Increase a Photograph’s Impact: Lightroom Tips & Tricks with Julieanne Kost | Adobe Creative Cloud

[Music] okay you guys welcome how are you guys doing they're doing well okay this is a big room I'm it's kind of spread out but that's good right so you have a little bit of elbow room there my name is julianne costs and I work for Adobe Systems I've worked there since 1992 please don't do the math if you came to my session before there will be the same jokes a limited number of jokes available so um I imagine all of you are already using Lightroom since this is an advanced class so what advanced means to all of you I'm not sure to me it kind of means you know where all the tools are but you might not know exactly how to use them all together and I think the biggest difference is just jumping from using all of the local edits to the Selective edits so we're going to talk a lot about that I do take photographs but my obviously my profession since I work for Adobe is to train in software but my dad was an engineer and my mom was an artist so I got the kind of geeky techie side from my dad which i think is really super helpful because he taught me that if you know your tools then you can actually not focus on them right like if you know your tools so well if you master them then you don't have to think about them some of you I'm sure have loaded film in the darkroom the first time you went in there and when the dark and tried to load the film on the spool it was very difficult as soon as you master it you just go in there and do it so that's the way I want you to all be but I can't really say like I want you to be able to work with Lightroom in the dark because that would be weird alright so with my mom being an artist and an illustrator the thing that I took away from her that I think really affect my photography was that she started with nothing and then added things to her design right so there was never anything extraneous in my mom's design she didn't just add something to add it so for me in photography that means that when I look at an image the one thing that I want to do is I want to remove any distracting elements anything that doesn't reinforce the narrative anything that doesn't help tell the story anything that takes my viewer to a different location in the image that I don't necessarily want them focusing on so we'll talk a little bit about that today as well but we really are going to folk the tools the other thing that I find when I do teach in a photo workshop situation or something is that I think one of the advantages that I had with my parents because I got a camera early on was just that I was a teenager and I we would go to these national parks and I can tell you the one thing I didn't want to do was take the same photo my parents did right and so I would always go and when I go and photograph now like if I'm gonna spend a week somewhere I will research it like no tomorrow I will go look at all the photos that have been taken of the areas that I'm gonna go to because I want to make sure that I take a different photograph right so when I arrive somewhere I'll take the big scene the kind of grab shot but then I want to make sure that I take a lot of detailed shots and you guys will just see that with the work that we're gonna look at so I actually want to take a look at some of these examples so I'm just gonna hop over to Lightroom you guys all disappear now because I'm gonna have to switch glasses and I can only see about a foot and a half in front of me uh haha only not haha all right and let's take a look at these so the other thing that if you're not a professional photographer a lot of times you know people come up to me and I like well I took this picture and it looks terrible and everyone else is taking good pictures mine just come out looking blah on the camera and it's like yeah a lot of times they will I think that post-processing is at least half of the equation obviously you have to capture the moment you have to get the composition you have to make sure that you get those things a good exposure and everything but if you know where you can take your images in post process I think you'll start viewing the world a little bit differently because you'll say I know I can photograph that it's not going to look like that but I can make it look like how I visualize it so for example there's the difference between you know this is just adding a little bit of contrast to an image right Maureen much better okay some of your like it's still mud no it's beautiful there like angel's wings but it is just mud I'm just shooting the mud at my feet that's all that is or an image like this right so just popping it adding a little bit of saturation not so much saturation that your eyes bleed just a little bit of saturation I know some of you think I paid for the slider I'm going to use it ha my color palette is more near doom-and-gloom so I tend to go left whereas you guys will go right okay an image like this you know we can turn it into this with just a few quick edits selective edits though it's not global right again here I'm certainly going to take that photograph even though it's an overcast day because I can always add contrast and we know it's easier to add contrast of course then to take it away or an image like this that's not like a composite when I expose this image I wanted to expose it as bright as possible but not clip the highlights right because we know when we clip the highlights in an image we're not going to be able to bring them back we can't recover what's not there but we can recover what is there and the reason I say that you want to get as close to overexposing as possible but not overexposed is because the way that the cameras capture information there's so much information in that highlight area to recover that you want to go ahead and make sure that you get up to the right side of that histogram when you're photographing because otherwise if you're in the middle of the histogram and you have to bring everything up in post if you have to increase your exposure and post what does that do to your shadows well they were probably noisier and so when you add light into those shadows you might be introducing noise that you could avoid if you just made sure that the exposure was proper on capture an image like this like no big deal right you're just looking at rocks but in my mind when I saw that I was like there's one two three four five those right so that's what it technically that's what the camera saw but I'll tell you that's not what it looked like that's what it looked like at least to me and by the way in Iceland the it is like that it's crazy saturated moss-green alright or like this I just think it makes it a more interesting image enhance the red that's what I saw when I was there decrease the shadows around it or bubbling mud you got a little D haze right so a little D haze action really easy and we're gonna walk through how to do these sometimes the images you know I'm trying to look at them in grayscale I'm trying to envision that as I take it I think that's a huge advantage if you learned with black-and-white photography because you have to look at the world differently or you at least your mind is kind of mentally converting colors into different values so I'd strongly recommend that you work with black and white a little bit and sometimes you know it just takes a little bit of popping contrast but I'll also say this is an HDR image so this is a high contrast scene it's in the middle of the day and there's no way I would have captured that in a single exposure it took three exposures to get that and then I was able to lift those shadows so we could see into it and then we can do creative things to write we can desaturate some colors and not others right if that's what we're trying to accomplish because that water is crazy blue and then today it's not really just all about kind of traditional like this is the proper way to expose it I really highly encourage you to experiment and if someone turns up their nose just who cares no whose opinion matters to you alright and here we go with just another selective adjustment and one more we'll walk through that one but here's the other thing that I want to mention Lightroom is fantastic I love it I do about 80% of my work in it but I still go to Photoshop for that 20% so if that's my original and Lightroom can do that so it's just because you know not all images need a lot of manipulation but when I'm trying to retouch things like those little pieces of ice in the water that's when I'll go to Photoshop right this one looks much better in Lightroom so there's the original there's Lightroom but their's Photoshop just removing a little bit of those distracting elements in the image alright or in this one there's the original there's Lightroom and there's Photoshop does it take me 20 minutes to go in there and use my Wacom tablet in Photoshop to remove all those little bits there yeah but do I think it's a better image yes do I think it's worth it yes will you think it's worth it I think it depends it depends on what your client is paying you it depends on if you're doing the work for yourself it depends on where it's going to be shown if you're gonna do it to social media you might not want to spend 20 minutes in Photoshop because no one might notice as they're sitting in the middle of the grocery store flipping through your images at 90 miles an hour so you have to make that decision here again there's the original there it is in Lightroom and there it is in Photoshop just doing subtle thing like you know getting rid of the garbage sitting by that Hut or getting rid of the little houses in the background I'm not a photojournalist so for me everything is fair and then opening up that River so you've got that nice kind of line going on that leads you right into that that old house all right or here this is an aerial shot right so we can do a lot in Lightroom but we can't get rid of that big spot in the