Lightroom CC- Mobile: Curves
That contrast knob is the quickest way to make contrast happen. But a better way to make contrast happen is a curve. So the curves is a much better place very very beautiful way to make contrast happen. And that's right up here, you see that little curve thing there, so if I click on that the curve actually goes right over the photograph which is quite cool, cause now I can play with it and I can see the photograph, I don't even have to take my eyes off the photograph while I'm adjusting the curve, which I love. I actually prefer working on curves here as any other place, because it's so intuitive. So I can take the curve and I can take the brighter part up and the darker part down, and you see how I can look at that while I'm looking at the curve, cause if you're in lightroom you always have to go over to the curve and you're working on the curve but you're not looking at the photo. And you're like doing this. And you look over to see what it did. And I find myself adjusting the curve...
based on where I think it should be rather than what the actual photo is showing, so that's why I love this interface. Because I can just, I'm looking at the photograph while I am working on that curve. And I think that is a really nice place for that curve. So it's nice and dark here. Cause I'm looking. I'm looking at the. I'm looking at this wall right here, and this wall right here. That's really what I want because those are my leading lines that take me up to the castle. And so that is really prominent in the photograph. So I'm looking at that, I like that curve, now here's something extra that you can do with the curves, which you can do in lightroom classic as well and of course all of these settings are going to transfer over to everywhere that you're working whether it's classic or in lightroom cc. So I'm going to go here and I'm going to turn it into red. I can do green or I can do blue. So I can play with the individual color curves as well. Which means that I can create special effects. So I can take blue up, like this, and take it down in the shadows, and see how I'm creating a color tone to various portions, but not all of the portions. And then I'm changing anything that's in the shadow is warmer, or I can take the shadows up warm and then I can make the highlights, the highlights would be warm because I'm pulling them below the blue line. And then the shadows would be cool because I'm bringing up the shadows. So that's a really nice way to play with your photograph and get really the exact look that you want, then you can take the reds and say I want the whole thing to just be a little bit warmer in the reds all the way across the midtones. But let's not change the shadows or the highlights all the much. And then the green, green is the ugliest color, it's usually the one that messes everything up. But when you're in the green, think of the opposite of green rather than green, so if you grab green and you pull it down you get magenta. That's the opposite and if you put it up you get green. And so these are like the two ugly colors, it's like the ugly cousins that are coming to the party all the time. Really that's not something that you want to play with unless you have a particular idea in mind. Green usually can just stay where it is. But if something is too magenta then that's when you pull the green up and it'll pull the magenta out, or if something is too green, you can put in a little magenta and it'll pull the green out. So usually when something is wrong with your photo that's when you play with green and magenta. Okay, so now I've got my, so its' got a slight color to it that's, I like it, its nice.