Adobe® Lightroom® CC Photo Editing: The Complete Guide


Lesson Info

Start-to-Finish Image Adjustment Examples

And we're back with another session, in Lightroom CC Photo Editing. Well, let's look back in what we've done thus far. Because not everyone has been with us since the beginning. So if you're just tuning in for the first time today, we're quite aways through this class. So let's take a look at what we've done. On the first week that we were working, we mainly were trying to give you the big picture of light room because light room works quite differently than a lot of other programs you might work with. So I wanna make sure you really understood how it was working behind the scenes. And also there's some fundamental ideas. Like there's a catalog file. And should you use one of them or multiple. And also trying to set up systems to make things consistent. Because the more consistent we can be the more we can later on use automation in our favor. So we really tried to get that foundation., set in the first week. In the second week we concentrated on organizing your photographs and adjusti...

ng them. So we're able to really go from a really terrible looking end result to something that looked a heck of lot better in the end. We talked about things such as retouching, and using things such as the adjustment brush. And then making our images searchable with key words. In the third week we concentrated on special features. Like we can get light room to recognize faces in our photographs and therefore those images, can be searchable without us having, to individually identify each person in a photo. You tell it what a person looks like in a couple different photos and suddenly it can find them in your entire catalog. We also discussed viewing your images on a map. So you can see where they were shot all over the world. We also discussed things like doing books and slideshows. But now we're in the final week. Week four. And on the first day of week four, we talked about how to find an image, any recognizable like memorable image of yours. An important image. How you should be able to find it just five seconds. And that's because you really should know how to use the search features in light room, and from the work we've done previously, it should be very easy to find, an image that you can remember. Well, we only have four days left. So we're getting in the home stretch here. And today what we're gonna be covering, is start to finish adjustment examples. Because we've looked at all of these tools that we have available in isolation. We spent like a day talking about things like the adjustment brush where you can work in an isolated area. But we never combined that with things we talked about on previous days. But here you will see how I might do more complex adjustments by combining together the features, and you'll get a few tips in the process. And then I'll also just take a few images and show you before and after. And we might try to deconstruct what was done to create a particular image. So let's jump into Light Room. So we can spend as much time in there as possible. Here's our first image. And with this image, it was taken in a slot canyon, called Antelope Canyon. And if you're not familiar with the slot canyon, it's a canyon I think the walls are sandstone. They're very close together. Where sometimes in order to go through this canyon, you have to walk through sideways. Other times there's enough space to fit the full width of you. And sometimes the canyon opens up where you might have to stretch your arms to touch the sides of the canyon. Or it might get as big as possible this room. But that would be rare. And what's nice is when the slot canyon gets nice and tight together, if you're there around noontime, the sun is at the right angle, where it just lets the light come down and create nice shadows and bring out all the shapes that are in there. And so this is what my camera delivered. And what I really like about this image, when I just glance at it, what excites me about it, when I look at it, is I can see some variation in color, that's relatively subtle. If I'd look at it down here, I see a warmer tone, a yellowish orange but as I go up towards the upper left, do you see a hint of a kind of a bluish that's here? And if I look over here it might look the tiniest bit purplish, that type of thing. And I wanna get that variation and color to stand out because most pictures I see of slot canyons, all the colors look about the same. Because it's all sandstone and it doesn't vary so much. So let's figure out how I might do that. In order to make an image more colorful, we have two sliders and those are Vibrance and Saturation. And so I'm gonna bring up Vibrance. It's gonna take the mellow colors in the image, and emphasize them and when I do I'm gonna start getting to the point where those blues and the kind of purplishes, come out. Then in order to really get the colors to come out, I'm gonna fine tune my White Balance settings. White Balance is where I can shift the entire image to make it more yellow or blue. Or more magenta or green. And I'm gonna be moving those two sliders around until I see the best separation in colors. Because if I move this slider all the way in one direction, the entire picture will look too blue. Move it all the way in the other direction, it'll look way too yellow, but somewhere in between, I'm gonna see the most distinct difference between the colors. And that's what I'm looking for. Wherever I see the colors separate the most. Then I'm gonna do the same thing with the Tint slider. I'll move it to the right. Move it to the left. And then find the area where I see the colors seem to look the most different from each other. About like that. Then I'm just gonna enhance this image. Try to bring out a little bit more detail in a few areas and make it pop. To make it pop usually a little Clarity is gonna bring out the details in the image. And I'll try to decide how much Shadow detail, I might like to show you. Just gonna move some of the sliders and enhance it. But it's not always the most exciting ideas there, but let's get these dialed in. Now at this point I really still wanna get to the point where I am getting the colors to come out more. And I don't like at the moment, that the purples aren't sufficient enough and that this area down near the bottom isn't coming out enough. And that's when I go down to the area that's called HSL. HSL remember stands for Hue