upper right so again that's for Photoshop right again just removing those distracting elements so that's in Photoshop so I just wanted to show that it is important still people always ask me you know when do you go to Photoshop either when it's easier to select and make my changes right because in Lightroom you've got the paintbrush but there's no lasso and there's no like easy quick ways to select things but Photoshop has a ton of those things so I'll go to Photoshop for that and then again here just removing some of those little places there where I filled in the foilage and then down at the bottom where I've got that little plant and here again here's a good example that goes to Photoshop right so there's Lightroom but their's Photoshop why because I'm not going to paint that one little piece of gray area at a time I'm gonna take it a Photoshop use the selection tools there and then select inverse and darken down the background okay there again just getting rid of those distracting elements so that to me is what it's all about now something like this you actually have to make up information right so again that's when I'd go to Photoshop to fill in that top area that's just a quick copy of the area below the blue pasting it in at a lower opacity and then cleaning up all those little details you know so many times you get to an image like this you're like well I'm not gonna take that picture because even after Lightroom look at that messy sand down there right well take another picture where people haven't walked and then just replace that sand so you get this nice kind of graphic image I can imagine if you're a designer you're like you don't want to put text over that but you could put it over that alright so I'm looking for areas and you as if you're you know shooting for design you know you're gonna have text somewhere or you're going to overlap it or put it in a circle or whatever you're going to do so just don't miss the image I guess like if you've got a boring sky there and you want to enhance it just think later on I can take a picture of the sky and can go ahead and pop that in alright or if the if the the beach is really dirty we can just clean that up right just take another picture of the beach from the same angle it's really helpful if you do two things one capture an image with the same direction of light right so the the light is coming in the same direction and it also has the same quality of light and it's going to make your composites much easier when you're retouching your images so here for example I don't want to miss that piece of ice that's cool right so I just take another picture that's pure water and that way I can use that water over all those other icicles right there to make that composite okay again here you know I might get the the image of the icebergs great but I just need more water so I'll take a few more images of just the water with maybe these other pieces of ice same quality of light same direction of light and then we can go ahead and put them together we don't want to see the rocks there okay or this geyser or as they say in Iceland the Geezer which i think is really funny I'm going to photograph the geysers that doesn't sound very polite alright so we go here there's just there's nowhere to go it's a 360 right people stand all the way around so you just take a few additional pictures of when it's kind of misty and also when there's no bubbling water and you just put them together and it's much more interesting image alright okay so that's enough about that let's get started and take a look at how we can make some of these enhancements are we good is a sound interesting okay all right let's do it so we're gonna go to the develop module just a few things here you guys probably know if you right-click on any of these panels you can actually choose to go to solo mode right so solo mode only allows you to have one panel open at a time so that if I turn that off right and then all of a sudden I've got all these panels especially on a laptop you don't have to sit there and scroll through back up back down all the time if you just right-click and you choose whoops not show all right click and do solo mode now I can only have one panel open at a time so it will close the other panels as I'm working that's quite convenient if you ever make changes to a slider you can double click on a single slider in order to change it or if you've got multiple sliders see these little boxes here so double-clicking white-balance would reset both of those if we come down here to tone and we've got a bunch of changes double-clicking the word tone will reset all of those sliders all right and then also if you happen to use these sliders in a different order you can right click and say customize the develop panel and you can go in there and you can just drag and reorder these however you use these different panels in fact you can even turn off panels that you don't want but that would take a restart and I don't want to take time for that so I'll just say cancel and back out of there okay so there's three things that I always do to an image and so I just set my default so that when I import my files it does it for me automatically it's different from a preset a preset is something you apply after you import this just sets the default rendering in Lightroom for this camera I would have to do it for every camera but let me show you how to do that in case you want to hit reset because everything is going to be captured so if you have a crop on your image or a tone curve or anything everything that is saved when you save a new default is captured so zero everything out by hitting reset and then I go down here into lens correction I would enable remove chromatic aberration and enable lens profile Corrections so that means that misalignment of pixels along the edges you kind of get that red to cyan look sometimes it will automatically fix that and it will also if you have like a wider angle lens and you're getting lens distortion it will correct that and take off the vignette II I want that unlike 99% of my images so I want that to be my default setting so I would enable both of those and then I also go to the basic panel because here's where I can make changes to things like my profile right so I imagine that most of you are shooting in RAW and something has to make the raw file right it's just a bunch of ones and zeros something has to make it into a visible photograph for you to see and the baseline for that is your profile so your profile think of it as like your film stock right it is just the default settings you can always change it it's non-destructive you can also make creative effects with profiles and there are creative profiles that you can apply to non RAW files like your TIFF files and your JPEGs ooh that was loud but for right now we're just going to set the profile here to landscape now I'll click Auto because this is very dark and I want you to see the difference here but if it the default that Adobe sets is Adobe color which is a great generic starting point right now if you want the ultimate control over your image the tonality and everything you can go down to neutral that's gonna be the flattest image that's starting with a very flat image no tone curve no increased saturation nothing flat image if that's what you want start with neutral if you want a little bit of a tone curve in there now don't get confused I'm not talking about actually moving the tone curve like when you pick a profile none of your sliders move they're independent this is setting your baseline and then you still have all the sliders that you can move around okay if you're doing landscape you might want to look at the landscape profile it's going to compress your shadows and your highlights because we imagine that most of the time when you're shooting it's outdoors you don't have control over the light it's a high contrast scene so we're compressing those so that you get detail in the shadow and highlight area it also adds a little bit of saturation and the saturation goes over the entire image so it's not a good profile for portraits let me just show you an example very quickly I'll come right here there's a portrait oh she looks so happy if we go to landscape all of a sudden I've been in the Sun all day okay we probably don't want that because it's adding that pop that most landscape photographers want instead I would go to neutral now I've got more realistic flesh tones if we come down here to vivid vivid is kind of this hybrid will you're notice I got that pop in the greens behind me but I didn't get the pop in the flesh tone so if you're doing an environmental portraiture where you've got people in a landscape you might want to start off with vivid I think people shy away from it because they're like oh I don't want it too vivid it's like no it's actually a really good combo okay let's go back to that other image we were working on right here okay so I just clicked Auto I know for the last what 10 years we've been telling you not to click Auto but Otto's gotten much better with the whole sensei thing and the machine learning and we've got Adobe stock so we're training it with literally millions of images so Auto has gotten better but it's up to you if you want to try it just tap it if you don't like it just double click on tone that will reset all of these sliders if you only want a portion of auto hold down the shift key and double click for example on my whites and that will set the dynamic range of the image so that it goes all the way to the right side of the histogram you can do the same thing you can shift double click on the blacks it's not going to move it very much here because there is so much dark area in the image you can also just click anywhere in your histogram if you want to like if I wanted to move my shadows up I can just click and drag and it will move the shadow slider for me or if I hover over here on the right side of my histogram I can click and drag down