9:30 am - Plugin Settings in Lightroom®


Adobe® Photoshop® and Lightroom® Plugins 101


Lesson Info

9:30 am - Plugin Settings in Lightroom®

So let's just dive into it and let's go into a plug in so I'm going to right click this uh image and I'm gonna edit in and notice I've got all of my options here now and I'm just going to go to rad lab that's going to my first one because rad lab is pretty rad it's it's pretty cool I like it it's a fun little plug in so I notice that as soon as you do this as soon as you hit export you're going to get a question as to what you want to do with the file here's I can change my file options on the way out by the way see that I've got the option to change him but it's drawing that from the preset as to what it wants to do and it's going to ask me several things edit a copy with light room adjustments at a copy without you know just just you know as near to the original dead digital file is possible or at the original notice I can't add it the original right now I can on ly edit a copy because it has to actually make a tiff to send out because right now we can't send out a d n g so I'm in hi...

t at it it's going to make the tiff so it's making a tiff right now it's going to set the tip to the side and then it's going to send out this document to rad lab so we're just waiting there comes rad labs ok, so we're inside of rad lab right now and rad lab is kind of the reason I respect what rad lab is doing and I and I wish I was in a light room environment here but it's not it's kind of it's a different environment is very it's very um not light room but I respect what they're doing because they've given you the it is just a browser mentality but it's a quick browser look it shows you the original here but then it shows you what it would look like really quickly in a grid so you don't have to roll over a bunch of presets to figure out what it's going to do the presets are there they're actually right here and whatever you're going to do it will that's what it's going to look like and then if you hover over it long enough it will it'll set it so you can see that it's got basic adjustments up here optical lens effects down here modern colors down here vintage down here so you just kind of scroll through all this and then you can have imported styles here so you can you khun like customize these things so it notice as a little plus sign over the top of it so that means it's adding it so if I go and say I want tio you know, do sugar rush so I click on it and it does sugar rush to it, which is not it just kind of warmed it up a little bit so let's maybe do something a little bit that mohr let's do warm it up so if I click on that now, did you see how all of the the all of my thumbnails changed? Yeah, because now it's saying if I added any of these two it this is what it would look like so now I can scroll down say now want add the bullet to to it now they all changed again because not saying okay, you did that now if you add this to it, this is what they will look like so then I could come out and say ok, but I want to kind of you know, dumb down the color a little bit so that it's more vintage so let's go teo, it almost looks like bridge. Yeah, it kind of has that. So I'm going to click on this kind of it's called luck soft on a click on that and now I've got that going for me once we're once we've got kind of an in what you're attempting to do is find style real quickly so it's a click click click and you're adding, adding, adding which I like I really like that um like the mentality of it it's kind of like my presets where you just click, click click so you're adding this, adding that adding that you're not doing the whole kitchen sink at once you click click click but it's a very visual way to do it then once you've got your basic style, all of those things have been registered over here on the right hand side as percentages and how much you want to add or take away from that effect. So now if I'm like you know what I liked it but that middle blew it bullet tooth thing was way too strong so now I take that and bring the strength of that one down and see how everything's changing a bit because that underlying effect that I had thrown in there is no longer as strong and so it changes everything around it so and then I can take the sugar rush which didn't do much at all and so I can remove the sugar rush in you can see the difference there now if I want to I can also just dragged this up so that I can see that much bigger and aiken just turn this on and off and see what was it that it did to the image it kind of helped a little bit but let's tone it down some and then there's this thing called variation and so again rad lab is not it's not for the person who's like photo shop wizard I mean the photo shop wizard can use it but a photoshopped wizard likes toe like tweak things to the infinite you know, rad labs is trying to give you a really cool image really quickly with cem major control over but instead of telling you okay here's all the tools that we use to create that effect you can now edit them all it's giving you the ability to kind of very what it does but it's going to decide the variation you know it's going to say ok here's a variation on that so you can kind of shift that around on that specific tool some of them will only give you a strength like here's the strength of this tool if you like it great if you don't okay fine on dh then you can delete any of them or you can turn him on and off now here's where this tool gets really interesting though if I found that this which don't you think that looks pretty cool? I mean it's it's really beautiful it does a good job so so now if I really like the way this looked and I thought, you know I could use this on a lot of images but I might need to adjust it some on each image at that point you can create a saved preset so again we're making save presets so I clicked on the save preset and I I'm gonna name it something different than that so I'm in a name it uh and here's up remember we have a naming convention we talked about that yesterday presense we talked about naming it with number two merkel and we named it with so the numbers put it in position so that it's not alphabetical so that we know okay it's always going to be at the top it's always going to be middle but then also we said it's going to name something no like it's it's is a useful name tells us what it is so I'm going to say this is sugar and