Lightroom Essentials

Lesson 23 of 34

Selective Color and Sharpening

 

Lightroom Essentials

Lesson 23 of 34

Selective Color and Sharpening

 

Lesson Info

Selective Color and Sharpening

Let's go ahead and reset to the original image can you believe that the original image that's no exposure correction whatsoever that straight out of the camera incredible color that that five d mark three I'm gonna have to buy one of those absolutely I have to okay, so for selective color you might think that we go straight to black and white can't do that why? Because if we look at our adjustments brush which we know is how we can uh either paint on or remove an adjustment all we've got to deal with with the adjustments brush are these controls right here there's no black and white slider so I can't drop all the color from the image and then choose the back and white slider and come over here and somehow reveal the images original color that's how you do in photoshopped you cannot do it that way over here so what you have to do instead and this would be a great opportunity and make a preset put that tool back we're going to come down here to the h s l panel we're going to click satura...

tion and you're going to drag every slider to the lift which makes it look like we have a black and white we don't we just have a d saturated image now we're going to come to the adjustments brush set a saturation to one hundred percent mouse over to the image now we're revealing the saturation everywhere we paint now this is a great opportunity to right here to turn on that auto mask button because then light room is going to help me not paint outside the lines of the thing that the plus sign is over. So let me zoom in and show you that see that plus sign inside that brush while I have auto mass turn on even if my brush is beyond the edge of that object, see how light room is keeping me from painting outside the lines so what I do or what I would do if I were you in this situation is have that auto mask button turned on or that check box turned on rather and paint all the way around the edges of the thing. I mean, zoom back out so I go all the way around the edges actually let's, just start over so I can show you that there we go, so we've got our adjustments fresh, active, we have our saturation set to one hundred. I'd turn on auto mask at this point and I would come over here and I would quickly go around the edges with the auto mass turn on and then I would turn it off because what it does is it's looking for areas of contrasts and it's keeping you from applying the paint areas of high contrast that's going toe complicate matters on the inner part of this object we're not goingto it's going to be difficult and will take us more time to make sure that we've got full saturation in the inner part of those flowers and you can see that happening a little bit right here if I zoom in see how right here it missed that spot so you don't wanna have to do this kind of zooming in and re coloring re coloring so just leave auto mask on for the edges, get the edges looking good and then turn it off that way you're getting one hundred percent saturation for sure everywhere you pain on the middle bits so we'll call her edge is good at this point and now let's turn that off increased breast size and us have a painting party and we can be very fast with it but we've used the autumn ask for what is good for which is detecting edges and then we turn it off and we make a bigger brush and you learn how to do that stuff I mean the more you do it the you will learn little quick tips like that now if we wanted teo change the background, we can re dock that brush and come down here to perhaps split toning and we can auction drag or all drag with our mouse or with our uh our hugh slider here increased the saturation a little bit and it's because of the contrast in this image and where the highlights are and where the shadows are that this is working so well so it is mostly highlights in this flower area it's mostly shadows back here that's why adjusting the shadows really isn't doing much to the flowers at all and I can kind of make sure that it doesn't buy turning down the balance so that it favors shadows over highlights so again much more controller of this kind of thing that a shot but I mean, wow look what you can do here in light room so we're going to do that one again on a different image so this is what we're going to create right here we're going to start out with the full color image so let's just go ahead and click the original make a virtual copy by pressing command or control apostrophe and collapsing the photo film strip down at the bottom and we could just do that again. So over here on the right hand side of the developed module, we're gonna go straight to the age of cell panel why? Because with our adjustments brush we can paint saturation back onto the image, but we can't undo a black and white adjustment there's no way to selectively undo it question could you reset saturation all the way to zero and basic before going down into the chest cell panel would that save you from having to go through each of those individual sliders let us see maybe so so now we're over here in the adjustments brush grab saturation no great question well, wait a minute did I already no, I didn't do it there yet okay, yeah unfortunately no but this will be a great opportunity for a preset so where would the preset opportunity be at what I'm doing right here seriously if you find yourself doing the same thing like five or six times make a preset make preset make a preset so right at this moment all that are preset needs to capture is just the act of de saturating those individual colors and the h cell panel so we could press shift command in all the check boxes they're off so where do we want to turn that on? Let's see basic no treatment color spool it toning oh, gosh were is it maybe that would do it is anybody seeing it? Thank you. Perfect. It'll take you a little bit to spot the thing but it takes a