and it would take down my highlight slider so feel free to just drag right in the histogram especially if you have a different panel open and you just want to make a slight adjustment all right so I'm gonna leave my shadows taken all the way up and my highlights down and I might take the exposure up just a little bit on this image here but that's probably all I want to do I can see when I did that I'm taking the highlights too hot if I tap the J key J is for just show me the stuff that's clipped I don't know why it's J its J for Julianne alright but then you could come down here and you could say well I don't want my whites that hot I don't want my whites blowing out I can't have them clip so I'll pull that back down and look it I was gonna say I don't care what order you do these in but I do care deeply but I don't you can do them in any order you want and you can go back and find to them there is fine tune them there is no right or wrong way to do that alright so with this image actually I want to crop it as well so I'll tap what will be tap the R key for Koror or up because it's great alright and then we will tap the X key because I actually to be not a horizontal but a vertical image instead and I'm gonna change my aspect ratio right over here and I'm just gonna change this maybe to four by six to what was yep to no silly girl what did I want four by five there we go now let's bring this down and then just kind of bring that up a smidge like that now you'll notice that see I have an overlay when I'm dragging but my overlay disappears when my mouse is up and that's because I've gone to tools tool overlay and changed it from always show to auto show all right you can also choose what you want it to show do you want a grid you want rule of thirds or any of these different options here totally up to you all right so I'll tap into a return to apply that if I don't like it of course we just tap R again and we say whoops we need to scoot that over or do whatever you need to do tap return or enter it's always non-destructive okay so actually on this image this is probably all I would do globally now I'm gonna go in with all of my local adjustment tools right so we're they're all up in the toolbar up here I'll start just with the adjustment brush if I've got a bunch of sliders already set in here and I want to reset them all at once I can just double click on the word effect and there's kind of two schools of thought here and so we allow you to do it either way or a mix of whichever way you want you can reset them all to nothing and then just start painting so I'll use the right bracket key here and I've got my flow set up really high which means it's going to put down a hundred percent of whatever effect I'm going to give it in a minute I've seen people with literally 300 pins in an image and if you want to bring Lightroom to its knees put 300 pins in your image instead you could say hey I want to dodge or burn an area or make lighter or darker so I want to dodge the rocks and I could say you know the maximum probably that I'm gonna dodge is maybe like two two stops but if I just paint right now it's gonna paint that whole two stops in one paint stroke so I'm gonna undo that and I'm gonna bring the flow down all right so now I can go ahead and just make a few different marks here and if I had my history you could actually see it's slowly building up the Dodge in here and I could come over here and I could slowly build that up and I could be getting a smaller tool to go in here so if I tap the O key that's the overlay in red of what I've done tap the O key again and it goes away so I can come down here and you see how I don't have to make all those different pins but I'm lightening different areas with different amounts just by using that reduced flow slider so I highly recommend that you check that out I'll come over here and just dodge a little bit more up here maybe a little over here and a little bit down here all right now the water I like the water but I want to add a little bit of contrast in there so that's why I didn't add clarity or texture to the whole image right off the bat I knew that I wanted to draw attention to certain areas in the image so I'm going to apply it locally or selectively so I just click new where it says new up here I'll choose to double click where it says effect just to reset that and this time I'm going to bring up the clarity so you don't have to preload the tool right I could leave this set to everything being zeroed out and then I could just paint right so if I tap the O key I could go in here and say all right well let's tap the the 7 or 8 key and get like 70% or so and now I'm gonna paint let's just paint in here and paint over here and paint down here and nothing's actually happening that red is the mask that I've showed by tapping the O key right if I tap again it's gonna hide the mask but that will just allow me to do my painting and then I could come in and say alright well how much clarity do I want and you can see it's darkening it but not enough so I might increase or decrease the exposure slider just a little bit in that area and then play with the clarity again so you know we added this texture slider which I'm going to show in a minute but just know if as an FYI there's a big difference it think of it like this like if you want to enhance the absolute smallest details in your image use sharpening use the detail slider in sharpening that's going to be your finest areas in your image if you want to go one step larger in the high frequency areas of your image then you're going to use texture and it's going to go into small areas and add contrast to fool your eye into thinking that your images sharper then you step back a step further and that's clarity clarity isn't isn't going to affect the whole image it's going to look in the mid tones of your image it's gonna find edges and on one side of the edge it's gonna make it darker and on the other side of the edge it's gonna make her lighter but it's a wider radius if you've ever used unsharp mask in Photoshop you know there's like a amount slider that's the amount of contrast that's how much we would pull our sliders in Lightroom then there's a radius slider and the radius slider I think of is like that's more when I go down to my to my brain stop working for a moment there to my clarity instead of my texture wow that that synapse just didn't fire in time to give me the words I needed okay so then a bigger than that or I shouldn't say bigger than that because it's a little bit different yeah okay so D haze really is for that it's for cutting through atmospheric effects right so if you've got something I've got some mud later on I can show you using D haze is really going to cut through that haze it's going to add saturation and the reason that it does that is because usually smog and haze desaturates and so we add back in that saturation but if you're just doing it like on an image like this where you want to add D haze to the waterfall be careful do you see that blue that it's adding there it's adding a little bit of a blue color cast so be careful if you're using that in a situation like this now what if I do want to add color if I want to add color to this well let's add another new pin I'll scroll back up hit new just make sure everything's zeroed out and then use a little bit larger of a brush what am i set to about 70 in my flow and I'm just gonna paint right down here and maybe over in here nothing's happening right now because none of the settings have been set I could go in and just try to play with temperature in tint or I can come down here to where it says color and just add like a little color overlay okay that's a little bit too much but maybe just make it pretty subtle right there close that up and then probably I'd want to scoot on down all the way to my effects and just add a little bit of darkening around the edges using a vignette I prefer the color priority most of the time it's a little bit softer a little bit more subtle and now if we just tap the backslash key we've gone from before to after so while we made some local adjustments some global I'm sorry well we made some global adjustments I think what really makes the difference between a beginner and advanced is going into those selective adjustments and focusing on where you want the viewer to look what's important in the image okay all right so this next one is pretty darn simple and I'm not going to go continually go back through but you should know I mean my workflow is oh I went through that and I never showed you how to set the default settings did I sorry so let's do that let's reset this we'll make sure this one's reset we'll go to down here to our lens correction make sure that both of those are on come up here to basic make sure it's on landscape now if from now on whenever I import files into Lightroom and I want those three things applied my lens correction chromatic aberration enabled and the profile set to Adobe landscape all I need to do is go here to develop and go to set default settings brings up a dialog box I would say update to current settings it does say that the changes are not undoable but so what that means is you can't use command Z to undo it all right so I'm just going to say yeah update to that so from now on it won't touch any of my legacy files I won't go back in and change anything you've already done it's just from now on with this camera it's going to use those default settings so you would need to do this for each different camera make and model you can even go into the Preferences here into your presets and actually say make it specific to a cameras serial number if you have two of the same camera models and also to the ISO setting of the image so for example if you didn't like the amount of noise reduction we do you can go ahead and change that alright so with this next image I really want to enhance the rocks here so I could do it one of two ways the easiest way for me to think about