You can see that you've got a lot of tools at your disposal, here inside of the localized adjustment. So your localized adjustments have light and color and affects and all that kind of stuff as well. But then you have this is all global adjustments. Another favorite of mine is the geometry. So geometry used to only to only be available inside of Lightroom Classic. Now it's in Lightroom CC for desktop and it's in Lightroom CC for mobile. So I can go into this image. And this one's pretty square. 'Cause I'm actually kind of right up, right in front of it. So I'm gonna go to a different image. Let's to go here, this one. Okay, so I'm kind of down on this image, right. I'm way down on the ground. And so I want to play with this and before I do anything I'm gonna hit auto. Do you see how well that did (laughs)? That is perfect. I don't have to do anything to this image. It did a great job, just by clicking auto. And then I'm going to go into my geometry section, and I'm gonna do what's cal...
led guided geometry. So I click on this little cross-looking thing, and oh, look I already had one in there. So let me delete that. (pen tapping) Gonna show you what it looked like before. There. So do you see how things kind of went like this? So if I'm in guided geometry, I wanna find the specific angles. And I'm looking for things that need to be parallel to each other or perpendicular to each other. So I'm gonna go up here and I'm gonna grab that roof, and I'm just gonna add a point here, right here. So I'm gonna add a point, and click on it like this. What's goin' on here, sorry. There it is. Great (sighs). (laughter) Weird, okay. So I'm gonna add a point here, and let me zoom in now and see how I'm a little off, so I'm just gonna drag it to the top of the roof, drag that to the top of the roof. Oops! Sometimes the pen is a little, there, okay! So I've got the top, but it hasn't done anything yet because all I did is give it one specific place. So now what I wanna do is I wanna go, alright I want this to be the next one. So I'm gonna grab another one here, and I'm gonna drag across this one here like this. Let me zoom in here and get this correct. And over here. And by the way, whenever I'm moving stuff around, I'm actually using two fingers. Even if I wanna slide like this, I use two fingers. Otherwise, I'll be drawing another line. So two fingers. And then, now what's happened is it's squared it up so that the building isn't like this, it's done this to the building. So now what we're gonna do is we're going to add the parallels this way. And you can only put four in here. So I'm gonna grab here and drag this way, on that parallel, or on that line, and then I'm gonna drag here and do it here on that line. And do you see what just happened? So now you have, and I can zoom in. That's close enough to square on that. And then look at this one. So see I'm following that edge. Doesn't matter if it's right on it. It just matters that it's parallel with it. And as long as you do that you've got a very parallel, so you can be a little bit off here or there, and it will (blows air), put it all together and it looks perfectly square. So that's one of my absolute favorite tools inside of Lightroom mobile, is the ability to even that parallax type of work. Okay.
How do you deal with monitor calibration and environmental lighting, or do you have tips for that in a room while you're editing -- on an iPad.
That is a very great question. So it is not possible to calibrate this screen inside of Lightroom, to show you exactly what the colors are gonna be. X-Rite actually makes a calibration software for your mobile devices and you can use like an X-Rite color monkey to actually read it, but the problem is, is that they've created this amazing tool and nobody's adopting it. So like Adobe has to then write it in and adopt it so that it uses, 'cause what it does is it makes a profile and it sticks it into your iPad. But then it's up to the software companies to actually use that profile and show you what is correct.
But there's very few of them that are doing it yet. I'm hoping that at some point in the future people will realize that X-Rite's given them a gift, and they' ll use it. But they haven't really done that yet. I don't know why. So, at this point you just have to judge it. The colors I find are pretty dang accurate. These are really good color devices. But the exposure and the contrast levels are not accurate, because this is a really glossy screen, and so it feels more contrasted than it actually is. And so I find that when I get back to a color calibrated monitor, I generally have to add a little bit extra umph to it. So what I do is I just pay attention to that, and so when I'm working on it, I add more contrast than normal to it, and then it shows up right on my screen. You kind of get used to it. You kind of get used to that, oh I need to add about maybe 10 percent more contrast and 10 percent more clarity to something in order for it look right on a normal screen or on a piece of paper. So you get used to that, but the real key, and this is where you have to get used to your eyes seeing correctly, is to make sure that you know the level of brightness-- on your settings.
So basically go to your Settings panel, sorry, not this one. Go here to that, and grab that brightness level, and bring it up and down until, like look at your monitor, and look at your tablet in the same light. And go up and down until they match. And once you can look at it and say that matches the two of them, then remember where that is. Like remember in your head, it's one-fifth the way down or it's, you know, one-tenth down, or whatever, figure it out, and try and get close. And then the other thing that you can do, and I have it all the way up here, just so that we can try and show correctly, 'cause there's a camera up above me and stuff like that. Usually my setting is right there. That's my setting. And if I do that it looks pretty accurate everywhere, unless I'm out in the sun, then all bets are off. But if I'm in a building or in the shade or something like that, then that's about the right setting, and I'm pretty close. But right now we have to be here so that people can see it right. So then the other thing that you can do, and I'm glad that you asked this question, because it's a really great point. If I go into my travel, oh shoot, hold on. You know what I didn't bring it in. Just take a picture of a ColorChecker Passport. Do you know what that is? It's by X-Rite, it's about this big. Just take a picture of the ColorChecker Passport and make sure it looks perfect as a DNG. So make it a DNG at home and look at it and make sure it's perfect at your calibrated monitor. And then share that into your Lightroom catalog so that you have a DNG that's perfectly exposed and you know it's perfectly exposed, then all you have to do is look at it, and make your adjustments to your exposure or your brightness levels while looking at that calibrated ColorChecker on your screen. And then you'll know. And then if you're out in the bright sun, just do it again, just readjust. And then you'll always know. So if you always have a known value in here, then that's how you do it, visually.
Is there a before or after that you can see?
Yes, let's go to say this one. So, I've got a photo here. If I wanna see what it looked like before, I just hold down and then it it'll, well, that's what it looked like before. (laughter) But here let's go to say this one, and then let's turn it to black and white. Okay, so now if I wanna see what it looked like before I just hold down and it shows me before, and then let go, it shows me after. Good.