spice o one not sugar and spice let's just say that this is a an aged paper with soft color something like that and then we can always kind of tweak those names but that's that's a decent name so I click on that and now I have that as an option for any image that I bring in so I have styles here these air styles that are from rad labs and then I have recipes, recipes or things that I've created see this here's what I was working on yesterday so it has a history so this is something I did yesterday applied yesterday this is a history for this particular image now if I were tio decide you know let's get rid of all of these and just kind of reset this image. Okay? So now that the image is completely reset so let's pretend I just brought this image in you don't ever have to go once you remember we talked about making going through presets and adjusting him and choosing yesterday we talked about the taking a day to be style editor, right? So you khun take a now hour two or ten or however long you want and you can be style editor here too if this is like your chosen cool plug in that you're going to use and just make recipes so that instead of being here you khun b here now I can just come into my recipes and I could tell my assistance you on ly get to use my recipes don't go funk defying an image without permission the permissions aaron the recipes and then I can click on that recipe and it's all done we're all in right now, but notice that all of the stuff that I said is it sixty seven zero I said all that when I created the preset, but the beauty of the system that we have here is it instantly gave me all of my options for that style and now I can click them on or off depending on my preference so you can kind of you you could build a stack of everything that you use in rad lab and you could build it watch this. You could build it so that it's like this build it so they're all off then hit save and call this um zero zero base point. Uh, press recipe. Okay, so this is the base point recipe. If you click on this specific preset boom, it takes you to it brings up all the tools that you like to use, but they're all off and now you just say, oh, well, I want a warm this one up and I want to do the luck soft and that's all I want to do so you could have a general recipe of things you always do and they're all off and then turn the ones on that you want to turn on. The other thing that you khun dio is you could say, ok, these are the four tools that I use on a regular basis and so you can delete, you know, these three and then save a recipe called, um softening and let's just put that, as you know, o nine softening and that's like your favorite softening, so you click ok, then you could go back to your original base point again and this time delete, you know, those three and so now we're talking about the bullet tooth and bullet tooth is kind of pops it so it's kind of it's almost like a clarity and so we hit save and we're going to say, oh eight clarity and then we'll click on c we keep going back to the original stack that we made and now we're deleting these to here and that one and so now we're going to save this one as o seven warmth hit ok? And then we're going to go back to the original and this time we're going to delete everything except for the top one, which is the sugar rush which really is just kind of a warming jell it's kind of a milky warming jail I guess I don't know how you would say that, but andi I would say, oh six uh, warming gel okay, so now that I've got that if I were to come into an image like this image here like that and I come in now remember I was in the styles and I was adding, adding, adding right well I can also come into my recipes which I have designed very specifically so the best way than to operate within here instead of doing individual stacking if you want to stack is to start with a base point and then add things or start with a full one and then remove things is the best way to do it I'm gonna have to tell them that they need to allow you to add pretty sets like maybe just have a toggle that allows you to say this is an additional one adding one or this is a you know so you can come in here and like let's reset the document and let's go and do you know oh snap and and you khun hit the little little favorite so you can click on this little uh heart even click on that heart and now you've got a siri's of favorites here that you can work with so you always have your you know your absolute favorites down here that you can click on so if you you know like this one I think is really cool this homestead I remember yesterday we were we were working with a uh it was pretty presets remember pretty precepts tin type the ten type looking thing clicked on it and it looked really beautiful this kind of has the same feel to it that kind of you know tin type look to it so if that's one of your favorites then go in and you know favor it look at that here's a little lens issue there now the question is how much can you you know, play with that lens effect so you can play with strength of it so how much it get you know how how how crazy it is on dh you can play with the vineyard size and the blur for the blur down just a little bit and then the vineyard itself you can play with that and then of course there's there's a couple things that you can do is well, which is you can you can play with the basic adjustments you can adjust the brightness contrast because a lot of these kind of things are going to change the way the underlying image looks they've done in the job it's not it doesn't I've never seen it totally destroy an image doesn't get too dark or whatever they've done a good job with what they're doing inside the software but occasionally you know the underlying image is already pretty warm and then you start adding these warming effects and michael it's getting way too warm so at that point you can take and adjust the warmth and bring that warmth down so that it doesn't it's not to overly warm so those adjustments are there for you on if you need them so that's that's perfectly doable and then at that point I hit finish I actually want to turn off this lens thing though, so I'm gonna hit finish and now it's returning it back to you uh light room for me now here is where the real test comes in how did it do with the image is the image good what's it like so let's let's test it so let's go to the original image and let's zoom in on her okay that's what she looks like