Tango you guys have already got that down the reason why we spend as much time as we just did is that is the foundation for everything because if you're not if you're throwing an effect at something to compensate for a bad picture without knowing whether you had the color and tone in the detail whether it told the story you needed to tell that's the reason why we start with something like the tango you have to make sure that the image is a beautiful sharp clean in focus one that tells the story that you're trying to do but your company product service client whatever as opposed to just immediately throwing effects on it that's what a lot of people do that's certainly what we do with our phones and everything else we no instagram and throw on filters and you know which is cool but that's different from actually being a fine artist or in the place of a photographer were actually have a client a professional photographer you're trying to tell a story about a particular you know, client ev...
en if your plan our photographer and doing it for yourself you're doing it for the purpose of sharing it. So the the idea of traditional fine art is I'm doing for myself and I don't care about you is really brand new to the twenty first century right? The entire history of communication and art for the planet this concept that an artisan would do something and not care about how it was received is ridiculous. Most artists for the history the planet would just laugh at what we consider fine art these days not to take away from it. I think that's great that you can do it for an audience of one that's not what we're talking about, so first getting making sure that your photograph is as potent as it can be in terms of what you got when you press the shutter that's the tango. Now we're going to start going beyond that when we start getting into enhancing it and doing color and tone and things like that. Now we're talking about going beyond the capture, and tomorrow we're really going to get into that when we get into enhancing an image. Elaborating on the image is we're really going to get into polishing that image um, going way beyond the capture. So in terms of review the tango, as I said before, you're white balance, we've got a, um our basic tab here let's get our basic tab and white balance, I can come up here and see what I would like I'll do auto see what we get here again on a scene right down the street and beautiful cardiff, california we're going to hit auto that's automatically going to set that tonal range our next step is going to be our exposure or middle tone of our story so again coming back to exposure I kind of like it the thing to remember about exposure is your middle tones don't get distracted by the shadows in the highlights that's the rest of the sliders terms of a portrait your exposure of middle tones is your skin tone if the skin tone looks good don't mess with it just because other things may be dark your exposure slider is is the overall mid tone and I like that day so I don't need to do anything clarity is our first of those four so we're coming up here is our clarity okay so clarity is going to be our edge contrast our shadows maybe pulled out a little bit more detail in our pelican friend here so we're pulling out detail right there highlight I'll zoom back out ok and get a little bit more we've got a sunset going on here backlit sunset so I'm gonna actually you can see I can pull down that highlight again here's our before after before after and ah next we go to our fourth step whites and blacks whites and blacks looking at my history graham look good here I really don't want it's kind of a misty evening so I don't I need to get carried away with adding too much contrast to it possibly if I want a rich black and this kind of backlit pelican I could possibly take that down again holding down that option or all key to make sure that I don't get pure black come up to the black and then back off okay, so now I know I've got my total set last thing is vibrance I can get away with a lot again it's a sunset so I'm liking that and ah in terms of vignette, I'd like it I don't really need to focus on it not like this almost rothko strayed ation of tones in here so I don't need the I tow focused in I like the very linear nature of this but this brings us to our next step that was asked about before the break was what about sharpening would a sharpening come in and this is a file that definitely has some need to it as an older camera that we tap our uh I uh what s o two hundred but it was an older camera that definitely has some noise issues to it and also because of the speed of it in the situation it can actually be a lot sharper so let's, take a look at what is going to be our detailed tab close these up that was tapping the I keep by the way that's going to give me some, um meta data related to it how it was shot and the date of it and dimensions of it. So that's just happen through the eye key to get our different options in terms of that, and we'll collapse. Are bull panels over here? Okay? Detail? Her detail, otherwise known as sharpening and noise reduction, is what we're going to play with now, depending upon the camera, you may start off with typically now a twenty five percent color noise reduction, and this twenty five one twenty five is a standard default setting for, um, noise and sharpening here in light room, but that really can change based upon your settings in your camera and what camera you're starting with, and whether it's a rock or a jpeg. So sometimes you'll notice that there's zero color noise reduction going on, the nice thing is, is that you may go well, you know what happens if I don't have any color noise? This color noise? The removal of color noise is actually pretty harmless nowadays in the old like them, too. And before you got rid of color noise, but actually blurring the color information and blending it back in it actually was not pretty. Um, and, uh, but in this case, colored noise reduction at that default of twenty five is actually a fine default, and you're twenty five one pixel radius and detail is probably not a bad starting point, so if you want to change anything that was another question we had is you know what would be a good default setting it's not bad but let's go into these sliders because it's not what I would use as a default and actually let's do one other thing that is useful at this time and that is the concept of chromatic aberration and lens correction so if you wanted to, you could actually before getting into your sharpening if you knew that you wanted to do a lens correction probably wouldn't be a bad idea to do that first because when you talk about doing edge detail if there's an issue of when they call chromatic aberration and remember the term chromatic aberration because it's a nice big word to use with clients when they start giving you hassle say you know sorry bob uh get a lot of chromatic aberration in the same it's here and it's going to, you know, take me another week to do so why don't you just shut up and let me do my work so big words like dramatic aberration are always good to throw around uh when they say, well, why don't I just have my you know, daughter do it okay, so let's jump actually over to the lands correction option first and this is where we did. We started off the day talking about some of the new features, and this is where this upright comes, and now, in this case, we don't have architecture on here, we can say, enable a profile, and you'll notice that it is doing just a little bit of a change to the file almost insignificant, so I'm not even going toe bother with that, but right next to it, in this basic panel, we do have removed chromatic aberration, and, as I mentioned earlier, it is now being done through an algorithm as opposed to a profile. So it's quick, it's easy, it doesn't excellent job when you get into color, if you want to find tune it, you actually have it up here, and I'm going to show you in a bit on another image where it comes in handy, but for this case, and for most cases, simply turning on remove chromatic aberration is going to do a good job, and we could just do, by the way, if you zoom there's. Another little tip for you. If you've ever wondered how zooming is handled in light room and it seems almost arbitrary when you click in the window, it doesn't zoom between two sizes right here and here, and how does it determine what that zoom is? Well, it's zooming up between whatever you last use for in and out version of it. So if you look up at your navigator here we're zooming between fit and two to one if I wanted to be one to one when pixel equals one screen pixel I click on this little icon here I can always override that by doing a