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Workflows with Lightroom 5

Lesson 9 of 21

2:30 pm - Using Adjustment Filters

Julieanne Kost

Workflows with Lightroom 5

Julieanne Kost

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Lesson Info

9. 2:30 pm - Using Adjustment Filters

Lesson Info

2:30 pm - Using Adjustment Filters

One thing I'm not sure that I mentioned, that I know we had a question on was history, and I just wanted to make it really clear that your history that is actually saved with a catalog. So, even if I quit Lightroom today and then I come back next month, I will still have the history for all of my files. So I can always go back in time. Then someone else asks (Julianne laughs) with history, what if I don't want my client to see my history? What can I do? Well, you can use this little X right here to clear all of your history, if you want to get rid of it. So that just clears that history list. Now, just because the history list is clear, it doesn't mean that I can't go back in time, right? I just have to jump really far back in time. Basically I would reset the file by just clicking on reset since the history is gone. So, the history gives you a lot of flexibility. I think that a lot of people who know Photoshop, know that when you close your file in Photoshop, your history is gone. So,...

I wanted to make it very clear that in Lightroom, it's not gone because it's just this little set of instructions. And before someone asks like, well, I want my history in Photoshop. You have to be a little careful what you wish for, because if you think about it, what's great about Lightroom is that it's parametric editing, which means that all we're doing is we're, I shouldn't say all we're doing that sounds terrible. I mean, what's happening is, the engineers have made incredible math because don't forget this is all math, right? So, they're taking the original file and then they are applying a set of instructions. So that's what I meant by that's all they're doing. They're applying all these sets of instructions, and then going back and you can finesse them, but there's instructions to crop and instructions to tone all those things. Whereas in Photoshop, when you make a change, if you've opened the image into Photoshop, that's now a pixel-based photo. It is not a parametric editing, it's pixel-based editing. So, if you wanna make a change in Photoshop, pretty much, you're going in there. Like if you want to filter, you're changing every single pixel value that that filter touches. So, things differ a little bit when you get into smart objects and everything in Photoshop, but basically it's pixel-based editing versus parametric editing. So, the great thing is with Lightroom, these sets of instructions are super small. Same with obviously Camera Raw, if you're using Photoshop, but very small sets of instructions. And so we can keep track of that history. If you were to try to keep track of that history in Photoshop, your files would just be enormous, because every step that you would undo would be like every RGB value in your image would be different. Yes. When you're going through the history, let's say you've done seven things, and you decide that you don't like number four. Can you get rid of number four without deleting what comes between them or lap? History is linear. There's no time jumping. No. So, when you go back in time-- Everything important. Yeah, you're going back in time. Now, the great thing though, is if you think about it, okay if the fourth thing that you did, was you changed the Tone Curve. You don't have to go back in history at all. You just go to the Tone Curve and you just reset it. If the reset is where you wanna be. Now, if you're like, oh no, I changed it six times or something and I wanna go back to that finessed state. No, but if you just, you can just go back and reset those sliders and you're back to zeroing out just that panel. Okay. So, we were talking about HSL, and we'll talk about it more. It's pretty straightforward, right? So you have hue saturation and luminosity, and you can change. Like I could come in here and I could use the red slider, and I can just click and drag on that red slider. I can go to saturation, click and drag the red slider, but I would recommend that you use the Target Adjustment Tool like I mentioned, because if you use the Targeted Adjustment Tool, and you click on a red, what you think is red, might actually be a combination of red and yellow. And so, if you're moving just the red slider, there's the tendency to then see if something is really orange, you might only be moving the reds and not the oranges. And then you'll see like it'll look weird. Weird, that's not a good description. You'll be able to notice that you've changed something right? Because let's see if we can get an example here where I will reset all of saturation. Okay, and I will just move the reds, okay. So yeah, this could be problematic. Come on, zoom in. All right. So we're gonna come over to something that was red. So see how this face kinda looks splotchy now. Whereas if I double click on red, and then I come in with a Target Adjustment Tool, if I click and drag, see how the red and the orange slider are moving? That's very different than just moving one of them. So, I guess what I'm saying is the fade range. So if you think of red as a color range, and yellow as a color range, you don't wanna just move the red range without moving the orange range as well or it'll be noticeable. Another way that we could show this probably is if I