it is I'm just gonna darken down the background and then come back in and bring up the foreground right so that really annoying thing right there but I don't want to crop the image because if I crop that out the rocks are gonna be too low right so I could crop oops jeez you guys have done that before I know you tap the C key for crop and you go to compare mode R for crop right you know it's only been years I'll learn someday old dog new tricks very difficult so I want to crop it like this so that these in these rocks are actually more centered but then I get this area up here so that's kind of a bummer so I just want to fill it in now it's up to you if you're gonna go to Photoshop to do this but look we've got the healing brush right here and you can heal and you can clone so cloning will give you the exact same the exact same thing so it'll take one area and just duplicate it I want to go ahead and make sure this is set to heal it's got a well let's add a little bit of a feather on there and we can click a spot but it's probably gonna be easier for me if I click and drag over that whole area there nice alright so let's do a little H for hide so here we can see now where it's taking the information from of course we can reposition that if we wanted that to be more mossy there we could do that I think it actually did a better job of picking a source point for me than what I'm doing so I would probably go with yeah that looks all right tap return and apply that all right I'll go with that how come I can see a little bit of that can you see that I'm gonna go to a different image and go back oh because it was showing me the pin I was seeing the little bit of the pin there cuz I had forgotten that I hadn't hide it hit it so it's hidden alright let's tap return and that will go ahead and put back the tool alright so now we need to make some adjustments here let's go ahead and change the white balance I am really gonna bring that white balance up yep right about there I can probably take off a little bit of this maybe put it down to ten a lot of times I find that when I'm using the tablet sometimes it's hard for me to get right to the slider where I want it so a lot of times it's easier for me just to highlight the numeric value and then just use my arrow keys going up and down if you hold the shift key you can go up and down in larger increments so up to you I'll put it down somewhere maybe 12 we'll be fine all right then I want to take down the exposure of the whole scene so I'm gonna make it pretty dark I probably want to add a little bit of clarity right we can see how that's wider it's giving a little bit more just umph to it but now I need to go ahead and paint in those other areas right so I'm going to change to my selective tools I'm gonna grab that brush again I'm gonna go ahead and make some changes here let's go ahead and bring up so I brought the whole exposure down like a stop let's see what I did I brought it down a little bit mo ver a stop and that's looking pretty dark to me so when I grab my adjustment brush let's bring it back up we've got to bring it back up at least a stop probably more than that maybe one and a half stops I'll bring my flow down a little bit and really decrease the saturation as well because I want to get the saturation out of there using that left bracket I'll get a smaller brush and now we can go ahead and start painting in all of those areas where we want to see that right so we're just trying to make it stand out are you getting the feeling that that's cheating she's cheating it didn't look like that looked like that to me huh that's what I think all right so we make this faster let's tap 0 I'm gonna go all the way up 200% and we're just gonna paint really quick here that's a lot so you see why now I usually don't have my flow set to 100% because when it's at 100% and you paint it just does it all in 1 right so a lot of times it's too heavy-handed but I'll just go over here and come down here because because right because we know that that our eye is going to go to the lightest points in the image if we paint too much we can just hold down the option key that's gonna switch to the eraser tool so we could take it out of there go back in and paint paint paint paint paint paint paint paint paint oh it's just so boring watching her paint oh but I do I do I do alright and then one last thing because I don't want your eye to go off the edge of the image right we're gonna come right down here we're gonna tap return once return twice that closes the tool puts it back scroll down here we're gonna come down to effects and just really small little color priority just a smidge and then we just do the backslash key so before and after right so it's kind of funny because a lot of times when you're doing it it's okay so that might have been a little overdone but oh my goodness up there it's really okay oh wow so how are your I bet that's never happened to you right everything that you've ever seen on your monitor looks the same on every other monitor and after it's been printed and when it's on social media it always looks the same okay I'm sorry please I didn't mean to make your eyes bleed there let's just bring our color temperature oh okay hard to do that while I'm doing this but all right I think you guys get the idea yes all right oh don't give her anything of color in it all right so let's take a look at a few more of these selective tools because really we've only used the brush tool so how about that linear gradient well again because I have that default settings you know I don't have to come down here and go to lens correction and then set my profile here it's already set for me so I can click Auto and see how that does no not as much as I want I really need those shadows to come up I really want those highlights to be down and you might be thinking oh my goodness Wow let's get rid of some of that vibrance well that's kind of ironic because I was going to make that more vibrant but that's just not going to happen so it's not radioactive in Iceland I'm just you can still go there it'll be fine alright and the the sky really isn't showing up but I really cranked my shadows up because I know I'm gonna have to take my exposure down right to get some of that information in the sky so I can go down to about there but that's about it as far as what I can see now I'm gonna have to go to my Selective adjustments so the problem is right when you grab either the linear or the radial gradient and you say all right I just want to decrease the exposure a smidge and I want to increase maybe my D haze a bit and maybe I'll probably have to decrease my saturation so those are kind of guesses but then you would drag down from the top of your image and now you get those clouds right but you also get the top of the mountain right so there is a brush not the same brush as the adjustment brush but look when I've got either one of these tools selected it says new edit and brush so if I tap the O key we can see if I drag this down even further just for just for the example here we can see that the overlay is happening in the top of those mountains right so I'll top Oh again and then I'm gonna grab this brush but I don't want to paint with it because that would add more of the adjustment I need to erase with it so I'll click on the eraser I'll bring the flow down a bit I might add a little bit more of a feather on that brush and now I can just paint up in the mountain area here up at the top and I'm removing the adjustment and if I paint again because I've got that lower flow every time I release my cursor and I keep painting here it's going to keep making that adjustment all right so both of those tools become infinitely more valuable when you don't have to apply them to the whole area that you drag them over all right I might want to do another one so I'll click new this time I'll just drag up from the bottom here just to keep our eye in there but I don't want the d haze or the saturation so I'll double click on those the exposure here probably not a half a stop maybe just about two point two of a stop just to darken it down a little do you think it's getting I think it's getting a little muddy so a lot of times when I use these tools I'll want to go in and just change the temperature or the tint a little bit and in this case I just want to increase the temperature which is going to just make that a little bit warmer a little bit more yellow down there so you can't tell that I've just darkened it down with a little bit of an exposure burn all right now I was I was planning on making the green a little bit more saturated but perhaps that's not the best idea for this image okay I know what I'll do oh this will be great so see how there's the green against the black volcano which looks good and that they think well I'll show you where right up here right so all this looks good and this looks good right let's say I want to desaturate this because I want to draw your eye to this so I don't want to sit here well I can't I can't use HSL right because if I use HSL and I go in and say alright well I want to pick my greens so maybe I would say an HSL I'll pick my target adjustment tool make sure it's set to nation here and then I'll click and drag down that's gonna do everything right it's going to do the Greens throughout the image because this is a global adjustment so then you start thinking oh my goodness so you're telling me I have to pick up my paint brush and then I have to go in and zoom and paint over all of the green and not touch any of the rocks Nene let me double click to reset this and I'll just paint and let's just bring the the flows up to a hundred percent I'm going to tap oh so you can see where I'm painting alright so I'm gonna paint over all of this all of that and all of that all of the screen but Julianne you're also painting over stuff that's not green I know she must be lazy no no she's not watch this just paint over there okay let's hide that tap Oh again and