So when we left off we have been making some exposure adjustments in the basic panel and we learned howto set our white balance I want to do just a few more exposure adjustments is to make sure that we've all got that down and then we'll take a look at how to use that sync button to apply them to more than one image right before the break we learned that if we had adjusted an image and then we go to another image with a special keyboard shortcut light room will paste the settings from the previous photo in that keyboard shortcut is command option v on a mac or control all v on a pc so in the filmstrip down here at the bottom of the light room interface in the developed module, we can see that I have one photo selected and when I use that keyboard shortcut in applies the settings from the previous slick previously selected photo to that photo and apparently you cannot select more than one photo and have those setting applied in that way because when you have more than one photo selected...
that's when you get that sync button over here at the bottom left now if I've just got one photo selected now see here again that more selected and selected thing comes into play if I just click on a thumbnail while other photos air selected then I'm merely changing the most selected photo if I want to d select everything in the filmstrip except for the photo that I click on, I simply must click in the gray area outside of the actual picture thumbnail. So see if I miss clicking on the thumbnail see, I'm changing which picture is most selected, but if I actually click in the light gray area around the sun nail, then I'm de selecting everyth thing, but that one picture that I clicked on that stuff is so important for you to know, because it will trip you up. Heck, it trips me out sometimes, so just be aware of that. So, for example, since we have this photo corrected and we have these other two in our film strip that were shot under the same lighting conditions and at the same zoom and everything, then we can just go ahead and shift click this last image in that set because I've got one selected already if I shift, click light room will select everything in between and when you have multiple images selected that's, when you're going to see this think about, you're not gonna see it unless you've got more than one photo selected, so don't let that throw you and once you see that, but just give it a click in a light rooms going toe, let you verify which settings you wanna apply and just to make sure that all of the ones that you expect her turn on, I'm real good about forgetting to turn on the white balance. So then you can just click, synchronize, and then your changes apply to those other two photos. So it's a huge time saver in photo shop, you would have to try really, really hard to do this kind of thing, not photo shop is not an easy batch processing and batch processing. This means that you're doing a specific thing to a whole bunch of photos. You're doing it all at one time in the batch, you have to set up some actions and so on and so forth, or you could use camera wrong at the camera raw plug him. If you opened multiple images inside of it, then you can select them all and anything you do. No one will happen to the other there's also some other batch processing available in bridge, which is an organizational tool that you can download from the creative cloud. But it's so simple here in light room, just really so simple and the level of control that you've got. And once you understand, you know, selecting and more selected and sinking and copying and pasting adjustments and all that, then you have become very, very fast at it, so netnews let's, take a look at a couple of other exposure changes are changes in the basic panel rather than I want to show you that have a lot of shadows in them that we're going to open up a little bit, and that means we're going to need to do a little noise reduction, which is important for you to know, especially if you're submitting stock photography to any service like that, like I stopped photo or tolia and so on. So go ahead and close up my photo been at the bottom or photo strip film strip at the bottom of the panel and let's take a look at our before and after. So we got a pretty flat shot over here of this boiling called era hot lava actually took this picture of so proud of myself. It was not an open door helicopter, but I was lucky enough to sit in a seat or I could get pretty close to the glass, so I didn't get a whole lot of reflection, but I was just so thrilled that I actually got glop ege actual bubbling girling cla pidge was pleased I'm a volcano net, okay, so let's go back to the standard view by pressing why. And let's click thie reset button so that we go back to thie ugly, ugly and also in cropped version of this image. So let's, just have a little recap of cropping. You activate the crop tool with the archy or you can click this old tool right here in the developed module and I'm gonna use your keyboard shortcut to crop from the centre outward. So we're going to press and hold option on the mac are also on the pc because I really just want to get down to you. What I think are the important bits of this photo and that's the blockage. Serious lavage. Okay, so we'll call that good press return. Now we're ready to come over here in the basic panel and start fixing the exposure, so we're gonna start out with our white bala it's cool, which you can activate by pressing w come over here to the image and try to find a neutral gray that's. Not too bad, but I just mouse stover. My values at the bottom of that little loop review are all in the fifties, so let's, just give that a click and see what happens. And remember, you can just keep clicking until something looks good to you, but while this is accurate, I don't like the way it looks. So we can continue to find tune our color of light which is really what why balance is so I'm going to cool it off a little bit by dragging the temperature slider to the lift and then if you wanted you can further adjust it with the tent slider so I might go a little bit more towards the magenta make it a little bit more impactful and then for the exposure let's go and reveal our history graham here and take a look at what we have going on my clipping warnings air turned on I know that they're on because they have a white outline around the triangles and I've got a lot of information here in what area the mid tones case remember shadows mid tones highlights you can we haven't looked at this yet but you can click and drag here in the history um so if I wanted to manually spread out my information I can click and drag to adjust just