Skip to main content

Workflows with Lightroom 5

Lesson 10 of 21

3:00pm - Editing in Greyscale & Adding Vignettes

Julieanne Kost

Workflows with Lightroom 5

Julieanne Kost

Starting under


Get access to this class +2000 more taught by the world's top experts

  • 24/7 access via desktop, mobile, or TV
  • New classes added every month
  • Download lessons for offline viewing
  • Exclusive content for subscribers

Lesson Info

10. 3:00pm - Editing in Greyscale & Adding Vignettes

Lesson Info

3:00pm - Editing in Greyscale & Adding Vignettes

All right, So we have a bride we want to convert to grayscale The easiest way to do it Just tap the wiki. But that doesn't really do a lot. So when I tap the wiki, certainly it converted to grayscale. Now, if we let's go ahead and put that back. So what that did is it changed it from color to black and white, depending on your preferences. So if I come up here to light room and I go to preferences depending on what your preferences set, it will either apply an auto mix or not, so it doesn't have to. So I'm gonna uncheck this for a minute, and I've done this file before, so I'm not sure it's already converted. So I'm gonna tap the wiki again to get it back to color and tap it v again in order to get it to black and white. And we're gonna take a look at the black and white settings, So yeah, so that preference is only for the first time you do it with an image. So it's like, No, you already converted to blanket Might you switched it back. What are you doing? You're going back and forth b...