commander control plus or minus okay, so I can you can see that I can go through all these different options that aaron my navigator panel simply by doing command plus or minus wherever I last and add if I go here now I'm in fit. If I jump over here, click it's going to go from one to one to fit one, two one two fit it's a toggle between your last two settings up here in the navigator panel so in case you're wondering because it almost seems arbitrary it's not it's actually a purpose you can click on it, you can override it by using your commander control plus or minus so that's a little freebie tip there and this is I'm getting just a little bit of chromatic chromatic aberration around here we'll show another image but I wanted to show that to you because if you do have some coming in here and the lens correction and taking care of that if we come over here to the color portion of it this is where we can specify exactly how much of what is going on so if we wantto ad mohr specifically to the areas of purple or green or what portion of the purple or green spectrum is being adjusted to again we'll see that another image in just a second back to detail we're gonna come up here and uh we're going to come up and first I like doing noise reduction before I do sharpening because I know how much noise is inherent in the file and until I get that done I'm not going to know how much sharpening ideo if I sharpen it you could say but well, unless you sharpen it you don't know how much noise you're going to get um and then I would do noise reduction afterward I like working the opposite way it's almost one of those red state blue state kind of things leave it up to you. I like getting rid of the noise first because I may not need this much sharper me as I need tio it could be that I can get away with more sharpening once I get rid of noise I've taken the noise out of it if I don't get rid of noise, I'm going to be very cautious with my sharpening because I'm gonna be exaggerating noise I'm going to say, oh, that looks bad and I'll take it down but getting that annoys first I go I could use a lot more sharp because I've taken noise out of the equation that's why I do it okay color if we take color here you're going to see the christmas tree lights okay that's why it defaults to twenty five you can see right here again on at home with the video and how video compression works and maybe a little bit hard to see but coming up here and using that default of twenty five you can see just completely gets rid of the christmas tree lights and it doesn't give me any softening of the color detail usually in terms of the detail in contrast, those settings which don't change with the image usually there's a pretty good defaults on a landscape you can bring in more detail be very cautious with bringing in more detail on a portrait luminant ce is great because you can actually get rid of a huge amount of color noise um in the file without blurring it you can see how much I'm able to pull in on this older image I think this is again was a d two x and antique nikon d two x camera and it's amazing how much it's able to pull end by getting rid of noisy with luminous without losing the detail of the file next I'm going to go to sharpening sharpening you've got your four options here let's just explain them amount is intensity you got a little red over here to tell you that careful you know you're getting carried away with it radius is your sphere of influence that the sharpening is going to take place within so it is measured in pixels not amount detail is the amount of contrast within that radius in other words the intensity of the sharpening in terms of individual pixels on there it's your kind of noise if you want a ton of detail it's going to be a the expense of getting a noisy edge within that radius landscape you can get away with some I would be very cautious with using detail on any kind of portrait because it's going to be exaggerating the noise around even eyelashes and stuff like that so I use very little detail on a portrait knock yourself out on a landscape that's up to you I'm asking is where you're going to say what how much contrast is inherent in an edge before sharpening starts? This is a true kind of un sharp mass this is the best sharpening that there is this is not built into photo shop it's better than anything in photo shop it's awesome it's great it's true edge masking which is different than the threshold setting within photoshopped I will say as an aside photo shops sisi by the way what's today's date yeah tonight look for an announcement but photo shops sisi has this engine built into it for the first time with their dark calling adobe camera raw as a filter so for the very first time you now have built into footer shop the ability to sharpen using this technology up until now there was no way to sharpen his good as you could in light room where dopey camera so anyone isil side so those are the things masking is something you're always going to use and all of these have a nice little preview option associated with them meaning if we take our amount slider and hold down the option key on the mac or the old key on the pc you're gonna first notice that the photograph goes into black and white and that's to show you that any sharpening done in light room is luminosity sharpening only it's on lee doing the l channel at oven leiby which is great and photo shop you need to do a multi step process toe on ly sharpen the luminosity this means that you it's impossible to get color artifacts when you sharpen in light room because it's not sharpening the color components of a photograph again much better than photoshopped easy quick it turns it to black and white just to show you what's actually being sharpened and I oftentimes will take that sharpening above what I would normally end up with because that's going to allow me to see what the other sliders air doing building down the option all key moving it to the right I'm going to take it to one hundred fifty just because of teaching on the video it's going to be hard enough to see radius holding down that option are all key and you can see the sphere of influence that's taking place when I dragged that over its widening it what radius do you want if you're images already sharp you're shooting with great glass it's not a not a focus image then use what's known a sub pixel sharpening have it below a pixel ok if it's a soft image if there's motion blur of the your lens wasn't as great as it could have been if it's a little soft then take that above a pixel because you're trying to compensate for the fact that you don't have a real pixel there you're going to make something that's a soft edge a pair to be sharper by taking the radius of the amount of the radius slider above to make it appear like you have a sharper image so again this is a little bit soft just because of the low resolution camera everything else I'm gonna take that above a pixel details I take that up you're going to see what detail does at zero I'm getting sharpening without any crunchiness this is crunchiness within that sphere of influence and you can see every single pixel and therefore every single poor on a person's face or everything in a sky is going to be sharpened. This is why you want to be really careful with detail on a portrait because it's going to exaggerate your pores by taking it all the way down, you're not going to exaggerate the pores or the noise in the sky or something else. So again, I'm going to take that because it's not a portrait I could get away with it, the detail in the feathers. So I'm going to take that up a little bit, not up to the twenty five default put up a little bit, I'm asking you want to come over here and drag this? It starts off it's going to sharpen every single pixel in the file. As I dragged this over, I can ask it, would you please on ly sharpen the edges? In other words, don't sharpen the sky, don't sharpen the pores of the skin on lee sharp and in here in areas of contrast excellent, great awesome it's wonderful in this case, I'm going to take it way up, and you can see if we zoom out get all of these even preview would be nice if you could save that off as a little graphic element, because it's a really cool graphic, but you can't, because I'm doing a screenshot really quickly. So I'm gonna come up here and I'm going to do that I like it zoom back in if you go into detail now you know it's going to show you that masking you can see that the sky isn't is being sharpened as much as the feathers so you can actually see that I'm asking taking place and I can also now find tune it so I am getting a halo around here so I'm gonna come up here and I'm going to find tune that and I don't need that much is still