Special Effects in Lightroom® and Adobe® Camera RAW

Lesson 1/1 - Special Effects in Lightroom® and Adobe® Camera Raw with Jack Davis


Special Effects in Lightroom® and Adobe® Camera RAW


Lesson Info

Special Effects in Lightroom® and Adobe® Camera Raw with Jack Davis

One of the funniest things to use the technical term that you can do in light room is do stuff that most people don't know that you can do and that is really what we're going to be doing here when we talk about enhancing and embellishing an image and special effects I want to start off with a disclaimer because there are so many special effects especially in the age of instagram and ten million little app filters and third party filters and everything everybody in the world is throwing effects that everything on dh seeing what sticks and so our beloved pure photography which by the way I was waned in the darkroom rolling my own film back in the seventies in high school yearbooks death how many of you were ok? I bet down in the audience you can ask them how many people um got their addiction for photography back in high school yearbook staff so um so that's where I learned it and our beloved but of course we were doing effects back then as well a dark room and film and filters and thing...

s like that even things like ansel adams again what he shot had nothing to do with what he was actually looking at terms of his black and white work and use of filters and gels and of course is working the dark room and his retouching of image ever of his images so there is no riel set pure photography go back to pinhole cameras and obviously the panel cameron the land set up has a very extreme effect to it so there's no such thing as pure photography but when we talk about special effects and enhancing embellishment thie thing I want to remind us all is that the only reason why you go beyond what was captured is to strengthen your story can you make a more potent story something that's more memorable, something that people will spend more time with based upon the fact that you have done something to the image versus not if all you're doing is throwing effect on there for the sake of an effect you know that's like putting you know flaming chrome letters on a you know advertisement for a baby oil? Okay it's cool it's groovy it's a great photo shop effect that's not appropriate for the story you're trying to tell um so when we do effects it's so a person will spend more time with the image, maybe they're more likely to put it over there mantle place because it is something that's obviously not a snapshot and that's actually another thing to remember about these days in the age of every bloody person on the planet having a camera the other question is why should I hire you when at jill and uncle bob can shoot it just what they're beautiful ok and so it comes down to you how your shooting, how you're framing, how you're lighting your interaction with your clients and in terms of your final processing of the image, the fact that you are doing an interpretation as an artist sometimes it's just simply doing a black and white right because the world's not black and white every single time you just simply to a black and white conversion you are augmenting and altering reality you are interpreting it that's why most find out photography is black and white still because you can't walk into a gallery and go well, those air snapshots those air there they are an interpretation by very definition that you're using black and white as a way of telling the story. So with that in mind, we're going to be doing all sorts of special effects primarily to add thes as options in your bet utility belt so you can pull them out when the time is appropriate for the right client the right time, your own work for you to be able to, you know, go beyond what was captured, what was experienced or what you want your audience to feel when they look at your photography okay, so there's my disclaimer, I know some of these are off of the tarp off top okay? And with that in mind, let's get into this area of enhancing we're in the developed module in light room, which uses the exact same engine as adobe camera raw, which of course is built into the bridge if you're joining us, the description online has both adobe kameron light one was what we're teaching here and I can do that we can cover both of those because the engines are exactly the same if we were to look at the interface this is where we started off this morning talking about the five step tango and this is part of the downloads if you do purchase the class and which I highly recommend you get the entire week there's no reason in the world why not to things like this image and the follow along files or part of those downloads if you do purchase it but this is what I was showing this morning that the basic panel in adobe camera raw as an example is exactly the same is the basic panel here in light room so whatever we do here in light room today in terms of enhancing an image, you'll be able to do the exact same technique following along in adobe camera but you are going to have to translate it just because as an example the panels in adobe camera raw go left to right versus up and down in light, but in terms of how they work they're exactly the same in terms of functionality okay so we won't go into that. We did start off. This is the five step tango, so if you want to do a quick frame grab, if you're at home, this is what we started off this morning. So go ahead into a frame grab of your video and you'll see what we're talking about because I'm going to start off using this same basic panel for not optimizing image but for doing a special effect and for going beyond, definitely way beyond what was captured and we're going to start off with is a high key special effect using the exact same sliders that we did this morning. Ok, so with that let's come over here and we use this image here, pictures shot by hal in victoria schmidt of light workshops dot com an excellent hands on school in morro bay, california. It's I think the best hands on computer lab in the country and what we're going to do is again going over to the basic panel in the developed module and light room is a high key effect, and for that what we're going to do is we're going to break the tango that we started off with this morning, and what we're gonna do is I'm going to give you a recipe. And then we're going to find tune it because any time you have a recipe for any sort of image you're going to find tune in for that particular image because again, the computer has no idea whether it was dark, whether it was light with morning, noon, night, whatever. So you're always going to be fine tuned yet, but here's the basic formula for doing a high key effect, one way of doing high key effect in light, and we're first going to take the contrast, actually, let's, let's, start off before we do this. One thing that you didn't get if you weren't in this morning's class is this concept of using the h s l panel for doing black and white conversion. And what we did is we created a little preset okay, under our user presets over here, and we have one called that we made this morning called d set, okay, and d sat what we did is we just took the saturation portion of the h s l slider, and we took them all down to zero and as I mentioned in photoshopped d, saturating of photograph is an awful way to do a black and white conversion. You would never do it in light room because of how it handles luminosity, it's absolutely different and is a great black and white so I'm gonna start off doing this sort of a black and white before we go in into our high key effect because oftentimes whatever you increase contrast as in the high key you're going to increase saturation and it's pretty rare that you're going to do anything tasteful with a high key full color image it's usually we're talking about a buck and what effect there you're going to see the reason why I did this way of doing the black my conversion is so we can do exactly that so we can bring back in selective color when we do the high key so and we step one black and white however you want to do it this is the correct way any other way is wrong I think that's pretty much everything that I teach you anybody else says anything different they're wrong I'm right very very simple no almost more nest there's a million ways to skin the light room cat and there are phenomenal people most of them here at photoshopped weak and we all will do things will be different back to the basic panel let's do a high t we're going to take the contrast up to one hundred we are going to take the highlights down to minus one hundred we're going to take the shadows up two plus one hundred we're gonna take the