Develop Module and Adjusting Photos in Lightroom®
And we're going to go into the develop module and inside the develop module, I'm going to give you a tour of it. On the right hand side is the navigator. The navigator is much more useful in inside of the, um, inside of the developed module, because if you roll over presets, which are basically little buttons that will change the look of your photo, you can see in the navigator in the navigator here what the photo's going to look like when I apply different presets to it now, the ones that I'm looking where I'm working on here presets that I've developed its sell online. So if you're looking for those presets, yuka, go to jared platt, dot com and just go to the store and those presets will be there on dh there's help on how to install them. But these presets, if I click on him, just do very quick things to your photographs, you see how it changes the look of the photograph makes it look like an old school photograph. I can always hit command z, so if I don't like, let me turn it to a b...
lack and white, I don't like what that looks like command z or controls, he will always undo what you just did. So let me turn it to a thin black and white negative with a selenium toner on that's looks pretty cool so maybe I'll leave it there actually I really liked this warm rough grain that was my favorite so I'm going to go with that and so I've got a lot of pre sets here however light room ships with a siri's of pre sets down here you can see him they say light room light room light room light room those all ship with light room so you have plenty of pre sets that start you off you can always create presets as well by simply doing something over here and then adding a preset you khun change what you're going to include in the presets and for more information on making good presets again you khun tune into amore advanced version of a workshop on my room okay so these are our pre sets we want to use presets we love presets because they speed our workflow and they keep us consistent so that we always have the same look about our photographs um you could relate them to like the styles that you have inside of your instagram of, you know, phone aps and stuff like that okay, so that's the presets below the presets you also have a history so you could go back in history and see what you've done to the photograph you can also see all of your collections that you instituted back in the library module here so that you can switch back and forth between them if you'd like now below that is a copy and paste. So if I were here and I hit copy, it asks me, do you want to copy all the settings of copy? Then I go over here and I hit paste then it will do that to the next photo it's a very slow way to do that kind of work, but it's certainly that that's what those air for you can also then compare what you've done. If you click on this, why y click on it and it shows you a side by side comparison. This was the photo looked like when it came in. This is what it looks like now, so now I could go over here and I all my work will be done to the after and the before will stay the same, so you'll be able to see what we've done to the image, so I'll just leave it there. Now I'm going to go over to the right and side, and this is where you do all of your work, I'm gonna go over to the right hand side, and I'm going to show you a little bit about what you have access to the first thing is that you have access to the same history, graham, but this time you actually can control the history, ma'am, so you can grab the shadows and drag them down, and that will affect your photo. You can see that happening, I can go up and grab the highlights and bring them down. You can see that happening, and I'm just dragging back and forth with my my mouth's, but I'm grabbing the part of the history, graham I want to move on, and so if you're learning photography, this is a great place to learn it because you get to learn what the parts of the history gram looked like and where they fall on your on your photograph. So that's, one thing that you can play with, the next thing you can play with is all of the local adjustment brushes those air here, and I'm going to just show you one and you can play with the rest of them, but basically you have a brush, you have a radial filter, you have a grady in't, and then you have, like here's where you would get rid of red eye reduction, so for some reason he had red eyes, you could click right here and it would get rid of the red eye it also has it for pet eyes as well, and then here is where you get really rid of little spots or blemishes or even telephone poles s o that's again that all those for a lesson a more complicated lesson but I'm going to show you one in operation just so you see what it looks like if you pull down the brush tool you khun taken exposure down on it and then you can increase the size of the brush right down here just increase and decrease the size of the brush and then grab it and start burning and as you go around you can see that I'm burning in making this darker just by just by dragging that around and I can make it as dark as I want to see how I'm darkening it up it looks great doesn't it fabulous? Okay, so that's what you can do with these tools and of course you should use a little bit more finesse when you do it, okay? But