went to Hue and I just changed the Hue, let's see if I get a, no, it's not very noticeable there. Maybe a luminosity, let's try that, no. Okay, so the best one was the saturation. All right. So anyway, I use the Target Adjustment Tool whenever I can. And I'm always surprised too. Like when I was just in that Southwest image, and we were zoomed out, I was thinking that, this was really, I mean, it really looks green to me, but when you actually click on the Targeted Adjustment Tool, and we go over like saturation and you click and drag up and down, we've got the red, I'm sorry, the yellow and the orange slider moving, look at those cross hairs. That's my hot spot right there. I'm clicking where I think that should be green, but really it's made up of yellow and orange. So, sometimes your eyes can be fooled with the contrasting colors next to things. So, that Target Adjustment Slider is just awesome. All right, now we were talking about those are pretty much global tools that we've talked about so far. Global in that they affect your entire image. So, if you have a blue in the sky, and then there was a little like blue car in the foreground, and we changed the blue in HSL or color, it would affect both the car and the sky. So that's what I mean by global change, as opposed to a selective change. But let's go ahead and take a look at some of the selective tools here. And kind of already showed one, right? When I brought down the color of an image. So here, I'm looking at my histogram, not making use of the full dynamic range going here. We see that the white balance has shot. I didn't mean to click that. I meant to click auto. Yeah, I have to say the one thing with the, I really liked this little highlight that comes up, every time I click so that people know where I'm clicking, but it just shows me how many extra clicks I make a day, because I don't quite click the right spot. So, now I'm becoming very conscientious and self doubting. And I can't seem to click the right place, even with glasses on. All right, so now I'm using the whole dynamic range, but I wanna bring the exposure down a little bit. Now, if I wanted to darken down like this foreground area here, I have a variety of ways I could do that. So, we could do that because, well, we could do it with lens correction by not adjusting the vignetting, right? So I could come down here to lens correction and say, oh, let's go to my enable profile correction, come to profile though. Ooh, ah, okay. So, this is a good one to show you. I can't find the lens profile for this, is because I'm using a tilt shift lens. So, it doesn't find one. So if it doesn't find one, it doesn't find one. And it wouldn't make sense with a tilt shift lens anyway, because if I'm tilting and shifting the lens, I'm already correcting. Well, I'm actually probably distorting it, but throwing things out of focus, but that's why it couldn't find one. So, this wouldn't actually work as far as the profile goes, as far as vignetting. But if we go to a different image, I bet I still have that same lens because it's a new lens. I love this lens. I can't tell you how much I love this lens. Here we go, all right. So, I mentioned before the vignetting, right? So we could just darken down edges here sometimes using vignetting. But I mentioned that the problem with that is if you go in and crop this, if we crop to like one to one and I wanted the side, then obviously we're gonna have an uneven vignette. All right, so let's move back to this image. So how else could we do this? Well, we could use our adjustment brush if we wanted to go in and just paint that in, which is what we might end up doing, but we could also, yeah. In fact, let's tell you what, I'll start with the sky first. So, I will use my graduated filter and then I'll use the adjustment brush. So we have all these different parameters and I showed you that you could double click effect, and that would reset all of them. And you can choose how much you wanna preload the tool with or not to start with. So I could just start with the tool blank, and then paint with it and an add effects. But to me, I like to kinda come at it the opposite way. I will really load the tool up. So that it's way too much. And then back off on it, because I wanna make sure that I see what it is I'm doing. So, I wouldn't just say, well I just wanna darken it just a smidge. No, I'm gonna say, I'm gonna darken down the sky, and maybe add some contrast, and I'm gonna click and drag down. Let me see, okay that's way too much, but not a big deal. At least I know I went too far and now I can just back off. All right, now, if I want to rotate this, which I was using a shortcut. Oh no, I didn't. But anyway, you can use the Shift key, if you want to click and drag, and have this remain vertical or horizontal, it basically snaps it. If I need to rotate it, you can see that over this middle line, I get the double-headed cursor. The problem is, people try to grab like right from the center point. And then they're totally like spasmodic, because it's way too close. Don't grab there, grab way out, far away and go like, oh, see, look so much more control, right? So we do that. We can reposition it by clicking on the pin, and moving it around. We can change the duration of the graduated filter by clicking on one of the outer points, and going ahead and kinda spreading it apart a little bit, but still it's the exposure is way too much. So we'll back off and then say, okay, let's go right about there. So we're just darkening down the sky. Now, we can do all sorts