3:30pm - Working with Presets, Filters, & Effects
3:30pm - Working with Presets, Filters, & Effects
11. 3:30pm - Working with Presets, Filters, & Effects
9:00 am - Importing & Organizing Images39:47 2
9:45 am - Locating & Renaming Files45:08 3
10:45 am - Select, Rate, & Prioritize Images22:54 4
11:15 am - Color Labels & Filters16:13 5
11:30 am - Custom Collections & Keywords26:11 6
12:45pm - Q&A and The Develop Module29:17 7
1:15 pm - Straightening & Cropping Images19:51
1:45 pm - Enriching Color & Toning Values33:14 9
2:30 pm - Using Adjustment Filters31:14 10
3:00pm - Editing in Greyscale & Adding Vignettes15:16 11
3:30pm - Working with Presets, Filters, & Effects17:01 12
3:45 pm - Snapshots, Smart Objects & Soft Proofing18:33 13
9:00 am - Q's from Day 129:49 14
9:30 am - Export and Edit In29:42 15
10:00 am - Export or Edit In Pt 230:29 16
11:00 am - Preparing Images for Print42:25 17
11:30 am - Preparing Images for Print Pt 234:27 18
1:00 pm - Publishing Your Photography52:08 19
1:45 pm - Publishing Your Photography Pt 224:27 20
2:30 pm - The Crunch Bits38:00 21
3:15 pm - The Crunch Bits Pt 240:36
3:30pm - Working with Presets, Filters, & Effects
And I'll show you some of the presets that you can download so for example, I've got the black and white presets and we really have to get to those other black and white options I have single toning this is just a single tony single color toning so you can you know you don't have to convert your images to grayscale before you you had a color tone right? So if you want to get like a kind of seventies look or something you know the fated film stuff you wouldn't converted to grace kelly was just add your color tony on top so here is like antiques so these air just single that you could but you can download these so here's kind of a mustard look here's a sepia it's just so that you don't have to recreate the wheel there's nothing rocket science here it's just you change your sliders, you save the precent change your sliders who saved the president if you have a pre set that changes two sliders like if I if I have these all set up right now and then I go and I add that other see pia preset ...
that we created what's gonna happen this complete cpi a portrait what'll happen to this it will go to that one, right, exactly so a preset is just telling light room put the sliders at these points so if you have another pre set that says put the sliders at these points, it says, ok, I'm moving the sliders it's not like additive, it won't add fourteen plus seventeen now it just says, hey, you set this a twenty and forty you've got another preset that's fifteen and five I'm changing it to fifteen and five if if we go here and do the complete cpi, a portrait it's changed all those, but now if I go down to the vignette light, will it change the sepia? No, no and it's not going to change the black and white conversion it's on lee going to change the men yet? Because when I saved this preset it onley save the sliders in the effects panel, which was the pre set that I saved for the amount so you can mix and match any pre set it's. Only when you have your applying a preset that has slider values saved in it where it will overwrite, so don't worry like we're not saving every time I saved a preset I've been saved any of the total exposure, so none of that was getting overwritten. You can do that if you want, but we didn't we just save stuff over here, all right, ok, so then we have some other cross process stuff let's see where is it so split toning all right, so and at the top this is funny too so I just have a reset it's a reset preset well, how did you make that? Well, you just go this is reset split tone so if you look at split tony they're set zero I saved a preset it's not right it's like oh it's this mysterious thing no, just zero I'm all out and then say that is a pre set in that way as you click down through things you can say oh, you know what? I just don't like any of these ah the red science split the warm strong war medium warm subtle no let's just reset that so persistent easy way to do that and of course we could just be looking over here at the navigator panel until we find one that we like and then we could just click on that one too right now there's another way that I mentioned earlier that you can do your cross process or you're toning and that's using the tone kerr right because they're screwed up here to the tone curve weaken do changes in rgb or we can go to the individual curbs so if I go here tio one of these pre cents there's the coffee stain wait a minute this is tony and split I don't want those I want the toning curve all right, there's a stark winner. Blue, huh? Very odd what's going on. Well, I know that's what that should that shouldn't look like that, but if this preset onley contains changes made to the tone curve and I already had a split toning it didn't zero he's out, right? So if I want to zero these out doubleclick highlights doubleclick shadows now the stark winner blue warm chocolate weathered marvel nothing's happenin split tony because those presets saved changes made to the tone curve so if we come down here to read, nothing was changed green yet a little bit of change in the green and a little bit to change in the blue if we go to the warm chocolate you can see the blue is different. So here we've added a little bit of yellow in the shadows and we're adding it almost all the way up the entire curve. I don't think there's anything that nothing changed to the to the red or the green so just a little bit of added warm okay, so you can you split tony but you can also use tone curve again if I tap the wiki we could take this back to let's take it back to color why is it still so black and white let's reset it let's come over here so we could just add