going to do above a pixel and now I confined to that amount okay as I said because I exaggerated those sliders I'm now able to see exactly what I'm getting if I started with a subtle amount the night radius none of that's going to make an effect to me so I take my amount up and then I come in here and do that so here is my before and after on my detail okay? A dramatic improvement in terms of what's in there this is for what would be considered a landscape or product shot if we go into something that has inherently more detail it's going to be a lot more subtle and we'll do that another portrait later on so there is detail I'm not going to need to do any x chromatic aberration let's go ahead and do another one here another brooke crystal shot if you're just tuning in I said that my co teacher in this class is brooke crystal just cause she allows me to you so many of her wonderful portrait and wedding work so again thank you brooke for that so ana come over here and we'll do a snapshot this is just using the tango and of little targeted adjustments they mentioned she purposely shoot some stuff dark for me but that's pretty darn cool that you're able to relight the scene by coming up here and uh simply using our tango and I'm going to come up here and I'm going to reset our targeted adjustments here okay and let's go back to that detail tab because this image had some chromatic aberrations going on and I wanted to mention that to you and actually let's go down to our lens correction and turn off that dramatic aberration so here especially since we started with a dark image everything is going to be exaggerated in terms of noise you can see the noise from number again this is a very dark image underexposed and we're pulling out a lot of information so something to keep in mind high I s o or dark or were basically the tones coming kicking and screaming does not want to come so in this case you're always going to have that detail here we're going to do that same thing here's my color I could even go a little bit higher and we'll take that amount and radius up detail going to be really cautious with you can see how I take that up and I get this exaggerated noise pattern option or all bring in that masking to make sure I don't get the subtleties so something like that right there again I'm able to get a huge amount of sharpening and noise reduction and again that's a slightly softer image so I'm also taken that radius above a pixel but this right here I'm getting this dramatic aberration is what I wanted to mention here's before after before after the sharpening is going to exaggerate that I come over here to my lens correction and simply click on remove chromatic aberration it does a good start I'm getting a lot of green in here so this is where that slider I've got a green amount slider and I can come up here and just literally move it away I can also come up here it looks like there's a little blue and here in terms of our purple and come up here asked that and say it's really more blue than it is you know purple so I could come over here and shift what's going to be um removed so here's my blue disappearing in terms of my dramatic aberration I mean the lens correction area and I'm turning on remove it and then I'm fine tuning it um in the color portion of my lens correction setting it's also in that basic panel, you can see if you had turned it on and won its country it's turned on in both of those. The other thing is, when you get this exaggerated tone where I'm having to pull in a huge amount of tone difference and I'm getting this edge a little trick that you can do and this brings us into our start of our targeted adjustments is take advantage of that little light spill I mentioned there's a little trick of, um, clarity anti clarity, specifically. So if we come up here, even though I did this and I mentioned in terms of our, um basic panel, you can see I'm not using any plus clarity. I certainly wouldn't want to, you know, on a portrait do too much that's going to make it, you know, uh, football e okay, but you'll notice as aa football player as I take this down, you'll notice that in this area back here, I'm able to get that kind of light spill that's helping hide those little edge artifacts around the edge. So if you're really pulling in an image and you're getting some artifacts, this light spill by putting in an anti clarity, actually can be really good. In terms of doing that, you'll notice also around her shoulder it's just basically a spill of light that you get, you know, normally, if you've got a little bit of haze on your filter, you know, sometimes I saw focus or hes filter just going on your lens before you take a shot is going to give you this wonderful romantic glow. The problem is, of course, is that it's also turning her skin and everything else into a watercolor, so this brings up a really good point as we start to go into targeted adjustments, and it takes us back to the concept of a procedural editor versus a pixel pusher in photo shop. If you blur something, you've actually changed the pixels you wouldn't then come in here and then sharpened on top of the blur you've thrown away information in the blur, you're not going to get it back with a sharpened and the same thing with if you were to actually just do levels on something and darken it up and then come back and set that, burn it into the file and then come back with levels and lighten it up, you're degrading the image, he took it away and it's coming back, you can use levels and adjustment layers and things like that, but when you work, the lower the order in which you work in photo shop is vitally important because of this adding features and having them at up it's different in light room because this is a procedural processor because this is simply a series of math equations if I take out clarity over the entire file let's say right here we're going to take it to minus seventy five okay globally and photo shop I would never blur something that you know that much and then try and pull that back in what happens if I come in now and we'll do our first target adjustment? I'm going to go to my adjustment brush we said it and take my clarity to plus seventy five and I paint with this brush at one hundred percent okay, no mass feather flow dance it all one hundred percent what's gonna happen when I paint with this brush it will completely negate the minus seventy five clarity that I did in the basic panel. In other words, you can have it all it's just math there's no degrading of the image something that you would never do in footer shop I can do here and I get the exact same quality as if there was no clarity whatsoever on the file, something you'd never do and this goes for everything in light room you can take something out in one and added in the other and if the numbers match it negates it if I take this brush okay, right here. This is the mask I just created, and I take it to one hundred percent clarity. What did I just do? The background is minus seventy five. She is now plus twenty five. You would never work this way and photoshopped. Like I said, you would never add the opposite to bring it back to neutral or to exaggerate it. And here it's awesome, because it allows you to work very quickly if you know that you want to general softening, you can do an anti clarity, you know, you don't want to do that to things like the hair, the eyes of the lips you go back in and then pop pop with a opposite of the clarity and you've got a nice, wonderful global anti clarity. And now you've brought in a popping where you need it, making sure not to get things circles or crow spirits of things like that. So this right here, in terms of this, um, targeted adjustment here is our plus clarity. You can see that right there we get the watercolor effect, the anti clarity. And now not only were we able to negate that with this nice, beautiful soft mask using that h g to hide it, but now we're getting that as well. Okay? And we could do other things while we're in here, we've got we've added the clarity if we wanted to, we could actually change the white balance. It was looking a little yellow, we can come up here and had a little bit of blue at the opposite of what we have too much of we can add a little bit of magenta if we wanted to, we could do a little bit of shadow again, something that you would not do in photo shop if you do one adjustment it's that one adjustment in this one global brushing over the bride, I'm able to do the adding of twenty five percent clarity, a little bit of shadow changing my wife balance um, what I want to very, very cool the fact that that one adjustment can do multiple things is incredibly valuable in yes, are there any limits to the numbers of areas that you