of stuff, right? I can change the temperature of the sky. We can make it bluer, we can make it yellow. We can come down here where it says color, and I can actually add a color into that sky, so we can add a little bit of red or a little bit of pink. You'll notice that I wear all black and white. There's a reason I'm terrible with color. You guys will do a better job with color, but look more exciting image. Is it an honest image now? Or is it dishonest? I don't think it matters because I'm not a photo journalist. I am not telling anyone that this, I'm not documenting this location. I am bringing back a photograph and I am telling people, how that scene, or how I felt, or how I was affected while I was there. So for me, does it have to be seen accurate? No, because I'm not selling this location. This isn't like sales and marketing, look at these beautiful sunset, you'll get this every night when you come down to Cabo. No, it's like, Nope. This made me feel purple (Julianne laughs). All right, so I'm going to back off on the purple, 'cause I didn't feel purple when I was there. All right, so we're gonna just take a little bit of that out. Now, I'm gonna switch over, 'cause look at all these different options. There's so many options that's great, but I'm gonna switch over to my adjustment brush, and you'll notice what happened, even though I changed these values, after I drew, okay so I preloaded the brush. I drew with the brush, and then I changed the values. Then I went to a different tool, and it reset it to the very beginning of those extreme values. That's the way the tool works. So if you don't want it to work that way, then double click effect, and now paint with nothing and then you can make your change, and then the next time you go to a different tool, you'll have nothing loaded. It is actually a feature, it's designed that way, okay? But the great thing is, you can also save presets here, which we haven't talked about presets yet. Okay, so whichever way you prefer. Now the other thing is, how do I get back to that? Well, I could use history, but you also have to have the tool selected, that you created the adjustment with. So I had to go back over to the adjustment brush if I want to make a change to this pin. So I just clicked on the pin to highlight it, and I can tap the Delete key. That's probably one of the best features to get, so you paint and then you tap the Delete key. (air whooshes) It's a little sound effects. It wasn't just me. It actually like (air whooshes) okay. All right. (Julianne rejoices) I should respond it'll be a great time to jump into the question from Finish Flash. 'Cause I think they're asking what you're actually doing right now. Finish Flash is actually joining us from Helsinki so welcome. He's saying, is there a way to mask the effecting area that you're adjusting? So, if he wanted to dark and saturate the blue sky, but want to delete someone with the blue shirt, the same color, is this the technique you would use? Yeah, then we have to move to these tools. We can't do that, we can't make HSL changes locally. They're all global, yeah. Thank you. I love the notings. (Audience laughs) Yeah, I was just, oh, love it. Okay, anyway, I love traveling. All right, focus. So we've got our adjustment brush. We've got it selected. So we load it up, and I'm just gonna decrease the exposure just a little bit. And why am I not using the radial gradient? Because I don't want to affect the whole image, I just wanna come down here and I wanna paint. Now, what you might wanna do if sometimes you feel like painting with one stroke is just too heavy. You're like it's too like boom, all or nothing. You can come down here and you'll notice with the adjustment brush. We have an option for a flow. So, size obviously changes the size of the brush. You can use the right bracket and left bracket keys in order to increase or decrease the size. The feather, determines how soft the edge is, but the flow determines how many paint strokes it takes to build up the whole effect. So now I can go in, and I can be more subtle and I can kind of Dodge and Burn, get a little bigger brush. And then we can kinda come in here. Did I load anything in the brush? It doesn't look like I did. So when I let go, we'll come up here. Oh, there's a little bit of a decrease of exposure. But remember I said I was being subtle. So now I can come back in here and paint more than one time. Right now I'm noticing a little bit of a change. But what I'll do, is I'll go ahead and bring down the exposure, see there's little change that I was doing. So, it's a little bit uneven. So I probably want to come down here, and just Burn this in a little bit with multiple strokes, come right down here. And by the way, if you tap the old key, the old key gives you the overlay. And so you can see anywhere that is red. That is actually the mask. So that's where I'm painting. And you know what? With the O key turned on, let me just do this. I'm gonna delete this for a second to show you 'cause this would be a better way to show it. If I decrease the exposure a lot, and I bring up the flow to 100%, and I click and drag, see how it's like, that's is opaque red, as you can get, because the flow is all the way up. If I decrease the flow, and we start painting, see how faint that was? And then I have to paint again. And I paint again, and again and again, and I'm slowly building up that mass. So, that's what I meant by building it up. All right, let's delete that. Okay and we can come back here. The only thing is when you do decrease