if you don't like what you did and this is why I'm showing you this if you don't like you what you did it's represented by that little pin you see that pen right there, you know if I hover over it it'll show me where I was burning with that red stuff that's going over the top of it, but if I don't like it as long as that pin is active in the pin is not active then I won't. It won't turn black. Let me just wipe pen, but once the pin is active, if I click on it, I can hit delete and it is explodes, so super fun to watch it explode and it gets rid of it. So that's the other thing, so I'm gonna turn off the brush and I'm going to go into all of my basic adjustments so here's my basic adjustments, you'll recognize some of them from the library module in that quick develop area, but the exposure deals with the mid tones, the contrast kind of spreads the whites and the blacks away from each other that gets more contrast ing the highlights is the really bright stuff up there and in his face, the shadows is all of the kind of mid to dark, mid to just below mid tone before black seeing is getting those shadows, and so I could make it a little bit more richer. I can open up the shadows a little bit more. The whites are again those very, very, very white things. So the very brightest parts of this photograph of the whites and then you've got the black black is the very darkest parts of the photograph and then clarity clarity is actually just contrast in the mid tones, but its effect. Is making things either more wrinkly or less wrinkly so if you want less wrinkles you take clarity down if you want more wrinkles you take the clarity up and you can see his his shirt is getting more wrinkles his shirt is getting less wrinkles etcetera, etcetera right? Okay vibrance is simply in the inside of your colors so let's, take a look at these colors here and watch the colors as I bring the vibrance up see how the green gets a little greener but his face stays I mean it's getting too warm to orange but it stays fairly normal but if you were to do the same thing with saturation his face would get way too warm see that and so saturation is a much more drastic tool but really saturation vibrance of pretty much the same thing. Okay, then we have tone curves and tone curve. You are basically the more complicated version of contrast and if you've used photoshopped at all, you'll recognize this is called a point curve and so you can create your own point curve you khun bank things dr leiter you can also turn this point curve off and you could just go in and work on shadows highlights and and blacks inside of the hs cell that's just where you deal with luminous and saturation of individual colors so if you wanted him to not be a saturated in the warms you could take the oranges down and you I kind of see our de saturating those oranges so that's where you would work on that in the split toning. This is where you would add split tones to say a black and white. So if I turn this to black and white and I wanted to add split tone to it, I could increase the saturation and I could make it a green I could see I'm changing that underlying tones of that black and white, so this is where you would make kind of a sea peotone type of thing, okay, so let's, go back up and look at him again. All right, now in the detail area detail areas where you do your sharpening, so if the photographs a little soft or whatever, you can grab the sharpening and increase the sharpening amounts, you know that increases gets a little sharper, gets a little less sharp, little more sharp with less sharp etcetera so you can work on that. Um also, if you have noise and the these don't have noise in them, but if you were shooting at high I so you could certainly remove the new luminous noise or the color noise here in they're both in the luminous and color noise right there then you have the lens correction lens correction is where you deal with any kind of warping that happens fromthe lens so if I enable it, you'll watch see how it well oh that's because I'm not on a raw photo by the way, if I click click on I imported brought plus j pegs so you can see there side by side so here's an inn interesting thing if I click on an image where I've adjusted something and I click on another image I can hit previous and it'll take the settings fromthe last thing and move it over to this thing and so now watch what happens if I hit the enable profile corrections see how it works it so it's taking away the natural warp of the warp of the lens and trying to make it straight as possible now I like the way the world looks, so I'm going to leave it that way. But did you notice that on a j peg it doesn't do anything that's because j pegs are inferior files when you're shooting, they don't contain all the information, so if you can shoot with a raw image so that you can get the most information out of it okay, so then after that we go to the effects panel, which is where we would add grain and we've already added a little grain in our precept, but you and see that we can increase and decrease the amount of grain that we add. We can even increase the roughness and size of it. So we can do a lot there. And then, in the end, is count cat camera calibration, which is the whole ball of wax that you don't need to deal with right now, because you are just beginning.