Saturation and Lightness. And that's where I can come in and click on a little icon that looks somewhat like a doughnut, right there. And if I wanna control how colorful an area is, I move my mouse on top of it and now I can drag up or down. So you see this area near the bottom of the image, where the orange is, I can control exactly how colorful it is. I can also control possibly the purplish areas by clicking on them and dragging up and down. And I might also switch over to the other choices of hue, which would shift the basic color of things, or Illuminance which would change how bright they are. So I'll go to Illuminance and let's see what happens when we take the purples and make them brighter or darker. I may do the same thing for the blues. Just see exactly how bright or dark I would like them to be. And being able to adjust them individually is really nice. Finally I'll go over to Hue. And oftentimes I'll take two colors that are similar and push them in opposite directions. So if I look down here you'll see that the blues and the purples are right next to each other and so I might move them in opposite directions. If I do they're going to separate, where you see a more distinct difference between them. Or I could make them more similar as well. And so I can move my mouse up here and drag up or down and just decide do I want that blue area to become more like the purple? Right now I got it to blend right in. Or do I want it more distinctly different? I can go to the purple area and do the same thing. Although they will overlap. And that's when sometimes that little doughnut like tool is not the most ideal, because it will often move more than one of the adjustment sliders down here. It'll move purples and greens at the same time. Because an area is purplish green. And sometimes I need to manually move these to get them to separate. I really want this little brush that's here to come out more. And to accomplish that, I don't think I'm gonna be able to get it to jump out, using any of these sliders that are here, because the color or that little stage brush, or whatever it is, is about the same as the area that's down here or up near the top. So in order to do that I'm gonna go to the Adjustment Brush up here on the top. And with the Adjustment Brush, the first thing I usually do is just double click on the word Effect. So make sure that all of these sliders are zeroed out. Because it's gonna remember whatever settings you used last. Then I'll come in here and decide what will make that come out and I think what will do it is a little bit of Clarity, and possibly telling it to make the Highlights brighter. That's just a guess. And now I'm gonna move my mouse over her and paint that in to that small area where the brush is. I'll just click my mouse here and paint it in. After I've painted it in, I can always fine tune the result, because I think it's a little bit too much. A little too bright. So I'll bring the Highlight slider down to just dial in exactly what I'd like there. And it could be that I try to shift the color a little bit. Maybe make that a little, more of a golden color or something. I can do that by shifting the White balance around. I've just gotta be careful , because if my brush extends too far beyond the bush, then I'll notice it. Because those colors are shifting. But I can fine tune exactly what I'm getting there. And I'll get it so that just stands out a little bit. If you wanna see before and after, there's a little light switch like thing, right here which will disable the changes that I've made with this brush. And you can see that sticking out more. The other thing I don't like on this image at the moment is that at the very top up here, it's a bit on the bright side. I'd like to darken it up. So again I'm in my Adjustment Brush. I'll go up here and tell it I'd like a knew adjustment. So instead of adding to the one that I already have, which is Brightening highlights, I think I'll create a new one to lesson highlights. I'll double click again on the work Effect. To reset all these sliders. It's just more convenient to do that then manually moving each one and I'll guest-a-mate what would need to be done to get that to be mellowed out and not quite as bright. My guess is to bring down the Highlights slider. I'm gonna come in to the image and I'm just gonna paint, it in and see what happens. Yep, that seems to do a relatively good job. If I notice that too much of the surrounding image is changing then I might come in there and choose near the bottom the Erase option. And if I choose Erase I could come in here and bring down the setting called Flow, which means don't erase a 100% of what I have in there Only erase 20% of it. And therefore I could build up erasing things. It's a little bit too much in certain areas. So I'll just kinda see if I get a little bit too much over here on the sides where it might've been fading out. And I can fine tune the Adjustment by moving these sliders as much as I'd like but once I get down, now I no longer notice that the sunlight was hitting that and being much brighter. There's a bunch of other things I could do to fine tune this image and I think I can do much better if I spend a lot more time. Let me show you what it actually looked like when I did this where no one else was watching. And I had unlimited time on my hands. Look at that version. So let's just take a look at what features were used to get there. Because that looks much more vivid, doesn't it? So my assumption was I used the HSL area. And I did. Do you see in here for Saturation, we made the reds and oranges a lot more colorful? And the blues and purples a lot more colorful. And if I go to Luminance and Hue, we didn't do anything there. So it was mainly here making it more colorful. Didn't use any Split Toning, it looks like. But you can find out what sections were used by just collapsing down most of these areas, and turn off all of the little light switches. And see if the image changes. A little bit of Lens Correction, but not a huge contributor to it. The HSL though, you see the blues in there? Changing with that? Tone Curve. We haven't talked much about the Tone Curve. But you can make changes here to the curve. And if I have it, let's see off versus on, there's some stuff going on in there. Here's actually where it is. If you ever find that you have maxed out some of the sliders in this area called Basic, and that's what I didn't spend much time on, when I was actually