whites up two plus one hundred okay and we're going to do the blacks to taste now, with that blacks and exposure to taste. Okay, that is your middle tone value ok, blacks exposure and clarity to taste. And then, of course, you confined to in all of these. So even though things like contrast up a one hundred and let's, go ahead and zoom up on this right here let's see if I can do that without breaking anything this time. Ok, so we've got our contrast up it, plus one hundred highlights down minus one hundred shadows up plus one hundred whites all the way up, blacks are actually going to be to taste. It depends upon the image exposure your mid tone value is going to be to taste and clarity's to taste again. So what we're asking is we want all the highlight detail even though we're blowing it out by doing an excessive contrast, we're still asking it politely, would you please maintain highlight detail? We want all the shadow detail, even though we're doing high key and we're making things very, very dark, we're still going to want to keep the subtleties in the shadows of possible whites or where we're going to blow out that highlight detail, but since we're asking it to maintain that highlight detail, you can see these things would actually work in concert. Absolutely in diametrically opposed directions and it's the new engine in the new light room in the new a cr that allows you to do that sort of stretching of your total range and blacks exposure and clarity to taste. Okay, and so let us do the to taste portion of this, and we take our mid tone value down here. I don't need all that white it's actually take our exposure up, and we don't need and all that white all the way up, and that is going to be a little hot up here and again, that clarity. Now, this morning, we're talking about clarity and that it's something that you usually don't do a lot of in an optimizing stage because it is so powerful little bit pop if you're doing a landscape is great if you're doing a portrait, maybe a little bit of anti clarity to soften it up a little bit, but you're really not going to want to get too carried away in this case where we've done this exaggerated tonal stretching of the image during this high key effect, the clarity actually can be used either both one up to get a very harsh effect, but because we've blown out there, highlight detail it's not like we're exaggerating wrinkles, okay, we've gotten rid of the subtleties by definition by doing this high key effect. Or what is probably more likely you can get this really romantic glow as part of your high key by taking down your clarity ok, so here is our before after before after for a high key effect also as we did in the tango, it could be that you want to add something like a vignette to this effect. Ok, again, my favorite one is color priority we did that in this morning's class I would take that and that's going to bring down our background, drawing attention to our subject remembering you've got the highlight slider, so if you don't want it to affect things like the skin tone, you'll notice that as it goes off the frame it's keeping that a nice crisp highlight I actually like it to look like it's coming in as a matter of fact, I'm a take that midpoint actually even further into the file. So again, this is our been yet draw our attention in, so this may be what we do for high key and as I mentioned also in this morning's class, any time you see something that is cool there's going to be two things that you're going to do one if it's just cool, you're going to remember to come up here to your snapshots panel collect the plus icon and just hit into it will have saved every single thing that you did about that file so you could get back to it later and save as many as you want. As you can see here, I've got ones saved all over the place. The nice thing is you can see as you hover your cursor over the snapshots, you can instantly see what each one has so that's why don't even bother naming it because it's so easy to get back to you also have snapshots in adobe came a raw panel over in the far right hand side allows you to save snapshots just like in here. The other thing is, if you do in effect that you think is actually you're going to make money with next week, then I would recommend you go over to the presets panel. Click on that. And now it's going to ask you, what would you like to call it? And where would you like to stick it in this case will call high key one. Ah well put in user process, though you can come up here and create a brand new folder so we could just as well call it jacks. And the thing to remember about presets is on ly save what is pertinent to the effect that you're doing in this case, we did everything in that basic panel, ok, all right, we did our basic tone in here, we used clarity as was mentioned earlier using that process engine is going to make sure that it's the clarity that I wanted to use not older version I also did my black and white conversion using that h s l panel so I click on color okay nothing else I used in here so I hit create and now I've got a high key pre set that I can use on any other image in any other time okay the thing that I'm not going to save and now that I've made that preset I can now customize this shot um in relationship to that black and white conversion and that's where we're going to go back to that h s l panel and take advantage of that t a t tool that we talked about this morning and that t a t tool is going to allow us to go back into the de saturated layers and go into something like the models eyes and simply click and drag up so now what we've done is just brought in the blues in the eyes it is global so it also affected the background but it allowed us to do now a targeted re colors that's that's why we do black and white instead of a high key with full color that's why but because we did that special black and white conversion we now have the ability to target that re coloring of the file anyway that we like okay, if we take that now that we've got our preset let's go toe another image, we'll use that same one as a starting point. We got another hala victoria a smith shot. We're going to come down here to jack's let's close some of these. It is always alphabetical, so we're gonna go high key great love it. Certainly it saves me all that time and energy of moving all those sliders just seconds and seconds of hard toiling work I've saved. I'm goingto customize it because this one is a little bit different so I could go back. I can already see to get rid of the distractions. I'm going to go back to those effects and you know what? I did not click on the, uh, post crop vignette did I? I missed in the pre set and that shows you why you should be a little bit more observant because that there is no vignette at all because I forgot to click that mark and have that part of the pre set. So here's a good tip because you guys are advanced users, right? I went to all that trouble making that effect right and it's not right so now let's customize, I'm going to go to color overlay want to put in a nice then, yet we'll move it till it's just on the edges okay, so I like that there maybe make the roundness a little bit less and we can come up for here. Okay, so I like that that's much better. So that's really what this preset should be when it be need if you could just right click on it and say update with current settings, if only ok. And now you go up post cuff and yet thank you very much for asking update we're done. And so now that preset is there and that preset because it contains my color what's going to happen when I go over to my h s l and move up something like my red's, okay? Or even my magenta is not my emergency. This could be reds so I can come up here and now I've got a high key with a targeted re color. I wouldn't save this as it as one because it's related to her lipstick color just as it was related to the other models eyes but it is allowing me to do this targeted re color quickly and easily with no hand dodging, burning, no retouching, no filtering, no third party abs, no photo shop and here's our before after before after okay concept there is that same basic panel that we did for optimizing can also be used for special effects you can use it for antique ing you can do so all sorts of things and just that simple basic panel ok good like it before you go out yeah, we're done with this one I'm just wondering if I could ask you a quick question you get about thinking all right cool instead of waiting till the end since you're on that that high key one the question was whether or not they're certain subject matters that worked better in high key such as a portrait that you were doing and for people who may not be familiar maybe could just again