village so let's go ahead and name this one uh no saturation or something that is meaningful to you or you could name it partial color effect step one or something like that so that you get a visual clue of what the technique was that you're after so create now on the left hand side and my user presets I see no saturation so I could be easily disclosed that and start from there stan we can come over here close that panel and go back to our adjustments brush senator saturation to one hundred I really don't want any sharpness increase in there and then this come over here and paint why isn't it working okay clearly we have something going on over here so let's just try out our preset how do I still have that turn on up there? Yep that's what it is thank you they're time charm okay well maybe it would've worked let's see no saturation okay saturation increase we should be good huh? Oh light room liar in light rain let's try resetting that panel we decrease the saturation you all saw it work one time anybody have a clue that may make chime in in a second sure come on village and are not village all right maybe I messed up my pre set all right, so we're back in hs cell panel we're on saturation I'm wondering if it has has to do with the black and white somehow so we're just going to reset all right reset everything awesome troubleshooting techniques that play right here people make sure that is all good come down here to h s l saturation there we go it'll work this time I don't know what I did but clearly back to the adjustments fresh saturation hundred percent and that stuff's gonna happen light room like photoshopped can smell fear so zoom in a little bit and this is another opportunity tio use your bracket keys for brush size impressing hold that modifier he to put the brush and subtract mode so then we can come down here and not be as precise or we could do like we did on the other photo and that is turn on the auto mask and pain around the edges and use a bigger brush to paint on the inside and I have just found the control for the feather slider are actually the the scroll p if you've got one on will also change breast size so I've got a little scroll pee on my mouth here so I can use that change birth size in addition to the left and right bracket keys I do have a question from the audience yeah, what about a de saturated adjustment brush and do it the reverse way so you start off with color the dis saturated adjustment brush and then just paint that yeah, absolutely yeah so the question was could you do this in reverse because you start out with, uh the adjustment brush set tio no saturation and then you would just paint the area outside of the part that you wanted to remain in color all right? So let's call that one good so now let's go to a different image I want to talk about sharpening uh for just a little bit here and then we'll around everything out with some edge vignettes not that you can't sharpen after you've added an edge vignette but I tend not to always been yet seemed to be the last thing that I do and also the great adobe put it last so again not that you have to follow the ordering of all the settings in the individual panels as well as the ordering of the panels but I guarantee that the brilliant engineers added a be spent a lot of time thinking about the ordering of these panels they didn't just throw him in there you know there's a reason detail is after all of this other stuff and details where you're sharpening is so let's go ahead and click the detail panel we peeked into their earlier today when we were reducing noise so you've already seen where the sharpening settings live now how on earth do you know how much to sharpen there's a fantastic two fantastic preset that are built into the program you've got them already so if you open up your panel on the left hand side of the developed module you're presets panel right here so if it's not already expanded give it a click to expand it and you may find that all of these presets are collapsed a cz will but I have them open just so you can see what all kinds of pre sets we have so there's a slew of black and white presets in there and each one of those will give you a little bit of a different look. So do take the time on a friday or saturday night with your favorite beverage whether it's frost here it comes in a tall bottle and a slightly red in color that's my favorite beverage then just trot through these presets and once you apply a preset cruise over here to the right hand side and snoop around in each and every panel and look to see what settings were changed it's a great learning tool really fabulous I do highly recommend that so let's come down here to the general presets that's where you're sharpening presets, you're going to be general lightning general presets right there here's your to sharpen presets and in light room what was that light room for? I think the names of these changed slightly tv a little bit more descriptive on the types of photos that you might want to use them on scenic photos versus face is probably less sharpening happening on faces can sharpening on faces we tends to accentuate every pore, every blemish, every everything which generally is not a great thing okay, so this is a great place to start so let's just click seen it because this is a scenic photo give it a click in light room applies that presets and now it's come over here to the sharpening panel and see what it did well it gave us a sharpened value of forty so the sharpening value is really how much sharpening is going on amount of strength if you will. The cool thing about light room is that it never sharpens the color information get on ly sharpens the luminant information which means sharpening in light room is not going to produce color shifts like sharpening in other programs say photoshopped in photo shop only sharpened have a technique that I like to teach where you sharpened on either eh, duplicate layer or use smart filters and you can go in and you can change either the blend