms of sharpening there's three types of sharpening the input sharpening that is what the person mentioned all dslr is for the most part some of the new ones do not have a demos aching filter that's part of it um a softening to try and blend the red green and blue sensor dots there taken that off, but for the most part you're going to want to bring back the sharpening that was inherent in the picture when you took it to get the most out of what you shot in the lens that you had on so that could be part of the tango and I would recommend that the other part of sharpening is a targeted sharpening for a specific thing in the file I do usually very little of that because that's going tio change the grain structure I wouldn't use a sharpening in the brush even though the sharpening and the adjustment brush I'm not going to sharpen eyelashes and stuff like that because it actually has a different flavor to it you could get away with it if you've got a high resolution file but I don't usually do that I'll use clarity we're going to do clarity around the eyes to make the eyelashes pop so I don't do a lot of that second type of sharpening which is known as targeted sharpening the third part of sharpening is output sharpening and that as we mentioned yesterday a specific toe a specific substrate or medium or paper or even the screen would be a type of it light room on export has export sharpening we even tell it what sort of sharpening that you want what sort of paper you're going out to um and if you didn't want to do that you khun actually determine you're sharpening right here using the details slider that's going to be based upon the fact of whether you're going to go out to something like a canvas rap where you do a much broader sharpening or if you're going out to something like a coded or metallic paper now which are really fun um or a a real medal I mean that we have prints on to you know, aluminum and that would be a very subtle cautious amount of sharpening so in terms of sharpening, I do do it fairly on right after the tango that's essential to it. But keep in mind that you're probably gonna have another type of sharpening at the tail end of your workflow based upon what you're going out to, okay? Question in the audio yet do you avoid a whole lot of sharpening because of what you can get with your clarity? Because the sharpening tends to enhance even like the, um, they call it the pores of the story and everything else, and then you get the graining, so you eliminate having to do more work. Clarity is, since it's more global it's a broader radius that it's affecting is you're much less likely to get that exaggeration of force, structure or noise in the file. But that's also why we're cautious and I'm actually removing clarity when it comes to skin and poor structure like that. Um, but you do have to be it's really a lot of sharp he has to do with resolution of your file. How many? You know, pixels per inch you're going to print with because sharper news that a pixel level? If you're printing a twenty four megapixel file, you're going to have a lot of pixels at your disposal that will hide that those pixel artifacts, if you're sharpening your iphone picture you're going to have to be real careful because those pixels have already been sharpened in camera there's already some sharpening taking place and you don't have a lot of resolution to deal with so that pixel structure israel you know important so it really depends upon the resolution of your file when it gets into sharpening and how best to do that but that's one of the reasons why I like clarity is especially targeted clarity is it allows me to pull out areas for my story and not worry about the noise or the pores or details that I don't want so here's your junk a question just came in from eddie who asked about output sharpening for different types of paper but what about for the web that would be it another output for screen since one pixel in your image is going to be displayed as one pixel on the final image there is screen based sharpening built into light room when you get to export which will mention and show that later on I would that's the reason why I'm not doing any output sharpening on here because one all my images they're going to end up on the web so to speak because I show my portfolios on my ipad you know a lot of us now we're we're printing much less the image actually is probably going to be seen by more people way more people through you know, facebook or website or ipad or an iphone? So you're ability to maximize that image for the web israel important, I would use the presets built in the light room for export. When you go in and you do a reduction on size sharpening output for screen is one of the options, and that is excellent. Those algorithms are absolutely excellent that are built into light room, so again, your three different types there's you can exaggerate your shopping for something like a gallery rap because you could get away with murder because of the texture of the paper or watercolor paper very, very cautious for a coded stock for a print because it the the ink or if you're using a photographic print, is going to be right on top. If you're going for screen, you have to be real careful because that's going to be done after the image has been dramatically reduced, and using the built in algorithms and light room is how I would do that. But it's a very specific algorithm. I don't do that output sharpening during anything within light room. I leave that to my export. Cool, thank you, ed asked a question about calibrating your monitor can you offer any advice about how to calibrate a monitor, what you you use on, especially in relationship to light room? Uh it's absolutely essential that you calibrate your monitor and I would do that with what's known as a hardware calibrate er as opposed to the software all of your systems have built in camera celebration both on windows and the mac I would definitely go through that it's built into the system it helps you neutralize your monitor to get it is you know closest possible but none of that is going to take into account uh oh that's based upon you looking at it and going I think that is more neutral than this one and a lot of us have color blindness you know in some way shape or form so you relying on your own ability to say that's good color is like you trying to you know, tune your own guitar without any sort of reference point unless you have perfect pitch that's just dangerous right? You need some sort of device so ah hard work celebrator I use the eye one um uh color calibrate er a lot of people use the color monkey is really an expensive one there's the huey which is even cheaper it's you me? Why there's a number of different color carol calibrate er's those are ones that actually attached here monitor read the actual settings of the red, green and blue either lcd or you no see artie or whatever you're using but you definitely want to do that, because without that you're flying blind. Some people actually do all their color tone correction by the numbers. I mention that yesterday that now you can use the lab color space numeric readings in the history. Graham, you can come up here and turn it on in your history. Graham to use thie lab color space, but, uh, I'm everything that I do is based upon it looking pretty on screen, so that's going to be based upon a calibrated monitor so it's essential and with the cheapest one is I think the huey is one hundred bucks. So there's, no reason the world not toe get some sort of hard work celebrator a lot of the winds. There is what you pay more money is love that mohr, expensive, calibrate er's will allow you to have a moderate calibrate er and a printer calibration. In other words, they give you actual things to scan and run through your printer, and then check them to get a custom profile for your own printer, so that if you're doing your own printing, the ability for you to create a profile for your specific printer, paper and ink is also real important, and some of them or extensive calibrate er's not only your monitor, but allow you do calibrate your printer and some of them even let you calibrate your skin or in other words, they create a profile for the scanner say does a decent monitor printer calibration for ivan and expensive and inexpensive you can't you can't, you know that's picked three fast, quick good you know you can't yeah, and then and that walks my cat and cleans my dishes no there's not one I use the eye one which does have the printer as well as the monitor options on it so that's up to you in terms of your budget, the old triangle of x vacations that's, right? All right going backto lens correction mark zoetrope dot com says why do you skill rather than constraint crop? Uh another ten ways to do every single you know you could certainly crop in if you're doing it. The thing is, is that when you crop, you're actually changing the dimensions of the pixels you're actually making a smaller file and scale is actually scaling it up, using the original ross sensor data and leaving you with the same resolution file so that's up to you if you want a crop it's a real similar in terms of what you're going to end up with but crop is going to reduce the size of your file the actual pixels per inch were as scale takes it back up and say is that reducing the quality of your image not really it's going back to the raw sensor data to do that original scale so that's why I use scale relevant crop awesome thank you so much. Yeah, well, I think that we are finished with the first half of the second day. What do you think? Is this a good place for you to stop it's a good place that's up? We're not done with our bride right here were actually got more to do with her, but if we want to take a lunch break, I know the nice thing is is that if you by the recording that there are no lunch breaks and you actually you get to continue right on? But now this is a good place to south for now and we'll come back and we will finish her off afterward and we're going to be going into four shop as well and doing stuff that you can't do in light room we're going to get into liquefy and smother retouching things because there's no, you never want to say gosh, that would be great, but and that's the great thing is that this integration with photo shop is going to allow us to not have any situation we go this would be a wonderful image except, uh I need to, you know, do something

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