define what high key good there's a high key and its counterpart in low key um and that is where the primary tone of an image is very bright okay very and low key image would be very dark, something shot in the shadows and maybe only getting a rim light on the model's face everything is dark kind of a film in law you know, uh cinematic look and it's primarily dark in high key. One of the benefits of high key image is for portraiture and is for kind of a fashion look because by blowing out that highlight you've gotten rid of all the subtleties and for some strange reason none of us like with subtleties in our skin so that's why ah high key effect like here or in here it was not the way we're working on this one right here can be nice because one it's dramatic you can't not look at that and and be struck by it so it's forcing a person to spend time with the image and of course things like this you're able to exaggerate things like the eyes so especially now we've also super exaggerated the ice because we've added the color back into it but the high key is where the primary portions of the image are very bright and I would say portraiture is the thing for you it's not like you'd really you could use it if you were shooting like appear if you've got a foggy landscape where everything is basically misty white that would be considered a high key what everything you've got all only these subtleties where you're looking off in the distance and you're seeing the fares whale here or something like that in the waterfront that could be a high key image that would be beautiful for landscape snow scenes and things like that night seeing being lit by only a candle on the table you've got a still life with a candle and everything is done you just only subtle room light that would be a example of a still life loki good questions okay so back to our special effects and back to you we talked about earlier about the idea of sinking here we've got that same um concept of h s l we're going to use that same little preset that we did here here's our user presets and here is going to be that d sat should have put my own folder so we're going to come over here and do d set so we're going to exactly the same thing that we did before I'm going to come over here I've got my saturation set going to click on my targeted adjustment tool I'm going to click on the dresses okay so I can automatically lighten bring back in the saturation I can jump over to luminosity also as we did this morning because remember that skin tone this is a fantastic with a full color or black and white or anything else I'm gonna come over here not bring back the saturation of the skin tone of the bridesmaids and right but I'm just gonna lighten up their skin tone okay so you can see that I can lighten up the skin tone without doing any targeted dodging and burning so we've got both of that there maybe we do have in yet but we'll just use that as an example just the hs l so there's our adjustment but let's say that we have this and this is going to be a double page spread in the wedding album ok we want to tie them in together this is a brook crystal shot again we're now wedding photographer and she shot this shot at the same time simply walked around, shot the same girls looking the opposite way two shots to bang for the buck. I want them to have the same effect that right next to each other, I'm going to simply hold down the command key. They're not right next to each other, so on the film strip by holding down the command key on the mcas control key on the pc, you can select images in the film strip that art next to each other same thing goes in adobe camera raw that left hand side you've got a vertical film strip you can do the same thing related to that and ah, so they're both selected down in the film strip, and here we have a sink button. The nice thing about the sink you'll notice that sink has a little dot dot dot a little ellipse anytime you see in the lips in any adobe product, that means it's going to bring up a dialog box and ask your opinion, the lips means you're about ready to be asked your opinion on what to do. So we do that click and we'll come up here and say, usually start off with none and we'll just doing the color effect, ok, that h s l okay saturation, luminous color treatment, and we'll say, synchronize and now we have two images that are identical. They're already set up for the double page spread in the wedding album, and you move on when I say this is a preset no it's related to these dresses this shot, I say the d said, but I don't need to save this special effect because it's on ly pertinent to this particular shot, another thing that you could do with these sorts of presets is if you had an effect and maybe you did it happen our go on, you know you're going through a film strip and you really don't want to keep track of where the original is or whatever. The other thing that you can do is you can come into a file and you can do commander control c for copy, there are no layers there's really nothing to copy in light room in terms of what you would traditionally doing photoshopped, it brings up the copy settings and it's going to ask you, what would you like to copy? And I'm going to say, copy that same treatment that I just did right here. So if I come back up here and say, copy that's going to sit on my clipboard forever until I copy something else, so you're going through your workflow and here's, another cool image commander control v or paste and now you've just done it so it's another way synchronize and copy and paste or two great ways of sharing files, we'll just go back to this image ahead of another copy of it. Commander control v and I'm done so with your synchronizer copy and paste it's a great way to share settings in a file and as I mentioned this morning, any time you do anything in light room or a cr, figure out how to never have to repeat that process any time you go. Oh, figure out how to stop an automated if it's in photo shop, you're going to make actions, you're going make smart filter recipes in my painting class, we talked about creating a painting recipe smart filter recipe so once you do that, you can drag and drop into another photograph. You can obviously do actions I know kevin could vote is going to be doing a lot on automating, including actions tomorrow, so I gave you a bunch of actions as part of that facebook fan page. Jack davis well, so okay, things on it, this is another brooke shot just to show you that little that little trick, and we'll do it in our snapshots because I always one of the great things about getting the follow along files here is that they always come with the snapshots for the file. So you have the images and all the stages associated with them, so here is again a little before after before after using the exact same trick the exact same kind of thing using that anti clarity to soften that up yes, I know, I know, I know dear and, uh same thing that will do right here will do with my beautiful daughter. So this is the original shot this is thie tango this is where we're going to get into the class after lunch we started getting into targeted retouching you'll notice that the eyes now in this case of isolated and have been retyped so that's going to use the adjustment brush we're going to get into that because again, you can do amazing targeted fashion retouching in like will you can do it in photo shop as well, sometimes a lot better and photoshopped how far you can take fashion retouching in light room is actually amazing, but this right here is simply the exact same thing if we look at our saturation same sort of thing that we did before, not in fact I'll just start over as if we'd retouched it so black and white simply coming over here heading in some magenta cz some greens and here is our targeted color this is what we used as a starting point for doing a painting in the class yesterday, okay there's a special effect. We also this morning we started with that bribe, but we're going toe let's do it. This one also can be going into the retouching, but I think we'll do it here in this class. And this is the concept of imitating a shallow depth of field in your photograph, it's enhancement or a special effect because obviously changing how you shot the fact shocked the image after the fact is going beyond the cap. So we're going to do here is we're going to take advantage of the our first time in the adjustment brush. We're going to take advantage of what's known as a anti sharpening anti sharpening and the reason where we're going to do this beautiful shot, another brooke crystal shot. Any wedding shot is going to be a book crystal shot. Thank you, brooke, for for allowing me to use your fantastic images. But the problem that