let's in this case I'm going to decrease the saturation so let's see how it looks up there alright so it's decreasing the saturation everywhere right it's spilling all over those rocks so I'll keep it down to like well let's keep it down to negative a hundred percent scroll down in that panel and there's something called range mask now range mask allows you to mask within your paint stroke so I painted this area so I'd say take that mask and within that area that she's that I've painted do something and I can range mask based on either color or luminosity so if I choose luminosity I can come in here and say oh I only want to affect my highlights or I only want to affect my shadows or maybe there's some kind of mid-tone that I want to make an adjustment to and it makes the mask for me if I choose color then I can grab this eyedropper right here and just click and drag over the color of that Moss and did you see all of a sudden all the dirt now doesn't have that desaturated effect to it let me do it again I will undo and then dragging over the moss it tightens the mask to only those green values that I just selected now I think that looks a little bit silly D saturated all the way but let me look at the screen and we could just maybe desaturate it well you get the idea maybe to there I still might get pretty saturated but still that's -36 we could change the color of it if you want to obviously we can stack as many of these as we want we could take it a little more towards green or we can go ahead and warm it up a little bit and if we want to see that mask we can actually hold down the option key and click on this amount slider and we can make it a softer edge mask or we can make it a tighter harder edge mask if we really want it to just clip so let's look at that let's take that all the way down again that saturation so we can see it just scoot up here saturation all the way down right so with the amount slider down here it's a very tight hard edge mask when I move the amount slider over to the right I'm not sure if you can see that from where you're sitting but it gets a little bit softer we start seeing a little bit of green almost like we need to decontaminate that area so I'm gonna go with a tighter mask there and then we'll just bring back up that saturation a bit okay and then there's also the radial gradient I would say you know this image is kind of missing the key component which would be like the actor on the stage so if I was gonna take this to Photoshop and I wanted to highlight an area I might just drag out a radial gradient I could be like let's set a spaceship down there or something you get the idea I can just make out a radial gradient lete gradient any size I want to and then we could go ahead and start playing with exposure and we could darken that down or lighten it up but by default it's affecting what's outside of it I want it to affect what's inside of it so there's a little invert box right here you just tap invert and then we can increase the exposure there and we can make that wider and we can go ahead and use the little feather if we needed to make it just a sharp-edged circle or we could feather that out quite a bit hit return and return again and that will put the tool back so anyway if I do the little backslash key we've got a little before and after there that's not really the before so let me show you something that's the after and that's what I like but the before do you guys ever do this like you want to compare so you go maybe don't you tap the Y key so now I've got before and after on the left and right but what's on the before isn't really the before it's whatever state I imported it into and so if you're an educators and then you're constantly re-importing files and making changes to them do you know that you can grab from history any state and drag it into the book or state so if I just come down here I could just be like hey where did I did I ever reset this image no see I created yep reset settings boom I just drag that over I said boom okay I just drag that over so you can drag from any state in history to see your before and after so this is kind of opposite from what I imagined you guys would probably do you guys might get to a point where you're like hey I really like this image here but I actually want to see it in grayscale so you tap the V key v for black and vite sure null the last name of cost I can do that joke all right so I'm like oh well I like that in in grayscale so we get out of our little before and after we tap Y and we're like okay well let's compare color with grayscale and you're like oh it went to the before state right so go back to Y Y is just this little icon right here right before and after and say hey I want to view the color one and the black-and-white one and just drag the the retouched color version to your before then you can go fullscreen and do the little backspace backspace key to go before and after which will show you the color version and the black and white version you could also take snapshots right so look I have a whole bunch of snapshots here that walk me through the entire process that I just did so all you have to do if you get to a point where you really like this but you want to head into another direction just click on the snapshot here actually let's go to the black and white one because I'm in the before state so let's go to the after state click here to add another snapshot and this will be my black-and-white snapshot so now I can quickly say hey art director do you like this one or do you like this one and they say oh definitely we're definitely going to go with a black and white one and you go here an art director there's no such thing as definitely alright so then later on when you have to take this into Photoshop to do work to it you don't just edit in Photoshop right you go here and you say well I'm gonna add it in but I'm gonna open that as a smart object in Photoshop because I'm a smart person I want to work with smart objects so what that does is it will launch Photoshop and it's Lightroom is going to hand off a copy of this file so it is now made a copy of it and it's bringing it to photoshop and it's gonna put it inside your tiff or your PSD file as a full-on raw file so if you think of tiff or photoshop as just a candy wrapper you've just put a raw file in your candy wrapper all right so it's gonna read that and then open it up there it is and then you add text and you do masking and you do your whole layout and you spend like two hours doing whatever it is you do and then the art director says oh sorry I forgot I want that in color and you're like no you're like I don't care because it's a smart object you double click on the smart object it brings it up in raw right in the Camera Raw dialog box and you're smart because you save the snapshot so you can just come over here and hit if I can hit it hit snapshot and say oh I'm sorry did you want the color version of that there you go you click OK it updates it you've got all your masks your text your all your other components in there and you're done so that's the advantage of using your smart your snapshots in Lightroom the other thing that people do though is sometimes they just want a virtual copy because they might want to print the same image next to each other they might want Lightroom to treat it as if there are two photos so you could just use command and then well it's command and then apostrophe but it's here I think under there we go under photo see right here so then create virtual copy so now if you look at my film strip I had what [Music] okay did you notice that I read that it was a message it was important it was trying to tell me something it's trying to help me help me not hurt myself so I read it okay now snapshots are carried throughout virtual copies so if I change this right now back to the color one if we look in my film strip look I've got two thumb nails for one original file on my hard drive so now I can have multiple versions if I go to the grid view we can see both of those I can put in different collections I could print them both as separate files so that's the difference between the virtual copies and the snapshots all right let's move on to this image tap the D key we'll go into the develop module again all right so we've got a bunch of Bluewater here I'm gonna go back and just quit Photoshop we don't need that you I'm gonna really release all that right give me the RAM in Lightroom all right so I'm gonna go ahead and make some quick changes here I'd probably just go ahead and maybe make this a little bit bluer by bringing down the white balance it's of course very very dark there we could click Auto see what Auto does that's doing okay but not enough right so I probably want to add a little bit of exposure here let's just brighten that up but if I do that I better really bring down those highlights and see this is what you get into you get in a situation where you're like okay I can't do both I can't go far enough I can bring the shadows up further but then if I bring the exposure down I'm just not getting the information in the water but I know I have the information because I look at my histogram it's like it's there so that's when I have to break and say I can't do it globally I have to do it selectively so I treat these two areas as separate I come in here and I say all right well the first thing I want to do is just do a little bit of dodging so let's bring up the exposure maybe bring up the shadows all the way I'll leave it set to 100% I've got a small brush let's just come in here whoops I move the pin let's just paint over here that's not enough exposure so let's just brighten it up even more what's my flow set to all right we're all right let's just paint a little bit more and then come over here all right I went a little too far there so I could take that off if I want to but okay then I'm gonna make another new one all right and on this one let's reset it and I'm gonna go ahead and get rid