those areas in what areas is it we'll look at the corresponding slider that's being moved so right now I'm adjusting my highlights and this is another way to understand the differences between what some of these sliders do is to do your dragging from the history ram itself and you'll notice that different sliders nalla do they highlight themselves but if you click you can drag them around so just to clarify a little bit more about highlights and white whites are at your upper end of your history, graham okay, so if I point my cursor at this area right here then that is highlighting the white spider and you can even see that little word change underneath here so right now I'd be adjusting my blacks, which is really like resetting your black point and then if I point my cursor just a little bit to the right, then that little word underneath the history and changes to shadows and the corresponding shadows slider is now active and if I were to click and drag then I would be adjusting just the shadows same thing with the mid tones there's highlights again you lava nothing like lava so that might help you understand what's really going on in your image when you're dragging that one cider versus the other so let's zoom back out a little bit actually this isn't looking too bad right here, but what I definitely wanted teo is at some contrast to make this photo a little bit more dramatic. I don't have any clipping going on, so I don't really have to worry a technically too much about my the's sliders down here, especially the whites and blacks but I do want to ask him clarity because that's really going to make the mid tones pop and now we're producing a much more dramatic image that looks sharper it's not sharper it's just looking for ej is high contrast edges in the mid tones that the shadows, not the highlights in the mid tones and it's lightning, the light pixels a little bit and darkening the dark pixel is a little bit technically in your mind. If you're used to using photo shop, just change this word clarity in your head toe uncharted mask it's really like that that's really all sharpening is finding the edges in your photo and whatever program you're using that will sharp and it's gonna lighten the light pixels a little bit in dark in the dark pixels a little bit to give you the appearance of a sharper image, not any, however sharp your images in camera is how sharp it's going to be, but she can fake additional sharpness with controls like this, so if you're used to photo shop using a gn sharp mask, this is really uncharted masks slider. I've got a little bit of clipping going on in the shadows because we've got those little blue pixels going on, so if I wanted, I could lighten my shadows or lighten my blacks a little bit to actually change what black is in light room where if I want really rich blacks because it's my dadgum photo then I'm gonna pull that slider to the lift turn off my clipping warnings by pressing j and we have a much more dramatic image so we can see a before and after with the waikiki little bit too dark arguably probably a little too much clarity ok, so let's call that good now when you open up shadows on, we did a little bit of that here by dragging around on the history ram itself to affect the shadow slider you're going to introduce noise that's just it's not j why are you going to introduce noise that's the way it is so we can deal with that by cruising down further in our panel set over here on the right side of the developed module and let's click the detail panel so the detail panel is where you're sharpening controls in your noise reduction is going to be so we're not going to talk about sharpening until the end of the day today because that's really the workflow so sharpening is is pretty destructive. So you want to say that to the until you've finished, you know, sharp it up policy that send it out the door so we're going to talk about sharpening later, but I do want to talk to us a little bit about noise reduction so here's your noise reduction right here by default light room is gonna try to reduce some of the color noise in your image and there's two kinds of noise that you're going to encounter, you're going to encounter luminous noise, which is really like the intensity of life, so that kind of noise is going to look more gray scale and you, you can also have color noise, which looks like out of focus really microscopic out of focus christmas lights, you'll find color speckles in your image, so light rooms did a little bit of noise reduction and so faras color noise, but it's not doing any illuminates noise reduction. So for this image, that's what we'd have because we've got mostly shades of gray all the way around this crater here. So you've got a little zoom detail panel right here, and you can click and drag within this preview, which is just like a zoomed in loop to position it on a portion of your image that's important to you. In that way, you can see the effects of your noise reduction on the most important part, which can you guess they'll be the glop in lava so you can either mouse around within this preview to try to find the spot? Unlike photo shot, we don't have flick and pan, we can't toss our image around like we can and photo shop here in light room. So a little bit of a faster way to get to a specific position in your photo in this pre v panel is to grab this little tool right here and just click and that positions the little zoom panel wherever you'd like it's this little bit faster, so since that's, those two important part of the image to me, I'm gonna position it so that I can see those dark areas that are nearest my focal point, and then I'm going to skip over the sharpening on this one, and and we're just going to grab the limited cider and drag it slightly left word, and you can tell let's look at our before and her after said it just shows you the the entire everything that you've done so let's in this case, mouse up to the top of the detail panel and let's, use that switch, so now we can see the difference between having it on and having it off, and I'll zoom in a little bit more and then reposition this larger image over here is kind of hard to see, so I'll do a little bit more. I'll make it extreme, so you can see if we go too far with it it's really just blurring that's what's happening in the background, but if we don't do it quite so much and then we flip that little switch now you can begin to see some of the noise reduction so here's with it off here's with it on see how it's just smoothing out those pixels so that's how you can reduce the noise in your image if you do open up your shadows to the point where then you've introduced