the flow, because you're painting over and over again, you have to be a little bit more conscientious about the way you laid down the paint that it's even, but maybe you don't want it even, in which case, that's another reason to decrease the flow. All right, so we can paint with this turned on or off. That's the O key again, I wanna toggle that off, now we see, ah, way too dark, obviously look at that more than two exposures too dark. So let's just bring it down just a wee bit. So why am I dark the edges? I'm darkening the edges so that your eyes go into the image and they don't just drop off the corners of the image. All right, then we could go in here. If I wanna add a secondary adjustment, the secondary localize adjustment, then I just click new. I click new, we can zoom in. And this time I'm just gonna add a little bit of light, and we'll get a smaller brush, I actually have a scroll wheel on my mouth. So it'll make this a little bit smaller, and we can just paint like maybe right in here. And we might need to paint multiple times and paint again right over here. And all I'm doing is just lightening that up a little bit. Maybe we need a little bit more. Ooh, see, now it's like the light's going right on there, okay? Well, zoom out right now, if I wanna just flip the switch for just the adjustments, at the bottom of the adjustments panel, that's where you could toggle those on and off. Now, I think I've kind of over sprayed a little bit on this. So, what you can do is you can zoom. I've this set wrong, somehow I've got, I need my fit and then I wanna zoom into one-to-one. Okay, so if we tap the O key to get the overlay, see how it sprain over here. And so it's also affecting the water. Well, if I wanna quickly just switch from my paintbrush to my eraser, we can see right down here, I've got a brush and an eraser. The option key will just toggle me, where the Alt key on windows will toggle me back and forth. So now I can just delete any of that extra kind of light to mean that I'm doing in that area. And then I might come down here. Sometimes it's easier I find to just go in, and take away too much and then paint back in, rather than sit there and get like a big brush, and in the smaller brush, and in the bigger brush, and in a smaller brush, just take it out of that hole, like V area, let go of the Option key, and then just paint it back into that area if I want it. All right, and we'll just zoom out again. There we go, yes question? Does it erase your work at 100% only because (faintly speaking) to what it looks like or does that have opacity too? No, if I switch over to the eraser, you can actually set up the parameters for it independently. And there is an A and a B brush as well. So there's an A and a B brush, you can have two brushes kinda set that way. We just felt that people, sometimes they want a feather. Sometimes they don't, it's just an A and a B brush would give you a good starting point. Maybe you wanna flow of and maybe a flow of like 10 on the other one. The other thing I could have done was I could have turned on the auto mask. So, the A key toggles on the auto mask that kinda tells Lightroom to if it finds an edge, don't jump over the edge, try to like stay within a parameter. So, let's see if we go to maybe this image right here, if I've got auto mask turned on, and let's do something really dramatic. So you guys can see this, right? I'll take the color temperature. If I'm clicking in here, see how it doesn't jump to the sky. So it's actually staying within that area. If I tap the O key, see how it automatically did that for me. So I didn't have to be as accurate. You do have to be a little careful with auto mask, because what you have to think about is it's looking for an edge. So you wanna kinda get close to the edge, but you don't wanna go over the edge, because then it'll start spraying into whatever areas on the other side of the edge. Okay, so we'll tap O for the overlay, and then delete to get rid of that. All right. So with this image, maybe what we wanna do instead of, well, first of all, I wanna darken down that sky. So again, don't forget, don't get so sucked into your local adjustments. If the blue is the only thing there, then go to your HSL, grab your targeted adjustment tool. I'm in saturation so I'm gonna de-saturate it a little bit, and then I'm gonna go to luminance, and I'm gonna decrease the luminance, we're just gonna decrease that. And that was just kind of, because I know if I'm going to decrease the blue here, I know that I need to de-saturate it. See if I hadn't de-saturated it, and I just decrease the luminace the blue would, I don't know it gets this weird color that doesn't look like sky. So, I just always know if I wanna darken my sky. I have to go into both saturation as well as luminance and darken them both. And all of these have keyboard shortcuts. So I didn't actually have to go to this panel. They basically hold down the entire left hand side of the keyboard. It's like Command option Shift. And then H for Hue, S for Saturation, L for Luminosity, G for the black and white. And I know like, G-whiz, how am I ever going to remember that? That's kind of how I do. And then I think it's T for Tone Curve, yeah. But at least you don't have to like, just press them all down when all else fails, press down the whole left side of the keyboard, and just start punching keys. Okay, all right. I tapped it to V 'cause, so the target adjustment tool also works in black and white, but we'll get there in a minute. So now, I'm going to add, yeah, we can do