of because this color just does not work for me all right so I'm going to desaturate that because the emphasis here I want to be on that blue water so I'll get a much bigger brush and then just quickly for the sake of time here I'm gonna paint with a hundred percent d saturation tap the O key all right what am i doing am I crazy [Music] saturations negative 100 flow is up oh look at that this is a learning moment for all of us for those of you who were feeling uncomfortable for me you may now breathe it's okay so someone might have been wondering Julianne what is that density slider do it caps out what you can affect so it takes everything up here and says yeah but even if you're painting done percent you only get 20% of whatever your option is here it limits what you can do all right DeeDee and then we go thank you very much oh let's just paint that out all right probably don't want it negative 100 actually after all probably want to get a smaller brush you guys would take more time because you're professionals and then we'd say all right not quite that much let's bring in just a little bit of that color back all right then we need to work on the water so we scroll back up let me make my thumbnails a little bit smaller so that we don't have to keep doing all that scrolling and in fact we could hide those but all they've been up for now and then say we want another new one right here and let's just double click and what do we want to do with this definitely addy Hayes move here so bigger brush and paint on over roof look at that saturation holy moly that's a lot of saturation oh I can't imagine what it looks like for you guys yeah that is Wow okay so Dee haze always add saturation right so we're gonna bring our saturation down here Oh much better more relaxing Oh for you guys oh my goodness we're bringing it almost all the way down there oh look oh that's so interesting yeah so all right that's okay let's go back up with clarity here that's gonna bring that down a little bit out of the clarity and then let's go ahead and bring down the saturation even more up there and then I'm gonna return to the pin down here right because when I brought that saturation up I don't think it's looking good there let's bring that on down and then look at I can see up there what I can't see on my screen which is I need to continue to take out more saturation on these rocks and here and then down over there maybe right there well this is a good way to end it all right how about right about like that okay with me with that so we just do a quick little before-and-after so huge change so don't throw these files away if they look like this you've got the information in your highlights you've got the information in the shadows you can selectively go in and make these changes okay let's talk a little bit about this new texture slider I'm gonna skip that other well no because this is interesting sorry but they're all good it's all good all right 1:45 when we have plenty of time so in this image right here this is a high dynamic range image I think I mentioned that before I took three exposures and then selected the three exposures and ran the photo merge that combined the three exposures it's still a raw file so I get all the raw goodness but I have much more information to work with it also means that the image that I underexposed is going to have better information in the highlights and the image that I overexposed is going to have better information in the shadows meaning less noise in those shadows so I can draw from that and you'll notice that when I go to my exposure slider this time oh-oh-oh I'm in the tool I'm in the tool sorry when I go to my exposure slider this time and I go down look at it goes to negative 10 and it goes to positive 10 I have a huge dynamic range here if we go to any other image that is not HDR I click on that then when I move my exposure slider down it's only going to go to negative 5 and positive 5 I don't have nearly the amount of information to work with so let's go back here excellent now I'm going to take my highlights down to try to get some of that water I'm gonna take my shadows way up I'm gonna come in here with my whites I'm gonna look at the histogram as I start sliding that over just to make sure I'm using the full dynamic range there okay then if I needed to if I needed to go further than this then I've gotta head over to the tone curve right so if I want to see more information in my shadows I'm in a switch now by default sorry this thing this projector thing just went on and it sounds like it's gonna levitate don't go anywhere all right so this this tone curve is is quite lovely it it it has like little bumpers on it so you can't go too far so if you're used to the curve in Photoshop what I'd suggest is you just go and click down in the lower right and that will take you to the point curve and the point curve is the one that you're familiar with and it enables you to go to red green and blue channels independently of one another so here if I have an RGB then I'm making changes to all the channels or all of the yeah the channels at one time and I can go in there and just make a slight adjustment to my shadows so you can always use the tone curve if you need to just be careful because with a tone curve most the time I go and make selective or local adjustments instead because the tone curve still only gives you one curve and so as you increase the curve in one area it's going to decrease the curve in another area and as it decreases the curve in another area it's gonna flatten it out and you're gonna get flatter areas in your image so just be very careful when you're using this as soon as I go down too far here we get those horrible flat areas so I'll just bring that up a little bit but you can add 16 points to the curve here and we can go into RGB and we can change each one of these individually as well so if I wanted to go in and let's say I need to lift the toe of the blues we can go ahead and do that you can see I can add that blue into the image add cyan the shadows in fact this is a very useful tool if you're photographing and there is too much cyan in the shadows instead of pulling out the cyan using HSL you could just move the toe of the curve over to the right and you can see how much warmer my image gets by just that little bit of movement if I did want to take out all the color here then we can go to HSN sure enough I can go to saturation and I would recommend it might be tempting to use the sliders here but a lot of times you might not actually know what color you're trying to adjust so and I don't mean that in a negative way it's just like is that orange or is that red and if you only move the red slider you're gonna be able to see if you print this large that you've desaturated your red and you haven't done anything to those pixels that contain reds and oranges especially if you've got like a beautiful sunset at night and you're just trying to maybe change the the color a little bit just go in and use your targeted adjustment tool because when I pick this up and I click in that same area having a hard time picking it up there we go and you click and you drag down look at it's not actually red in there it's well there is red but it's also orange and there's also a little bit of yellow there and then I can come down here and what I thought was green before is actually more yellow than it is green and then we could go in here to hue and I could come down and I could say well that that kind of looks like a weird hue now like it's too green I don't want it to look like a sickly green I want it to look a little bit more blue like that and then we could go to saturation I could say yeah and I also well wait a minute all right well that's a little crazy but we'll leave the saturation of that aqua just the way it is all right and then if I wanted to come in and say hey but I don't want the blue in the sky then I would go into my local adjustment go ahead and decrease that saturation and then just paint that out like that okay one word of caution with the profiles we didn't talk too much about profiles so let's go to this profile for a moment this little guy right here very cute when we if we want more choice of profiles than just this and your profile list will be different than mine you can click on the profile browser right and that's going to bring up all your raw profiles that you can apply there Adobe raw meaning that Adobe made them underneath that you have your camera matching profiles so if you're the type of person that on your camera if you use the menus on the back to select a mode for your camera like camera faithful or camera landscape or camera neutral we make profiles that emulate that so that if you look at the back your camera when you've set it that way and then you import your files in the Lightroom you can choose a camera matching profile again yours will be different because we have to do this for each camera and then each camera manufacturer and of course they all have different settings and everything but you can choose from those if you prefer them now below that you've got all your to artistic profiles which I did mention there's one I really want to mention because it shows it very well I was telling you I believe it is modern 8 is that correct let's take a look I'm gonna close the profile browser for a moment and I'm gonna move my blacks over yep look at this I move my black slider all the way over to the left but do you notice that gap in the histogram right here that's kind of weird right how come the blacks isn't letting me go all the way to black it's the profile so whoever made this profile it was a conscientious decision they said no the whole look of this profile means you can't have any blacks that was the intent so if you ever get stuck now we're not judging we're just saying that's the intent at the profile right so if you ever get yourself in that situation it could be the profiler if you're trying to like change the