arose here is that this woman is obviously out of focus if you know how I get the field works with the focal point. It's, you know, a third in front, two thirds behind. So she is out of focus. But these ones in the back are still in focus. Which of course leads to all sorts of cat fights they have been talking to each other for years why is she and you know, don't you hate it when that just okay, so what we're going to do and obviously there's only one person of significance in this photograph and that's the princess so what we're going to do is we're going to do in one fell swoop we're going to blur the background and make her pop by also dark meat ever so slightly so for this special fact, we're going to go to into our adjustment brush and the habit that I recommend you getting into is always reset any panel that you go into because a lot of times the settings are sticky, meaning you're going to go there, come back, they're going to be where they last left off and because there's a thousand parameters you can change resetting it as a starting point, so you know what you're doing? It's time is really good to do and in this case double clicking on the word that's associated with whatever panel you're in will reset that panel back to this default settings. In this case, the word effect in the adjustment brush double clicking on it resets all the sliders back to their default setting very good to know if you're in adobe kameron you're doing this any time you click the little pluses and minuses automatically resets every other slider, so that would be the way to do that in adobe camera wrong so what we're going to do here is I'm gonna come up and I'm going to take this sharpness down to minus one hundred, okay? And this works very different if you've tried this in the last light room it's very different than this light room because as mentioned before, the engine is very different, so this actually does a very nice de focusing of the image. There are plenty of third party filters there's a whole new filter blur gallery built into forty six, which is excellent this doesn't take away from that it's just saying, if you're in here and you're able to do it quickly and easily and never go into photo shop you know what that does your workflow move on got the shot done ok, so I've de sharpened the file and I'm gonna paint and both the adjustment brushing the graduated filter are exactly the same as matter of fact they share the same settings, the same sliders they share the same presets. Okay, if you didn't know that you could say anything you do with the adjustment brush and the graduated filter as a preset you should because right here where this says lightbourne edited that's whoever last came in here use that one if you click on that that gives you all the ones built in tow light room these are all adjustment brush and graduated filter presets and someone else another one of teachers here has these presets ok, since this is in my computer I did not load on my presets but these are the ones that are built into it and if you go down to the bottom you have the ability to save current setting as new preset so you're going to be making just as you would with a preset like we did with the d sat or high key you will make a preset for skin softening I enhancing teeth whitening ok there's no reason in the world why you don't some of those air actually built into here okay as defaults but in this case we're going to come up here and we'll make one we're goingto be sharp in the image and if we wanted to we could do exactly that. Why not? We haven't used it yet, but we're going to come up here save current setting and we'll call this blur okay, the other tip that I want remember I've got that the green circle in case you're wondering is a little thing called pinpoint it's, a mac feature for just showing your cursor so you can follow along easier it's not part of here someone actually turn that off so you don't see that andi, I'm going to zoom in here so you can see the brush, the square bracket keys or your shortcut to increase the size of the brush you have two circles here that's showing their the feathering or softness of the brush shift square bracket keys lets you change that hardness or softness of the brush on the fly okay, so I'm going to use a big old honkin soft brush that's what I normally do issues eh? Big old soft brush just like we did in the olden days in the darkroom, right? If you were in the larger and you were trying to do some dodging and burning, you stuck in body parts and hands and paddles and whatever small animals you could do and you would just wave them around right to do your dodging and burning big, soft and subtle is how we did our dodging importing, so I'm gonna do the same thing here um with an understanding the thing that's a little bit unique about this sharpness is in the transition between hard and soft is where the sharpness kicks in, so it doesn't have the subtle transition between in focus and out that's some other filters can do so that is one of the little caveats of it, but I'm going to use a big soft brush and I'm also want to see the brush I'm actually making a mask when I paint in light room or adobe camera raul and there's a shortcut there's no way if you look down here there's no little button here at the bottom that says show me the mask there's the ability auto mask which will use later on but there's no way to show the mask unless you know the secret mickey mouse club handshake, which happens to be tapping the okie commando control of just tapping the okey that means when I come up here and I'm going to check also the other thing related to, uh, my adjustment brush is I want my flow and feather and my density all the way up a one hundred percent okay density is kind of like capacity in the sense that it's the intensity of whatever affect your working on the thing that's different about danced and when it's not called opacity is that if you have something at fifty percent density, you could paint on that all day long over and over again. It will never get past fifty percent because you're telling it to be fifty percent if you take that up to one hundred percent paint with it, it'll now will be a hundred percent if you've painted one hundred percent and then change the breast to fifty and then paint over it, it removes it back to what you currently have it fifty percent so it's very different than a traditional opacity that's something to remember it is nice to use if you want to do an effect like you're doing some skin softening, you start off a one hundred percent and then you go now I'm coming into a a portion of it that doesn't need as much change the density down and keep on painting you don't have to create a new brush changed the primers you can use density to soften up in effect ok, so I've got the brush big brush I've got feather inflow full flow is out quickly it goes up to this full density so it's a little bit like a near brush setting and I'll give you one other little tip here you'll notice that something that's different in light room versus a ceo there's an a and a b version here because you've ever wondered, you have actually three brushes at your disposal, you have a or b and an eraser and you have keyboard shortcuts to that typically what you do is you may have something like in this case I would say that the b is my big soft brush and I come over here and for the a brush I want that to be a smaller, harder brush, okay, and see somebody has already kind of set that up that way we want a bit more feather and the nice thing about that by clicking between these two if you use your forward slash key, not your back slash your forward slash key lets you switch between those two brushes on fly, so when you're doing detail work, you got a big, soft, subtle brush. Now you're zooming into the eyes went a little bit harder, smaller brush. You just tap the forward slash key and that's going to give you your b brush holding down the option key on the mac or the old key on the pc is going to give you your eraser. Okay, on the fly option are all ok, ok, so now we've got it. Let's, go back to our big, soft be brush we tapped what key to give us to the ability to see the mask, the okie come over here and do that. So now we can see the mask is we're painting it this case. This one is starting off in red. If you're painting skin tone or something masking, that may not be very helpful, so I'll give you another secret mickey mouse club handshake, and that happens to be shift. Oh, lets you cycle through different tones for your mask color shift oh, ok, so I'm gonna come over here and I'm just going to go I'm not I'm also going to get these over here on this left hand side, okay? Knowing that that fifty percent mark is where it's