this, we'll add my radial gradient here. And what do I wanna do? I wanna reset it. So I double click effect, and let's just say, we want to take down the exposure a little bit. So we just click and drag out. And of course this little guy is kind of in the center, but I can move this around anywhere I want it to be. So if you have a subject that's off center, this is a really useful tool. In fact if I come to this image right here. Well, let's finish with this image. Don't get ahead of yourself Julianne, all right. So I've darkened down the edges. Some people might think when they start drawing that it's actually lightning, but it's not. So, let's grab that, let's select it, all right. So I have darkened down the edges right here, right? We can see that that's what's going on, and I can come in and I can also, for example, I could decrease the sharpness. Now I have already photographed this with a tilt shift lens. So there's already some blurring in there, but I could add some more blurring if I wanted to kinda draw your eye into the sharper areas of the image, we could decrease the contrast a little bit in those outer areas, so your eyes aren't drawn to them. We could add a color, you can do all sorts of things here, but you can also add more than one. But it's a little confusing when you add more than one. So I'm gonna go to this next image right here, and wow. Okay, so we need to make a few adjustments in the basic panel. So let's go ahead and do this. We'll click auto. We already did that. The exposure is too high, so let's bring that down. Okay. So now I bring the exposure down and maybe I like the clouds and sky. I know it's a little bit bright here, so we could bring it down a little bit more. But when I do that, I'm losing all my shadows here. And what I'd really like is I just wanna cast, like it's total fake light. Like this light could never exist. Well, it can on my planet where I have more than one sun, but normally on this planet, not as much. So, I will go ahead (Julianne laughs) and grab my radial gradient here. Let's grab that. And now I'm gonna go ahead and click and drag out. Now it's darkening that down and I don't want that. So I want it to actually, well, I do want it to darken or, I can come down here and look at the bottom. And it says invert mask. So now, what if we invert the mask and I just increase the exposure there, to just add a little bit of light. All right. So now, and I can move this around, can make like a little spotlight. I might want two of these, so I might want one here. And then I might wanna come over here, and do one that's a little bit like more of an oval, and maybe just kinda tuck it right in there. Again, I want that to affect the inside of the circle, and I want it to increase the exposure. And now we can move that around as well. Kinda guessing, like where's all that coming from that light, you can tap the H key to hide it. All right. It's still selected this pin selected. 'Cause it's got the darker center. If I need to come back and refine this one, I just need to select it. We can rotate it. You can see that, we can go ahead and make it bigger or smaller. We can refine the adjustments after the fact, come back to this image, move it around if you want to. Go ahead and increase, maybe the exposure a little bit more. Maybe make it a little bit bigger. No, too much exposure increase, okay? So super flexible. You can add more than one. If I wanted to do this a little bit different, let's delete this for a minute. Let's grab this image right here. Let's say, or this radial blur, sorry, radial gradient. If I select this, instead of lightning the contents in the center, let's invert that and let's darken down the background, but the whole image here is way too dark. I've made the whole image too dark. So let me just bring up the exposure. In fact, we'll delete that. We'll just, okay. Let's say that this is where we're gonna start. 'Cause I don't want it to be confusing right? So here's where we start. 'Cause this is a little confusing anyway, and I know it's super bright on that monitor, but that's okay. So it's here we go. And we grab our tool and we decrease the exposure, and we click and we drag out. So what is this doing? It's darkening down the sky, and it's darkening down everywhere that's outside of there, right? Okay, so what if you had two people in your portrait? All right? So now it's like, oh, well I've got this great vignette, and this person looks super good, but I've darken down this other person over here. So you need to lighten that other person. So what you would do is you've got your one already done. You come over here, you click and drag your second one. And in this one you say, no, no, no, I just need to lighten, but you don't wanna lighten the background. You just wanna lighten that person, right? 