in the original image what does she look like in the final image now keep in mind that yeah the block the blacks are completely blocked up but we did that kind of on purpose with that crazy effect so the rial that the question is not did it ruin the blacks because it purposely ruined the blacks got it I totally see that but look at her skin probably more importantly look at her skin legs right here on her chest look around her eyes maybe right here a zit goes into that shadow on her cheek look at the look at the background here this shadow here doesn't have detail what what what is the grain structure look like that's the kind of stuff you want to be evaluating and the grain structure looks absolutely fine that looks fine up here mid tones are beautiful yeah I think the mid tones I mean here on her chest looks absolutely perfect this looks great this so the structure of the grain that it's is fine it look at the edges are always a tale tell sign too so if you if you start playing around with a plug in and stuff come and look at the edges between highlights and dark like this mountain edge here and a lot of times it will be like a ah really pink wine or a magenta line or a green line or it will be like a double line if you're in black and white that magenta will turn into like a little stair step doubleline if they've done something funky usually that edge is very tell tale sign you know around someone's head or whatever so I think that they've done a great job I think the quality of a rad lab image is very high and it's very quick sufficient it's fast and it's fun so of all of those I think it follow follows the requirements for a good plug in because it's quick it operates fast it's not bloated so it's very simple and it moves quickly andi it and it delivers a good image so and great you I and yeah it's a very likely yes it's it's not I would prefer it if it were a dark you I like light room but it's a simple you I I like it it's it's easy to work in and it's very intuitive and you don't have to go here and there and it's just it's all there, so I think they've done a really good job and you can then automate that from photo shop and we'll talk about automating from photo shop later on today some ok, can I jump with them sort of like a kind of a random question, but I was sort of curious myself people are asking about the ability with either this plug in or other plug ins and putting them into batch either a batch process or into like into an action yes, we will talk about that in the afternoon and we will you're absolutely right it needs to be done there is no reason I should do one of those at a time great so today this morning we will talk about the plug ins themselves and then then we'll go into the major grand poobah of all plug ins, which is photoshopped perfect on dh when we get to photoshopped photo shop is our automation central for the plug in's because I would never ask anyone to you individually go to a plug in with one image great I mean it's fine to do it's fun but it's not a useful use of your time it's it's a very wasteful thing to do and so I'm going to show you howto automate through photo shop we're going to automate from light room light room will tell photoshopped what to do photo shop will tell the plug in what to do and we will go do something else oh wow and now we're gonna go into another one at it in and we're going to go into nick uh color effects pro because we made a black and white image we're going to go into color effects pro again I've got the settings I have to copy this out as a new document because I'm again coming straight from the raw I'm editing now you could, you know, go from the tiff that you made inside of of rad lab and go to nick at that point so you could go to another software if you'd like but that's not what we're going to do we're going to go straight from the wrong so here we are inside of our color effects pro and you're seeing this is the original image and we came in with one of my favorites already ready, which is this brilliance, warmth that brilliance warms to me is one of them in fact, I have to be honest it's probably one of the things I the only things I use inside of color effects pro like I just I just that's what I use it's when I come to color of expro, I'm here for the brilliance and warm because such a beautiful beautiful layer that throws on top of it but it's notice that I'm now in a a light room you I see how it looks just like I'm in light room I think they did a magnificent job that but in this instance now I am I'm looking kind of the same ideas rad lab where it's going to stack a bunch of layers here in the right hand panel on on the left hand side is where all of my presets are going to be now if you go to your presets you can choose to look at all of your pretty sets at the same time so this is your starting points or you can go and look at your favorites so you can add favorites there or you can go to ones that are good for nature or good for portrait's or travel et cetera so we're going to go to the ones that are good for nature and you'll see that brilliance and warmth is one of those that's good for nature if you hover over it there's a little uh it looks like three or four photographs there and if I click on it then you get to see what the image would look like if used under certain presets inside of that brilliance and warmth category. So you're again you kind of looking for a general idea, so if you wanted to create a fog type of situation, you would click on this little you click on fog it just adds the fog option so it throws up that that layer on it and we're somehow I don't know what it did a lot of fog sure they're you know it's just they're so there's all of our fog, but we don't necessarily want all of that, fong so let's uh back, so but if I go to brilliance and warmth and I opened that up, so if I wanted to see what fog, so if you click on it, it just adds the fog layer, but if you click on the little multiple image link there, it pops open options, and now you can see what those effects would look like in small before you actually do it. So it's, a it's rad labs doesn't better and job in displaying the options very quickly because they're all right there in front of you as little thumbnails but color facts pro kind of divides them up, so it's it's kind of like I know I want to do this, so you're it's more of a hunting mentality than a browsing mentality. I know I want ad fog, so I'm going to