mode of the duplicate layer or the blend motor the filter itself to limit sir luminosity and that's the equivalent of sharpening is saying hey onley apply this sharpening or this accentuation of edges which is all sharpening is on ly apply it to the lightness values or the intensity of light the grayscale values don't apply it to the color translation because if you do that then you will start introducing color ships because sharpening imagery is just like sharpening you're nice set of cut co knives in your kitchen you're looking for an edge that's what you're doing when you're sharpening your knives, your sharpening that really sharp edge it's easier to know where the edge is on a knife because it's the part that can cut you in an image you're your edges or areas of high contrast like here where dark pixels meat light pixels and if we zoom in a bit more and if I were to ply extreme sharpening you would eventually get to see a halo right there along those edges because what sharpening is doing let's see if we can c one yeah, we can see it can you guys see in the studio audience see that halo right there so what's happening is we'll see if I can get a little bit further there it is we're pixelated has resumed and severely but you can see the halo right there so where we did have dark pixels against light pixels now those dark pixels have gotten darker the light pixels have gotten lighter to the point that it looks like there's a gap in between the two that's a sharpening halo civil zoom back out and generally speaking you don't want that so let's go back down to the sharpening I think that priest gave us a value of forty so that's a sharpening amount how much or how little sharpening do you want? The radius is how far away from that ej are you willing to let light room darkened or like lighting those pixels so that controls the with have your sharpening halo radius detail let you restrict the sharpening too on ly the areas of high contrast in your image or only in the detail areas of your image it's a subtle control and honestly unless you're viewing your image at one hundred percent you're never going to see sharpening occur so it's really important to do a one to one ratio of you on your image and that means that one screen pixel equals one image pixel so I've got my eye should have my zoom set up for my space bar so that the first one doesn't fit in the second one doesn't wonder one but we'll see or not there we go all right so you want to be viewing your image at one hundred percent which is one to one and you can get that by not going to the library you can do that too but here in the navigator panel the library's where you can set up the default of those that behavior so what happens when you drive the details slider around where you're not going to see hardly anything happened in your image from a hundred I could barely see it zero I'm not really seeing anything so these two ciders right here most useful if you hold on a modifier key while you're dragging with him so option on a mac or altana pc click the detail slider and you can see here the left the areas that are being illuminated where I see in detail those are the areas that are going to be sharpened as I dragged to their right I want to be sharpening more area see how we're now starting to see some of the palm leaves of the upper right and we're seeing a little bit of the palm leaves on the left hand side those areas that you can make out detail that's what's going to be sharpened what you can see here in this kind of grayscale preview so dragging this ladder to the right will apply sharpening to more of your photo keeping the slider towards the left will restrict it to on ly the detail areas are areas of higher contrast with you I promise you're going to go home you sit there at home and you're gonna forget about the option or alky and you're going to drag that detail splatter all over the place and you're never ever ever ever ever gonna be able to see any change whatsoever uh so remember that modifier he it's a subtle difference so with all the lady left that st hey light room please just sharpen my detail area don't mess with my softer stuff my backgrounds on that kind of stuff drag it to their right then you're saying have a sharpening party but the subtle control the next control down let you see exactly what areas of your image of being sharp and it will just kind of move so if we press and hold option on a mac or altana pc and we dragged the masking slider, then this one lets you find teen with more control, which areas of the image that are sharpened? So as I dragged this to the right, I am applying less in list it's not that I'm applying less sharpening, I'm applying it to fewer areas in the image, so as I drag this mask slider to their right in the areas that are in black will not receive any sharpening areas and why it will be sharpened so you can see with no masking turn on I don't see any of my image that means the whole thing is being sharpened, but as I option or also dragged that to the right, then there we go kill my light room you can do it it also since his time since his fear since his time very perceptive program so as you option or ault drag that cider to the right, then you're saying, hey, light room if you would mask the areas in black so that no sharpening its applied to those areas and if any of you guys have been using photo shop out there on the internet are you guys in studio you know how difficult this isn't photoshopped? This is darn near impossible unless you know how to make an engine mask and I think in photoshopped cc the missing manual that technique spans about four five pages and print it's great if you need to be really specific exactly where you're sharpening is being applied you know? So that it's really like you controlling where the edges are instead of the program controlling where the edges are allowed you to be very precise and not everybody will need this level of control but for those who do boys started handy to have it and with a simple