could do these micro adjustments to know you can as many pins as you'd like some? So which is today a a, b, c d we're sitting brush right now where you're choosing, you will use that h key you can hide and show those pins those would be the equivalent of your layers and photo shop you'll notice that if I hover my cursor over a pin if I had multiple pins if I let's say, I'm going to do another one will do a new one here, and we'll do a little background. I want to exaggerate this, I'm going to shorten the depth of field, I'm going to do sharpness down, and I'm gonna do something that I that I like to do also I like to do in photo shop. I just made a blurring brush. Bye, d sharpening it, and I'm going to come over here and I want to paint all over this scene toe actually blur it to change the depth of field whenever I paint a mask. I typically want to see that mask. I didn't when I did her, because it was so big and sloppy, but if I tap the okie on dh that's the okay on the man, anthony okay, on the p c I can actually see that mask if I do, and there's a bunch of green in here, so if I do a shift oh, and toggle through it, I can actually get a number of different colors available for that mask, so shift oh, is a shortcut. So I'm actually going to go over the entire scene, and right now, because that brush is set to minus one hundred blur it's actually blurring the entire file, the button for turning that on an office the so you can see the blurring that's taking place right that is a really you know full on blur that took place in here um and I like to do that when I'm doing globally for the image and then I went to a race this area right here by holding down the option or all key it automatically switches it to the eraser I want to make sure that my auto mask this case you know let's do the auto mask we're going to get into another project that deals with the autumn asking the thing to remember about the auto mask is you want to make sure that your first stroke is completely inside the area that you want to mask and that if you accidentally go outside of it as you can see here you can come in and then fix it and auto mask actually gets more and more intelligent the more you use it so in other words it's not a bad thing if you come up in here and go into the hair and it doesn't do a great job which actually it's an excellent masking device here and photoshopped it goes a little bit too wide when you come up here and do this holding down the option or all key to a race it actually does gets smarter and smarter the more you use it so it's actually isn't it wonderful little mask a teacher can't hand plan on using it for this image, but we'll go ahead and use it as a little spill. Let go of it now I'm back to painting that's a little bit big brush. I'm getting a little greedy in there. Go on, we'll say that's good enough for government work, jack, you're flows at one hundred percent, he always work one hundred percent or do you bury that? I do, since I can change the values, the question of my flow and density being at a hundred, I typically do keep it at that because I don't need subtlety. I'm really not using it like a subtle airbrush. Um, I'll explain what those, um differences are me get this low right here. We'll just again for teaching purposes will say that's good. And of course you can zoom up and that's going to give you more control in terms of fine tuning your mask. Um, but what you have down here, the question of flow your size is obviously science size of the brush feather is you can see that feather edge flow is how quickly it goes toe whatever the density is it's the closest thing to airbrush? If you have a low flow, it will start off at fifty percent and gradually go all the way up two, one hundred or started forty five so it is something that's kind of like an airbrush ifyou're density is at fifty and you're flows of fifty it will never go past fifty that's why it's not it's called density not capacity if you have a brush that's fifty percent opacity and photo shop you do a fifty percent stroke you do another stroke on top of that fifteen fifty united one hundred density will never go past this this is it's a procedural brush so if you said it to fifty, it'll be fifty if you paint something at one hundred and then take the density down to fifty it will actually remove as you paint so that actually will subtract so that's why it's good to know that this is not opacity its density flo I want to have it at one hundred percent of it don't nearly have enough time to uh, no, it depends upon whether I'm doing some a little airbrushing or not. So auto mass you you are speaking of which it's actually a really good question. I've switched over to my stylist one of the only people in the world that still uses a mouse on the walk home because I being weaned as a graphic designer like resting my hand on it what I'm not doing actual retouching um but I would never retouch with a mouse okay, this is the new into us for awesome great fantastic don't hesitate if you're dealing with anything related to creativity, get a walking ok don't get anything else they're the only ones that have upended technology of any else has got a battery inside the handle there is ok, so tap that and you can see now what I've got and I'm going to come up here and, uh gonna find tune my blurring here again I had planned on this one will be actually going to go up behind here, but here is what are targeted adjustment is we brought back in some clarity on her we've put some blurring into the background you'll notice the sharp here is now blurred here, so in here is our before after before after I brought this up that that anti clarity can be nice when you're getting this halo exaggerated halo effect when you're having to pull out aa lot of detail in there, I'm related to the other thing of um where we found our chromatic aberration are chromatic aberration was over here in our len's correction panel if you remember right here and again that's a kind of a freebie it's not any negative if you were to want to use that this is where we're going to find that upright so let's just do that again we started this morning I'm going to hit auto and oftentimes that auto just does a great job remember auto though is going to get me to crop that image so if it's awful you have all this water now I have no water if I go to my crop tool it looks as if I actually have no water I can't get back to it which is disconcerting because the water is part of my story so let's go back here and go back to off and try some of the other ones where's our level here's our vertical okay and full so vertical is doing good I can tell as it has happened before I'm still getting some boeing that barrel distortion so I jump over here to manual okay and this is where I can come up here I've got my greatest turned on so now I've got better vertical lines and here I still have my water if I want to I can either crop turn on that constrain crop that because it's trying to get rid of everything it comes in and it doesn't know my priority is water so I'm gonna turn that off go back to my you know crop tool you can see what it did it came up all the way here because it didn't want to have any of this gray that is not a good priority for me that's not how I would prioritize it because obviously what I can do is I can come here get all of my water and I just have to come over here and come in a little bit on the sides so rather than lose um all that space all I needed to do was that and now I've got the water as well as thea upright buildings okay, so um one if you do use auto over here someone it's going to take away images which is which will be a little scary but that's okay because one the other one's here won't take that away from you too even if you do like auto which will go ahead and do that here remember auto if you go to manual you have that scale option and that scale option is going to allow you to get back so even if you're an auto you still have access to that and of course I can do things like rotate or I can use again I'm getting a barrel distortion and let's take that vertical so manually aiken find tune any of these parameters that I need as well and when we get into photo shop integration will talk about the use of content where phil and other things like that fulfilling these edges of panorama tze and stuff like that I certainly would not use that constrain crop if it's taking away any of your story whatsoever because nowadays there are miraculously ways how tio recreate information that's missing on those corners and stuff so that is that the last thing I wanted to do, also on here, I've got a before and after doing a little tango on here, but in terms of our lens correction back over here in the manual