warm take it away stark winner blue so you can add all the tony and your color images or your black and white images and then there's selective color removal so I really dig the selective color removal once you take your image to gray scale if you want to do some kind of selective coloring you can't really do that but we can trick it we can take all of the saturation out of all the color ranges and then you can actually paint color back in all right I'm not going to go to black and white I'm going to go down to here saturation lightness because once I go to black and white let's reset this all right once I go to black and white and I came up here let's say I want to add in color you've got the bride you want to have the flowers and color well if you come up to your adjustment brush and you add saturation in nothing's going to happen we can't paint it in because you use you told light room hey I want this in black and white so we don't take it to black away we leave it in color but we take the saturation down for every single color range so light room thinks you think that it's in color light room thinks it's in black and white so now if we use our adjustment brush and we paint in here we paint without saturation you can see the gold maybe yes you can let's go back up here how much saturation? One hundred percent saturation so that's a much saturation is there was what's my flow set to one hundred percent o autumn ask let's turn that off that way we can be I'm being a little sloppy I'd have to go in here and I feel more careful but you can see like if I paint in the face all right well under that commands e you can see so I've tricked it I said, ok pretend like you're in great field don't show me any color but then amusement my selective tool and bring some that you might say well, I don't want to completely black and white yeah that's great not a problem, right? Because we can come right back down here we can say all right, well, maybe we should just add in a little bit of color and that's how you get kind of that more old fashioned look it's just adding a little so then you don't want to sit here and click on each one of these every time, right? So then you make your preset let's reduce all minus thirty or minus fifty or minus seventy five because depending on the original vibrance and damage, you're going to want to subtract more or less and then you're going to say, ok, well, let's take an image like this and we'll subtract most of it seventy five no let's bring up the red a little really easy to go in and tell it what to hide and what to show or let's take the whole thing minus one hundred use our adjustment brush right here as I put it back and let's just paint this one in color and let's tap the h k to hide the adjustment and let's just paint this one in and we can just paint, okay? I'm not sure if aesthetically this is the best thing you want to do but it's a good example question yes so when you created those presets was their way to move all of the sliders uniformly or did you have to do them one by one? I was clicking eso when I was in a chess l in saturation right to move them all over, move them all one by one I don't know if there's a shortcut there would move them all I dont do you know if one no does anyone online know of one way we can also we'll see what they see what they say I don't think there is one can you type in the numeric value at least though oh yeah, you can take them in america but I was just clicking like if you just click and I guess you don't know which is faster but once you do it once they need to save its preset you're good to go all right? And then you could just go in here and say, you know, I just want to remove awkward just blue we're just green or just magenta and then what else do we have here then? I just have a bunch of vignettes, so if I want to go in, I could just quickly look in my little navigator area until I find the vignette that I want for this image I'm going and apply that and now you could go in and apply a vignette and if it was too dark in one area I remember what I mentioned about going in and using our adjustment brush so I could sail let's, not talk about saturation let's increase exposure and I could say, all right, so I like the vignette along the top but down here I just want to get rid of a little bit of that in yet painted in l a would be one way to get an answer very quickly and it's quite simply, no excellence monsters like you like it julianne could learn from that just know, just know all right, so those are all the vignettes we talked about those um talked about ours we talked about presense let's talk a little bit about gosh, this was a much better example, fred I did that one this is I think this is a better example of taking something to see peotone and then also if we tap the y key to get before and after or actually you can also tap the backslash key the backslash key does a before and after of everything so here you can see that I've got if we come over and select our our radio filter and we click on this and we have her on on top of it it should so show us our overlay maybe it doesn't hover hover over oh nothing however, shouldn't it should that show the overly maybe not in the radio filter? Maybe just some the adjustment brush I thought it did though are you talking about the line with the dodgers? You don't know no I wanted the red overlay I thought it showed the rather really maybe not there I'm crazy wouldn't be the first time. All right, so if you look at this one, not only is it bringing down the highlights is bringing down the clarity so it's making a little bit softer it's also bringing down saturation bringing down exposure, bringing down contrast kind of forcing your eye to stay in the foreground and not drop down to the