'Cause your first one, took everything outside of it and made it dark. So now you add your second one and you make the inside of it light. So you come down here and you say, please invert the mask. And now the second one you can see, it's just lightning. In fact, we'll go up here so you can see, see how it's only lightening what's inside. So it's bringing this area back to what it was before this was applied. And this is nondestructive. So it's not like you're forcing pixels one way and you're forcing pixels another way, it's saying, well, no, the math here is dark and 50 and enlightened 50. Oh, good I don't have to make a change. So you're not ruining anything here. So just as you start to think about how you're using your selective adjustments, don't forget they can overlap. So the question about can I draw a graduated filter in the sky? What if there's a big building there? Well, I would use a graduated filter drag it down in the sky, and then it would cover the building right? So then I'd say, oh, well in that building then, let's just go grab my selective adjustment, my adjustment brush. We'll just Dodge that a little, so that you don't see the effect of the graduated filter on top of the building. All right? So just think how you can use these in combination. And then, if you're constantly setting the values up, the same way over and over again, then you'd come here to the effect and you can go ahead and save a preset. So you can see there's some here like Burn. Oh, I probably shouldn't have had that selected lot. Sorry, can we de-select all of them, without we can just switch to another tool. Okay, so we've got Burn, we've got Dodge. You can see, it just changes the exposure a little bit. We've got a little Teeth Whitening. So, what does that do? It increases the exposure, and then it also de-saturates a little bit, kinda gets rid of any kind of yellowish in the teeth. If you come down here to Soften Skin, you'll notice it's got a negative clarity. So you can kinda paint over someone's skin to kinda soften it. You don't lose the pores in it, which is really nice. Which is kind of you lose that mid-tone contrast. So you're not getting as much contrast in the kind of the more uneven areas of the skin. Okay. So those are your adjustments. One last tool that we haven't talked about, is the ability to clone or heal. So this is our Spot Healing Brush. And what I'm gonna show you is, in this image, we can see those spots. It's always embarrassing to show people how dirty my lens is. But not my lens, but my sensor. So I just use the right bracket key to enlarge my brush a little bit. And there's two ways you can use this tool. You can just click in which case, when you click, it automatically creates another point. So you click on your dust and then it says, "this is the bad area." And it says, "let's go grab some good area "to put on top of that bad area." And you can either use it in the clone mode, or the healing mode. The clone mode is gonna be an exact duplicate. The healing mode is going to actually kinda try to blend the colors so that you get a more seamless adjustment. So if we come over here, I should probably zoom in, because I'm not sure if we can see all the dust. I want my space bar okay. I got my space bar, is it moving? Oh, 'cause I'm not zoomed in that much there we go. Oh, all right. So now, we can get a smaller brush. So I'm just holding down the left bracket key. And we can just do that and do that. You can also drag with this as far as the spot removal tool. So if you happen to have a shape that is not a circle, you'll notice that I can click and drag in any shape, and it will go ahead and try to clone or heal that. All right. That's really cool yeah, it is cool. The thing that's embarrassing though, is this new visualized spot, because I can't tell you how many times it's happened, where I thought I cleaned up the image. You go to print it and in your nice highlight area, you get that big spot. So visualize spots, puts you kind of into this view where, oh, come on don't tell me I got them all. That would be a first, nope see, see that spot. I would have missed it so I can click on that. And then (Julianne laughs) I see, we don't wanna go too far here. Guess that's yes, that's dust yes, dust yes. In my world it's very dusty, very hard to keep the dust off the sensor. I live in dust land, but you know what? It's not as bad as the laundry room, that I used to have to print. It was my dark room. So, the visualize spots just is going to allow you to basically visualize where you've got dust on your sensor. So I would have missed all of those over in here. Then, because you usually take more than one image at a time, right? I now have a sequence of images. I have all of these images down here. Well guess what? They all have the same dust, right? So if I select the first image, I can click synchronize, and I can actually tell it to synchronize my spot removal. So now when I click synchronize, it's gonna put all those same spots across all of my images. But wait Julianne, what if I have horizontal and vertical images? Oh, that's an excellent question. I'm glad you asked, if you do, it knows, it knows that the picture was taken like this or like this. And so it will adjust all the spots. Now, you should go back in. This is like the perfect demo file because it's all blurred. No one's gonna see it. Like it's always gonna grab from a great place because, it's a blurry image anyway. If you had like a picket fence, in one image and not in the next image, you'd have to look at it. If you've got a bright in one image, need to go over there and say, hey, I need to change this source from my clone or my healing, because it's grabbing from a hair and not from the grass or whatever it is, okay? But that's the spot removal. So, most of the time you can clean up, I mean, you can clean up blemishes and stuff. And look, there's opacity slider. So, if somebody had a mole or something, and so you don't wanna remove the mole, you just wanna remove a distracting element, and kind of just fade it back a little, you could say, yeah, let's go ahead and heal that, but then just heal it at like 10%. So it just fades it back a little. So it makes it not so obvious, because you don't wanna remove like a mole or anything. That's weird.