setting, I mentioned this idea of identifying, um, folks, one if you're shooting with any kind of wide angle lens, you're in a studio, you need a full figure, you can't get far enough back by definition you're going to be, you know, adding weight to the person just because of that's. What white angle? You know, glass does that's why everybody says the camera adds ten pounds and in a studio environment or whatever. That's, what lenses do they have a built in distortion at anything at the wide angle? Um, but regardless of that, they're also ways to kind of exaggerate not the adding of a bulge in the center and again, this not only goes for ah full figure, but even a portrait if you shoot a face what's in the center of a portrait, typically the nose. So if you have shooting with white angle, you're going to get a bigger nose so that pin cushion this little thing right here going into manual, this pin cushion distortion can actually be used to identify someone so here I'm going to give you two ways how to take off five to ten pounds on everybody won you can come up here and use this what would be a pin cushion distortion in concert with scale? In other words, if she was that much filling the frame before um you can see how that is elongating her okay and fill it. Zoom up here we don't need that much another brick crystal shot. So here is before after before after okay that's considerable the dress because all these dressings wedding dresses are hug people and totally unnatural ways. Tomorrow we're going to go into liquefy and fine tune how body shaping khun take place we're not going to liquefy in there, but compensating for dresses is something that you do but that right there is certainly lengthening her and giving us a little bit more elegant. Look that's using what's would be a pin cushion and a scale, okay, if I didn't use that scale, then it's a make midget option not really beneficial to use the pin cushion distortion unless you know that you also have scale it sure to put disposal to get it back to where it wass the other way of doing this, let me go ahead and reset this transformation is the brand new aspect ratio this is where you can now do a non symmetrical distortion of the image and in this case you can come up here and just lengthen you know don't get greedy okay um but a little bit you know of in this case going up to twenty five percent twenty five percent is certainly doing a ten pound change in the person okay people have been doing this and photo shopped for a million years the fact that this is in light room is one more reason why you're not going to be needing to go into photo shop for every single image or at least you're going to get much further down the line before you do need to as an example tomorrow we're going to go into liquefying okay so that again is using our lens correction we did it for chromatic aberration that something that's absolutely important in terms of our detail so detail is are sharpening who went through what each of the sliders does and there you go there and of course noise reduction I don't think I need to dio other little ones but in terms of I'll just show you you know what that here's original here's the tango and here is using our options within our lens correction in this case doing a vertical so here it is before after before after having it automatically do multiple adjustments great awesome fantastic will save you time on energy and money questions about detail and distortion okay continuing on some global color and tone I mentioned before um I loved this I've used this image for a million years it's another brooke shot if you're sick to death of it, I don't really care because I haven't found a better example and there's so many people that have not experimented with the h s l panel that, uh I really need to so we're gonna come up here will actually come up here let's go ahead and crop it a little bit typically I do this little over here and what we're going to do those who have been joining me over the years you always wondering what wasn't ian cropped version of it, so now you've seen it, um we're going to say that the tango has been done on here and this concept of globally adjusting your image fine tuning color and tone in this case not dodging and burning, not hand doing it it's still doing it on a global nature is what we're talking about when we get into this h s l panel hugh saturation and lou eminence not lightness and specifically when they use it in concert with this little icon right here the ta ti tool targeted adjustment tool been in light room for one hundred years it's only three pixels high by three pixels wide and a lot of people have never stumbled upon it, its mind bogglingly useful because what it does since it has access to both the hue the saturation and the luminous by clicking on this and then choosing which out of these you want to work with let's say luminant ce you then simply come up here and with all of these colors and every combination of these colors come over here and click on the background and dragged down click on the background to drag up you can see it knows that this is a combination of aqua and blue okay, I can come down here on her skin tone click and drag down give her a sun tan you see it's a combination of orange and red or aiken lighten her skin tone now this is where those snapshots come in I mentioned any time you see anything vaguely cool and groovy make a snapshot so here I've got a lighter background in a lighter skin tone I'm going to come over here and do command in and I'm just going to not even bother naming it because it's so easy to go back to him because I just hover my cursor over you can see I've already got a few different snapshots in here so I like that so now I've got that I'm gonna take on here down on the background I like that command and done now I'm gonna come over here and I'm going to do the sun ten here and light background click over to saturation and take the saturation of the background down completely different story one second this is why I used this image because it's really really cool because of all the different color command and I've got another version of it now I go you know what? What would be cool? Is that ad the color back in but de saturate her click on her hair and her lips and her skin and now I've got her in pure black and white and the background is now in full color do command and I've got another version of it now I'm going to shift over to the hue over here and I go you know what? If I shift this overto purple, I can soak this client I mean, I can come up with another solution to my visual communication challenge because I know she likes purple and then I'll go back over the luminous and dark and down that purple and that's a little bit too much saturation so let's make that dusty purple. So now I've got dusty purple with her black and white let's go back to lou eminence and I want her a little bit brighter in there, okay? And then command and and make another snapshot and I can just hover my cursor over and here are all the different solutions I've got to my visual communication challenge hs l is bitchin it's absolutely bitch and that's the technical term you can quote me on it it's bitchin because it allows you to do hugh shift it left or right you can't do what you can do in photo you can't shift it one hundred eighty degrees on the color wheel you can shift it within a spectrum which is actually good it's much harder to break an image with this saturation obviously you khun target saturation it's not a skin um when it did all the oranges in here which happen to be her skin it did all the blue if she has blue eyes and did the blue of the background it's still a global adjustment that's our topic here is global but it did it extremely well especially when it comes to luminosity because it has access to the l out of an l a be working color space it's beautiful quality as opposed to in photo shop where h s l means who saturation and lightness and lightness and hs ellen photo shop is evil bad yucky is the technical term bitchin yucky ok? Yes a true california yes that's right absolutely ok so that is and you'll notice the snapshots now if I go through these snapshots going back to our topic of snapshot first virtual copy if I come over here and I go ok I like this one so I'm going to do eh command apostrophe or control apostrophe I just made a virtual copy now I know I can output that to print I can put it in the slide show I can give to the client I could make a website for client approval and do whatever I want and take it into photo shop it'll act just like a regular copy still takes up no memory on the hard drive still is only part of the catalogue but it's cool now I come over here back to my