background okay all right adding green and stuff too we should add grain to some images so adding green is really going to be something that what I would recommend is that you actually if you want to add grain and it's something you're going to do for me I think it has a different look when I actually printed so you're going to need to do some experiments so over here in effects not only do we have the post crop vigna name but we also have the grain right? So we have the amount of grain and let's close this up for now and zoom in all right? So the grain the grain is the amount of grain how much brain do you want? The size basically says how big the green is so you gotta be careful because you start losing detail and then the roughness baykal sickly says how much contrast to you adding into that grain and what I like is kind of if you go the other direction. I don't know if you guys ever articulated film in the darkroom where you would you would take your film and then as you were process using it, you would make the developer super hot and it would does this crazy thing to the emotion where it kind of pulls apart and looks like that so I really I think they did an excellent job emulating the different grains that you could have gotten in films traditionally. So I really like the grain slider. I think it can help if you are trying to make an old fashioned image. All right, so that's great. So my point there was you definitely want to print this out because if you are looking at a grain of different magnification, it's going to look different and look different when you printed obviously as you make it larger. Okay, we added the vignette we had a big rain, we selective de saturated. We did selective coloring. Ok, so here's a really interesting topic, I think what happens if I've gone through and I've made changes let's say I've made changes to this image right here and I've made changes to this image and these are all different images, and I've made changes to this image, so I've got these three images and I just printed them and they all printed just a little bit too dark. I'm sure that's never happened to anyone. I think everyone else, all of your prints match your monitor perfectly because you all calibrated your machines. But just humor me. If all of these printed just a little bit too dark, what can I do? Oh yes I could but no I'm I am color managed I am channeling I have the great tag macbeth I have the the I won so I know my monitor is good I think it's the prints other something wrong with the printer so really I'm open this is too open ended question it was a very bad question for me to ask but what I'm trying to get at is I could go into each one of these and change each one independently like if I just want to make them all a wee bit brighter and I won't even say to print because we actually have this option in the print module where we can how you knew that option I know because you know soft proofing I know there is that option and pretty but let's say we're going to do post these to the web and they're just we just think they're all going to be too dark let's just say we had too much caffeine today and maybe they're all too saturated we just need to be saturate them all a little bit or something all right so what we could do is you step away from the develop module and you move back to the library module because there's a big difference it's subtle but in the developed module all of your changes that you make are absolute all of the changes that you make in quick develop can be relative so if I'm let me just explain a little bit better if I'm in the developed module, we can see if we go to the basic panel this image has a plus to exposure this image has a plus one point three five exposure and this image hasn't changed the exposure at all if I say I want to make them all a little bit lighter, so I select them all right? So we've got these three selected, and if I stay here and say, oh, let's, add or change the slider two plus two, they're all going to get set two plus two well, that first one was set to plus one point three or something, so I'm gonna mess that one up completely if I set them all to the absolute slider value if I change this and I've got auto sink or I synchronize them now, it synchronizes them to the exact same numeric value, but I'll undo that I'll come back to the grid view and I'll say, you know what, here's what I'd really like I just want you all to have a third of a stop more exposure, so whatever you're starting with, just add a third of a stock, so I click once and then we go back to the developed module and you can see that this has plus three three that had zero change before if we come to the next image, it had a one point three something, right? So it added the point, the one third of a stop and this one that was a point do or something, and so it added the third of the stuff, so that could be super useful, especially if you know if you are just tired or something and you realize the next day or your maybe your monitor wasn't warmed up and you're like, I can't believe I made all those adjustments, and I think we do them all no, go to the quick developing that's that's, a very little known fact. So before someone on the forms ask before you guys asked, well, I would really like that and develop module well, I think that's a very strong request. I don't imagine that happening anytime really soon it would be great, especially presense like relative presets, like at a little bit more something in my pre set, but we don't have that functionality of the functionality of relative adjustments or relate on lee in the library module at the current time.
Ratings and Reviews
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.
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!