Class Description

Ready to drastically reduce your post-production workflow? In this 2-day workshop, Julieanne Kost, the Principal Digital Imaging Evangelist for Adobe Photoshop and Adobe Lightroom at Adobe Systems, will show you how to save time every step of the way, from importing raw images to exporting expertly enhanced photographs — and everything in between.

Julieanne will teach you how to streamline the import process, create a simple organizational structure, and edit a shoot efficiently and seamlessly. You will learn the key tools to enhance your photographs, correct color and tonal values, customize your color to black and white conversion, and even add special effects such as selective coloring, split toning, and vintage looks.

Julieanne will also demonstrate how and when to move images from Lightroom into Photoshop for further enhancements, and outline how to easily create slideshows, photo books, and templates for printing. By the end of this class you’ll understand key tools and strategies for streamlining your workflow while creating stunning images.

Software Used: Adobe Lightroom 5


Valerie Pinsent

Julieanne Kost has an amazing way of sharing her knowledge on photoshop Lightroom, with humour and simplicity that keeps you wanting more. The 2 days that this workshop lasted could have seemed long but was in fact very, very short. This course gives you all the ropes to use this amazing program, with all its shortcuts and techniques that probably aren't in manuals with a few extras from photoshop which are just as amazing. She is so contagious that you want to pull an 'all-nighter' just to put in practice all the wonderfull things one has learned. Thank you very much Julieanne!!!

a Creativelive Student

I follow Julieanne on FB and on her blog, and looked forward to this event. It did not disappoint, and in fact offered a few surprises. The exactitude of her content is always there. But the free-form, informal nature of this course kept it engaging over the many hours. I admire her style of speaking seamlessly to all skill and experience levels at once. Quite a trick -- I've had the good fortune to learn from the best, and I count Julieanne among them.

Julie Coder

I started using LR about a year ago, but I hadn't yet set up my database and work flow process. This class was perfect and really helped me dive deeper into into the program. Julieanne knows her stuff, and she provides some excellent tips for both organization and editing. Love her teaching style, as well as her photography. Some of the more recent tools (such as the range mask) are not covered, but the content is still relevant and Julieanne's tips are fantastic. Highly recommend!