adjusting this image is to get detail on the Highlights and the Shadows. These were moved to some rather extreme settings. But if you ever max these out, you just want more control over it, you can go down to this area called The Tone Curve, and in there you'll also have similar sliders. See there's Highlights, there's Shadows, Lights and Darks. And you'll see that I brought the Light stuff down. Because I'd already maxed out the slider called Highlights, and I wanted to go further and I wanted a little bit more detail with Shadows so I brought that up. And that's what allowed that to happen. That also has a little doughnut on it, where you don't have to think about, should I grab the Highlight slider or the Light slider for a particular bright area, you just grab the doughnut and move your mouse on top of the image and it figures out which slider would effect that particular area. Because it's to always intuitive. Sometimes you think it'd be the Highlights, when really it would be the Light or something else. With that if I go to the Adjustment Brush, let's see if I've used that. I did. It looks like I used it in three areas. If I mouse over the first one, it's about the same area that I've done before, and if I click on it I was doing about the same thing. Which is making the Highlights brighter. If I go up here to the top, you can see the area that I painted across. And I wasn't very careful because I see a lot of over spray. And it was bringing the highlights down. Just like I did when I did it. I'll go over here and do you see the outer edge, there's just a few areas that have some red overlay on it? I most likely darkening those areas. I try to keep the edges of my photograph, relatively dark if possible to keep the attention more towards the middle. And so if I click on that one it's bringing the Shadows slider down and if I were to get rid of that, I'll just reset my Shadows slider by double clicking, watch the edge of the photo. You see those little bright areas? Like near the very top center? How they are just mellowed out just a little bit? So it's just me fine tuning things. So that's an image I rather liked. But let's go in and try some other images. How do you like this one? You're like, why did you take the picture? Or why would you even consider adjusting it. Because it just doesn't look exciting. Right? Well, if it's the entire picture that is pretty much dark, because I think the tiny little areas of blue sky that are coming in there really don't matter. I'm gonna bring up the Exposure slider to see what we have. And wait a minute, if I bring that up far enough, can you see what we have? Yeah. Look at that guy. So that's why I took the photo. And it just happen to be that I was in a hurry, we're walking by and in fact there are gazillions, of bats here but if you hang out, you get bat droppings on you and other things. So we weren't spending a tremendous amount, of time to get a good shot. I just went, oh cool, click, and kept going, you know. And so I'm gonna get this where I get the overall brightness and the majority of the photograph from approximately where I want. Not thinking about the bat, I'm thinking about the rest of the picture. Then I think about the bat and I think well, it's in the shadows, so I might wanna bring the Shadows slider up to see what I can get out of it, but when I do the rest of the tree gets too bright. So I'm not gonna go with that approach. Instead I will use the Adjustment Brush on it. I'm gonna see what happens if I do a little Contrast, or Clarity to get this image to pop a little bit. And work with that but I mainly want to get into our bat. So if we get to our bat, I'm gonna go to our Adjustment Brush, and this is when I'm going to first guest-a-mate at what setting I wanna use. I double click on the word Effect to reset everything, and I'm thinking this is probably gonna be either an exposure or Shadows bringing it up. I'll bring my Shadows up considerably , and then I'm about to paint it in, and I'm just donna tun on a check box called Auto Mask to try to get it so it doesn't get too much over spray beyond the edge of the bat. We discussed that in a different session, where we got into the Adjustment impression in more detail. I'm gonna paint on top of this. And I notice it getting a little over spray, I'm sure I'm gonna have to erase that. And sometimes it takes some time to get it to be precise. Especially when the surroundings are very similar. I'll get it in there. If I hover over the little pin, that represents my adjustment, I can see how much the image is changing and see if I have any gaps in my paint strokes. Like any parts of the bat that I've missed. It doesn't have to be absolutely precise, because no one else will see this overlay, it's just reminding me where I might need to evaluate the image to see if it looks good. So I see the little edge on the right side, where it's not all the way over the bat. And a tiniest bit right up here. Then if I wanna keep that overlay on the image, at the bottom of my screen is check box down here. I can turn on or I could just hit the letter O. And I'm gonna go to the right side of my screen and tell it I want to Erase. And I'll get a brush that has a relatively hard edge brush, and I'm just gonna do some blatant cleaning, of things that are beyond the edge. It looks like my Flow setting is now at 20%. Remember I used that earlier. I need it at 100 to really clean this up. Don't have to clean all of it because no one else will see this overlay. It's just that that red overlay gives you an idea of where to evaluate the rest of the image, to say is it noticeable that I got over spray anywhere? So I'm gonna say that's good enough for now. I'll type the letter O to get rid of the overlay. And then I can dial in exactly how bright I would like that to be. It might be more useful to be zoomed out on the image if I type Command minus, that's one way of zooming out. It's the same keyboard shortcut you use in Photoshop, if you're just used to it. And now I can dial in exactly how much I'd like to be able to see that. I might experiment with some other settings. Sometimes lowering Contrast can be useful. I might try Exposure to do it overall. But I'm gonna try to get that bat to come out a little bit. Considering how much that I ended up brightening that, that means there's a lot of noise in there. And so there's a separate slider when you're in the Adjustment Brush, called Noise. And if I bring that