a little noise you can hide it you're really not going to get rid of it but light room will blur those pixels in such a way that it's not as noticeable and if you've gotten always going on in your image and you definitely wanna reduce the noise before you start sharpening because then you'd just be accentuating the noise, making it more noticeable in that would be a bad alright let's zoom back out a little bit so that is noise reduction one more image for you on that one this one I still can't believe that the camera captured it because it was dark outside this light was so faint to my eyes and I was shooting with that cannon five d mark three that's got this outrageous ability to shoot forget shooting and note in low light it shoots and no light and that's what happened here and I really couldn't believe it but when I went in and made my exposure adjustments then I introduced a little noise let's take a look at the before and after yeah did you see the image on the left hand side change like it was a little darker and then it changed that's that camera calibration in a process version at work there that's why your image is going to change automatically because that's happening that's what we set up the top of the day so if you weren't here for that then I'm real sorry no by the class now okay? So as I was fixing my exposure here and I wanted my blacks to be really you know pretty black but not completely plugged up then I introduced some noise so we can come down here to the detail panel and again you can reposition what you're looking at by clicking and dragging on this preview or to be more precise with it give this little tool a click and then come over to the portion of your image that you really want to look at and now if I close my history um so we can see our noise reduction cider and our little zoom in you can see that as I dragged that luminous cider to the right then indeed my noises disappearing but it's just being blurred and it's kind of a neat little effect on this particular kind of image because we're dealing with clouds so by default the luminous has said it zero and you can see that I've gotta noise party going on right here so if you've got an image like this, then you can reduce the noise which is going to blur it a little bit now I will tell you if you are submitting images for stock if you put that setting anything over twenty five you're not going to get your photo accepted because noise is one of the big things that the inspectors are looking for so for stock photography you really can't go past twenty five I'm not saying there's not an instance where that might not get accepted but generally as a rule you shouldn't go over twenty five on noise reduction if you are submitting for stock but you could you could downsize the image if it was a really award winning image you thought in your mind it would be really good usage for stock, meaning that a designer would likely purchase it in order to communicate a message or a theme or maybe with this one you know it might go in and add for the hawaiian islands or what have you you know you guys get the point for a lot more on stock photography check out that howto make many shooting micro stock class, which is on sale, but if you really had to image that you're in love with and you thought would really make a good stock image and it does have a little bit of noise in it if he reduced the pixel dimensions then it will mask the noise a little bit it won't be as noticeable and maybe you'll get accepted so that would be one really the only work around that that I know of so that's noise reduction but for artistic purposes for me I like that image I still can't leave the camera got it? Thank you linds protego okay, so that's all we're going to talk about on noise then how would you apply that to several photos? Will we looked at several different ways you can copy and paste those settings by pressing shift command see like it was going to ask you which settings you want to copy then he can click copy and then you can go to another image say that needs those same adjustments and you could press shift command v for paste or if you just want to bypass I sat which settings in my pasting situation then you can just press command option viana master control all to be on a pc and then I'll just pick up the settings on the last selected photo and apply them to the currently selected photo and then if you have a siri's of images that you want apply that to remember you've got tio a click to activate all the images when you do that the sync button is gonna appear but the next step and that is you want to make sure that you have the image that you want to take the settings from as the most selected image tough it's tough burbage adobe but and I mean what else would you se hee I mean I'm not sure what else they would call it okay now just one more thing on exposures let me see here liken to show you on this one image what if the settings that I applied in the basic panel to this particular image if I wanted to save it is a preset let's say I always shoot in pitch black dark and I always end up with sensitive images like this what I think is quite beautiful then I might save all of those settings that I just supply to that one has a preset which would be different than just copy and paste them because once you go to another image and you start changing the basic panel there you no longer have the ability to copy and paste unless you were to go back to this image, copy it settings and then go to the other images that you need to apply it to you. But if it's similar settings that you find yourself applying over and over and over again you could just create a preset out of it. So to create a pre sets that same keyboard shortcut that we used earlier shift command in for new preset or shift control in on a pc and then from this sai log box. She would just determine which settings you wanted to save, as the priest said. And then you would give it a meaningful name up here so you could call this one low light sunset or something that's meaningful to you. And once you create it, then it appears over here in the left hand panel at the very bottom of the presets panel. So all your user presets is going to end up right there. So just be congress, and you realize it when you're doing the same things over and over and over and over, think about all your options. Should I copy and paste should, I said, is defaults, which you really wouldn't do that, but only on the ones that we were talking about this morning, or should I create pre set. And if I do have preset, should I apply them on import, or do I want to apply them selectively? All kinds of options there?