really going to kick in? We've got the two rings for the feather side, wherever that is in terms of that, fifty percent is where it's going to kick in and again, this is a quick and dirty don't get me wrong. This is a quick and dirty way of doing this showing of the depth of field the o is the toggle forgoing uh, in and out of seeing that mask? And here is our before, after before, after now, not only does it get rid of fighting bridesmaids, it also gets a great way of getting rid of flyaway hair, right? You're shooting a little portrait and you're going to always have a little tea things you want to make it appear like you shot at a more open f stop that little shallow depth of field you want to blur the air's ears, depending on what you're doing so one quick now that you have a brush that you're going to save, one quick swell fells hoop is going to take allow you to take that hair another little components of the background and just soften it enough so you're not tempted or don't need to retouch maybe all that fly away here. And I'll show you that in another image right now so we come over to our bride she is still nice and razor sharp if we get a little bit of a, uh overlap over here we can go to our a racer and we'll make a little bit bigger and weaken again use it to find tune that mask the other thing that's great about obviously doing adjustments in light room is that you're not limited to just one kraemer at a time parameter perry meter sharpness right here is just one component I can also come over here and to make our bride pop and come over here and take the exposure overall mid tone brightness down maybe even the contrast down okay maybe even art a little saturation down all of which are going to have our bride be left at full intensity so now we've not only blurred our background, but we've also made the bride pop makes sense same thing if you wanted to if you didn't have just one brush and again we'd save this is our as our blur brush could simply come over here to new double click to reset the sliders maybe take your mid tone brightness up we'll just do one tap on the bride's face and again we're done in terms of doing an extra little pop to bring attention to our lovely bride nod your head enthusiastically makes sense okay continuing on let's do another one that kind of crosses over in this enhancing effect, and it relates to what we're doing here in our, um, target adjustment area, and that is we're going to take advantage of our graduated filter. So whether you think about this now, we're doing targeted enhancements, special effects versus the global ones we were doing this morning, so we're going to do is we're going to do a couple things one, you'll notice that the settings between the adjustment brush and the graduated filter or exactly the same there just is no brush setting at the bottom because there is no brush all you have is a great in another brooke crystal shot, another great portrait, and what we want to do here is basically do a little dodging burn. All right? We want to do a little graduated nd effect graduated neutral density any time you're shooting a bright outdoor lights something that's commonly done. Take a nice piece of graduated glass traditional andy filter put it in front of the lens and allows you to balance out your exposure stop down the sky, so to speak. So what we're going to be doing is we'll do it after the fact to give a little bit of a little bit more emotion to our sky here to draw attention to our beautiful father daughter scene that we have so we've got our graduated filter I'm going to reset it like I did before and double click on the word effect resets everything you're dodging it burning typically is going to be done using your exposure now okay? Because there is no brightness setting exposure is your mid tone brightness I do not use highlights or shadows for doing basic dodging and burning because you don't want to plug up your shadows or plug up your highlights muddy up your highlights by using one of the other ones but using your middle tone exposure for doing you're dodging a burning it's a great way to do it I just did it on the bride's face great easy way of doing that so I'm going to take the exposure down just a little bit may well do it what would be the equivalent of a stop? We use that as a starting point and we're just going to simply click and drag within the sky here wherever you start is one hundred percent of the effect wherever you stop zero so we're going to come over here I'm actually going to start halfway down one click and drag and you can see what I'm doing in terms of the sky you can rotate it at the same time while you're doing it you khun trip make that transition from full to none. Be a soft as you want. If you hold down the shift key, it forces it to be a straight line and there's all sorts of little fun things that you can do here because wherever I let go a zero I can actually go past the horizon line into the father because it's having very little effect by the time it hits him and let go and there's my effect. If I want to find tune that as long as that is active, if you see that pin that's showing you that it's currently active, we're going to make another one in a second, and then they kind of turn off when they are not active or hollow. So we come over here where that's active and let's actually make it so you can see them at all times. The h key in light room is how you hide and show these pins. And remember, these are as close as you're going to get to adjustment layers and photo shop, so the h key is very, very useful. It's the wiki and adobe camera raw using a cr it's the v keeper visualize the pins for both the adjustment brush and the graduated filter. Okay, so I'm going to keep that turned on just so you can see what I'm affecting. We'll take that exposure down a little bit more if you are using it to do the skies because guys often have clouds again here in seattle, amazing skies, amazing clouds I would probably add a little bit of clarity to that as well. It's going to make your clouds pop ok, so now we've got that you can adjust these after the fact you can see that I can find tune after I've already created a grady in by simply dragging it and they can see my hand in there okay, if you click on the point, you can actually click and move the entire radiant if you move just outside of the circle, you'll notice that I can actually change that as well. Okay, so we've done our sky. The thing that brings it into a special effect is I'm going toe simply move away from that first radiant as soon as I do, you'll notice that that turns into a cross here again, I'm going to click down on the foreground because really, for me, one of the most potent things about this story is the reflection for brooke to come in here and get wet sand reflections if you've ever tried to shoot reflections in wet sand, that means a wave just came in it looks all nice of common tranquil but that means there's some serious hurrying going on because of what is going to seep into the sand. So even though it's peaceful she went to great effort to get the reflection so the little girl is looking down into a reflection the father's looking at the daughter they're both looking down the future is there she's already married the father's weeping the story the story is in the foreground so I'm going to simply come over here click and drag at an angle and kind of put an emphasis on that reflection I'm also by doing that kind of doing a little hand vignette where I'm drawing attention into the father and daughter by both darkening the sky and darkness the foreground drawing the eye into the my subject matter the cool thing here as I mentioned before you're not limited to one adjustment if I did this and photo shop using a graduated phil onto a layer masque threw a brightness and contrast adjustment layer that's what I would have done I would have done a single layer with a grady in't that did one thing I wanted to add something like a high pass popping technique to it what's close to a clarity I would have to take the entire document duplicated run high pass changed the blend mode overlay at another layer mask copy of the letter mask or put that layer mask into a set put both documents into a set so I could mask out both the high key effect and also the darkening of effect at one fell swoop and here I could just simply come up well that's active and just simply a clarity up and I can now get an exaggerated popping of the detail in my four grams I could even use that little blur trick if I'm if I like the reflection but I don't need the detail I can even use the trick I just did a second ago and aiken blur my foreground ok taking into account that that's really not how optics work so use that