up, then we should be able to lesson the noise. A little bit but I might need to apply to the entire image as well because we brightened up the entire image, a considerable amount. It's just that since this image came out a lot more of a change to it, it's probably gonna need a boost to it of that Noise Reduction so that the whole image gets a certain amount and this gets even more. And then I'm going to Zoom out of my image. If you ever forget any keyboard shortcuts and you don't know how to get in or out, know that you always have at the top of the Navigator, up here on the left side of your screen, right up here will be some little presets, is one way of zooming out of your image. One to one will bring you to full size, where you can see the individual details in your image. That's what's best when you're Sharpening or doing Noise Reduction, and then you can use the choice of Fit or Fill as well. So if you're one of the people who happens to not like keyboard shortcuts, always head over there to the left side of your screen to get that. Now with this, the next thing I might consider doing here, is simply cropping. Because if you think about how tiny that little guy is in there compared to the rest of the image, he's not quite prominent enough. I'll go to my Crop Tool. And I'm gonna come in here and decide exactly where I would like him. There he's much more prominent. Let's see what this would've looked like if I'd spent a little more time on it. What I would usually do is probably darken the edges a little bit to keep the attention in the middle. Maybe brightening up the shadows even more as well. It's actually not as bright. This is what I did originally when processing this image. But you get the idea that often times the sliders that you have can't do all the job, and you must go in with your brushes to paint. To get our end results. Here, I have an image of some fish. I'm sitting on a bridge looking straight down. And it's a little walk way, kind of arched bridge. And below it is this pond full of fish. And people are throwing food over the bridge. And the fish go nuts to try to get to it. And it's not the most exciting photograph, if you're just taking it, one with a high shutter speed, because you just see the fish just kind of half in motion. And some of them might have one of them who's little head is out of the water. But I found if I braced my camera against the bridge, I could experiment with my shutter speed and try to get it to look almost like a painting, where these are almost like brush strokes. Now with this image do you notice that it feels like it's just kind of dull? Feels almost like you're looking through murky water. Possibly. Well anytime you have that dullness, that's when I might consider coming down to a new feature in Light Room, that is found under the Effects Section, and it is called Dehaze. In Dehaze we'll take any low contrast image and really make it kind of jump and it's going to mainly concentrate on the dark portion of the image. Trying to push it closer and closer to blackness. And if I get it up high enough, I think it might really get that image starting to look more painterly and interesting. Then with this image, I'm thinking about the colors now, and I'm probably gonna think about White Balance to see do I want to get the colors to separate or do I want the whole image to look a little bluish, yellowish, I just wanna see what it looks like. So I'm gonna be moving this to see what really gives me the best look. I'm gonna probably try to get the most variation in the color. That's usually what I like. And I'll adjust both of these just to see if I can find where the colors vary the most. Then I can fine tune individual colors again by going to, after maybe I amp them up with Vibrance, I can go down here and individually adjust the colors. I might want it so the kind of reddish-orange ones separate more from the yellowish-orange. So if I move some of these in one direction, when it comes to let's say Hue, which is basic color, I could say, make the reddish stuff push more towards red-red and you see how it's shifting? I can make the orangish ones push more towards yellow. Or the other direction, maybe get them all towards that orangish-red, but I might fine tune it. I notice some greenish feeling out here. So I might take the greens and go under Saturation, and bring it down to say maybe I want less. Or if I can't tell that's not working on the right area, I'll grab the doughnut, say whatever color's here. Make it less colorful. Maybe I want this to be darker. So I go to Luminance. Click on it and whatever color it is should make it darker. And then I probably end up fine tuning the basic settings. Just to try to get Highlight detail. Maybe bringing up contrast just a little. To really get it to jump. Let's see what this looked like when I originally processed it. Looks like I was more aggressive. Getting blackness into the image to simplify what I had. And this was actually processed with an older version of Light Room. I can see that because the names, of the sliders are different than what we would have today. Yes, this image was shot quite a few years ago. But there's always more than one way to interpret an image. I just wanted to give you a sense of some of that. If we return to our slot canyon, and slot canyons, if you are near Page, Arizona, there are two of them right across the street from each other. There's lower Antelope Canyon, which descends into the ground, and there's upper Antelope Canyon, which kind of goes upward above you, you could say. And in that special time of day right around noon when the sun starts peeking through, you can get these little beams of sun where you see the sun hitting the floor of the canyon. You don't usually see the actual beams of light there, but if you grab some of the sand from the ground and throw it into the air, then that creates dust. And that's what the light catches. Just like in a movie theater. You don't see the stream of light coming from the projector down to the screen, but if somebodies smoking in the room, that's where you see it. So throw some dust up there. So I'm just gonna try to fine tune this image a bit. I'm gonna try to bring out a bit of Shadow detail. Bring up Clarity to bring out the details in the image. And I'll fine tune my White Balance. See what I like. You see how the blue beams get in there? See if I want a tiniest bit of blueness in those beams. It all depends upon going for accurate