lack and white color black. Michael, you know, the preference says the first time I switch it to black and white. That's when you either use or don't use the auto. So the difference here is you're either going to get these all straight where they're all just zero, or you will get auto. Okay, so I have presets for all of these. And by the way, all the presets that I'm gonna run through and show you you guys can download for free from my blawg. So that's a good thing. So, for example, that the true default black and white mix without Otto see how they're just all in alignment here. So certainly you can click auto then and see what that would do. So I actually think auto is a good thing, because light room will calculate based on the colors in every single image independently and say, Okay, what do I think should be black and white? What? How does this color convert Teoh? A level of grey. So with most with most conversions to black and white when they are portrait Ah, lot of times they'll make the yellows and the oranges and maybe the Reds a little bit lighter, a little bit brighter. It's kind of making the skin look a little bit more glowy, a little bit softer, right? Not like it's not softening it. But it's adding the contrast between the skin tone and black and white and whatever is behind the person. Maybe sky, maybe grass, something like that. So if this is a good starting point for you and in fact, I would probably come in here and just say, you know what? As a starting point, let's also take down to make these colors darker while I'm making these colors lighter in the conversion. And if this is a good starting point, then I would say this is a preset all right, because maybe I don't want the auto. Maybe every time I go to a portrait, I want to apply this effect. Don't say you know what? I don't need to go to the auto and then go to this. I just whenever I have a portrait, if I want to convert it to black and white, I automatically want all of the reds, oranges and yellows. I want them to be lighter. So how do you make a preset in light room? You just click on the plus icon and you basically tell it what options you want to save in the preset. There's kind of two theories here. Um, I will use my analogy to clothing, so that goofy analogy, but it's OK. You either buy an outfit or you mix and match so women will know what I'm talking about You either by the whole suit. So in one click, you've got the whole effect that you want or you buy the little components that you can mix and match. You can say you know what? Sometimes I like see Peotone. Sometimes I like a light vignette. But sometimes I like a scion a type. And I want to mix that up with maybe a white vignette or maybe a dark vignette. Sometimes I like to add grain. Sometimes I'm not in the mood. Okay, in which case you would save each of those presets individually. So we'll do both. Okay, so right now I've got the black and white mix, not the auto. I don't want auto. I don't want the treatment. I want the actual numeric values here. The black and white mix. So this is going to be my portrait. Black and white. Oh, it automatically did it by default. Thank you very much. I appreciate that. Um, it's trying to spell black and white. We want to That is yes. So there's no way I don't believe for me to check on black and white without the treatment. So the treatment says yes. I actually took this to Gray scale, and I used these exact numeric values here. Correct. I believe that is correct. OK, Now, um, you can see that I've got these nice and tidy and little folders, so you'll probably want it. Create your own folders. So right here, where it says, Boulder, you could just come up here and say new folder so we'll call this creative life. All right? And hit. Create. So now it will save that in here. Now, this is kind of the mix and match. I'm only saving one thing. Just one attributes. Well, it clicks on, too, But really, like, I'm not saving any color changes or anything. That's all I'm saving. All right? Portrait, black and white. So we'll click create. Now let's say that I want to make this see Peotone as well. So then we can jump over to split toning. Now the way split Tony and works is you've got highlights and shadows and balance lighter. So in the shadow area down here, that's probably where we want to add our color. If we want this to look like a traditional C Peotone because when you used to use the dark room, the the sea Peotone would would adhere to the black right. So your color is going to be in your blacks, not in the paper. Like if I wanted an antique look, then I would yellow the paper, and that would be the the whites of the paper that would start to get yellowed. And that would, given the antique look. So what I can do is I can hold down my option key because what that does is it lets me pick a hue at 100% so I can go in and say that is the exact Hugh that I want. Then I let go of the mouse and the option key, and then I dialled in however much saturation I want. Let's make sure that we've got a lot here, So I'm gonna dialling a lot. That's too much. How about that? But then I decided, You know what? I like the amount in the shadows, so I like the amount of color in the shadows, but not in the mid tones. So that's what the balance sliders for. So as I move the balance lighter over to the right, you can see now there there's only color in the very darkest areas. If I come over this way now, we've got color, even in the highlight areas. All right, so I want to put the balance to maybe, like, I don't know, 80 or so and that gives me a sepia tone in my shadow areas, but not in the mid tone areas. And it's a little hard to see there, but it is beautiful on my monitor. Okay, so once I've got this, now I'm thinking, Huh? I want to apply this a lot. I like this. I want to make a preset. Do I want the mix and match preset or doing with the whole thing? For now, let's just say I just want to make a C Peotone preset, so we'll click on the Plus, this is sepia tone, and that's it. I'm not gonna converted to black and white. I'm just gonna save my split. Tony, It's gonna go in that same folder I'll Click create. So now I decided. You know what? I don't like sepia tone. I like Sam, like Diana type nice blue tone instead. That looks way better. So now I decide. Well, if I want to do this mix and match thing and let me just close some of these, I can go ahead and create a preset. And this is san. Okay, create live split, toning create. It might talk back to me. They're all right. So now I can say All right. Well, do I want this scion or do I want to see Peotone? Which one do I like better? And then I decide. Oh, you know what? I want to add a, um, post crop vignette. So I come over here to my effects, I say, All right. Well, do I want a dark one or light one? Well, let's try the darker one. So now you can see I'm making a vignette and I'll just show you this without a feather. So here's without a feather, right? We can make either it kind of a square vignette. Let's bring the midpoint in so we can either make a kind of square vignette or around vignette. Whatever you prefer. We can bring the midpoint in and out, and then we can add as much or as little of a feather as you want. And we can go to black darkening it. Or we can come over to this side