slider based interface all you have to remember with thes two sliders right here is you're not going to see squat unless you hold down the option or all key and that really is the secret to those so right now I'm really only letting the sharpening apply to these areas of detail I'm not really getting sharpening back in here and I don't need it so that's a really fabulous thing if you're submitting the image for stock photography you don't want you don't ever want your radius that sure how wide um I willing to let that sharpening halo or that gap get you don't ever wanna have that over about one point five or you could risk a rejection all right last but not least and we've seen a little bit of this earlier we're goingto look at edge men yet and it's easy enough just to do it on this image right here I love this image and this is my favorite image from from the last shoot that we did so the edge ammonia is down here under effects, and you could think of that edge effects or like an effect on the add to the end and just click to expand that panel, and we've kind of been doing this already if you want a dark edge vignette, drag the slider, the amount slider to the left. If you want a light edge vignette, then you're going to drag the slider to the right, and that really is about it. So I'm gonna go for a dark edge minute on this one and all zoom out a little bit so we can see the whole photo now if I want to change the midpoint of this vignette, so if I want it let's, say wider than I dragged to the lift if I want it more narrow, I drag it to the right. So at this point, it's kind of hard to tell that got a vignette on until you click that flippy triangle and then you can see it is really a beautiful thing, and if you've got images that have kind of ah busy background, this can go a long way, even though it's settled. To making that background less distracting in the image of this pew more visually pleasing, because the viewer's eyes will go kind of right to the centre. But again, we looked at earlier how to use that radio filter, too, I guess create a little bit more of a custom edge been yet say, if your main focal point isn't so much in the centre of the image, mine is in this case, so I've got thes siri's of what I consider three palm trees, even though there's four, they're kind of centered, so it works pretty well round this affects the shape of the vignette, is it? Is it more oval in shape? Or does it have more? Is that a rectangle with rounded edges and feather amount? How soft is the transition between the darkening and what's not darkened in highlights? If you've got highlights around the edges and we've only got a few right here the top left hand corner, then you can drag this slider to the right and see how the edge of and yet now is lightning on the corner where I've got some highlights. That's what that side so it allows you to preserve highlights if you've got them in the area in which the vignette is being visible the top, so we'll just do that one more time on another image. So what are we going to start with to come over here try preset panel on the left hand side and we're going to find light ring general presets and depending upon the content and the image we're going either start with sharpened faces or start with sharpened scenic not any faces in this picture so we're gonna click sharpened scenic then we're going to come over here down to the detail panel and we can adjust our sharpening and the radius and we're goingto option or always click the detail panel to restrict the sharpening to the details we're going to option her aunt click the masking so that we can further fine tune where that sharpening is applying so right now it's only it happened to the bird and the flower and I can even pump it up and nothing's gonna happen to that background back there that was just a brief recap on the sharpening and then for the ej vignette down here two effects if you want a dark as dark edge vignette dragged to the left if you want a light edge vignette dragged to the right and then if you want to change the with the vineyard which we really don't in this case you can drive the midpoint cider to the left if you want to change the shape of the vigna to make it more rounded rectangle dragged to the lift more oval drive to the right change the feather amount so all different kinds of edge effects, but again, light room cannot export a transparent file, so you're not going to get a transparent is back there and then, if you've got highlights around the edges, you can preserve them. You can see down here there, bottom right corner house, I preserve my highlights, and the vignette gets lighter and lighter in that area. In one final sharpening tip, if you want to apply, we talked about selective, sharpening withthe e adjustments fresh when we were retouching karen's portrait is a baby humpback whale that I got. I can't believe the water was so smooth that day to get think as my husband, I both get seasick, so we could also apply sharpening with the radio filter. So let's say I didn't want any sharpening on the water because it's really nice and glassy, but I do want the the first of the from the blowhole to be sharpened that I could come over here and let's reset that dry my sharpness, slider to the right, drag clarity to the right, and I could adjust these after I draw the filter buddy, and if you have some kind of change, then it helps she position the filter, so click and drag released with your mouse button come down in position remember that light room wants to add the adjustment to the outside of that filter, so tap the apostrophe key, or click the invert mask button over here. And now, if we zoom in a bit and we toggle are a little switch off and on, we can see that before and after. I'll hide those controls by pressing a jj so there's our before and there's our after. So the sharpening is really only a being implied inside that oval questions. That was awesome. I love it, isn't it? I mean that this level of control was very satisfying.