color. If I am I usually bring a White Balance reference with me. It's a little gray card that I would put within the light that's in there and include it in my photograph, to do White Balance with. Otherwise, oftentimes, I'm adjusting Temperature and Tint, to get the most separation in the colors. I'll make the image more colorful with Vibrance. There's my Clarity. But now what I really want is these beams to come out. Make them more prominent. That's when I'll grab my Adjustment brush and with my Adjustment Brush I'll guest-a-mate, what would make those beams come out. First I'm gonna actually make them a little bit bluish. So I'll come up here to the top. And I'll move this over towards a little bit blue. Then in order to make those come out, I'm guessing I'd bring out either Exposure or Highlights. Exposure would effect everything that I paint over. Bring that up a tiny bit. And Highlights would effect the brightest areas. To make the Texture that's within them come out, I might also bring out Clarity. Now I'm only guessing with all those things because I haven't painted on my image yet, so I can't see the results. So now I move my brush on top of my image. And I'm gonna start painting that into the image, and I don't care it's too much or not, because right afterwards I can readjust my sliders. But I'm just gonna paint wherever I see the beams. Or where they should be. (softly laughs) Then I'll come in here and I'll find that the Highlights are too much or maybe it was Exposure that was too much. And I'll experiment with my sliders to see what really makes them come out. Did it help to push it one direction? There's a different way of pushing it towards a particular color, White Balance isn't always the best way. When you're in the Adjustment Brush at the very bottom of all your adjustment choices, there's this little rectangle. And if I click on that little rectangle, It just asks me for a color to force into the image, and I could force any color. But let's just go in here and try green for instance. Or blue just so you can see it. And I can try to decide what color is gonna look the best, in there. Do I want it to be bluish so it separates, if so I might need to drag down. Down means less colorful. Or do I want it to be more of a yellowish orange? One other method I could use to try to get color into the brightest part of the picture, is to use Split-toning. Because Split-toning puts things into the bright or dark portions of the image. And since where these beams are would be a brighter area, it might be able to help me push some things in there. Let's look at a little trick that I can sometimes use for pulling out a detail in an area. Not sure how great it'll be on this image, but I wanna make sure I cover it. And that is there's this area called the Tone Curve. And the Tone Curve has two general settings. One is where you control it using a series of sliders. Right here. And the other is if you click on this little icon, instead of having a series of sliders, you just have a little diagonal line. And in order to change that, you can grab the little doughnut guy, and move your mouse on top of your image. And if you want to pull out detail on anything, is click on the brightest and darkest areas of whatever it is you wanna pull detail out of. Let's say it happens to be this area on the left side I wanted to pull out detail in. Well I can click on the darkest area. That adds a dot to my curve. If you look on the right side of my screen, you'll see a little gray dot that was added. And then I'll click on the bright area. And you will see that there are two dots now. And all those dots represent, is how much light is in those two areas. Imagine that it's a bar chart or it's a dimmer switch that will go up and down. It's just telling you out of those two areas, they vary that much in light. The brighter area would be the higher ones. Using more light. Lower area uses less. And if I wanna see more detail there, I click on the darker one and I drag down. That darkens the dark stuff. And if I click on the bright area, I could drag up and that would brighten the bright stuff. If I turn the little light switch off and on, let's see if you can see any more of the detail on the left side. Let's see if it jumps out a little bit. You see it's more pronounced when it comes to contrast. So if you ever have an image where there's one particular object that you would like the contrast to come out in, instead of going to the contrast slider, which thinks about the entirety of your image, I would come instead to this area called Tone Curve. I would make sure that it doesn't have the little sliders below it, and remember you switch between it, using this little icon, and then I would use the little doughnut icon, and I click on the brightest of an object and the darkest, and I make it steeper between the two. Move the upper dot higher. That's gonna brighten the bright stuff. Move the loser dot lower. And you can make the detail come out. Let's see what this image really looked like when I adjusted it. I made it much more colorful and more yellowish-orange, when I originally processed it. But if we wanna see what some of it is doing, let's go to our Adjustment Brush and see if it was used. Yes, do you see how, those areas were in there? And if I click on it we can see, exactly what was done. It was mainly in here that Clarity was brought up to make the detail pop out, and the Highlights were made the tiniest bit brighter. In just a little bit of shift to the color. Let's just look at a few images, look at the end result, and then see what was used to get there. You can see how many different features were put in. This is a before image. That's what it looked like when it came out of my camera. This is my wife doing a yoga pose, called upward dog. So when we learned about this sculpture, in Aomori, Japan at the art museum, we had to go there to get this shot. And when I was shooting it I was trying to be very careful. In your camera you can set it up so any area that is bright, blinks on the screen, I shouldn't say any area that's bright, any area that is so bright that it turns white, blinks on your screen. And what I was attempting to do, is I'd take a picture and I would review the end result, and I'd see is the sky blinking white. To say do I have detail on my sky or not? And I made sure that I had detail in the entire sky, and I thought it was okay to loose a tiny bit of detail in certain areas here where