blurring technique you know based upon your experience of how have stopped works and how depth of field works basically with the one third in front two rows behind but um for pure aesthetics reasons you may also add something like sharpness also to that foreground okay, so both of those were going to tap that h key to hide the pins and now I can come over here and here's my before after before after literally it will they take about two seconds because all we had exposure click drag down, click drag up, add clarity done and there's your kind of little enhancing less than that I'll show you related to this to get this pin the cool thing about these pins we can see have taken clarity way up and exposure down if I want to find tune this if this is a little bit exaggerated if you hold down the option key on the mac or they all came on the p c let's zoom in on this so you can see it okay? You get a little left and right cursor and that's what that's probably trying to tell you because it's completely intuitive you'd figure it out on your own I'm sure is that if you hold down the secret modifier key and go left and right look at my panel over on the right hand side okay? I can change the intensity of this effect up or down by simply dragging left or right so whether this is skin softening or foreground intensifying or whatever you're doing simply holding down the option key and then dragging left and right it is going to allow you to fine tune it without needing to change the parameters on the right hand side. So it's an intensity slider for everything and again, if you were to do that in photo shop he had a bunch of effects you'd have to throw all those effects into a folder and then manipulate that folder so it's very nice the fact that this is built into theater just mints okay um retouching, retouching, retouching, retouching but you know what I think we're going to we'll do this one this one was in the painting class but a lot of you weren't in the painting class I want to do it here in terms of enhancing because I think it's the best way of doing hand tinting definitely a special effect but the nice thing just as we saw in um um what we were just working on in both the bride's with the bride maids and the beach scene is that when you do targeted adjustments they have multiple options at their disposal at one time not just doing one thing again if your hand tinting in photo shop you create a layer you put paint on it changes blend mode and then if you wanted to do something else to that same area you do another adjustment and then you would mask it or set it or do something else so what we're going to do here is we're going to do a hand tinting so I'm gonna come over here in this case we're going to a sky now that we've got a landscape we're going to come over here and I'm going to simply paint and as I mentioned before, I like seeing the mask so I know that I'm actually getting the areas even though I'm being extremely sloppy I can see where I'm painting and that's actually good to know because if you're painting something in this case like clouds where there is no town a tonal range built into the image the color won't stick it's only going to show up color where there's already inherent tone so when I turn off this mask tapping the okay you're going to see that the clouds stay basically white because there wasn't anything there to begin with with so it's a nice translucent effect and so we've got our sky in there now we're gonna come over here and we're going to do our same thing let's close our history and get a bit more real estate and uh come up and we'll say um new and we're gonna come up here we'll do a little we're going to just jump ahead for time and we're going to do a little bit of a red church turn off our highlight warning and for here with first time we're going to use our um adjustment in the just been pressed for auto mask because I do want to be a little bit careful where I come up here and I'm gonna make this church read so even though I could it's basically white parameters I could kind of go over the edge but I'm going to take advantage of the auto mass preacher because it actually in this case works very nicely the tip I'll give you about the auto mask features you want to make sure that your first brush stroke is completely inside whatever object you're going to want to paint in other words I don't want that edge to go buy anything else because auto mask is looking at the color and tone of whatever you're going to paint on and says ok, I'm gonna limit the painting to that structure and it doesn't amazing job it will definitely be using that for the retouching class later on I'm going to tap the okie again so we can see the mask and I can come up here and even though I have a big soft brush you can see I'm getting a hard edge selection and because I started in the center of an image I can even go down something small like that area over on the left hand side even though I may get a little bit of spill okay I can come over here and uh clean it up really easily which brings up another great tip for using the auto mask is I just painted and there was a little overlap into this area then I held down the what was the key for the eraser option keen on the mac or the old kate and the pc automatically switched over and then I erased it and cleaned it up the auto mass feature goes oh, I see you didn't want that and you wanted that in other words it gets more intelligent the more that you use it so by doing a little bit of cleanup you actually will have it become mohr intelligent every time you use it which is pretty darn intelligent so here we're just going to do it. Like I said, I don't mind some overlap option or all to clean that up. This thing is that this is an infrared shot taken over on molokai, and this is from that creative photography for the sole class I'll be putting on and so it's pure, black and white, so it doesn't have color edits disposal. It has this tone to do that's autumn asking, but you can see that it actually is doing a pretty darn good job in terms of what it's masking ok, so this is the auto mask feature the thing to remember, make sure that your first stroke is completely within the area that you're trying to mask two if you do get color outside the lines, you can just hold down the option of all key and clean it up, and it actually becomes more intelligent as you do so next, remember that tapping that oki is going allow you to view the mask shift lets you change the color of the mask, but this isn't a case here where I've got it does a nice job of doing a nice little kind of tijuana red church down here in hlava valley, but this is, as I mentioned, one of the nice things about. Doing any sort of a selective adjustment in light room is not only can I do that color tint and then change it to something else that I want the blue church or green church or whatever else you want, you can change that after the fact well due to something that's maybe a little bit kind of a dusty purple but I can also come up here and add something like my clarity and if I take that clarity up, I'm going to get a little bit of kind of what I call art deco airbrush edge in other words, I'm going to exaggerate the edge in there or I could even soften it up if I want to make it even a softer coloring I often wouldn't there is going to add clarity to it I can do the same thing I can back up go to that cloud click now I'm using that area you'll notice that as I have her my cursor over an area it's highlights the mask area just so you don't even have to click on it. It shows you what area's going to be adjusted if you were to click and now I can take the sky let's say and again I can use anti clarity throw that sky into the background or I can come up here increase it to exaggerate the clouds so and that could also come up here to exposure if I really wanted to dark in that sky up or lighten it up, you have all these different parameters in one single adjustment and in this case I'm going to go here and I'll use a snapshot and cheat to show you the after file, so there is our before and after and before and after the same thing with our shot over here just to show you what we were going for this one, you'll also notice that on the lips we've even come up here and done a little bit of rouge, not that much rouge over the cheeks so you can come over here and actually get, you know, some very nice little subtleties and the coloring. So again, here is our before and after with hand tenting and like so another special effect, the nice thing about this, especially doing it quick and loose is that there's no way that this was done by a computer all right, there's, just no way you're going to have an algorithm that you hit one button and automatically does