original and I come over here and I go uh in terms of my little snapshots over here and I go you know what? I like this one too so I go command apostrophe and now I've got my other one there so I come over here, go back to this one do I like and I like I think I like the light background here okay with her in color maybe I go to h s l and again they'll come over here to hugh and I do like the remember you have to choose that ta ti tools and I do kind of like that purple so again, maybe I do well, I already did it so here's my purple so now I've got three versions of this file and they're already for output by shift click through them I can actually go right to my export and print or sledge or opening to photo shop I want all of them in photos show if I'm doing some weird blending thing that I can't do because she's blue but I don't want her eyes done or she's holding you know besides or something remember that's what we're going to get into tomorrow if you hold down your right click or control click right click and come up here edit in open as layers and photo shop all three of these will come in perfect alignment footer shop and now I can use traditional masking to say where I want stuff but by using this hs ellen the ta ti tool the target adjustment tool I either got all the way there to my final effect or I got the vast majority of the way there now I can bring that into photo shop if I want to find tune it so there's really no limitation on it and none of this was actually done doing any hand masking right? All of this was done by using a slider photo maker would like to know is this where you would create a high key version of the image using h s l I wouldn't you certainly could if you wanted to because you have access to things like skin tone I used a different technique we're going to cover tomorrow in terms of high key that has mohr with a contrast and tonal detail and having shadow detail but you know so are our basic panel what we did with the tango is actually the place we're going to do high key and it's going to give us even more control but you certainly could do something like that and a targeted re color like we did hear what I what I call it targeted re color is excellent using the hs that we just have one particular color you want to pull back out it's great yeah um the sl panel is also where you're going to do black and white now we're going to spend some more time on black and white tomorrow and when we get into enhancing special effects you can just click on the black and white over here or tap the wiki um in light room to automatically give you a black and white another image I've used over the years first off this is a much better default black and white converse in inforty shot if you were to de saturate an image and photo shop that's an awful way of doing a black and white you couldn't do a targeted black and white in here um bye d saturating which is again because it's using the lab color space d saturate let's actually do that let's not do the black and white let's leave it in full color and let's do a little little preset we have made a preset yet so I'm gonna come over here to saturation ok? And I'm gonna come over here and I'm going to de saturate this image. I'm not clicking on the black and white, ok, up here. If I were to click on black and white, it turns it into gray scale. It actually is just a single channel document. There is no color have thrown that away this case by leaving at nature s l and d saturating it. I have a the similar result, but I still have access to the color information, but I like this as a nice black and white it's a nice, viable option. I'm going to come over here. This actually is a jpeg files, so I don't have access to the color in thie raw information, which is a shame because it would make a really great example, but I'm going to make a preset, and in this case, I'm going to come over here to my preset panel and I'll put it inside my folder. It's one of the things that the difference between the preset folder in light room versus adobe kamerad is that you have sub folders, but on will actually come over here and we'll say new folder has called this creative live for stuff that we're creating here, and I'm going to call this d set don't call it d set one and the thing to remember about presets in light room is you only want to save the component that is pertinent to the affect your working on. What does that mean? That means I may have done color and tone and tango and vignette in a bunch of other things to this file that's not what d sat preset is for its to do. One thing is to de saturate the file, leaving it in still full color. So I'm gonna click none and come over here and click on color so all the things related to color in this fire will be affected. But anything that I done to cult to tone or clarity, or curves, or post crofton, yet will not be saved. Onley save what is pertinent to the effect, because if I turned on all, then when I clicked on this little effect on another image, it would have changed the brightness in the contrast, and at the sharpening and whatever else that I did on to it. So onley save what is pertinent to the effect, ok, and now I have a decent one, so that is my first pre set. The benefit of that is, if I come over here now, back to my it's sl panel, there's nothing, stopping me from clicking on the poppies and just re coloring the poppies or doing that and going to the green and the glad and the grass now the green the in grass is actually more yellow than anything else, so you can see that I can there's really very little green and grass you can see if I take that up that is a little bit so I'm gonna try and, you know, get this kind of muted color which I'm not really crazy about the guy I like mme or that I can re saturate the oranges in the poppies leaving the grass de saturated I can also go to that green the yellows and greens and aiken dark in them. I don't want to do too much of and I could also possibly shift at hue of the poppies are mainly orange. I can shift them toward the red or toward the yellow so that is the benefit of doing a this little cool little trick let's come over here and do that same thing got another poppies over here. I'll use that d sat come over here with that hs l in saturation and I'm going to come over here and re saturate just the color portions of the poppies, leaving the background intact or going over to hugh and again shifting it toward the yellow those or shifting it toward the reds I can see that I could take that even further up and I could also lightened them up in terms of luminosity or make them a little richer I'm seeing a little yellow down here the nice thing is we've already started are targeted adjustments when I blurred that background on the model by the pier there's nothing stopping me from using the adjustment brush creating a new one and then taking saturation and then just hand doing it the rest so if again if a global adjustment gets you ninety percent of the way there and you have to come back in where they targeted adjustment like I just did right there and it was still quick and easy great awesome fantastic take advantage of whatever you can do in a global environment with a slider before you go in and manually do it because obviously it's going to be quicker okay let's do I mentioned before if you are um you can on ly shift the shoes so much so if I come over here to this file and often hs element you I've got my targeted adjustment tool I can shift it to yellow and aiken shifted to purple but I can't get it to green ok there's no way that I can shift that too green if I want to shift that to green what I'm actually going to need to do is I'm going to need to we move that color it's actually weaken come over here and, um we set that hugh so I can remove that um color over here and then you actually have to add it back in using our color tinting so in other words, over here in our adjustment brush we do have the ability to add a color tint now the great thing about this color tent it's beautiful it's translucent it goes on top of your tone ality it's not an opaque color it's like a beautiful die so if you remove color in one location you can actually add it back in here so we'll just come over here and get rid of my obnoxious green will circle take a brush here and now I can actually ad or move change the make sure that I don't have my auto mass turned on right now so I can come up here and I can actually change this as to what would be a green car and I actually would be using that auto mask feature for my worries. So the only way if you want to really shift it dramatically from one color to another you're going tohave tio actually brush it in. The nice thing is once you brush that in you can one