the sun is hitting this dog sculpture. But I try not to get too much of it. And I ended up not shooting HDR. I would've liked to but at the time I had a brand new camera to me, and I honestly did not know how to turn on auto bracketing. I just hadn't figured it out yet. It was like one of the first few days with me with that new camera out. Had I done HDR then I would've gotten a brighter and brighter shot and I couldn't got nice detail in my wife's outfit. But here's the end result I ended up with. I hope. Here. And if you look at it it looks a lot more like an HDR shot because I got the detail in the sky. And let's take a look at what was used to get there. And if we zoom up here on my wife, you'll see that we have a good amount of detail in her clothing as well. So I think a large amount of it, was over here in the general processing. And if you look at it the shadows were brought up to bring out the detail in my wife's outfit. Highlights were brought down in order to get the detail in the sky. But let's see if any other sections were used here. First off I wanna see, because most of the time I need to use the Adjustment Brush, with pictures like this. And let's take a look at what was done with it. First off down here, do you see how I got here feet? And let's see what that was doing. Because when you do a lot of yoga poses, first off your feet can get dirty, and your feet sometimes get to look different colors. So let's see what happens when I turn off this little adjustment brush. Do you see how purple her feet looked? In order to get the color of the sky and other things to look good, her feet just didn't look pleasing I should say. Over here I have another adjustment. If you wanna see where it is, It's simply the shadow that's underneath her. And if I turn off the adjustment you'll see that the shadow just made it so she starting blending in to the surface of the ground. And so I painted in there and only needed to brighten that up, so after clicking on that you see that I went in here and made a few different adjustments but the main thing is I brought the shadows up and brought clarity where it emphasizes detail, Don't emphasize it so much. Don't make it so colorful. Then up here we have additional one. And that's the overall area there. And I'm mainly bringing down my contrast just a little bit. Clarity a little bit. Remember I said that in a previous session that Clarity, emphasizes the details and if you apply it to somebodies face every little imperfection in their skin gets exaggerated. So now that I have Clarity applied, to the rest of this photograph to make the details in the wall and the sculpture come out, but then I came back here and applied it with the negative setting. Often times what I'll end up doing in that situation, is before I go into the Adjustment Brush, I'll simply look at how much Clarity is being applied to the entire picture. You see that number? And then when I go into the Adjustment Brush, I'll load it with exactly the same amount, but with a negative amount. And all it's doing is undoing this wherever I'd like. And usually that's gonna be on somebodies face. I did end up fine tuning things. Oftentimes I end up needing to adjust my blues in an image. Anytime you use the Vibrance slider, you'll find it's very aggressive with blues. And so after that if I have any blue skies, I'll usually have to fine tune them. In this case I darkened it slightly. Let's see if I happened to have adjusted Saturation. Yes, I had to make it less colorful so it wouldn't look artificial. I also made the yellows and the oranges a little less colorful. If you wanna see what it looked like without that. You see the sky looks to me a little artificial. And after, a little bit more natural. To me that doesn't look like the most exciting image. Let's look at what the end result might get to. Hey, I don't mind that. So we think about though, how might you have gotten there. So if you wanna find out with any of your old images that you open up turn off the little check boxes, in all these little sections, and see which ones end up changing the image. Sometimes these sections aren't all that necessary. And it's mainly up here. In this case my main cheat was White Balance. If I set my White Balance to a setting called As Shot, that means whatever the camera had it set to. You can see that that's the camera in the general color temperature it thought it was, and no I said I wanted it to feel more like sunset, and so I pushed it over here. And I went beyond what I might call realistic even. And made it, into a more pleasing side. And it really depends on the original. Sometimes you can get away with that. Other times you can't. So if you wanna see, first let me go to the actual end result, and hit reset, original to end result. One more. This is the original picture. And when I look at the original picture, I love these brushes that I captured, but I don't like the little distractions that are around the edge. Because they call my eye up here, to see a table top. Over here to see a little white thing. There a little piece of wood missing. So my eye likes these, but then I find it's darting up to these other pieces of detail. Let's look at what my end result looked like. And see if it's any better. Now my eye see's brushes and nothing else. And so let's see what sections I might've used to get there. One thing that was probably obvious was cropping. So do you see I cropped in to get rid of anything that was distracting. Got only the essentials. But there was a bunch of other things that were done. In this particular image I have some lens corrections that I believe were applied. Gonna come over here and find out. Yes, vertical. If I get ride of the lens corrections. Turn off it's little light switch. It's just a little bit of distortion correction to straighten things out, so that the brushes look much more straight. So then again I had my camera tilted just a little bit. And I think that one of the main changes that I made was again with the Adjustment Brush. If I go to my Adjustment Brush. I most likely worked on it before cropping. And at the end I might've decided to crop out things. So some of these might be isolated areas that didn't matter as much in the end. But down here there's just a very small area. There was a leg on the table or something, that caught my eye. And if I get rid of that, and I'll click on it and hit delete. You'll just see that it was a little bit brighter. And if I