go on look at the fog options, so if I were to add fog to this now here's here's the important thing to understand about color frank's pro it's not like brad labs ride labs if you click on that little plus sign, it adds it, and then you click on the next thing that's a plus sign, and it adds it right this if I click on this it's going to replace my brilliance and warmth with this layer instead in order to add this I need to come over to this side and add a filter so it's adding a layer see the brilliance and warmth is still there and now I have an empty layer waiting for a filter so then I come in and click on my light fog option and so now I've got my brilliance and warmth here and my light fog added to it then it's a question of what do I do with that fog now that I've now that I've got the options now here is where mitt goes further than rad labs, which is that you've got this the's control points the control points are pretty amazing so you could do it on any layer or any filter but in this case I'm going to go in and create a control point and then I'm going to grab that control point click it here on her dress and I'm going to increase the size of that control point can you define control point please? A control point is an interesting little animal what what it does is it it registers an area but at the same time it's registering texture and it's rendering creditors during color and tone so it's registering everything about that area and when you click it it creates the control point and then it's going to affect everything within its grasp so everything within that circle it's going to affect that circle, and then you get to choose the opacity of whatever given effect you're dealing with. So it's it's basically saying, ok, everything in this white tone with this kind of texture is going is going tio is going to be negated or plus or whatever you want to do with that. So in this case it's an at its in addition, so if I delete that control point and I say I want to subtract this fog effect from her, so I'm clinic clicking a minus control point. If I click on that now and I increase the size of it, then I can say, ok, how much of this do I want to remove from so, like, say, her face, let me I need to zoom in on her so that we can see it in effect. So if I come in here and create a negative control point and I say, ok, we want tio so negative and positive control points essentially our masks yeah, yeah it's kind of notes it's probably easier to see if you take this instead of doing a fog let's turn off the fog because that's kind of hard to see anyway, let's go to just the brilliance and warm flair and if you wanted, say, like that sky you wanted that sky to be uh you know bluer but you wanted everything else to be warmed up then it's a matter of using a negative control point so you want that point here not see how that's not affected because I'm negatively pulling out that control point and and and then I can you know increase the capacity of the so if I increase it to one hundred than the opacity of what this layer is doing is shining through if I but if I negate it down see how now it's doing nothing but it's still doing it down here it's still warming up down here so if I turn this off and on you can see here's what the original file looks like here's the warmth but see I get that blue so it really does some pretty cool stop but it's on ly affecting that area so see how I can just do it to that one area yeah or I can increase it but watch what happens when I get away like that see it's and it's doing that blue but it doesn't do anything to her right because she's not in the same color tone and texture as this sky so you can actually make your control points really big and they still won't affect the other things in fact they there's some blues like right in here and stuff that it's not affecting because they're a different texture and a different tone than this blue specifically but if you if you run into a situation where there's you know other blue things like let's say there's a lake down here or something like that you can change the size of the control point to say like that and move this control point over to this side then you can copy the control point just by hitting the option key the option key copies a lot of stuff in other programs to see a pretty intuitive thing and you drag it and now I'm copying the control point to here and then I drag it with the option key down and I control the control point to here and then I dragged the control point over here so now it's covering all of that area with four control points without your name that lake down below, right and it's not affecting the lake down below if you have four control points a tw that point you can add all of them together see how I'm holding down the the command ki er I can add them all together and then once I've got them all together then I can I can take the control points and I can add them together like this so see that little button right here yeah, that connects them, so if I connect them now, this one control point controls all one one ring to rule them all that you know, so, like, I can control all of them. So if I take the capacity down, the capacity is going on, all four of them at the same time. So now I can just kind of. I've got my control points where I want. I don't want to be too blue about that, but I really like the fact that there's some blue in there, yeah, okay, so you can. You can make a cz many control points as you want, and then tagged them all together and work on one, and it will deal with all of them at the same time.

Class Description

Want to know how to tailor Adobe® Photoshop® and Lightroom® to make them even more powerful? Join creativeLIVE instructor Jared Platt for a three-day introduction to the plugins that will change the way you use Adobe’s seminal programs.

Jared will guide you through a wide variety of plugins as he explains why and how to use each one. You’ll learn about building a workflow that incorporates plugins, saving you time and money in the post-production process. Jared will also cover ways to synchronize and implement plugins on multiple computers. You’ll also explore the built-in tools in Lightroom® and Adobe® Photoshop® for creating and implementing your own plugins.

By the end of this course, you’ll be ready to harness the power of plugins and take your image editing skills to new heights.

Software Used: Adobe Photoshop CC 14.0, Adobe Lightroom 5