and go to white, which would lighten it. And there's two different options. Well, there's three different options, two of which you should use. Soap ain't overly was in the first version of light room, and it just adds black like a paint overlay, and it looks good on screen. But sometimes when you printed, it looks really mushy. So if you're thinking of printing your images, stay away from the paint overlay. The highlight priority, um, is excellent. It's usually a stronger vignette. If we scoot to the color priority, it's gonna be a little bit less of an effect and, um, color priority, because one of them, one of them, can suppress the, uh, it can. It can suppress the highlight. The tones in the highlight, but you might get a color shift and the other one says You don't get a color shift, but I can't. I can't bring back the highlight values for you so but I can't remember which ones, which all right, and then there is a highlight slider. So if you do have, like puffy clouds in your image, if you have puffy clouds and you out of and yet and you don't want the clouds along the edges to get all kind of grayish and Dole, then you want to use your highlight slider in order to retain. See okay, even in this image, see around the edges there it's going to say, no, I think that's a highlight, so we're not going to darken that down. I don't want it to look all muddy, all right, but I've got way too much of a vignette on here, so let's back that off, all right, but let's go ahead, and it will go ahead and save this. If I right mouse click. No, that's a feature request. I would love to be able to not have to come up here. I bet there's a keyboard shortcut. I could do a new preset. I bet that would be under new preset command shift in. So then I don't have to keep scrolling back and forth all the time. So command shift and ah ha ha. So this is Darkman yet? And I called it vignette dark, because these are always gonna be alphabetical. So I want to make sure that the dark vignette and the light vignette or next to each other. So we've got Darkman yet We come over here post crop than getting hit create, All right. And now we do the opposite. We say, you know, we like a light been yet and we command shift in and we save and yet light all right, And we do the same thing. Okay, so now you can see what I mean by mixing and matching. It's like, Oh, I like sepia tone with a white vignette or no, I like the scion a type with a dark vignette mix and match. Okay, But sometimes you were like No, you know what? I don't want to waste my time with that. I would like in one click to convert this to gray scale using your default for black and white for portrait. I want to add a c b a vignette and I want Oh, I'm sorry. I had a c p a tone. They also wanted Adam. And yet there's no reason for me to be clicking three different things, so that's fine. So then you just say, OK, well, we've got under black and white. We've got this adjustment If you come down here under split toning, we've got the sea Peotone right here. And if we come down here under effects, we've got the darkened down vignette ing. So all three of those things have been applied to this. So now we would just create a new preset that would be all three. So complete whatever you want to complete sepia portrait. And I would say yes. I want the black and white mix and the split toning and the post crop in any click create. And now we have this. So this means that you know, I can go to this image and I can goto this image and I can say, Hey, you know what? Let's go ahead and apply those presets Now you can apply presets by synchronizing, and you can apply well, no, that's not really true. You can copy and paste settings by synchronizing, or you can just click to apply a preset. So if I wanted to synchronize if I had three images now and it's like, uh, I don't want to say this is a preset, I just want to synchronize them. Then you would just select them right down here in the filmstrip, and then you could hit, synchronize, and then you could tell it what you want to synchronize. But that doesn't do any good tomorrow if you don't have a file in the folder that has those settings. So that's why we create the preset. We create the presets so that next month and next year we can still apply these three settings with one click. How does it note of synchronized that picture with the other two versus one of the other two synchronized? Because this one is the most selected and it's the one we're looking at. Yep. So that's how it knows. Yes. So that happens all the time where someone will be like, Yeah, I want to synchronize this image and they'll hit Synchronize Well, it's gonna copy the settings from this one to the other one. And okay, so let's go ahead. We'll go ahead and synchronize just so well. I'll show you synchronize, right? And it? Yes, all three of these things plus the post crop hit synchronized. Now we go over to the other image. There we go. It's got the sea Peotone and they've been yet, so does that one now. If instead I could just click on any image and I could say, Hey, give me the complete C P A. And it would add all of those things at one time. There's something else that's kind of cool that you can dio if you just have one effect, that you're adding a lot like let's say you're going through a whole shoot and you're making small adjustments, but you want to keep adding a vignette. What I would do is you can also copy so you could see right here we can go to copy and it's gonna ask me what I want to copy. And I say, You know what? Let's just copy that, then yet, and what that does have spot removal, click the whole time and you didn't tell me you don't kid any prizes cheese. Okay, I do that to humanize the demo. All right, so if I copy this, this is different than sinking or saving a preset. It's just copy mint to like, the clipboard or to like, the little smart area. So now I say copy. And then I go along and I'm making my changes, and I go, I already have a vignette on there. So maybe this image Oh, yeah. Look at that. Well, I just want to paste command V. It'll just pace that one little attributes. So as I continuously go down through my work flow, I can just say Oh, yeah, and paste on who this needs Living yet Who? I like this one with a vignette, but not this one. Not this one. Not this 10 I like this one. Just command. Be command, be community. All right. Okay. So, uh, that was converting to black and white. That's adding the way we need to know a little bit more toning. So let's go back here. And because I only did. Yeah, I only did Tony in in the shadows. So now let's do something really obvious. That's like more like a cross process thing where I'm adding in the shadows and in the highlights. So in the shadows, let's go ahead and add. A blue will add a kind of a darker color in the shadows, and then we'll add a yellow in the highlights. Well, that's not quite the color I was after. All right, let's try that yellow right there. And then you notice how the yellow is going so much into, like their your your mid tones and stuff. Well, that's because of my balance slider. So don't forget you've got that balanced lighter where you can pull it to either side in order to get kind of a nice balance in between.

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!