the skin tone does the rouge does the background so it's hand done? So going back to the whole reason for doing it enhancing is that when you present something to say to a client, this now is a work of art, this is something that you hand crafted to tell a story about the family, about the product, about whatever so anything that you can do to your artwork that says that it is a work of art that an artist created as opposed to uncle bob or aunt sue that's a good thing? Okay, let's see if we can fit in one more here and this was where we went with this. We're going with this color file, so here is our full color file and doing the hand tinting okay before, after starting off with a black and white and then ending up with that, okay and let's see when we're gonna have so much fun with retouching class, I think speaking of let's, do a tease for the retouching class because this is something that is done all the time and the ladies just don't get enough eye candy in these classes, right? Let's just be honest that you're always looking at some beautiful bride and you don't get the beefcake as you guys deserve. We're gonna d'oh first off this is the before shot remember our tango that we started off with? So this is another brooke crystal shot you can tell by because they're looking at the camera here is doing our tango okay instant big with just our five little steps there's nothing wrong, okay, every single person here would say I would take this body in a heartbeat so to speak it's a posture thing right that's just a little distracting not because of anything other than tossed her so let's do liquefy so here's a quick little tip talking about enhancing two I do liquefy so what we're going to do here real quick because there's a gotcha I'm going to right click edit in ok photoshopped c s six now for most of you you're going to edit and photo shop cs six you're not going to come down here to open a smart object and put a shot because liquefied does not work with smart objects unless you have photoshopped thirteen point one you're part of the creative cloud if you subscribe sort of speak to photo shop and if used that to have it then you have for the shop thirteen point one which is six point one but let's not get into it thirteen point one allows you for the first time to use liquefy as a smart object minutes nondestructive because I'm not sure with a this computer has that I know there was an issue with updating it to six one I'm not going to do that I'll just do it like most people would do so I'm going to edit and photo shop it's going to open it up and let me give you a quick gotcha for using liquefy first off I'm a duplicate that current layer commander control j probably knows a short cut for that filter liquefy this is how the liquefy filter comes up nowadays, it is absolutely useless in its current state. We talked about this in the panel yesterday. God bless adobe by making what's known as a simplified mode versus the advanced mode. Basically, the one thing is they threw away the one in spence dispensable, indispensable tool that you should not touch light room without and that is coming over here to the left hand side it's missing the freeze mask tool are analogy is liquid liquefy the way you protect a certain area from not moving is by freezing a certain place, you have to turn on the advanced mode to get the freeze mask tool and that's the on ly way you should ever use liquefying with that, we're going to come up here and we're going to coming coming over here to the tool options, okay? We're going to have our brush density pressure size could be whatever you want, but the density and pressure is going to be up one hundred percent. We want to completely freeze a certain area, and for that we're going to come up here. We're going to zoom up and basically what's going on here is you want to work with his bigger brushes, you can when you do liquefy. Obviously if I tucked in the tummy over here with a big brush I would be bringing in the arm at the same time which I don't want so the first thing you're going to do is you're going to come up here and you're going to freeze an area that you don't want manipulated okay freeze it we could do our little we'll just we'll just do this we're going to come up here if you were working on a face, okay, if you're going to do a little jowell tuck in here, you would do well just go ahead and do it here you would make sure and freeze this t section here on the nose and mouth if you change that in any way, shape or form you're changing the personality of the person you're changing their skull structure but by freezing that you can do a little gel tuck in things like that if you want to do some of the world's best retouching but anybody is going to be jane connors isar and that's one of her tips so but anyway, so we've frozen the mask now we're going to go you could go to the regular work tool. Okay, thank you and that is a great tool, but oftentimes the thing with athe regular warp tool is you're moving entities in so you're going to go in, stop and stop and stop and oftentimes what you're wanting to do is actually shaped the curvature of the body, ok, an arm or waste or legs or something like that, so there is a much better tool for that, and that is this one here that's known as the push left tool. Okay, I want to go ahead and are turned back on our little green, so are push left tool over here. What that does is you're going to allow to do a nice curve fluid stroke, and it will push everything either left or right or up or down and that's going to allow you to do much better body shaping and general, but for that, we don't need to have the brush pressure and density of hundred percent. We're going to change those down to fifty, so it's going to be much more subtle? We're also going to take our brush size up, ok? Not that big, and now what we're going to do is we're going to click it let's turn off that little green and you're going to click and drag either down or up based upon it it's going to be a push left tool, so dragging down should give us our little tummy tuck that we're going for, the thing to remember is that you want to use the middle of the brush. To do your work, you don't take the edge and carve away it's something a lot of people use small brushes, they use the regular warped tool and they cover way you want a big brush, use the center of the brush and you have your brush pressure and density down, and that allows you to do not that he lets take. We're gonna take this down to twenty five and, you know, it's, a purse left to tool, you notice that that actually moved it to our right, which is probably not what we're going for. The nice thing about this tool, like pretty much every brush and photo shop, you can switch from push left to push right or you can have paint versus race or dark vs light or dodge versus burn by holding down the excuse me, the option key, the option king and the magic of the old can the pc switches every single brush and photo shop if it has an alternate way of working the option or all key switches it. So now I'm going to hold down the option key on the mack of the hulk in the pc, and now when I brush, okay, it's doing that left push, but we're still getting, and I didn't think this is associate it with the my settings. In the driver from I welcome we're using a walk of mouse as well, which I actually like some people loathe because the idea of using a mouse with a walk him is almost like anathema, but I'm going to take that down even more so and now but it's going to push down using you can now see I'm way outside of the area that I want to manipulate, ok? And I'm gonna come move over without affecting the arm here we're going to hit return and here is our four after before after okay, and that goes for any sort of thing here we happen to be doing a tummy tuck right here, but it works for whatever you may happen to be working on. You want to use your freeze tool? Yes, we are getting a little bit of a distortion here because we've got skin tone. The great thing is that we do have two copies of it so we could mask out just the audition for the stomach if you wanted to, but in this case we're getting rid of the what is a distraction and just letting our story shine. I think what if questions we are? We have a question from beauty of the lake from st pete, can you make folders in the adjustment brush presets as you do in the global adjustments presense good question jumping back over to light room the question is with these adjustments over here and your ability to make presets no, you cannot categorize them or put folders they all come in they are all after a medical in terms after numeric in terms of how they're organized, so that would be the closest thing that I would do to