choose Undo, it's dark enough that my eye doesn't go there. The other one was around most of the brushes. If I click on it, I'll get rid of it. Do you see how there's a lot more detail, in that background. Whereas afterwards by darkening it up, it really made the brushes come out. And one final look. I like what I captured here. As far as the subject matter goes. We're in Iceland. Yeah, but the end result just doesn't excite me. It looks so washes out. So light. So the first thing that I might do here is lower the exposure. See what will happen if I darken up the picture. But it just has a hazy feel. There's no blacks in it. And any time that's the case I usually head down here to Effects. And in the newer version to Light Room we have Dehaze. Let's see what it does. After bringing up Dehaze I notice this blueness in the sky which doesn't quite feel like it belongs there. And so I'm gonna come up here to my White Balance, and say let's push this away from blue. And as I push it away from blue, if I push it far enough, we start getting towards yellow, kinda of a golden color. And I start to like it. And so I might do that until it feels like it was really close to sunset. Might start adjusting maybe my highlights, get them a little darker. See what happens if I do my tint. But now the main thing that I don't like is the iceberg itself feels a little bit dull. So that's when I go to my Adjustment Brush, and with my Adjustment Brush, I'll turn on Automask. I'm gonna guest-a-mate what kind of a change I'd like to make. I'm thinking I'm gonna make this more blue. Push my White Balance over. Maybe a little bit more colorful. And maybe a little bit of Clarity. And I come over here and see what happens when I brush that in. I'm gonna get into the reflection because that would be a similar color. Then I'm gonna fine tune things. Maybe I need some Shadow detail. Maybe not as much Clarity. And just fine tune. If dehaze was too much there, I'll bring it down because it's one of the choices here. Let's see what this looked like when I processed it earlier. I have a bunch of different versions of it. Here's one version one day I felt like. Here's another version a month later. I don't know if it's any different. And then I went crazy when I sent this to someone else. I thought I went crazy. No I mellowed it out like that. But if you compare that to the original, you see how radically different it is. So just because you start with something that looks rather boring out of the camera, doesn't mean that you can't radically transform it with a bit of adjustment in Light Room. Do you guys have any general questions or comments about what we've been doing there? Ben, in that last image, the iceberg. How would you create multiple versions of it? Okay, so let's do multiple. Say you've been playing with it endlessly and you wanna save all the versions. Yeah, well there's two different general ways of doing more than one version. I've already done one of those methods. Which is when I go to the Develop Module, I can always create different snapshots of it. And when you have different snapshots, I can hover over them, and the Navigator up here will preview what each one would look like. And that's how I could've determined that these two look about the same. And then I can click on the one I like. But let's say that I wanted to see both this one and this one. When I end up looking at them in the Grid View. You know, in the library? I'll type the letter G to go back to the grid, and here's how I'd end up doing that. If you right click on the image, one of the choices that you'll find, is one called Create Virtual Copy. You'll also find, I believe under the photo menu, as well. I'm just used to right clicking to get to it. When you do that you'll end up seeing two versions of the picture. And one of those two versions, will have a little turned up corner right here. And that little turned up corner tells you that's not the original picture. This is a virtual copy. When I have that virtual copy active, I can go back to the Develop Module, which I'll do by pressing D right now. And I'll go and apply the other snapshot that we had. Then I'll go back to the grid so you can see them together. Now can you see that there are two actual thumbnails that are here? Now the way that works, is there's only one original file. And so we did not double the size of that image. Like you would if you were in Photoshop, where you actually duplicate the file. Instead do you remember when we talked about the Light Room Catalog? In the Light Room Catalog File, it just writes down as text. What you did when you were in the Develop Module. And now it just has two records for one image. Where it ends up having two previews of what it looks like. But they both point back to the same original file, and now if I wanna be able to print those or share them or anything else, I just click on whichever of the two, I would like to share. And it will look back to the original file, get the original data, apply those particular settings so it looks like that, our version and that's what you'll end up sharing. You can create as many virtual copies as you'd like. Just right click and you'll find Original Copy. If you ever do create a virtual copy, or any other kind of file, and you're not sure where the original is, or if you look in here you'll see the file name, at the top, it's called Copy 3, Copy 4, which it might not be great names. You might wanna call this, you know less mellow version, amped up version, whatever. You can go to the right side of your screen when you're in the library module, and somewhere over there, and it'll take me a moment to find it, is where you can rename it. I thought it was right in this area. I'll probably have to change what this is set to. But, oh we're right here, so we're not in EXF. Default. There we go. Can't you just do that with F2? You could possibly. I'm trying to stear people to the right so they get used to that spot. And this was set different than to the Defaults. Which is why it wasn't appearing. I just set it to. The choice called Default. Which made these fields that are Defaults. And if you look, here's the original file name it's looking back to. The original Raw file. And down here it says Copy Name, and right there is where I could change it's name. I could say Mellow version and I could grab the other one, and call it, whatever I'd like. And if you ever need to fine the original file, because this you might've