Class Description

Ready to take control of your photo library and actually enjoy image processing? Join best-selling author and image-editing/stock expert Lesa Snider for a comprehensive three-day immersion into Adobe Photoshop Lightroom.

Lesa will cover everything you need to know about importing, managing, and correcting images using Lightroom's non-destructive workspace. You'll learn how to apply global changes to photos, how to target specific areas for more selective changes, and how to apply changes to multiple photos en masse. You'll also learn how to fix skies, retouch portraits, remove sensor spots and other objects, as well as when and how to switch over to Photoshop (or Elements) for more difficult tasks. Lesa will also show you how to sharpen like a pro (with nods to specific settings for submitting stock imagery), export your photos, apply a wide variety of practical effects, share images via social media networks, add location data, build photo books, create sizzling slideshows, customize print layouts, create gorgeous web galleries, and much more.

By the end of this course, you'll be in love with Photoshop Lightroom and you'll have mastered the art of photo management and non-destructive editing.


Software Used: Adobe Lightroom 5

Reviews

Peter West Photo
 

I am a photographer and photo teacher in the Greater Toronto Area. Along with my private clients I am often asked to teach photography classes to the larger photo clubs in the region. I've got a big three-night class coming up on LR in the spring so I thought I'd best check-in with Lesa to see if I was missing anything. LOL learned so much about little timesavers that I bought the course. :) This isn't my first Lightroom course either. Lesa is teaching exactly what the newcomer needs and offers tons of tips for pros. Lisa's explanation of how LR actually works is worth the price of the course alone if you're new to this fabulous database and editing program! As for Lesa she's a wonderful teacher and has a great way of explaining some of technical challenges we all run into when editing. If you're a pro, you'll recoup the price of the course when you edit your next big job.

Jean
 

Wonderful class! I had privately hired someone to teach me about Lightroom, but ultimately, I was unable to understand what Lightroom was capable of or how to navigate it. By the end of the first five sessions with Lesa, I knew I had finally found someone who was capable of teaching Lightroom in a clear and cohesive way. I am so thankful to CreativeLive and to Lesa for putting together instructional courses like this so that I can move forward with my passion for photography and use the tools that others have mastered. Thank you, thank you, thank you!

a Creativelive Student
 

Amazing, amazing course -- got off to a fantastic start with lightroom thanks to this -- its packed with tips and timesavers, and gets you from photos on a stick to the finish and even a web page if you like...