yellows in your image you're like all my yellows look orange with this profile that's the intent of the profile a profile has a color lookup table in the profile and it can remap colors it can remap tones and can say you can't have black blacks and you can't have white whites you can make your own profiles if you want to all you need to do is on my blog which is just blogs Adobe comm /j cost there's instructions there on how to make a profile it's not the easiest thing in the world but they are really cool if you've got something that you really want to shift colors or if you've got a color you have to nail or if you're trying to make two cameras look identical you can create your own profiles alright so with our little sheep I'm going to use that profile that little modern eight profile so here I've got it selected now back in the profile browser any profile that you like when you roll over it it'll give you the little icon for the star so you can just add that to your favorites and then as soon as you've added it to your favorite it'll show up in that list so you don't have to continuously come to the browser the artistic profiles also have an amount slider so if I like for example this artistic three profile but I didn't want it applied too much I can decrease or increase the amount right so it just kind of amplifies it but this is something that is set in the profile so the creator of the profile might say Nene you cannot adjust the amount of my profile so if you find one like that where they don't allow it when you move the amount slider nothing will happen so just know that that's not it's not you it was the creator the profile that said mm no this is my profile take it or leave it 100% or nothing okay all right so let's go back up to number eight tap return that will also close the profile browser now let's hit Auto just to kind of lighten that up a bit oh no no good let's go up with shadows down with highlights but let's increase our exposure how's that working over there it's getting a little too bright but okay let's zoom in so before I was talking about the differences between this texture clarity and D haze right so if I take the texture all the way over we can see in fact let's let's compare that with sharpening let's go down to the detail panel I'm gonna take the sharpening all the way over it's a really different look right those are the finest finest details in your image that's what sharpening effects when I go to the radius yes it gets it a little bit thicker because this amount which is way too much but so you can see it that amount is now being applied to a wider radius when I decrease that then it's going to be even smaller and tighter okay so if you're trying to sharpen sharpening is still where you want to do that for your more creative effects we can come to basic and we can add this texture to your image all right so it is gonna add a lot of contrast but it brings out wow he looks so purple I'm sorry about your nose in this image let's just decrease both of those quite a bit oh now he just looks pasty dad almost poor guy it's hard to adjust here when you can't see what's going on there all right yeah that's just not gonna work for me so well but we'll leave it there all right let's go ahead and bring the exposure up let's go ahead and bring the temperature up that will warm them up and make them hopefully look a little bit happier there all right I can also go into the tone curve I think I just mentioned this right so if I wanted to we could go let's go to RGB let's just bring this down a smidge and just keep those highlights up for a little contrast sorry I think the screen maybe with the screen I should do the opposite what is this I don't see that do you see a light swath like almost a brightness coming from the base up this way yeah I don't know what that is because it's not in my file it's kind of weird all right anyway I'm gonna go here to just my red real quick and let's just bring some red down just to do a little more creative effect here and then I'm just gonna go to my greens maybe and maybe we can just bring our greens up a smidge that's too much of a smidge a smidge should just be like that oh my gosh I'm really afraid for what that's looking like over there because with these glasses I can't really see it so maybe we should just leave that alone so let me show you how to reset your point curve we can just double click on the point curve and it will reset all the values throughout all of the different RGB channels in here all right and I'm just gonna leave that saturation as is can you see detail from where you're sitting up in here okay all right so let's just um sorry about that when can you see detail okay all right sorry about that okay so let's move on it's 133 Oh quick quick quick we have to move on all right I showed you the range masking did you all get the range mask and you get the concept yes okay terrific all right do any of you ever have to work with more than one image at a time yes all right so let's talk about that so first of all let's say I have this image which is obviously taken its way to blue and IO and I want to make it look like this image right here okay which is probably gonna look really saturated now but okay so the point being I just want them to match it's very difficult when I've got this image targeted to make it look like that image if I can't see that image I've got this little teeny tiny thumbnail I could bring it up but still it's not gonna be very big I can hover over it that gives me the Navigator preview but when I move my cursor it goes away so we've got reference view so if you just tap right here the RA or just tap R it will give you reference view and then you can just drag from your film strip in order to drag an image into reference view now some of you come in here and you have a lot of images selected at one time so you should also know you can just right-click if you had multiple images selected and you could set that as your reference photo by by choosing this from a right-click instead of having to drag and drop it but this is going to make it much easier because now I can see both of my images right so now as I start moving over my slider here well too much we can make those to match right so I probably want to bring that down a little bit and then maybe also just bring down the contrast a little bit but you get the idea you've got more than one image up so that you can compare them when they're next to each other now if you work with images that are very similar I'll just tap D to get out of reference view like this one and you want to make changes to multiple images at one time there's a number of different ways you can do that right so I can make changes to one image I can copy and paste it I can use the previous and I can use auto sync I can also create a preset if I think I want to use these same adjustments tomorrow or sometime down the road it's totally up to you but with this image let's say I want to add a little bit of D haze to it it's probably gonna push the whites too far so let's bring those down I don't know I'm gonna guess at that okay so the point is I've made changes to one image and now I want to make those same changes to the next image now depending on how much control you want you could just move to the next image right and then just hit previous but the problem is did you notice that the crop changed so previous changes everything and you don't have a choice as to what it changes so what you might do is go back to the image that you made the changes to and then hit copy right so I can check all I can check none whatever you want you could just apply oh I just want the D haze and you could just select that or you could say well let's do everything except for the crop hit copy select the next image and just do command V in order to paste those settings the copy and paste might be really handy if you've got like maybe 50 images that you're going through really quickly and you have like maybe two settings that you want to apply or maybe you just want to apply a vignette but you don't want to apply it to every single image so you could make that vignette change so let's just come down here and I'll just say alright well on half of my images but I don't know which ones I probably want to add this vignette right so now I could say hey let's just copy that check none and then just copy the post crop vignette I'll hit copy and then as I work along and I go to this image I'm like oh that could use a vignette I'll tap V I go to the next image I'm like no that one doesn't need a vignette I go to the next image the vignette is still copied to your clipboard so you can just do command V and paste it in wherever you want it so if you have something like that as you move through your images you can just copy there's a clipboard and then paste it in okay of course the other way to work that's super efficient but you just have to remember that you're doing it is with Auto sync so with auto sync I've got three images selected in my film strip and I just click on this little switch right here for auto sync now whatever I chain whatever change I make to one image it's going to make it to all of the images right so I can come down here and maybe go to my tone curve and I'm in RGB so I'll just bring down my highlights there and bring this up alright this is just some dried mud here and I just want to bring down it really wasn't that bright let's bring down that value even more but I still want to retain the information in my shadows so whatever I'm doing now I'm applying it to all of the selected layers right we could do something a little bit more obvious I could go into split toning we could take it to greyscale right by tapping the V key like we did before and then I could add in some sepia so maybe well I don't know what hue we want maybe I'll option click and go to hue and then just drag this I'm holding down the option key so that I get a preview of the hue and a hundred percent and I'll go