recommend it has put some sort of prefix on their your initials or something else so you organize if they're all retouching brushes, then I would call them retouch hyphen I retouch hyphen skin retouch hyphen that where they're all going to be in the same spot in the menu? Good question any questions in our studio? Get your thinking caps on and we'll start do another one from the internet uh, let's see question from sunny day in new york after you've edited and photo shop can you still at it think tango related changes you had put in before going into photo show? Good question that brings up that idea of bringing in as a smart object and that's why don't be added liquefy in thirteen point one is an option because if I had brought in as a smart object that's just we'll just bring in this image is a smart optic just so you see it so we're back in light room now right click edit in open is smart object in photo shop so now we've got a separate document it's not associated with this one you'll notice that this little icon means that it's a smart object so what that means is that yes, you can change the tango you can do whatever you want if you want teo change those parameters you don't jump back and delight room you double click on the thumbnail for the image it opens you up in a cr you take a side little jump over to a cr and then you could do something like your little get this is somebody else's version of a cr but we could do that you know, grayscale conversion will come over here do a little high key or whatever we're going to do to it will come up here we'll just do a little exaggerated will take our clarity ups for black and white and do this and say ok if this was using thirteen point one photo shop that liquefy would be reapplied now to the black and white version I wouldn't have to redo it it would automatically reapply that filter or any filter to the file so that is the way that you do it it has to be done through bringing the object in as a smart object todd s o when we take that side jump tio a cr is it then relaying that information back to light rumor of we've kind of suffered that link now no, you have not it's actually the exact same phone that's a really good question because there is a link there is a a known entity within here so let's actually see if we can do this hold on one second we're gonna see if we can get really tricky in here now because it's a smart object and it wasn't done uh no it has not lost that link if we come over here and disclosed this file we've obviously brought it into photoshopped let's say we did some other work to it not counting the liquefied and we went over into a cr if I do a commander control w and to close it and I say save it doesn't ask me what I want to call it where do I want to put it what I want to do with it if I come back over here to light room we're going to find it sitting right there waiting for us so even though the adjustment was done in a cr that link is he said is exactly maintained so light room photoshopped do you retouching filtering special effects if you need to change it jump over to a cr fine tune it go back when you get into light room you're good to go ok excellent thanks okay question from ludwig jack when you have applied more than one local adjustment, how can I turn off and on a specific adjustment to see its effect without disabling the other ones, you would have two very good question if we come over to something, this is something we're going to do in the retouching class this is a before and after okay, completely done in light room or a c r you know that looks pretty settle I don't see anything it's actually because these air procedural adjustments it's actually recreating all the retouching on the fly that's the hence the beach ball of death it's not actually it's just thinking it's it's being sincere but you can see what we had here is a starting point. There is where we're going to end up and if we go over to our adjustment brush, you're going to see captain that h key in a second as it comes up these adjustments. So the question is, is there a way that I can just hide one of these particular adjustments in this quest? This is one that's adding a little bit of extra rusian lipstick to the model. No, there is not the only thing you can do is delete and then undo okay, so you just have to remember you only have that one undue is a default there so you could delete take a look at it, commander control z there is no way to preview individual once you can do the one you could kind of say this is the skin softening that we're going to do if you remember earlier I had mentioned when we were doing the sand on the father and daughter that you can change all the parameters at one time so this would be another way you can see what I'm doing here for a skin softening where I'm taking down that clarity I'm also taking up contrasts and doing sorts all sorts of things by hold down what was that keyboard shortcut to fine tune the adjustments uh that was on a graduated filter you could hold down that option raul key in this case, if you're on the adjustment brush and you need to hold anything down because you can't move this pin since you can move the pin on a graduated filter, they needed to give you a modifier key to change it but watch what happens to the skin tone as I move it left and right okay looking at our hopes it looking at this here no, that is no that is a bug because that is chosen these air here and left and right if you remember that's what that little icon is representing it's changing an adding a blue okay, but if you take that slider on yours, I'm sure it will work there's no gremlins in your system pushing it left or right would allow you to either exaggerate that effect or take it down to zero so from that standpoint probably what the what reason why the person's doing it is to see whether it's adding something to it or whether it was too much so actually moving your cursor over the pin and moving it left and right to go all the way down to nothing or exaggerating it is actually is a great way of doing it it's probably what they really want rather than all on all off so that's even a better one I've never seen that where it's added a new feature out of the blue blue by simply clicking and moving on that that was really interesting and bizarre in a nice x men sort of way yes two related questions to exactly this s o when you're just using the option key to adjust the filter gradually filter which of the many options within that thing you control is it's adjusting it's adjusting all anything that you changed if you had not changed it so let's go here to that four ground again in here go back to the graduated filter click option click we're gonna make sure that this works fine I'm not there is definitely something going on but I've only changed two parameters so that's what it would change it wouldn't change anything else if it was said a default it wouldn't change it and it's going to in this case if I reduce it if I drag it to the left hand side exposure would go down and would go up so to speak until he reaches zero because this one it's already down and clarity would go down so they come back to whatever they're neutral point is and you can also exaggerated so if they were in two different places here the exposure would get even darker and the clarity would go even higher. So it's whatever you've already changed and you can go up or down except here because it's a friday it is friday and do snapshots store the pins I was one brief thing so I was wondering if a couple different snapshots with certain pins deleted would be a way of comparing different versions like one snapshot with these two pins and then another snapshot with these three pens that would certainly do it you could also use a virtual copy you could just simply do that and delete that that might be a simple thing if you want him side by side you know then you have that ability to do a side by side so that's a good point yes snapshots as you're saying I'm so every single you know teaching sample here has all the snapshots associated with it so snapshots store every single thing with that file from the camera calibration to the pins to whatever yeah, great questions

Class Description

Often there is a need to go beyond what was SEEN in the camera, to what was FELT in the moment. And this is where Interpreting and Embellishing and Enhancing a photograph can come in - especially in this Age of Instagram "patinas." Wether mouthwatering Black & Whites, selective "hand coloring," high-key portraits or simply blurring a distracting background - ALL of these can be done in Lightroom® and Adobe® Camera Raw - Instantly! Easily! IF you know the secrets Jack will share with you here!

Software Used: Adobe Lightroom 4