choose any color that you want right? If we want it to be blue and you have access to all your other sliders in here so you can change your exposure you can change clarity you can do whatever you want to change that color, including we can take our saturation of so now again, just like I mentioned in what the alternative and photo shop, if I were to change a color, I would change the color, and then if I wanted to do a little high pass popping as I'm doing here, I'd have to add another layer share that mask, filter it with high pass, said the blend modus off leiter overlay and then mask it in to get my clarity here, I want to increase the contrast that would obviously be a contrast adjustment layer again sharing that mask where we masking it. So the fact that I can do all these adjustments with one brush is bitching to use a technical term. Ok, last in terms of our total work using h s l let's, go ahead and use a little shot of the rune bells over here and thiss when there was a question about infrared, this a shot that's been behind me and some other ones you'll see during these three days here it's actually taken within infrared converted camera. A dslr has been converted in fred love infrared, really in fred is different from what you can do with any filter that's labeled infrared or we present you make that's actually based upon the chemical composition of the flora in the scene core phil actually reflects light differently in the infrared spectrum than other things so it's a chemical situation that makes infrared as cool and as groovy as they are okay but what a lot of people I mean when they say they want an infrared look is what they want is actually that's come up here and we'll do our little basic so let's do a little tango here and we'll do because yes already been mentioned that I'm a clarity freak ok, so we're going to come up here that's ok that's ok I'm not gonna take it personally um and uh we'll take that so there's just a little bit of a uh or a lot of bit of a tango on it so for after now you guys know the tango okay, we'll do a little bit of vibrance too so over the top volume twelve let's go ahead and take that and do our hs cell to do a black white conversion tomorrow again we're going to a lot of special effects with black and white but just to show you that power of the h s l tab we're going to click on black and white it is a full grayscale file now in this case we're gonna take that same ta ti tool and aiken either dragged the sliders or I can click here inside the scene and you can see what's typically known in an infrared is that black sky and the green foliage so what I just did by dragging sky down and full ege up is giving me the start of a um infrared look okay if I combine this with that basic thing where we're coming up here and maybe adding you know little anti clarity I can almost get a little bit of a you know the glow that comes with uh a typical infrared shot especially a film infrared shot film infrared is a much longer exposure and actually had a little bit of a glow that was associated with it but this is giving me a little bit of that look we can even take our contrast up mohr to give us our typical little m parade look and again back to h s l we could continue to we can continue to fine tune that so here we've got our yellows and greens air going up you can see that our luck was and blues air going down we've got our orange is you can see just the sort of control that you have on all sorts of areas within this tonal range I can take my greens down but the yellows and oranges up your flexibility I mean you will never do black and white in photo shop again just because of what you have at your disposal here in like yeah now can you add in the sky as if it were tempted like the photo behind you you can what I would do if I wanted to do some sort of special effects is I would use the d sat little preset that's why we just made that so I never have to do that again, but making that one preset once I'm set now it go to h s l I'm not going to click on black and white or tap the wiki, which is the shortcut to make it a black and white image that's julian cost pneumonic device and heaven help her if she ever anyway, the I remembered it it's a perfect pneumonic device, so I'm going to come over illuminates and we do that same thing, so I'm gonna take that aqua and blue so aiken darken up that sky and I can take my greens and yellows up, but I can also go to that saturation and do what you're saying of bringing back just a portion of the color rain for a special effect. So yes, you can get the drama as well as the you know, cliche, trendy little partial re coloring again without any masking or anything else. If you could do without masking that's, the power of h s l is that it's does color hugh saturation and luminosity okay? Questions absolutely sure any questions on the studio audience because we're doing it all right? We have many okay, so driver forty nine would like to know they have a lot of pre sets in light room for its are a way to import those presense into light room find yes, you can go into your presets in the develop module and you can uh right click and you can let's see where are we going to, um important by right click on any of your sets of presets allows you to import you'd find those so first off you could go wherever you would save them if you'd save them from light room you're going to get into a search from the nice thing if you name them you know whatever that is a unique name you can always do a search of the desktop level that will show you exactly where they are from the old version of photo shop and then now that you know where they are you just go into the import and it's going to ask you where were they? And it will import them. So that's it's that's the easiest way to do that that if you're going from a priest sit in photoshopped into light room but you know that's light room in the light room the photo shop presets and lightman presets are not compatible totally different oh, so you still have to import that into five, five dozen retain what you have, you know we're good very good point if you upgrade from four to five they will automatically come over as long it's actually a really good point this is one of the kind of god says in light room if you go into the edit menu in windows of the preferences in light room if you come up here and have your presets tab turn on our little green presets tab here if you had store presets with catalog in four and you upgrade to five, the default is no longer store presets with catalog they're stored on the computer so you may not see them if you come over here and click this off in light room five they will show up so that is a very good gotcha you shouldn't have to import them if they were in for they can show up in five depending upon how you had four set up they may automatically show up if they don't show up you go into preferences going to presets and then click this box. Is that true from three to five three to five the thing you have to I think so. The thing to remember is that light room three has a completely different processing engine than five you can still use the presets but it will not take advantage of the new engine I'm gonna touch on this tomorrow it's actually is it is a cool little feature because in light room three it was what's known as the two thousand ten processing engine versus like room four and five years of what's known as the two thousand thirteen engine um two dozen twelve engine um and it's a better engine that shadows hesitation is much better. The artifacts under clarity are much better, but because clarity is completely different, some people liked the artsy, grungy halo that came with light room three and before and there's nothing stopping you from using that engines matter of fact, if you go over to your came or calibration, this right here is what we're talking about, it's the process that you're using and there are times, and even though we're in like one, four five, you may say please use the two thousand ten engine, which is what the old presets will use from light wind three because it will give you some cooler groove. Your things actually sometimes skin softening can be better with the old clarity and hdr grunge look and be better with the old clarity. It just is a different process it's a very different way of working with images, but you won't have many of the new features in light room five if you use that processing engine meaning if I come over here to two thousand ten and I come over here to my basic panel, guess what it's now called recovery and phil light they're no longer starting in the center they start on the left. I don't have a black and white slider, they're all gone if I go over to my