somewhere around maybe 40 and then I'll just let go of the option key and just dial up the amount of saturation but if you want and you had an image that had a lot of shadows and maybe this isn't the best example but a lot of times I notice when I add saturation if I'm trying to do a sepia tone it's going into the mid-tones too far I want to keep it in the shadow area so I've got to use my balance slider and scoot that up but we don't have a lot of Shadows here with detail so it might not be as obvious as maybe if I go to the horse image instead right so if I go here and I go basic and we just say let's do a little Auto and I tap the V key maybe we even go to black and white and I hit Auto here just to get the auto can version two black and white this time now when I go to split toning we'll see when I tap the option key and drag in we can see that color a lot better drag in the amount of saturation I want a lot of color in my shadows but not in the mid-tones so as I use the balance slider you can see it's disappearing in the mid-tones but I still have a lot of color in the shadows all right so back here though with these three images selected I just was trying to show you that all three of them were actually changing so I guess I could just go to tone curve and we could ooh well that's terrible that's ooh well that's kind of interesting all right know what I was going to do is just change the goodness gracious I was gonna change the curve here let's double click to reset it I was just gonna grab that point and drag it down and drag this point and drag it up so that we can see I can get the inverse really quickly but my point really is that we've changed all three of the images because auto select is on the thing to be careful of is you will now return to the grid view be doing something else for ten minutes have all of your filmstrip images selected come into the develop module and forget that auto is turned on so you just have to be conscientious of it because otherwise it will change everything in your film strip that's what it's designed to do okay a few things that I didn't mention if we go back to this image that we had some selected okay how about this guy right here so we've got our selective adjustments on this one and we go and we grab our our brush and let's make one of these active so we can see obviously by tapping the O key we can see the overlay but if we decide like if we you come back tomorrow and you're like wow that pin is just I just overdid it but the pin has two things applied to it it's got the exposure applied to it and it's got saturation applied to it and I just kind of want to back off a little bit but I don't want to have to calculate all the changes I would have to make to all the different sliders this little disclosure triangle right here this little guy if you click on that it will close up that panel and then there's that amount slider and as you drag the amount the left it will move all of those sliders in tandem so that they'll let me show you if I go to like 50% here and I drop this down now they've both been moved in but it's not like they're both going 50 percent it's 50 percent of whatever that slider was all right so I'm going to go back to the amount slider here for just a second and we can bring that all the way back up and it looks like I actually had the amount slider set before so let's bring that down to maybe there so you guys aren't blinded okay Oh spots I'm sure you guys never have spots in your images but every once in a while I do let's scroll over here so do you guys know about visualized spots if I select this image right here and we just zoom in a little bit look at all those little spots if you were gonna print this there's nothing worse than spending a lot of money for a print and then coming back I mean like oh I can't believe I had all the spots in there that I didn't see so if you tap the a key the a key will toggle on the visualized spots it's basically threshold in your image so now you can back off on that or just introduce however mint you know it just depends on the image and where you're looking at at the areas to see the spots so as long as you see any round spots like that now you can much more quickly go through and eliminate all of those little spots and the spots can synchronize so when you do a little copy and paste you can go ahead and copy and paste the spot healing as well so that works very well if you actually have spots if you're going in and using this tool for retouching then you'll probably have to go in and retouch each image because your portraits gonna move and things like that so I'll tap the a key again just to remove that and we'll scoop back and then just one last thing before we wrap up because it's 142 and I only have three minutes I'm going to show you five quick things we're gonna go to the develop module I'm sorry to the grid view so just so you know when you go to the develop module and you move those sliders all of those sliders are absolute but there might be times when you go gosh I just all of those images are a third of a stop too bright but you've already gone in in the develop module and each one has a different setting so one might be 0.5 0.25 nay point three if you're in the develop module and you've got images that have different exposure settings and you select them all and say sync it's going to move them all to the exact numeric value but if you're here in the grid view and you have three images selected and you go to quick develop and you just want to increase the exposure of all of them maybe a third of a stop clicking here just adds a third of a stop to each image so it's a relative adjustment not an absolute adjustment so it's a great way if you know you've had a long night of editing the next day you come back you're like wow they're just all underexposed a bit or overexposed a bit come in here and you've got access to your exposure your contrast your highlights or shadows all sorts of different options in here the other thing that I see all the time just real quick here is this happens so you're in a collection right and you grab an image and then you want to put this image at the beginning of the collection so you're like oh you have to drag it and then oh no oh right no oh and like ten minutes later you're still dragging dragon dragon dragon dragon dragon to go go go go go go go go go please don't do that anymore please don't do that select the image like if I want to move this one to the top select it go to the top hold down the command key so that you're selecting two images that other image is still selected right if I cap the end key and go to survey mode they're both selected go back to grid view I'm at the top just drag a little to the right till you get the horizontal line oh sorry vertical line and drop and it will move it yes I know see because you waited because you waited I know I'm sorry because I've seen people scroll for days they're like I'm late for dinner I'm still scrolling all right we talked about snapshots we've talked about all those things oh the other thing I have to tell you about is a painter tool because so many people don't know about this and I know I'm digressing but I have 30 seconds left painter tool make a collection create a collection yes we'll just call it collection don't put it in anywhere don't sink it I'm gonna set it as my target collection because then look at this how easy is this I have a zillion collections what called collection see right there it's got the plus icon so what I don't want to have to do is continuously come up here and be like oh I need to go to a folder in 2016 let's go to that folder let's go to Australia oh let's scroll down okay I want to add an image to that collection okay so now I have to scroll down to see the collection right and then you're like okay great so there's my collection there's my one image alright now I got to go to another folder so you got a race up here you come up here in here oh I got a scroll down here okay I want to add that oh wait now I got a scroll back up here where's my collection let's get that visible okay now it's drag ha ha oh my gosh what a nightmare grab your painter tool set it to your target collection and then just scroll through and be like ooh I like that one people and just make that noise and make that not Oh Wiley coyote you and then wait ooh all of them look at it it's almost impossible to see them and go like a can of spray paint all of them added to the collection watch the collection grow right I don't have to drag and drop I'd have to do think love it love it want it keep going add that one and that one I'm up to 13 and I never had to drag and drop anything I just had to use the painter tool it's not only for target collection you can add keywords labels flags ratings metadata settings all sorts of stuff there so you guys I don't want to go over time and it is time so I'm really really appreciative that you came today I hope you learned something I'm going to leave with by putting up this blog started Oh be calm /j cost all of my information is up there there's like 2000 vlogs on Lightroom and Photoshop there's getting started blogs there's new feature blogs all sorts of stuff and so all of its for free so I hope you'll make use of that blog and also voila if you will please fill out your survey that would be much appreciated I hope you guys had a great time and enjoy the rest of max [Applause] you

Channel: Adobe Creative Cloud

Views: 46,920

Keywords: Adobe Creative Cloud, Creative Cloud, Adobe CC, Adobe Cloud, Adobe creative suite, #MakeAdobeCC, #AdobeCC, #ACCTags, adobe max, #Adobemax, adobe max conference, adobe max session, max session recording, max session on-demand, digital photography, lightroom, how to use lightroom, lightroom presets, edit tone, processing images, adobe evangelist, julieanne kost, adobe photography evangelist, lightroom tutorial, lightroom pro tips

Id: 396AQfPJtNI

Length: 77min 40sec (4660 seconds)

Published: Fri Mar 13 2020