moved somewhere and this one was out of view. You might not be looking at the folder that was actually contained within. You should be able to also right click on it and one of the choices in here would be to find the original. It'll take me a minute to figure out what the actual wording is because it's not something that I use very often. But it should be in there or there's also and icon that if I go over here where you can rename it, this little arrow means take me to the original. See how it just highlighted the original? So that's how you can end up working with it. All right well that gives you some idea, of how I've taken some of my original images and instead of looking at things in isolation where we only use one feature or two at a time, you can see how you can combine them together to create a more interesting end result. So then lets think about, where we're at. We have homework. That means we've looked at these features, you've seen some of my images and how they went from start to finish. But what I'd like you to do for homework, is actually take a few images, that I supply you. Give you Light Room Catalog of images and I'd like you to take it from the original image, and interpret it your way. And once you interpret it your way, however you like it, take your end result and put it on our Facebook Group, so we can compare how different people interpret the same photograph. And therefore we can comment and get ideas on how does someone else approach the same image in a completely different way than you might. Also, we have three days to go. We're in the final stretch here. What we're gonna do in the next three days is we're gonna talk about Plug-in. So we can extend Light Room and add features to it. That don't come built in. We'll get into a lot of little Tips and Tricks that we didn't have a chance to cover in the other sessions, and very importantly we're gonna talk about troubleshooting. Because there's a lot of things Light Room that can confuse you or can go wrong. Unless you've had somebody guide you through how to think about the little troubleshooting techniques, you might need to get in to. Finally if you wanna get a hold of me, See what I've been up to lately, here's how you can find me on various social media. And of course my website. So we've gone through another day of Lightroom CC Photo Editing. We're getting to the home run. Just right near the end. And I think we've learned quite a bit. Hope you've been enjoying it.

Welcome to CreativeLive’s comprehensive Lightroom® workshop! Join one of our best software instructors, Ben Willmore, to learn how to process and organize your images more efficiently - and have more time to spend doing the stuff that matters. In this series of lessons, you’ll learn how to:

  • Import and organize your images
  • Optimize your photos and workflow
  • Make your images searchable within the program
  • Exporting, printing, and troubleshooting

When you purchase this course you’ll gain access to both an enduring resource to build your skills and a community with which to share the fruits of your work. Ben will provide a workbook that acts as a reference guide.

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Software Used: Adobe Lightroom CC 2015.2 - 2015.3



  • Creative Live is a godsend and, in my opinion, Ben Willmore is one of their best instructors - if not the best. He is as natural and thoughtful a teacher as he must be a learner. He knows a lot! He is clear about what his students want and need to know, from basic to advanced concepts, and he is constantly aware that he has students watching who are of different knowledge levels. He never takes off, leaving the less experienced behind - instead he moves forward at a good pace while referring back to create mental links during the progression; good for all levels. I work with Lightroom already and so have both experience and questions about how to work more efficiently and creatively. This bootcamp is definitely helping me. I've watched others of Ben's classes, and they always help. Thank you, Ben and Creative Live.
  • Thanks again Ben, for your fabulous teaching and your ability to actually teach and not just show and tell...As other people have commented you have a gift to teach in the way that you do. I have purchased many of your courses and was not going to purchase this, thinking I have all your prior courses...alas, you are just too good!!! I had to buy it in the end and thanks again for all the goodies, so worth the money: Really looking forward to June for your Photoshop class. Once again, I have taken many of your photoshop courses but you keep adding such great info that I cannot resist...see you in June!! Keep up the fabulous work, byw, I love all the yoga poses, what fun you both have with this idea...
  • I have had the privilege of participating in this excellent class from the front row seat in the Creative Live San Francisco studios. After only a few of the 20 sessions, I quickly appreciated the many features and benefits of using LightRoom to organize and edit all of my images. If you're like me, you've had access to LR for a while, and have opened it and fumbled through the myriad of complex menus a few times, then have gone back to using Photoshop. After these classes with Ben Willmore, (and they're not even done yet), I have tackled the job of re-organizing and keywording tens of thousands of images that reside on various backup drives, many of which I've never even had time to look at. I now have a path forward to enjoying what is in my archives rather than letting them gather dust. I have made HDR images, panoramas, slide shows and Blurb books with ease based on the techniques learned in class. Throughout the class, we lobbed many questions at Ben, and every single time he knew the answer in an instant, or could give us a work-around or several ways to do what we're trying to accomplish in LR. His deep knowledge of LR (and PS) simply cannot be matched, and he's a natural trainer. The days have flown by, and after each day I can't wait to get home and start working on my images. Regardless of your type of photography - professional, avid amateur, or hobbyist - if you shoot and edit a lot of images, LR can be a huge benefit in your workflow. Even if you think you already sort of know how LR works, there is still plenty of useful info in this course that will help you to extract maximum benefit from Lightroom. For me it has been nothing short of transformative!