adjustment brush, it's gonna have a completely different setting than if I was using the new engine so you can't say, well, I'd like the old clarity and the new shadow please thank you and it could happen sees reflecting starlight from hawaii asked if you painted on an effect with settings to the max and it's still not enough is there a way to duplicate the effect without adding a new pin and repainting? No, if you use the adjustment brush, you can't duplicate that pin you have to paint again that's as opposed to the radio filter the radio filter as we did with the eyes and I did it before the great thing about the radio filter and that brings us to here for I take something like this and I go to my radio remember grady in radio and adjustment brush and I reset this and I want to come over here and again, I don't wantto invert that mask I want the outside think of it as a thin, yet is a default that's going tobin yet so I'm gonna come over here and I take this here okay and I take this and we'll come over here we'll even you know, take out that sharpness so I'm softening the image share and we'll do that so we're going to darken it and we'll add that feather all the way up and increase our size I can take that I don't want to repaint this is one of the things that was maddening in the other tools as I go well, I like that, but now I won't affect the opposite of it. I got exactly what I want, but now I want to do the opposite just as I moved the pins when I did one eye and I moved it to another I which is great if I hold down the command and option or control walton the pc and just drag it over slightly I have now doubled the effect, so I'm now twice as much blurring I've got twice as much darkening I'd already maxed out the sharpness the anti sharpness in this case what I typically would want to do is not double it though I could I could simply come over here and invert that mask and now rela than darken I want to lighten it in other words, I've got one mask that is giving me my outside I've got another one that is giving me my inside and I'm taking and now that inside is now lighter using exposure added some highlight that's amore contrast to it maybe even do a little bit of shadow and actually in this case I'll take mine I like down and I have added clarity to make it pop, so now I've got these two pins, this one is going on the outside and again I'm doing some blurring to it and actual let's take that also that clarity down. So now I'm doing a lot of softening, so the outside is doing softening, darkening, um darkening, darkening, softening and blurring of the outside this pin is doing the opposite it's bright ning contrast clarity and saturation and both of those together are giving me this and I really only had to do one pin when adjustment I just simply duplicated it told one to be invert of the other and then change the settings so you can do it with the ah radio phil but you can't do it with the adjustment brush, okay, if that makes sense. Cool, eh, jack, I got two questions. Get one's a quickie diana asked when you're adjusting the tat, are you doing it sideways or you're doing it up and down its left and right? It actually shows you with the targeted adjustment tool uh, so if I come over here with the hs l and click on the tool even though that one goes up and down this one actually it's been spawned that the tool this one is going up and down so it's tells you which way to drag okay so that is telling me which way to do it's up and down the variation on that t a t if we go back here to our little pins you'll notice that if you hold down the option key if you zoom up on these let's say we've got here's our background here's our background right here so this is our background it's the darkening if I hold down the option king on the mac or the old key on the pc and zoom in again and I hover over that pin I'm getting a variation on that t a t it's a left and right slider and what that's going to do is that's going to give me an intensity on ability to change all my settings in this tool in one fell swoop? I mean if I hold this down I can go down and remove or darken you can see the sliders it's moving all the sliders at one time if I want to blow out that background or take it down it won't go past I'd already done minus one hundred so option or all click on those gives me in this case a left and right slider as a default said in the ta ta is giving me a um up and down slider great question from stefan daniel schwartz in germany how does the mass brush learn is that learning per adjustment per image or how does that work specifically thie auto mask in the adjustment brush here the auto mask is what we're talking about whatever it first clicks on it analyzes that whatever's titled totally inside of that so it looks at color tone texture says ok that's what you want me to mask it's very smart at it if you were to click on the edge if I were to mask outlets they'll want to click this area here and I turn on auto mask and what was the shortcut for be able to view the mask oh ok think of o as a mascot the whole okay I'm gonna come over here and now you can see because I started right totally inside that green even when I come down here okay that's pretty darn good it's got a little bit messy right here so if I hold down that option or all key and now I'm going to race and again I want to be completely inside the area that I want to a race now it's going to it's going oh that's what you wanted so now when I come up here and I race it's actually going to be even mohr intelligent then it was the last time because now I've given it a parameter for what is to keep and what is to toss at some point I'm not going to get all these little spots that it's missing and then I just turn off the auto mask okay and zoom in and just do it without the other mask so use the mass when you can and you've got an area tio that's you need to take advantage of a hard edge when you're done with that turn off auto mask and then you can come up here and finalize that okay, that oughta mascots cool it actually does a great job tomorrow we're going to do some stuff you can actually get away, you know, with hair and other things like that so here is, you know, are before and after okay, other questions yeah, we got two more terry can fear via twitter asked can in light room for global lens corrections slowdown editing images after after it is fixed or sorry slows down editing images yes um is that is that different in light room five and then we also had other questions about the speed difference between light room for and five yes, all speeds of better than five than in four because they've got this quick low data possible if you convert to de ngs or you use the smart previews both of those are going to give you a significant speed increase overall on everything in addition to that, they have upgraded their algorithms to everything as well to help in creed that increase the speed but that is an issue that's why they needed to do this improving is the mohr target adjustments we do it's technically bogging it down in light room for and before whenever you'd switch to an image, it would recreate the effect on the fly it would have to go okay and it would start running around and incense like a little elf in a workshop would say, ok, you've drag this slide and you move this slide and you did this and you did that, you know, especially when you get in the lens corrections and it's actually bending the entire image it did slow things down, so adobe has gone to great lengths to help with the cashing of the information this quick, low data and other things like that so yes it's significantly faster overall, especially if you do the two things of either converting to d n g and use the quick low data or use the smart previews that's really is it? It is a huge increase in speed just that if you are working off line, the fact that it never has to load anything that's other than five percent of your original file and yet you're still able to do all your editing that's also on top of everything else going to be a speed increase. So it could be that you want to use your smart previews if you are finding it that's, a great use for it, because you can do everything that you possibly want for it. And then you only plug in your hard drive when you're ready to output, and your daniel to completely transparent way of working. So, yeah, great, jack, I just want to give a shout out to terry keeper, who asked that question on twitter. Hi, terry, all right, have a follow up question from stefan daniel schwartz, who asked, so you need to a race with the auto mask on for to learn, yes, ok, yes for it, and learn to get smarter by turning it on. You're saying it's looking for an edge? So, yes, exactly right.